scholarly journals Desmontando mitos sobre la Tierra en la Edad Media

2020 ◽  
pp. 69-96
Author(s):  
Sandra Sáenz-López Pérez ◽  
Keyword(s):  
Middle Ages ◽  
Complex World ◽  
Religious Symbolism ◽  
The Earth ◽  
The World ◽  
The One ◽  
The Middle Ages

This paper dismantles thanks to cartography three myths commonly associated with the Middle Ages: the idea that the Earth was flat, that Jerusalem was in the center of the world, and that dragons inhabited its margins. The visual richness that medieval maps boast presents a more complex world than the one we have invented for it. As it is well known, appearances can be deceiving. The lack of scientific projection and the importance of religious symbolism must be overcome to discover the world of the Middle Ages.

Aristotle's Unmoved Movers

Traditio ◽  
1946 ◽  
Vol 4 ◽  
pp. 1-30 ◽  
Author(s):  
Philip Merlan
Keyword(s):  
Middle Ages ◽  
The Other ◽  
World Picture ◽  
The Earth ◽  
Concentric Spheres ◽  
The One ◽  
The Universe ◽  
The Middle Ages

According to Aristotle all heavenly movement is ultimately due to the activity of forty-seven (or fifty-five) ‘unmoved movers'. This doctrine is highly remarkable in itself and has exercised an enormous historical influence. It forms part of a world-picture the outlines of which are as follows. The universe consists of concentric spheres, revolving in circles. The outermost of these bears the fixed stars. The other either bear planets or, insofar as they do not, contribute indirectly to the movements of the latter. Each sphere is moved by the one immediately surrounding it, but also possesses a movement of its own, due to its mover, an unmoved, incorporeal being. (It was these beings which the schoolmen designated as theintelligentiae separatae.) The seemingly irregular movements of the planets are thus viewed as resulting from the combination of regular circular revolutions. The earth does not move and occupies the centre of the universe. Such was Aristotle's astronomic system, essential parts of which were almost universally adopted by the Arabic, Jewish, and Christian philosophers of the Middle Ages.

scholarly journals The Ebstorf Map: tradition and contents of a medieval picture of the world

2014 ◽  
Vol 5 (2) ◽  
pp. 155-161 ◽  
Author(s):  
G. Pischke
Keyword(s):  
Middle Ages ◽  
Jesus Christ ◽  
Central Importance ◽  
The Earth ◽  
The World ◽  
The Middle Ages

Abstract. The Ebstorf Map (Wilke, 2001; Kugler, 2007; Wolf, 2004, 2006, 2007, 2009a, b), the largest medieval map of the world whose original has been lost, is not only a geographical map. In the Middle Ages, a map contained mystic, historical and religious motifs. Of central importance is Jesus Christ, who, in the Ebstorf Map, is part of the earth. The Ebstorf Map contains the knowledge of the time of its creation; it can be used for example as an atlas, as a chronicle of the world, or as an illustrated Bible.

Father Chaucer’s Heirs

2019 ◽  
pp. 212-228
Author(s):  
Samantha Katz Seal
Keyword(s):  
Middle Ages ◽  
The Earth ◽  
The World ◽  
Knight's Tale ◽  
The Middle Ages

In conclusion to this book, Chapter 6 looks at the Middle Ages’ model of reproductive perfection—fathers producing sons—to identify how even in the most ideal of circumstances, men cannot gain a true authority upon the earth. For from the Monk’s Tale to the Knight’s Tale to the Nun’s Priest’s Tale, Chaucer makes men confront how poorly they resemble the quality of their fathers. Each generation becomes a siring of loss, a gradual descent into something worse than its progenitor. And yet, Chaucer agues, there is nothing else for men within the world. To reproduce in the pursuit of authority is a doomed quest, one that he himself will repent of in the Retractions. But there is nothing more human than the desire to create something that will last beyond one’s death, to hope in a future posterity even knowing the odds against its realization.

scholarly journals Culture forming characteristics of the Middle ages: Britain vs Russia

