February 16, 2020 | Sixth Sunday in Ordinary Time
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Isabel of Aragon (D
Jnl of Ecclesiastical History, Vol. 57, No. 4, October 2006. f 2006 Cambridge University Press 668 doi:10.1017/S0022046906008839 Printed in the United Kingdom Isabel of Aragon (d. 1336): Model Queen or Model Saint? by IONA MCCLEERY Very little work has been done on Iberian queens and even less on Iberian saints. This study of Isabel of Aragon (c. 1270–1336 ), wife of King Dinis of Portugal (1279–1325), who was venerated as a saint from shortly after her death, aims to explore the relationship between Isabel’s queenship and her sainthood. It engages with recent research, and critiques obvious comparisons between Isabel and her great-aunt St Elizabeth of Thuringia. Isabel may also be compared with numerous other medieval European queens and her main vita displays striking similarities to royal courtesy literature found elsewhere. n 26 March 1612 witnesses watched the opening of a tomb in the Franciscan nunnery of Santa Clara in Coimbra, Portugal. One of O them later described the condition of the body found inside: despite being nearly three hundred years old, the sainted body was whole, the face noble, the hair golden and still attached to the skin, the arm and right hand entire, the nails as if they were of a living person ... and in the features of the face there was great similarity to the effigy that we see on the tomb.1 Medical practitioners in attendance confirmed the body’s lack of corruption; Gonc¸alo Dias, chief surgeon of Coimbra, remarked: ‘I feel for certain that it is beyond natural order for a body to be so many years without decay, which can only be miraculous.’2 Whose was this miraculous body and why did it arouse so much interest? The tomb was that of Isabel of Aragon, wife of King Dinis of Portugal (1279–1325), who had indeed died nearly three hundred years earlier on 4 July 1336, and the tomb-opening was part of a long-drawn-out process that eventually led to her canonisation on 25 May 1625. -
HUNGARIAN STUDIES 2. No. 1. Nemzetközi (1986)
Julia Bader and George Starr: A Saint in the Family: A Leaf of the"Hungarian Anjou Legendary" at Berkeley Tibor Klaniczay: Le mouvement académique à la Renaissance et le cas de la Hongrie Linda Frey and Marsha Frey: I nsurgency during the War of the Spanish Succession : The Rákóczi Revolt George F. Cushing: Mihály Babits: "All Great Poets are Decadent" Emery George: Textual Problems of Miklós Radnóti's Bor Notebook Wolfgang Veenker: Die Entwicklung der Finnougristik im deutschsprachigen Raum Chronicle Reviews Short Notices on Publications Received HUNGARIAN STUDIES a Journal of the International Association of Hungarian Studies (Nemzetközi Magyar Filológiai Társaság) Hungarian Studies appears twice a year. It publishes original essays—written in English, French or German—dealing with all aspects of the Hungarian past and present. Multidisciplinary in its approach, it is envisaged as an international forum of literary, philological, historical and related studies. Manuscripts will be evaluated by the Board of Editors, and papers vetoed by any of them will not be published. Each issue will contain about 160 pages and will occasionally include illustrations. All manuscripts, books and other publications for review should be sent to the editorial address or to the Chairman of the Board of Editors. Hungarian Studies is published by AKADÉMIAI KIADÓ Publishing House of the Hungarian Academy of Sciences H-1054 Budapest, Alkotmány u. 21. Orders may be placed with KULTÚRA Foreign Trading Company (1 389 Budapest, 62, P.O. Box 149) or its representatives abroad. Editorial address Budapest, I., Országház u. 30. Budapest H-1250 Telephone: 759-011/327 P.O. Box 34 Hungary Editors Vilmos Voigt (managing editor) Mihály Szegedy-Maszák (executive editor) Áron Petneki (assistant editor) Miklós Csapody (editorial secretary) Gabriella Jászay (editorial secretary) Board of Editors Chairman. -
The Role of the High Clergy of Croatia, Dalmatia And
