Entries Tagged as '2009'

Revue d’histoire des textes, 2009

PERIODICAL: Revue d’histoire des textes, n.s., IV, 2009.

Sommaire

Articles
Filippomaria Pontani, Achille, occhio degli Achei (Antehomerica Uffenbachiana) (pp. 1-29); Claude Jarry, Sur une recension du Traité de l’astrolabe de Jean Philipon à l’époque des Paléologues (pp. 31-78); Antoine Pietrobelli, L’itinéraire de deux manuscrits de Gallien à la Renaissance (pp. 79-114); Richard et Mary Rouse, Two carolingian bifolia : Haimo of Auxerre and Carolingian liturgical texts (pp. 115-128); Rosa Comes, Un manuscrito mozárabe con notación alfanumeria greco-copta : El codex miscellaneus patristicus de la Seu d’Urgell (pp. 139-156); Béatrice Bakhouche, Marginalia et histoire du texte : l’exemple du manuscrit Paris, BnF, latin 16579 (pp. 157-178); Gijs Coucke, The needle in the haystack. In search of the model of Peter of Abano’s Expositio problematum (pp. 179-213); Adran Armstrong, The shapping of knowledge in an anthology of Jean Molinet’s poetry : Cambridge, Gonville and Caius College 187:200 (pp. 215-275).

Notes
Patrick Gautier-Dalché, Cassiodore, Jordanès et les Getica (pp. 277-287); Sébastien Bricout, La connaissance du De medicina de Celse au tournant du Xe siècle (pp. 289-298); Sylvain Piron, Un traité inconnu de Jean de Roquetaille (pp. 299-307).

En savoir plus

Dumbarton Oaks Papers, 2009

Dumbarton Oaks Papers, volume 63, 2009.

The following articles are of particular interest:

PETER HATLIE, Images of Motherhood and Self in Byzantine Literature, pp. 41-63

MARIA EVANGELATOU, Liturgy and the Illustration of the Ninth-Century Marginal Psalter, pp. 65-116

HENRY MAGUIRE, Ivories as Pilgrimage Art: A New Frame for the “Frame Group”, pp. 117-146.

Click here to view the Dumburton Oaks Publications

Studies in Iconography, 2009

Studies in Iconography, volume 30, 2009, edited by Michael Curschmann, Colum Hourihane and Lawrence Nees. Published under the auspices of the Index of Christian Art, Princeton University, by Medieval Institute Publications, Western Michingan University, Kalamazoo.

Contents

Articles:
Eric M. Ramírez-Weaver, William of Conches, Philosophical Continuous Narration, and the Limited Worlds of Medieval Diagrams (pp. 1-41); Julia Miller and Laurie Taylor-Mitchell, Humility and Piety: The Annunciation in the Church of Ognissanti in Florence (pp. 42-71); Jane C. Long, Franciscan Chapel Decoration: The St. Silvester Cycle of Maso di Banco at Santa Croce in Florence (pp. 72-95); Diana Norman, The Prince and the Bishop: A New Hypothesis for Tabernacle 35 in Siena’s Pinacoteca Nazionale (pp. 96-125); Matthew G. Shoaf, Eyeing Envy in the Arena Chapel (pp. 126-167); Timothy McCall, The Gendering of Libertas and the International Gothic: Carlo Crivelli’s Ascoli Annunciation (pp. 168-197); and Patricia Simons, Agostino Carracci’s Obscene Wit in Two Lascivious Prints (pp. 198-221).