2021 ◽  
Vol 59 ◽  
pp. 96-108
Author(s):  
Ekaterina V. Sklizkova
Keyword(s):  
Middle Ages ◽  
The Other ◽  
New Wave ◽  
Anglo Saxon ◽  
The World ◽  
History Of ◽  
Forming Characteristics ◽  
Sociocultural Characteristics ◽  
The One ◽  
The Middle Ages

Any historico-cultural type creates its own model of the world which is formed by universal for the society ideas and thoughts. The Middle ages are one of the most complicated, very many-sided and contradictory epochs. It was built by several large and active strata. Such subdivision was manifested in mosaicism of cultural heritage, where different phenomena can be viewed as a pattern of separate culture, though coherent in sociocultural characteristics. The dualism of the epoch reflects on the one hand in cultural globalism for whole Europe, one the other hand in variations within. Aesthetic views were mostly manifested at court, accumulated and shown as a signs. Aristocracy partly artificially synthesized its culture, shaping in the most attractive form. It was structuralized in common European context, having absorbed local cultures, primary so called Anglo-Saxon. Though any 3–5 centuries the territory of the British Isles was being marched through by a new wave of invaders, changed the culture. So it is possible to examine the unique cultures of these peoples and their impact to British one. Although the history of Russia exists in another context, it is the history of not consequent main cultures but the history of one nation. Certainly, as the multiethnic state Russia includes many cultures of many peoples but the central and cementing one, made the country as it stands, is Russian.

scholarly journals Heaven and the Sphaera Mundi in the Middle Ages

2000 ◽  
Vol 04 (01) ◽  
pp. 10-35
Author(s):  
Edgar Laird
Keyword(s):  
Middle Ages ◽  
Medieval Literature ◽  
The Other ◽  
The Sun ◽  
The Moon ◽  
The Earth ◽  
The World ◽  
The Middle Ages

This paper examines the development of the idea of heaven in relation to the sphaera mundi - the sphere of the world - in medieval literature. The sphaera mundi is a model of the cosmos that at its most elementary is very simple indeed. At the centre of it is the earth, so small as to be virtually a dot in comparison to the whole or even to the smallest star. Earth is surrounded by the sea, which in turn is surrounded by air, as also air is surrounded by fire. Surrounding the fire is a sphere that 'bears' the moon, and around that sphere are others, like layers of an onion, bearing the other planets: Mercury, then Venus, the sun, Mars, Jupiter and Saturn. Then come the sphere bearing the fixed stars and, beyond it, one or more others. All these spheres together constitute the sphere of the world.

Christina of Markyate

1978 ◽  
Vol 1 ◽  
pp. 185-204 ◽  
Author(s):  
Christopher J. Holdsworth
Keyword(s):  
Middle Ages ◽  
Community Or ◽  
General Thesis ◽  
The World ◽  
The One ◽  
The Middle Ages

IN the middle ages any man, or woman, who wished to discipline themselves according to the principles developed in the early days of monasticism in Egypt had to withdraw from the world. This was true whether the experiment of asceticism was to be pursued in community or in isolation, as hermit, anchorite or recluse. Yet however extreme was the degree of withdrawal from contact with society, the world affected, and was affected by, the one who withdrew. This general thesis is amply illustrated by the surviving evidence for the life of Christina of Markyate who first spent some sixteen years as a recluse and then perhaps as many as thirty five as a nun, after her profession at St Albans around 1131. In one way or another she renounced the world for over fifty of her allotted three score years and ten.

scholarly journals ESSENCE AND FEATURES OF THE DISCOURSE OF ROMANTIC CULTURE OF LOVE: AN ATTEMPT OF RETHINKING

2018 ◽  
pp. 52-55
Author(s):  
V. E. Turenko
Keyword(s):  
Middle Ages ◽  
Romantic Love ◽  
Point Of View ◽  
The World ◽  
History Of ◽  
The Subject ◽  
The One ◽  
The Middle Ages