Mišo Petrović POPES, PRELATES, PRETENDERS: THE ROLE OF THE HIGH CLERGY OF CROATIA, DALMATIA AND SLAVONIA IN THE FIGHT FOR THE HUNGARIAN THRONE IN THE FOURTEENTH CENTURY MA Thesis in Medieval Studies Central European University CEU eTD Collection Budapest May 2015 POPES, PRELATES, PRETENDERS: THE ROLE OF THE HIGH CLERGY OF CROATIA, DALMATIA AND SLAVONIA IN THE FIGHT FOR THE HUNGARIAN THRONE IN THE FOURTEENTH CENTURY by Mišo Petrović (Croatia) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Medieval Studies. Accepted in conformance with the standards of the CEU. ____________________________________________ Chair, Examination Committee ____________________________________________ Thesis Supervisor ____________________________________________ Examiner ____________________________________________ CEU eTD Collection Examiner Budapest May 2015 POPES, PRELATES, PRETENDERS: THE ROLE OF THE HIGH CLERGY OF CROATIA, DALMATIA AND SLAVONIA IN THE FIGHT FOR THE HUNGARIAN THRONE IN THE FOURTEENTH CENTURY by Mišo Petrović (Croatia) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Medieval Studies. Accepted in conformance with the standards of the CEU. ____________________________________________ External Reader CEU eTD Collection Budapest May 2015 POPES, PRELATES, PRETENDERS: THE ROLE OF THE HIGH CLERGY OF CROATIA, DALMATIA AND SLAVONIA IN THE FIGHT FOR THE HUNGARIAN THRONE IN THE FOURTEENTH CENTURY by Mišo Petrović (Croatia) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Medieval Studies. Accepted in conformance with the standards of the CEU. -
Imagined Geographies and the Production of Space in Occitània and Northern Catalunya in the Thirteenth and Fourteenth Centuries
Imagined Geographies and the Production of Space in Occitània and Northern Catalunya in the Thirteenth and Fourteenth Centuries by Jonathan C. Farr A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History) in the University of Michigan 2016 Doctoral Committee: Associate Professor Diane Owen Hughes, Chair Associate Professor Hussein Anwar Fancy Professor Elizabeth L. Sears Professor Paolo Squatriti 1 © Jonathan C. Farr 2016 Acknowledgments The project that would become this dissertation began in a seminar on “Medieval Cities” with my adviser, Diane Owen Hughes, to whom I owe a great debt. Her advice at every stage of my graduate career has been tremendously helpful and her confidence in the project—and in my ideas and their written expression—was unwavering, even when mine was lacking. The other members of my committee also deserve thanks; Hussein Fancy, Paolo Squatriti, and Betsy Sears each provided invaluable feedback and have influenced my research, writing, and teaching (always for the better) over the course of my time at the University of Michigan. I would also like to recognize Peggy McCracken, Ray Van Dam, Christian de Pee, and Katherine French for their encouragement and advice, and Tom Green and Tom Willette for organizing the Premodern Colloquium, where part of this dissertation was workshopped. Portions of my research were presented at the Eisenberg Institute for Historical Studies, where I was a graduate fellow, and I would especially like to thank Greg Parker there. My fellow graduate students have always been generous both in devoting their time and intellect to reflecting on my project and in giving of their friendship. -
Conference on Manuscript Studies 1974-2017
SAINT LOUIS CONFERENCE ON MANUSCRIPT STUDIES PROGRAMS 1974–2017 From 1974 to 2017 the Saint Louis Conference on Manuscript Studies—which features papers on medieval and Renaissance manuscript studies, including such topics as paleography, codicology, illumination, text editing, library history, cataloguing, etc.—was organized and hosted by the Vatican Film Library at Saint Louis University. The conference continues and is now held under the auspices of the Saint Louis University Center for Medieval & Renaissance Studies as part of its Annual Symposium on Medieval and Renaissance Studies. 44th Conference (2017) pp. 3–14 43rd Conference (2016) pp. 15–26 42nd Conference (2015) pp. 27–38 41st Conference (2014) pp. 39–49 40th Conference (2013) pp. 50–60 39th Conference (2012) pp. 61–72 38th Conference (2011) pp. 73–84 37th Conference (2010) pp. 85–95 36th Conference (2009) pp. 96–107 35th Conference (2008) pp. 108–111 34th Conference (2007) pp. 112–115 33rd Conference (2006) pp. 116–119 32nd Conference (2005) pp. 120–123 31st Conference (2004) pp. 124–127 30th Conference (2003) pp. 128–130 29th Conference (2002) pp. 131–133 28th Conference (2001) pp. 134–137 27th Conference (2000) pp. 138–140 26th Conference (1999) pp. 141–143 25th Conference (1998) pp. 144–147 24th Conference (1997) pp. 148–151 23rd Conference (1996) pp. 152–155 22nd Conference (1995) pp. 156–159 21st Conference (1994) pp. 160–164 20th Conference (1993) pp. 165–167 19th Conference (1992) pp. 168–170 18th Conference (1991) pp. 171–174 17th Conference (1990) pp. 175–178 16th Conference (1989) pp. 179–182 15th Conference (1988) pp. -
