scholarly journals Carl Theodor Dreyer. La pasión de Juana de Arco. Francia, 1928

2019 ◽  
pp. 751
Author(s):  
Diana Arauz Mercado
Keyword(s):  
Middle Ages ◽  
Antonin Artaud ◽  
Gender Perspective ◽  
Joan Of Arc ◽  
The Feminine ◽  
Female Figures ◽  
Jeanne D'arc ◽  
Made In ◽  
The Middle Ages

<p><strong>La pasión de Juana del Arco</strong></p><p>Título original: La Passion de Jeanne d'Arc</p><p>Director: Carl Theodor Dreyer</p><p>Productora: Societé generale de films </p><p>Reparto: Maria Falconetti (Juana de Arco), Eugene Silvain (Obispo Pierre Cauchon), André Berley (el fiscal), Maurice Schutz (el canónigo), Michel Simon (juez), Antonin Artaud (el deán de Ruán), Gilbert Dalleu (el vice-inquisidor).</p><p>Género: Drama histórico, cine mudo, siglo XV, religión, película de culto</p><p>Guionistas: Carl Theodor Dreyer, Joseph Delteil</p><p>País de origen: Francia</p><p>Duración: 110 minutos</p><p>Año de lanzamiento: 1928</p><p align="center"><strong>“La pasión de juana de Arco”: del archivo histórico al arte cinematofráfico. </strong><strong>Un estudio desde la perspectiva de género</strong></p><p><strong>Resumen</strong></p><p>Juana de Arco (Domrémy 1412 - Ruán 1431), ha sido una de las figuras femeninas más controvertidas y a la vez fascinantes del Medievo, llevada al cine a través de distintas versiones cinematográficas. El presente estudio, analizará brevemente la aportación que sobre el proceso inquisitorial seguido a la doncella de Orleans realizó el director de cine y guionista danés C. Th. Dreyer en 1928, centrándonos desde una perspectiva de género en la importancia del significado de la imagen femenina y su representación, a través del séptimo arte.</p><p><strong>Abstract</strong></p><p>Joan of Arc (Domrémy 1412 - Rouen 1431), has been one of the most controversial and at the same time fascinating female figures of the Middle Ages, taken to the cinema through different cinematographic versions. The present study, will briefly analyze the contribution that the film director and Danish screenwriter C. Th. Dreyer made in 1928 about the inquisitorial process followed the maiden of Orleans, focusing from a gender perspective on the importance of the meaning of the feminine image and its representation, through the seventh art.</p>

The Maaseik embroideries

1984 ◽  
Vol 13 ◽  
pp. 65-96 ◽  
Author(s):  
Mildred Budny ◽  
Dominic Tweddle
Keyword(s):  
Middle Ages ◽  
Eighth Century ◽  
Anglo Saxon ◽  
Form Part ◽  
The Church ◽  
Made In ◽  
The Middle Ages

Among the relics in the treasury of the church of St Catherine at Maaseik in Limburg, Belgium, there are some luxurious embroideries which form part of the so-called casula (probably ‘chasuble’) of Sts Harlindis and Relindis (pls. I–VI). It was preserved throughout the Middle Ages at the abbey church of Aldeneik (which these sister-saints founded in the early eighth century) and was moved to nearby Maaseik in 1571. Although traditionally regarded as the handiwork of Harlindis and Relindis themselves, the embroideries cannot date from as early as their time, and they must have been made in Anglo-Saxon England. Indeed, they represent the earliest surviving examples of the highly prized English art of embroidery which became famous later in the Middle Ages as opus anglicanum.

scholarly journals Несколько замечаний о необычной славянской редакции "Видения апостола Павла" из рукописных cобраний в Польше

2014 ◽  
Vol 4 ◽  
pp. 193-207
Author(s):  
Ян Страдомский ◽  
Мария Иванова
Keyword(s):  
Middle Ages ◽  
Unique Feature ◽  
Literary Tradition ◽  
Unique Form ◽  
Early Christian ◽  
Textual Tradition ◽  
Last Judgment ◽  
Made In ◽  
The Middle Ages

The apocryphal Apocalypse of St. Paul the Apostlebelongs to the group of early-Christian texts which exerted significant impact on people’s perceptionof the nether world and the Last Judgment. In the Middle Ages, the text was known in the area ofwestern and eastern Christian literary tradition. Numerous translations also include the renditionof the Apocalypse of St. Paul the Apostle into Church Slavonic, made in Bulgaria between the 10thand the 11th century, whose presence and distribution in the area of southern Slavdom and Rutheniais confirmed by copies of manuscripts. The article is devoted to a manuscript of the Apocalypse ofSt. Paul the Apostle hitherto overlooked in studies, whose unique form supplements and makes theSlavic textual tradition of the manuscript more comprehensible. The unique feature of the discussedcopy is supplementation of the text with an ending, present only in the ancient Syrian and Coptictranslations of the apocryphal text.