Reviews:
Bissera V. Pentcheva, Icons and Power: The Mother of God in Byzantium, By Michele Bacci (pp. 222-227); Robert Hillenbrand, ed., Image and Meaning in Islamic Art. Bernard O’Kane, ed., The Iconography of Islamic Art: Studies in Honour of Robert Hillenbrand. Anna Contadini, ed., Arab Painting: Text and Imagery in Illustrated Arabic Manuscripts, By Marianna Shreve Simpson (pp. 228-234); Simone Piazza, Pittura rupestre medievale: Lazio e Campania settentrionale (secoli VI-XIII), By Linda Safran (pp. 235-238); John F. Moffitt, The Enthroned Corpse of Charlemagne: The Lord-in-Majesty Theme in Early Medieval Art and Life, By Matthew Gabriele (pp. 239-241); Rebecca Rushforth, St Maragaret’s Gospel-book: The Favourite Book of an Eleventh-Century Queen of Scots, By Jane E. Rosenthal (pp. 242-245); Katrin Kogman-Appel, Illuminated Haggadot from Medieval Spain: Biblical Imagery and the Passover Holiday, By Cynthia Robinson (pp. 246-249); Gautier de Coinci: Miracles, Music and Manuscripts, ed. by Kathy M. Krause and Alison Stones, By Anna Russakoff (pp. 250-253); Karl Tamburr, The Harrowing of Hell in Medieval England, By Richard K. Emmerson (pp. 254-257); Marilynn Desmond, Ovid’s Art and the Wife of Bath: The Ethics of Erotic Violence, By Susan J. Dudash (pp. 258-260); Jessica Brantley, Reading in the Wilderness: Private Devotion and Public Performance in Late Medieval England, By Ann Eljenholm Nichols (pp. 261-264). and Notes on Contributors (pp. 265-266).

View the periodical’s website

Medieval Studies, 2009

Medieval Studies, 71, 2009.

Contents

ROGER E. REYNOLDS, Virginia Brown (1940-2009), pp. VII-XX.

Texts:
ARSENIO FERRACES RODRÍGUEZ, Remedia Bodleiana de taxone: Una retractación cristiana de la epístola de Hiparco a Octavio sobre el tejón (pp. 1-21); DARREN HOPKINS, Le salut d’Enfer: A Short Satire Modelled on Raoul de Houdenc’s Songe d’Enfer (pp. 23-45).

Articles:
† MICHAEL E. MARMURA, Avicenna on Meno’s Paradox: On “Apprehending” Unknown Things through Known Things (pp. 47-62); A. B. KRAEBEL, Grammatica and the Authenticity of the Psalms-Commentary Attributed to Bruno the Carthusian (pp. 63-97); MICHAEL McVAUGH, Towards a Stylistic Grouping of the Translations of Gerard of Cremona (pp. 99-112); PETER GODMAN, The World of the Archpoet (pp. 113-156); F. N. M. DIEKSTRA, Confessor and Penitent: Robert de Sorbon and the Cura animarum (pp. 157-196); MARTIN HOWLEY, Relics at Glastonbury Abbey in the Thirteenth Century: The Relic List in Cambridge, Trinity College R. 5. 33 (724), fols. 104r-105v (pp. 197-234); MARY DZON, Cecily Neville and the Apocryphal Infantia salvatoris in the Middle Ages (pp. 235-300).

Studi Romagnoli, LX, 2009

Studi Romagnoli, LX, 2009

Tra i molti si segnalano i seguenti articoli:

PAOLA ERRANI, Una nota in antico danese nel codice malatestiano D.XVII.5, pp. 91-106
ANNA TAMBINI, Gli affreschi quattrocenteschi del Refettorio francescano di Cesena (Biblioteca Malatestiana), pp. 107-138
PATRIZIA CAPITANIO, Cromie e fantasie dipinte su un raro soffitto ligneo in epoca malatestiana a Cesena, pp. 139-172
MICHELE ANDREA PISTOCCHI, Il San Giorgio che uccide il drago: risoluzione del problema iconografico, pp. 173-188.

Gift-giving and books in St Boniface’s letters

JOHN-HENRY WILSON CLAY, ‘Gift-giving and books in the letters of St Boniface and Lul’, Journal of Medieval History, 35, 2009, pp. 313-325.

Abstract: The Anglo-Saxon missionary and archbishop St Boniface (d.754) and Lul, his protégé and successor in the see of Mainz (d.768), left behind a rich collection of letters that has become an invaluable source in our understanding of Boniface’s mission. This article examines the letters in order to elucidate the customs of gift-giving that existed between those who were involved in the mission, whether directly or as external supporters. It begins with a brief overview of anthropological models of gift-giving, followed by a discussion of the portrayal of gift-giving in Anglo-Saxon literature. Two features of the letters of Boniface and Lul are then examined — the giving of gifts and the giving of books — and a crucial distinction between them revealed. Although particular customs of gift-giving between the missionaries and their supporters were well established, and indeed bore some resemblance to ‘secular’ gift-giving customs depicted in Anglo-Saxon poetry, books, while exchanged frequently, were consistently excluded from the ritualised structures of gift-giving. A dual explanation for this phenomenon is proposed: first, that books were of greater practical importance to the mission than other forms of gifts; second, that their status as sacred texts rendered them unsuitable for inclusion within rituals that depended upon the giver emphatically belittling the material worth of their own gift.