The Portraits of Robert of Anjou: Self-Presentation As Political Instrument?
The portraits of Robert of Anjou: self-presentation as political instrument? Katharina Weiger Figure 1 Simone Martini, Saint Louis of Toulouse, c. 1317-19, Naples, museo di Capodimonte. © Museo e Real Bosco di Capodimonte – Ministero dei Beni e delle Attività Culturali e del Turismo Reflections on the portraits of Robert of Anjou usually begin or end with Simone Martini’s famous painting of Saint Louis of Toulouse (fig. 1), while a systematic examination of the portraits of the French monarch has yet to be conducted. Rightly, this panel must be placed at the beginning of such a narrative because it is the earliest known image of the king, painted between 1317 and 1319, and because it marks the establishment of his striking profile.1 Nevertheless, Martini’s depiction This analysis is part of my doctoral dissertation, an iconographical study of Neapolitan art in the fourteenth-century, which offers a broader understanding of its evolution in the city and the Kingdom of Naples. Within this framework, I investigate Robert’s self-perception of being a foreign king and the question of how this could have influenced Angevin artistic politics, in particular the image of himself that he wished to convey to natives and to people in other countries. I would like to thank Marek Walczak and Mateusz Grzęda for their remarkable commitment in organizing the conference Reconsidering the origins of portraiture, where I first presented my thoughts about Robert’s portraits. My thanks go to Richard Woodfield for including the contributions of this conference in his journal. Above all, I owe a deep debt of gratitude to Alessandro Nova of the Kunsthistorisches Institut in Florence, Max-Planck-Institut, for a fellowship in his department as well as to my friends and colleagues there. -
16 Simone Martini's St. Louis of Toulouse
16 READING MEDIEVAL STUDIES SIMONE MARTINI'S ST. LOUIS OF TOULOUSE Art historians have been at something of a loss to categorize the great panel of Saint Louis of Toulouse crowning Robert of Anjou in the Mu seo di Capodimonte at Naples.' It might be said that they have notalways perceived the existence ofa problem. Iconographically an unicum, in both form and function the painting also evades easy classification. We possess the semblance of a date, Of at least a terminus ante quem non, the signature of the artist, Simone Martini, and a little evidence which suggests that the painting was originally in the great Angevin foundation of Santa Chiara at Naples. Quite apart from its outstanding quality as a painting, Simone's Saint Louis possesses many features worthy of investigation - too many for a short paper such as this. It is the Tirst visual document of the saint and as such it represents the initial establishment of his iconography, albeit in a highly idiosyncratic context. Further, as it will be argued, the painting reveals some of the ideas and aspirations of its likely donor Robert of Anjou, who kneels at Saint Louis' right. I shall examine first the formal sources of the design and afterwards their deeper implications. It will be necessary in this examination to pursue a slightly circuitous route, for although many of the painting's themes are well nigh inextricably interwoven, for clarity's sake they have to be treated successively. First of all, however, it is essential to begin with the structure of the painting itself. -
3 MATER SERENISSIMI PRINCIPIS: the Tomb of Maria of Hungary
