DOCSLIB.ORG

Chapter Ten High Middle Ages: the Search for Synthesis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Chapter Ten High Middle Ages: the Search for Synthesis Chapter Ten: High Middle Ages The Significance of Paris Center of Western civilization (1150-1300) Gothic architecture Scholasticism The University Distinct cultural expression Classical texts Judeo-Christian worldview Religious reforms 1 The Gothic Style: Saint Denis Abbot Suger (1080-1151) Saint Denis and Charlemagne Pilgrimage destination Lendit Choir, double ambulatory Defining Gothic Gothic vs. Romanesque 10.2 Abbey church of Saint-Denis, France The Gothic Style Laon Cathedral Notre Dame Cathedral Chartres Cathedral 2 10.5 Laon Cathedral, interior The Mysticism of Light Luminous quality of the Gothic Suger’s “theology of beauty” Neo-Platonic philosophy, purity of light Stained glass windows Lux Nova …vs. Byzantine mosaics “Bible of the Poor” 10.10 Notre Dame de Belle Verrier “)(Our Lady of the Beautiful Window”), stained-glass window, Chartres Cathedral, France, early 13th century 3 10.11 Tympanum, right door royal portal west façade, Chartres Cathedral, France. 10.12 Gargoyles on Notre-Dame, Paris, France 10.8 Chartres Cathedral, Chartres, France, as rebuilt after 1194. 4 10.15 Vintner’s window, glass roundel, Chartres Cathedral, Chartres, France, 1215 To Teach and Edify Learning, wisdom, and God Collaboration of builders, theologians History of salvation in decoration Gargoyles Many Meanings of the Gothic Cathedral Social functions “Cathedral Square” Church courts / civil courts Horarium Economic impact Pilgrimages, trade fairs, feast days Prestigious donations by guilds 5 Many Meanings of the Gothic Cathedral Motivation to build Actual design and construction Villard de Honnecourt’s notebook Combination of human knowledge and religious faith Pilgrim as central metaphor Music: The School of Notre Dame Musical notation Guido d’Arezzo Polyphony of organum Léonin’s Magnus Liber Organi Pérotin and counterpoint The Motet Scholasticism: The Rise of the Universities Demand for an educated class Support for socioeconomic structures Intellectual and cultural needs Ancient texts (Aristotle) Relationships with Arab scholars Renaissance of legal studies Dialectics Peter Abelard Scholasticism 6 Map 10.2 The University 10.18 Jacobello and Pier Piero dalle Mesegne, Students, 1383-1386 Scholasticism: The Rise of the Universities University of Paris William of Champeaux (1070-1121) Peter Abelard (1079-1142) Universitas Magistri / doctors Art vs. Theology Student financial assistance Curriculum and instruction 7 Scholasticism: The Rise of the Universities Student culture and lifestyles Women not admitted to universities Educated by private tutors or in convents Few exceptions to the rule (Italy, Germany) Medieval Literature Troubadours and Trobairitz Guillem de Peiteus Bernart de Ventadorn Beatriz, The Comtessa de Dia Bertran de Born Saint Golias Goliardic Verse Carmina Burana The Romance of the Rose Medieval Religion, Philosophy, and Writing Moses Maimonides (1135-1204) The Guide for the Perplexed The reality of God Theories about the beginnings and eternality of the universe Celebration of the Sabbath Human intelligence Why people are responsible for the evil that befalls them Formulated 13 principles of Jewish faith 8 Francis of Assisi Mendicant brotherhood Life of total poverty, mobility Humanity of Christ Literal interpretation of the Gospels Stigmata Goodness of God’s creation Concern for all creatures Affective and emotional religion 10.20 Bonaventura Berlinghieri, Scenes from the Life of St. Francis, Altarpiece panel, 1235 Medieval Religion, Philosophy, and Writing Thomas Aquinas (1225-1274) Intellectual and mystic “Master of the Sacred Page” Sought to harmonize reason and revelation Fideism vs. Rationalism Summa Theologica Intellectual tradition of Aristotle Hierarchical, synthetic worldview 9 10.21 Andrea di Buonaiuto, The Triumph of St. Thomas Aquinas, 1365 , Church of Santa Maria Novella, Florence, Italy Chapter 10: Discussion Questions Consider the pilgrimage both as a metaphorical and literal journey. What role did the pilgrimage play during the Middle Ages? What specific qualities are present in Gothic architecture that are not present in the Romanesque? What is the symbolic message inherent in each architectural style? Explain the “hierarchical and synthetic” natures of the Gothic cathedral and Aquinas’ Summa Theologica. In what ways are they hierarchical? What is being synthesized in these artistic and intellectual examples? In what ways is this a commentary on the patterns of thought during the Middle Ages? 10 .