Click here for further information or to purchase the PDF version of the text.

C. G. Jung, an Unusual Illuminator

CARL GUSTAV JUNG, The Red Book, edited by Sonu Shamdasani, and translated by Mark Kyburz, John Peck and Sonu Shamdasani, New York 2009 (W. W. Norton). The full facsimile: 404 pages, $ 195.00.

«The years, of which I have spoken to you, when I pursued the inner images, were the most important time of my life. Everything else is to be derived from this. It began at that time, and the later details hardly matter anymore. My entire life consisted in elaborating what had burst forth from the unconscious and flooded me like an enigmatic stream and threatened to break me. That was the stuff and material for more than only one life. Everything later was merely the outer classification, the scientific elaboration, and the integration into life. But the numinous beginning, which contained everything, was then.» (C. G. Jung)

These are the words of the psychologist Carl Gustav Jung in 1957, referring to the decades he worked on The Red Book from 1914 to 1930. Although its existence has been known for more than eighty years, the Liber Novus or The Red Book was never published or made available to the wide audience of Jung’s students and followers. Nothing less than the central book of Jung’s oeuvre, it is being published now in a full facsimile edition with a contextual essay and notes by the noted Jung scholar Sonu Shamdasani and translated by Mark Kyburz, John Peck, and Sonu Shamdasani.

It will now be possible to study Jung’s self-experimentation through primary documentation rather than fantasy, gossip, and speculation, and to grasp the genesis of his later work. For nearly a century, such a reading has simply not been possible, and the vast literature on his life and work has lacked access to the single most important document. This publication opens the possibility of a new era in understanding Jung’s work. It provides a unique window into how he recovered his soul and constituted a psychology. It is possibly the most influential hitherto unpublished work in the history of psychology.

This exact facsimile of The Red Book reveals not only an extraordinary mind at work, but also the hand of a gifted artist and calligrapher. Interspersed among more than two hundred lovely illuminated pages are paintings whose influences range from Europe, the Middle East, and the Far East to the native art of the new world. The Red Book, much like the handcrafted Books of Hours from the Middle Ages, is unique. Both in terms of its place in Jung’s development and as a work of art, its publication is a landmark.

The Rubin Museum of Art (150 West 17th Street, New York, N.Y. 10011) exhibited the full facsimile from October 7, 2009 to February 15, 2010 (see the post Illuminating the Mind).

The Alchemy of Paint

SPIKE BUCKLOW, The Alchemy of Paint. Art, Science and Secrets from the Middle Ages, London – New York 2009 (Marion Boyars), 335 pages, £ 9.99.

In The Alchemy of Paint the author sets out to unravel the myths behind pigments like dragonsblood – said to be a mixture of elephant and dragon blood. Examining both the medieval palette and the often cloak-and-dagger science that created it, he uncovers the secret recipes behind luxurious colours we are familiar with today. Driven by an overriding passion for art, his aim is to restore value to colour. The purity of white is not owned by a computer manufacturer. Spike Bucklow reminds us all that our experience of colour is fundamentally a natural sensation that can verge on the divine.

Contents: Foreword (pp. 13-15); Preface (pp. 17-19); Colour: Dyes, Pigments and Metals (pp. 20-42); Ultramarine: From over the Seas (pp. 43-74); Vermilion: Towards the Philosophers’ Stone (pp. 75-108); Metallic Blues: The Powers of the Planets (pp. 109-140); Dragonsblood: The Fruit of Mortal Combat (pp. 141-172); Gold: The Riches of the Unknown (pp. 173-204); Colour: The Other Side (pp. 205-223); Vermilion: The Sublime, Crystallised (pp. 224-246); Gold: The Love that Conquers Death (pp. 247-274); The Science of Colour: Epilogue (pp. 275-281); Notes on the text (pp. 283-307); Bibliography (pp. 309-321); Glossary (pp. 323-328); and Index (pp. 329-335).       