The article analyzes the nature of the romantic culture of love. Romantic love is seen as a love culture, which includes a set of beliefs, ideals, principles that have developed in the Middle Ages, and the idea of which passes from generation to generation, from one century to another. It is emphasized that the romantic culture of love is not only a discourse of passion and ethos of eros. This cultural-historical type of love absorbs the connotations agape, filia and storge. Consequently, the discourse of those who love in the romantic invariant is not focused solely on passion, it is also caring, understanding, responsibility, attention, sacrifice, etc. – aspects inherent in love-filia, love-storge and love-agape. It is proved that a discourse of romantic culture of love is not realized through the prism of "rose-colored glasses", but in the context of understanding that the emergence of this feeling inevitably generates a sense of vulnerability in both participants of the love discourse. The presence of sorrow in one of the participants of the discourse of love is one of the most characteristic and vivid signs of the romantic culture of love. From the philosophical point of view, various aspects of love affliction are considered as markers of truth and authenticity of feelings, relationships between lovers. Tears, in romantic love - is not the weakness of an object and/or subject of love discourse, but it is their strength, depth and basis for the continuation of their history of feelings. It turns out that in contrast to the modern post-romantic culture of love, in the romantic tradition, the basis of love relations is the maximum recognition of the person. The one who we love is given to us as a fact of life, as the world itself. Love for which the only truly significant and determining any choice is the value of a particular, separate personality. The person we love, in essence, cannot be the subject of evaluation. One may be neither reasonable, nor good, but he/she is capable of transforming a valuable world, revealing its unity, its ability to harmony and doomed to disharmony. The love of human to human (the subject of Love) is the path where all the faces and all the boundaries, that distinguish people from one or another affiliation, disappear.

Clothing and Female Reclusion in The Life of Mary of Egypt and The Life of Christina of Markyate

2021 ◽  
Vol 3 (1) ◽  
pp. 17-31
Author(s):  
Anna McKay
Keyword(s):  
Middle Ages ◽  
Twelfth Century ◽  
Feminist Scholarship ◽  
Literary Representation ◽  
The Past ◽  
The World ◽  
Holy Women ◽  
Experiences Of Women ◽  
Mary Of Egypt ◽  
The Middle Ages

Over the past two decades, medieval feminist scholarship has increasingly turned to the literary representation of textiles as a means of exploring the oftensilenced experiences of women in the Middle Ages. This article uses fabric as a lens through which to consider the world of the female recluse, exploring the ways in which clothing operates as a tether to patriarchal, secular values in Paul the Deacon’s eighthcentury Life of Mary of Egypt and the twelfth-century Life of Christina of Markyate. In rejecting worldly garb as recluses, these holy women seek out and achieve lives of spiritual autonomy and independence.

Mandelstam: The Realm of Unexpectedness

2021 ◽  
Vol 64 (2) ◽  
pp. 62-83
Author(s):  
Svetlana S. Neretina
Keyword(s):  
Middle Ages ◽  
Speech Act ◽  
Classical Antiquity ◽  
Logical Framework ◽  
Creation Process ◽  
The Real ◽  
Logical Construction ◽  
The World ◽  
The Creation ◽  
The Middle Ages

In the essay “Conversation about Dante,” Mandelstam described logic, which he defined as the “realm of unexpectedness,” which is unlike any everyday logical construction. Based on the analysis of Mandelstam’s text, it is assumed that we are talking about a tropology that arose in the Middle Ages, the principles of which can be derived from studies of St. Augustine’s treatise De Dialectica and Petrus Сomestor’s Historia Scholastica. It is this triple commonwealth (Augustine – Comestor – Dante, read by Mandelstam) that creates the multilayered logical framework of the work. Augustine created a completely different dialectic than in classical antiquity. Augustine considers dialectics as an art of discussion and describes the real steps that contribute to the emergence of speech, which corresponds to Mandelstam’s concept of conversation. According to Augustine, at the basis of any speech, is a trope-turn. In the article, attention is drawn to the sound nature of creation process. This logic, used in explaining the creation of the world according to the logos/word (tropology), assumes that, at the basis of the speech act, there is no the word as a unit of speech, but the sound itself – the sound, which was considered initially equivocal (ambiguous). In the process of pronounciation, the sound could turn into its opposite and could change the meaning of speech if the context has been changed. Dante expressed the meaning of tropology in practice. Mandelstam wrote that he had chosen Dante for the conversation (between poet and poet) “because he is the greatest and indisputable master of reversible and reversing poetic substance.” Mandelstam saw Dante as the Descartes of metaphor.

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