Load more

Recommended publications
  • Romance and Writing: Interpreting the Lyric Domnas of Occitania
    Trends in Historiography Romance and Writing: Interpreting the Lyric Domnas of Occitania by Aubri E. Thurmond “I’ll ask you this: when a lady freely loves a man, should she do as much for him as he for her, according to the rules of courtly love?”1 These words are attributed to Maria de Ventadorn, a woman composing in the lyric tradition of the troubadours. From 1100-1300 A.D., Occitania (Southern France) produced over 400 troubadours whose poetry shaped the concepts of romantic love in the West. Their poems, written in langue d’oc, were expressions of fin’ amor, or courtly love.2 According to Paul Zumthor, “Fin’ amor strives toward a desired but unnamed good, bestowable only by a lady, herself identified only by an emblematic pseudonym: a dialogue without reply, pure song, turning into poetry the movements of a heart contemplating an object whose importance as such is minimal.”3 The troubadour was symbolically dependent on the favor of his lady, therefore seemingly giving her power and humbling himself.4 Fin ‘amor was the source of all courtly values.5 However, there were also women troubadours, called trobairitz, in Southern France. The name trobairitz comes from the root trobar, meaning to compose and the feminine suffix –airitz, literally meaning “a woman who composes.”6 The female troubadours did not refer to themselves as trobairitz. In fact, the term trobairitz is only found once in 13th century literature: in the romance Flamenca, when the heroine calls her maid 1 As quoted in Meg Bogin, The Women Troubadours (Scarborough, England: Paddington Press Ltd., 1976), 99.
    [Show full text]
  • A Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature
    A Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Robert A. Taylor RESEARCH IN MEDIEVAL CULTURE Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Medieval Institute Publications is a program of The Medieval Institute, College of Arts and Sciences Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Robert A. Taylor MEDIEVAL INSTITUTE PUBLICATIONS Western Michigan University Kalamazoo Copyright © 2015 by the Board of Trustees of Western Michigan University All rights reserved Manufactured in the United States of America This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Taylor, Robert A. (Robert Allen), 1937- Bibliographical guide to the study of the troubadours and old Occitan literature / Robert A. Taylor. pages cm Includes index. Summary: "This volume provides offers an annotated listing of over two thousand recent books and articles that treat all categories of Occitan literature from the earli- est enigmatic texts to the works of Jordi de Sant Jordi, an Occitano-Catalan poet who died young in 1424. The works chosen for inclusion are intended to provide a rational introduction to the many thousands of studies that have appeared over the last thirty-five years. The listings provide descriptive comments about each contri- bution, with occasional remarks on striking or controversial content and numerous cross-references to identify complementary studies or differing opinions" -- Pro- vided by publisher. ISBN 978-1-58044-207-7 (Paperback : alk. paper) 1. Provençal literature--Bibliography. 2. Occitan literature--Bibliography. 3. Troubadours--Bibliography. 4. Civilization, Medieval, in literature--Bibliography.
    [Show full text]
  • A History of Women's Writing in France
    A HISTORY OF WOMEN’S WRITING IN FRANCE SONYA STEPHENS The Pitt Building, Trumpington Street, Cambridge, United Kingdom The Edinburgh Building, Cambridge , UK www.cup.cam.ac.uk West th Street, New York, -, USA www.cup.org Stamford Road, Oakleigh, Melbourne , Australia Ruiz de Alarcón , Madrid, Spain © Cambridge University Press This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published Printed in the United Kingdom at the University Press, Cambridge Typeface Monotype Baskerville /½ pt. System QuarkXPress™ [] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication Data A history of women’s writing in France / edited by Sonya Stephens. p. cm. Includes bibliographical references. (hardback) (paperback) . French literature – Women authors – History and criticism. Women in literature. Women and literature – France – History. Stephens, Sonya. .′–dc - hardback paperback Contents Notes on contributors page vii Introduction Sonya Stephens Female voices in convents, courts and households: the French Middle Ages Roberta L. Krueger To choose ink and pen: French Renaissance women’s writing Cathleen M. Bauschatz Altering the fabric of history: women’s participation in the classical age Faith E. Beasley The eighteenth century: women writing, women learning Jean
    [Show full text]
  • Bernart De Ventadorn [De Ventador, Del Ventadorn, De Ventedorn] (B
    Bernart de Ventadorn [de Ventador, del Ventadorn, de Ventedorn] (b Ventadorn, ?c1130–40; d ?Dordogne, c1190–1200). Troubadour. He is widely regarded today as perhaps the finest of the troubadour poets and probably the most important musically. His vida, which contains many purely conventional elements, states that he was born in the castle of Ventadorn in the province of Limousin, and was in the service of the Viscount of Ventadorn. In Lo temps vai e ven e vire (PC 70.30, which survives without music), he mentioned ‘the school of Eble’ (‘l'escola n'Eblo’) – apparently a reference to Eble II, Viscount of Ventadorn from 1106 to some time after 1147. It is uncertain, however, whether this reference is to Eble II or his son and successor Eble III; both were known as patrons of many troubadours, and Eble II was himself a poet, although apparently none of his works has survived. The reference is thought to indicate the existence of two competing schools of poetic composition among the early troubadours, with Eble II as the head and patron of the school that upheld the more idealistic view of courtly love against the propagators of the trobar clos or difficult and dark style. Bernart, according to this hypothesis, became the principal representative of this idealist school among the second generation of troubadours. The popular story of Bernart's humble origins stems also from his vida and from a satirical poem by his slightly younger contemporary Peire d'Alvernhe. The vida states that his father was either a servant, a baker or a foot soldier (in Peire's version, a ‘worthy wielder of the laburnum bow’), and his mother either a servant or a baker (Peire: ‘she fired the oven and gathered twigs’).