Scritti di storia della letteratura italiana. 2

CARLO DIONISOTTI, Scritti di storia della letteratura italiana. II. 1963-1971, a cura di Tania Basile, Vincenzo Fera e Susanna Villari, Roma 2009 (Edizioni di storia e letteratura) (Collana: Storia e Letteratura, 253), pagine VIII + 452, € 50,00.

Indice: Piano dell’opera (p. V); Saggi contenuti nel volume II (pp. VII-VIII); Appunti sulle Rime del Sannazaro (p. 1-37); Jacopo Tolomei fra umanisti e rimatori (pp. 39-72); «Juvenilia» del Pontano (pp. 73-94); Appunti su antichi testi (pp. 95-140); Girolamo Claricio (pp. 141-171); Dante nel Quattrocento (pp. 173-212); Dante nel Rinascimento (pp. 213-220); Falconetto, l’ultima canzone di gesta italiana (p. 221); Appunti sul Bembo (pp. 223-242); Proposta per Guido Giudice (pp. 243-255); Annibal Caro e il Rinascimento (pp. 257-269); La lingua italiana da Venezia all’Europa (pp. 271-279); Il Fortunio e la filologia umanistica (pp. 281-292); Pietro Bembo e la nuova letteratura (pp. 293-304); Un opuscolo di Pier Andrea Da Verrazano per Beatrice d’Aragona (pp. 305-324); Resoconto di una ricerca interrotta (pp. 325-336); Calderini, Poliziano e altri (pp. 337-366); Una canzone sacra del periodo mantovano del Bandello (pp. 367-380); Fortuna del Boirado nel Cinquecento (pp. 381-400); Leopardi – Tommaseo – Brofferio (pp. 401-403); Per una storia delle dottrine linguistiche del Rinascimento (pp. 405-415); Europe in Sixteenth-Century Italian Literature (pp. 417-428); Filologia umanistica e testi giuridici fra Quattro e Cinquecento (pp. 429-442); Lettaratura nazionale e culture regionali in Italia (pp. 443-452).

Peregrinations: Journal of Medieval Art & Architecture (vol. II, 2009)

Peregrinations: Journal of Medieval Art & Architecture, Special Double Issue, Volume II, Issue 3 and Issue 4, Summer 2009.

Sarah Blick, Vibeke Olsen and Rita Tekippe, the editors of Peregrinations: Journal of Medieval Art & Architecture, are delighted to announce the publication of a special double issue featuring articles on Placing the Middle Ages: Towards a Geography of Material Culture and The Bayeux Tapestry Revisited, Canterbury Pilgrim Badges, the Digital Mappa Mundi, book reviews, discoveries, and more. This issue also features an enlarged photobank of beautiful (free) images to download for teaching and research, calls for papers, exhibitions, publication opportunities, etc.

Volume II, Issue 3: Guest Editors, Mickey Abel and Jennifer Way (University of North Texas), Placing the Middle Ages: Towards a Geography of Material Culture. Feature Articles: Mickey Abel and Jennifer Way (University of North Texas), Placing the Middle Ages: Contextualizing Towards a Geography of Material Culture; Eileen McKiernan-Gonzalez (Berea College), Local and Imported: Conjunctions of Mediterranean Forms in Romanesque Arágon; Maureen Quigley (Saint Louis University), Romantic Geography and the Crusades: London, British Library, Royal ms. 19 D I; Tracy Chapman Hamilton (Sweet Briar College), Sur la Route: Topographic Patronage and the Genealogy of Location in Late Capetian France; Janet Marquardt (Eastern Illinois University), La Pierre-qui-Vire and Zodiaque: A Monastic Pilgrimage of Medieval Dimensions; Kim McCarty, Brittany Gregory, and Mickey Abel (University of North Texas), Geography, Archaeology, Art History: A Case Study for a Multidisciplinary Approach to Mapping Architectural Heritage; Jennifer Lee (Indiana University – Purdue University of Indianapolis), Material and Meaning in Lead Pilgrims’ Signs; Asa Simon Mittman (California State University), Chico and Martin Foys (Hood College), Digital Mappaemundi: Changing the Way We Work with Medieval World Maps; and Mark Hall (Perth Museum and Art Gallery), More Feet Washing.