Receiving the Ars Poetica

2019 ◽  
pp. 244-272
Author(s):  
Jennifer Ferriss-Hill
Keyword(s):  
Sixteenth Century ◽  
Human Nature ◽  
Middle Ages ◽  
Reception History ◽  
Artistic Process ◽  
Literary Achievement ◽  
Ars Poetica ◽  
Made In ◽  
The Middle Ages ◽  
Making Art

This epilogue traces the themes and concerns of the previous chapters throughout the Ars Poetica's considerable reception history. If the Ars Poetica's poetic qualities have not always been clear to scholars of literature, they seem to have been more evident to the practicing writers who, inspired by Horace's poem, wrote artes poeticae of their own. Indeed, practicing poets have long discerned what many literary scholars have not: that the poem's value lies not so much in its stated contents as in its fine-spun internal unity; in its interest in human nature and the onward march of time; in the importance of criticism—both giving and receiving it—to the artistic process; and in the essential sameness of writing, of making art, and of living, loving, being, and even dying. The argument made in this study for reading the Ars Poetica as a literary achievement in its own right may therefore be viewed as a return to the complex, nuanced ways in which it was already read in the Middle Ages, through the sixteenth century, and into the twenty-first. The authors of the later works examined in this chapter read the Ars Poetica as exemplifying and instantiating the sort of artistry that it opaquely commands, and they reflected this in turn through their own verses.

Astrolabes for the King: The Astrolabe of Petrus Raimundi of Barcelona

2017 ◽  
Vol 23 (1-5) ◽  
pp. 421-443 ◽  
Author(s):  
Azucena Hernández
Keyword(s):  
Iberian Peninsula ◽  
Middle Ages ◽  
Full Description ◽  
Scientific Instruments ◽  
Made In ◽  
The Middle Ages

Abstract The astrolabe of Petrus Raimundi, made in Barcelona in 1375, occupies a significant position in the set of medieval Spanish astrolabes with Latin inscriptions, as it is the only one signed and dated that has survived to the present day. A full description and study of the astrolabe is presented in the context of the support given to the manufacturing of scientific instruments by King Peter iv of Aragon. Although the astronomical and time reckoning features of the astrolabe are fully detailed, special attention is given to its artistic and decorative features. The relationships between Petrus Raimundi’s astrolabe and those manufactured in al-Andalus, the region under Islamic rule within the Iberian Peninsula in the Middle Ages, are highlighted, as well as the links with astrolabe production in other European Christian kingdoms. The role played by astrolabes in medicine is considered and first steps are taken towards discovering the identity of Petrus Raimundi.

scholarly journals Women and Books of Hours: Gender Differences, Gender Research

1970 ◽  
Vol 22 ◽  
pp. 129-147
Author(s):  
Ragnild Martine Bø
Keyword(s):  
Gender Differences ◽  
Gender Studies ◽  
Middle Ages ◽  
Gender Perspective ◽  
Books Of Hours ◽  
Medieval Manuscripts ◽  
Gender Research ◽  
The Middle Ages ◽  
Female Ownership

The application of gender studies to medieval manuscripts and to female literacu has enriched our understanding of the relation between women and books in the Middle Ages. My concern here is more specifically the relation between women and books of hours. The aim of the article is to offer an overview of what has been written about women and books of hours over the last few decades, to indicate some of the gendered differences that can be noticed in books of hours, and to give some examples from contemporary scholarship on how a gender perspective can open up scope for new readings of books of hours with a known female ownership. The article concludes that posing gender-oriented questions about books of hours with female owner portraits opens up new perspectives and that such books were often, but not always, produced with a pictorial content that advocates the virtues of purity, humility, and obedience.

scholarly journals CIRCE PAINTINGS BY JOHN WILLIAM WATERHOUSE IN THE CONTEXT OF FEMINISM

2020 ◽  
Vol 9 (73) ◽  
Keyword(s):  
Middle Ages ◽  
Social Life ◽  
Femme Fatale ◽  
Common Features ◽  
Patriarchal System ◽  
The Feminine ◽  
Long Time ◽  
The Face ◽  
The Witch ◽  
The Middle Ages

Feminism is a way of thinking that deals with the pressures, obstacles and difficulties women experience due to their being women, and includes the elimination of these separating attitudes and the struggle of women to be equal with men in all areas of life. The fact that women are not equated with men in social life goes back a long time. The Middle Ages can be defined as a dark age in terms of equality between women and men, as in many other aspects. In this context, it was found important that the majority of those killed during the witch age period in the Middle Ages were women and most of these women were healers who benefited from nature. Witches are defined as a concept in which nature and women are together as the enemy of the patriarchal system. In this article, depictions of women witches increasing in the art of painting following witch courts will be mentioned, the concept of femme fatale into which the image of a witch has transformed, and the paintings of Circe, the femme fatale (the woman who caused disaster), one of the important painters of her time, will be examined in the context of feminism. Waterhouse, one of the painters of the Pre-Raphaelite movement, depicted scenes from different stories, influenced by one of the most common features of the movement, mythological stories and poems. Choosing the most critical scenes of these stories, Waterhouse reinforces the image of a strong, wild woman. Can Circe be a symbol of the Feminine Power in the face of the perceptions and social pressures that are being tried to be destroyed, oppressed, not allowed to be herself, and still continue today? Keywords: Circe, Feminism, Waterhouse, femme fatale

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