3 Originalveröffentlichung in: Elliott, Janis (Hrsg.): The Church of Santa Maria Donna Regina : act, iconography and patronage in fourteenth-century Naples. Aldershot [u.a.] 2004, S. 61-77 und Abb. MATER SERENISSIMI PRINCIPIS: The tomb of Maria of Hungary Tanja Michalsky The tomb of Maria of Hungary (d. 25 March 1323), wife of King Charles II of Anjou (d. 5 May 1309), was completed in the workshop of Tino di Camaino, with the help of the Neapolitan architect Gagliardo Primario, between February 1325 and May 1326 (plate ix).' The dating and attribution are known from a number of documentary sources: the record of the execution of Maria's will, an order of marble made by her son Robert of Anjou on 21 February 1325, as well as the payment made to the artists.2 The monument is in very good condition and its dense programme and artistic quality make it one of the most important works among the Angevin tombs in Naples. The design and the material of this central Italian wall-tomb have been orchestrated in order to express the splendour of the anointed royal house, the virtues of the dead Queen, and the legitimacy of the rule of the reigning King Robert of Anjou. This is the major achievement of the Angevin tombs made in the workshop of Tino di Camaino under the patronage of Robert of Anjou: not only do they commemorate the individual, they also offer a resplendent memorial to the entire ruling family. In this way, the image of the dynasty is present in a number of prominent locations in Naples including several of the city's churches, many of which were founded at the instigation of the female members of the family. -
Isabel of Aragon (D. 1336): Model Queen Or Model Saint?
Jnl of Ecclesiastical History, Vol. 57, No. 4, October 2006. f 2006 Cambridge University Press 668 doi:10.1017/S0022046906008839 Printed in the United Kingdom Isabel of Aragon (d. 1336): Model Queen or Model Saint? by IONA MCCLEERY Very little work has been done on Iberian queens and even less on Iberian saints. This study of Isabel of Aragon (c. 1270–1336 ), wife of King Dinis of Portugal (1279–1325), who was venerated as a saint from shortly after her death, aims to explore the relationship between Isabel’s queenship and her sainthood. It engages with recent research, and critiques obvious comparisons between Isabel and her great-aunt St Elizabeth of Thuringia. Isabel may also be compared with numerous other medieval European queens and her main vita displays striking similarities to royal courtesy literature found elsewhere. n 26 March 1612 witnesses watched the opening of a tomb in the Franciscan nunnery of Santa Clara in Coimbra, Portugal. One of O them later described the condition of the body found inside: despite being nearly three hundred years old, the sainted body was whole, the face noble, the hair golden and still attached to the skin, the arm and right hand entire, the nails as if they were of a living person ... and in the features of the face there was great similarity to the effigy that we see on the tomb.1 Medical practitioners in attendance confirmed the body’s lack of corruption; Gonc¸alo Dias, chief surgeon of Coimbra, remarked: ‘I feel for certain that it is beyond natural order for a body to be so many years without decay, which can only be miraculous.’2 Whose was this miraculous body and why did it arouse so much interest? The tomb was that of Isabel of Aragon, wife of King Dinis of Portugal (1279–1325), who had indeed died nearly three hundred years earlier on 4 July 1336, and the tomb-opening was part of a long-drawn-out process that eventually led to her canonisation on 25 May 1625. -
“Go Manfully”: Masculine Self-‐Fashioning in Late Medieval