Volume II, Issue 4: Guest Editor, John Michael Crafton (University of West Georgia), The Bayeux Tapestry Revisited. Feature Articles: John Michael Crafton (University of West Georgia), Editor’s Introduction. Notes on Contributors: Shirley Ann Brown (York University), The Bayeux Tapestry and the Vikings; Gale R. Owen-Crocker (University of Manchester), Stylistic Variation and Roman Influence in the Bayeux Tapestry; John Micheal Crafton (University of West Georgia), Hypertext, Hypermedia and the Bayeux Tapestry: A Study of Remediation; Richard M. Koch (Hillyer College – University of Hartford), Sacred Threads: The Bayeux Tapestry as a Religious Object; Jennifer N. Brown (University of Hartford), The Bayeux Tapestry and the Vitae of Edward the Confessor in Dialogue. Other Featured Articles: Mark Hall (Perth Museum and Art Gallery), A Roman Pilgrim; Katrien Lichtert (University of Ghent and University of Antwerp), The Visualisation of Urban Landscape in the Southern Netherlands during the Late Medieval and Early Modern Period; and Rita Tekippe (University of West Georgia), Full-Size Replica of the Bayeux Tapestry.

Peregrinations is free and can be accessed by clicking the link.

Su Zanobi Strozzi e Antonio del Chierico

ADA LABRIOLA, Alcune proposte per Zanobi Strozzi e Francesco di Antonio del Chierico, “Paragone”, a. LX, s. III, n. 83 (707), gennaio 2009, pp. 3-22, figg. 1-17.

Tra le opere esaminate, di Zanobi Strozzi, si ricordano: ‘Davide con il salterio’ (Chantilly, Musée Condé, Divers IV – 344); ‘Frate domenicano’ (Chantilly, Musée Condé, Divers IV – 345); ‘Dio padre appare a David in preghiera’ (Berlino, Kupferstichkabinett, inv. 1245); lo ‘Stolto’ (Berlino, Kupferstich- kabinett, inv. 630); ‘Dio Padre in gloria’ (Berlino, Kupferstich- kabinett, inv. 1742); ‘David in preghiera’ (New York, The Metropolitan Museum of Art, Robert Lehman Collection, inv. 1975.1.2470); ‘Annunciazione’ (Firenze, Museo di San Marco, Gradule B, inv. 516, f. 3r); e ‘David con la testa di Golia’ (Baltimora, The Walters Art Museum, ms. W 767, f. 169v). Le seguenti sono invece di Francesco di Antonio del Chierico: frontespizio con ‘Romolo e Remo allattati dalla lupa’ (Firenze, Biblioteca Nazionale Centrale, B.R. 34, f. 1r); ‘Duelli tra centauri e tra putti’ (Firenze, Biblioteca Medicea Laurenziana, Pluteo 82.3, f. 4r); frontespizio con l”Annunciazione’ e ‘Taddeo Adimari nello studio’ (Firenze, Biblioteca Nazionale Centrale, Conv. Soppr. C.8.1250, f. 1r); frontespizio con ‘Guarino che offre la sua opera a Lionello d’Este’ (Firenze, Biblioteca Medicea Laurenziana, Pluteo 65.27, f. 1r). E ancora, viene attribuita a  Francesco di Antonio del Chierico e bottega, il frontespizio con ‘Tubalcain’ (Berlino, Kupferstichkabinett, inv. 78 C28, f. 2v); a Riccardo di Nanni, l”Allegoria della Natura’ (Firenze, Biblioteca Medicea Laurenziana, Pluteo 82.4, f. 6r); e a Monte di Giovanni di Miniato, il frontespizio con ‘Tubalcain’ (Firenze, Biblioteca Nazionale Centrale, B.R. 229, f. IVv).

Parlare dell’arte nel Trecento

Colloquio internazionale - Kunsthistorisches Institut in Florenz – Max-Planck-Institut,  (Konferenzsaal, Via Giuseppe Giusti 38, 50121 Firenze), 4 – 6 giugno 2009: Kunstgeschichten. Parlare dell’arte nel Trecento; ideato e curato da Gerhard Wolf.

La letteratura del Trecento è ricca di aneddoti di artisti, ecfrasi poetiche e racconti in cui le opere d’arte svolgono un ruolo fondamentale. Trattati teorici delle discipline più svariate fanno uso di metafore pittoriche, gli artefatti stessi si esprimono spesso tramite iscrizioni. Obiettivo del convegno è un incontro tra storia dell’arte e letteratura. La conferenza è connessa a un progetto di cooperazione sulla letteratura dell’arte del XIV secolo tra prassi e metafora. Saranno oggetto di studio l’incrocio, la competizione e la cooperazione tra arti discorsive e arti visive, ad esempio nelle celebri descrizioni di Dante dei rilievi immaginari nel Purgatorio, nei sonetti del Petrarca dedicati a Simone Martini o nelle novelle di Sacchetti.

Programma: 4 giugno - Gerhard Wolf: Kunstgeschichten und Kunstgespräch; Stefano Prandi (Universität Bern): Teologia come pittura: Alain de Lille e Dante; Barbara Stoltz (Florenz): Legitimierung der Kunstübung: Dichtung und Bildende Kunst in den Episoden über Statius und über den Büßer-Ring der Superbia in Dante Alighieris ‘Commedia’; Johannes Bartuschat (Universität Zürich): L’ecfrasi nel girone dei superbi (Purgatorio X-XII) e la concezione dantesca dell’arte; Urte Krass (Ludwig-Maximilians-Universität München): “Malinconoso con la casa piena di pietre” – zur narrativen Symbiose von Malern und Steinen; Corrado Bologna (Università degli Studi Roma Tre): Giotto e i “viri illustres” degli umanisti; Markus Schürer (Technische Universität Dresden): Kunst und Enzyklopädie. Pictores, architectores und fabri im Fons memorabilium universi des Domenico Bandini; Peter Seiler (Humboldt Universität zu Berlin): Werkstatttradition und Geschichte der Malerei. Cennini und die Diskussionen um Giottos künstlerisches Erbe; Berthold Hub (ETH Zürich): Qualità e sconformità: der Architekt Filarete über die Werke seiner Malerund Bildhauerkollegen. 5 giugno –  Christian Nikolaus Opitz (Universität Wien): Zwischen höfischer Tradition und humanistischer Gelehrsamkeit: Kunstbeschreibung in der Tavola Rotonda; Piero Boitani (Università La Sapienza di Roma): Ugolino fra letteratura e arte: da Dante al Rinascimento; Barbara Kuhn (Universität Konstanz): Sprechende Bilder und malende Worte: Boccaccios ‘Amorosa visione’ als Vexierbild in Worten; Jean Campbell (Emory University, Atlanta): Boccaccio on Painting, Poetic Judgment and the Complaisance of Wise Men; Claudia Steinhardt-Hirsch (Universität Graz): “Sum pictura” – Sprechende Bilder und ihre Autopoiesis in der Malerei des Trecento; Caroline Smout (Kunsthistorisches Institut in Florenz – MPI): “Mit kluger Arbeit der Worte [...] und dem Anmut der Malerei”. Zur Reflexion des Convenevole da Prato über das Ausdrucksvermögen von Wort- und Bildkunst; Anne Dunlop (Yale University): Allegory, painted and poetic, and the fictions of Trecento Art; Alessandro Della Latta (Istituto di Studi Umanistici, Firenze): Poesia nella pittura. Attorno agli epigrammi per Benozzo Gozzoli. 6 giugno - Karin Westerwelle (Universität Münster): Luce e colore. Il ritratto della donna nella poesia amorosa di Dante, Petrarca e Pierre de Ronsard; Wolf-Dietrich Löhr (Freie Universität Berlin): Korrekturen. Schöpfung und Schminke bei Franco Sacchetti; Marco Collareta (Università di Pisa): Generare e produrre. Note sulla fortuna di un aneddoto antico; Hannah Baader (Kunsthistorisches Institut in Florenz – MPI): Der Schatten der Argo: ‘Poesis’ und ‘techne’; und Klaus Krüger (Freie Universität Berlin): Conclusione.

Per saperne di più leggi il programma completo del convegno o visita il sito del Kunsthistorisches Institut