“Go Manfully”: Masculine Self-Fashioning in Late Medieval Dominican Sources by Katherine Marie Lindeman A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Centre for Medieval Studies University of Toronto © Copyright by Katherine Marie Lindeman 2015 “Go Manfully”: Masculine Self-Fashioning in Late Medieval Dominican Sources Katherine Marie Lindeman Doctor of Philosophy Centre for Medieval Studies University of Toronto 2015 Abstract In a world where men often demonstrated their masculine identity through violent action and sexual expression, how did the Dominican friar, forbidden to physically Pight and committed to chastity, reconcile his sense of being a man with his vocational prerogatives? Often raised outside the convent and inculcated in lay understandings of maleness, the friar then entered a world of preachers, whose vocation required both commitment to conventual life, which emphasized separation from the world, and extensive involvement with lay society through pastoral work. This dissertation looks at how these two seemingly disparate behavioral codes—lay dePinitions of masculine behavior and religious ideals—found expression in the corporate identity of the Dominican Order from 1220-1350. In the process of dePining the Order’s vocational goals, behavioral ideals, and overall function in late medieval society, the early Dominican writers simultaneously created behavioral ideals for men that rePlected those dePining laymen as men. By comparing the values, behavioral norms, and ideology presented in the Order’s important nascent texts with the secular ideals of masculinity described in anthropological studies, gender theory, late medieval literature, rhetorical sources, medical theory, legal records, letters, art, and religious traditions, this study explores the porous boundary between societal expectations for laymen and vocational models for Dominican friars during the Order’s formative period. -
Simone Martini's St. Louis of Toulouse and Its Cultural Context
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2009 Simone Martini's St. Louis of Toulouse and its cultural context Suzette Denise Scotti Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Scotti, Suzette Denise, "Simone Martini's St. Louis of Toulouse and its cultural context" (2009). LSU Master's Theses. 1846. https://digitalcommons.lsu.edu/gradschool_theses/1846 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. SIMONE MARTINI’S ST. LOUIS OF TOULOUSE AND ITS CULTURAL CONTEXT A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Suzette Denise Scotti B.A., Vassar College, 1988 Diploma in Legal Studies, Cambridge University, 1990 M.A., University of Virginia, 1993 August 2009 Dedicato con affetto al gentile Professore Mark Zucker, maestro ineguagliabile e amico pregevole il cui sostegno intellettuale e morale ha reso possible il compimento dei miei studi e del presente lavoro. ii Table of Contents ABSTRACT........................................................................................................................................iv -
Stephen Rhys Davies History Phd University College London
Marriage and the Politics ofFriendship : The Family of Charles II ofAnjou. King ofNaples (1285-1309) Stephen Rhys Davies History PhD University College London 0 MARRIAGE AND THE POLITICS OF FRIENDSHJP:THE FAMILY OF CHARLES 11 OF ANJOU. KiNG OF NAPLES (1285-1309). Stephen Davies. History PhD, Unjversjtv College London. This thesis aims to reassert the importance of the supranational dynasties of Europe in medieval history by considering the so-called Angevins of Naples, and specifically Charles 11(1285-1309), whose matrimonial policies led to the end of the first phase of the Sicilian War and to the peace of Caltabellotta (1302). In particular, the study emphasizes the fact that the Angevins were part of the Capetian French royal house and thus refocusses the role of the Capetians within Christendom at that time, as their previous histotiography has concentrated on their role within France. It investigates the the part that the various znaniage combinations played in the Sicilian peace process and how they connected with Charles 11s internal family strategies, demonstrating how his plans to keep most of the patrimony for his primogenitus was compromised by deals that meant that large parts of the inheritance had to be passed to daughters instead. The following chapter shows how Charles was prepared to relegate other dynastic interests to achieve these deals and how his unbalanced provision for his sons led to conflict within the dynasty. Moving on to a discussion of the legal side of marriage, the thesis discusses how Charles II was able to work within the canon law on consent, consanguinity and divorce to achieve his aims and how far the aristocratic ideas of the Duby model still conflicted with the Church.