    [Show full text]
  • Chapter 2: Secular and Cathedral Music in the High Middle Ages I
    Chapter 2: Secular and Cathedral Music in the High Middle Ages I. Introduction – Chapter 1 dealt primarily with sacred music, influenced by the fact that initially only sacred music was available for observation. Chapter 2 turns to secular music. II. Troubadours and Trouvères A.Troubadours 1. The first European vernacular poet whose work survives was William IX (7th count of Poitiers and 9th duke of Aquitaine). b. The tradition of these poets is known as the troubadour. c. The troubadour tradition was a “top down” as those of the highest social ranks were the main participants. Their poetry celebrated feudal ideals. d. Different types of troubadour verse dealt with various aspects of the feudal system, including songs of alliance, knightly decorum, exploits, challenges, and death. 2. Courtly love lay at the heart of the troubadour tradition. a. The canso was a song about love. b. Courtly love songs celebrated the same high ideals as other types of songs. c. The lady about whom a poet wrote usually outranked him, making her theoretically unattainable. d. Courtly love was generally more about veneration than physical love. e. The poetic style matches the lofty ideals of courtly love, as demonstrated in Can vei la lauzeta mover. B. Performance and Oral Culture 1. We do not know the rhythm of troubadour songs, but most likely the loftier style of the troubadour songs approximated that of contemporary chant. 2. Some troubadour songs matched a lower-class style; these were not based on chant style. a. Pastorela is one such genre. b. L’autrier jost’ una sebissa by Marcabru is an example.
    [Show full text]
  • Mouvance and Authorship in Heinrich Von Morungen
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Songs of the Self: Authorship and Mastery in Minnesang Permalink https://escholarship.org/uc/item/87n0t2tm Author Fockele, Kenneth Elswick Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Songs of the Self: Authorship and Mastery in Minnesang by Kenneth Elswick Fockele A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in German and Medieval Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Niklaus Largier, chair Professor Elaine Tennant Professor Frank Bezner Fall 2016 Songs of the Self: Authorship and Mastery in Minnesang © 2016 by Kenneth Elswick Fockele Abstract Songs of the Self: Authorship and Mastery in Minnesang by Kenneth Elswick Fockele Doctor of Philosophy in German and Medieval Studies University of California, Berkeley Professor Niklaus Largier, Chair Despite the centrality of medieval courtly love lyric, or Minnesang, to the canon of German literature, its interpretation has been shaped in large degree by what is not known about it—that is, the lack of information about its authors. This has led on the one hand to functional approaches that treat the authors as a class subject to sociological analysis, and on the other to approaches that emphasize the fictionality of Minnesang as a form of role- playing in which genre conventions supersede individual contributions. I argue that the men who composed and performed these songs at court were, in fact, using them to create and curate individual profiles for themselves.
    [Show full text]
  • Compositeur Naissance Décès Période Notker Balbulus C
    Compositeur Naissance Décès Période Notker Balbulus c. 840 912 Médiévale Odo of Cluny c. 878 942 Médiévale Guido da Arezzo c. 991 c. 1033 Médiévale Hermann of Reichenau 1013 1054 Médiévale Guillaume d'Aquitaine 1071 1126 Médiévale Petrus Abaelardus 1079 1142 Médiévale Hildegard von Bingen 1098 1179 Médiévale Bernart de Ventadorn c. 1130 a. 1230 Médiévale Léonin 1135 1201 Médiévale Pérotin 1160 1225 Médiévale Philippe le Chancelier c. 1160 1236 Médiévale Pierre de Molins 1170 c. 1220 Médiévale Walther von der Vogelwide c. 1170 c. 1230 Médiévale Alfonso el Sabio 1221 1284 Médiévale Adam de la Halle c. 1235 1288 Médiévale Petrus de Cruce c. 1260 a. 1302 Médiévale Philippe de Vitry 1291 1361 Médiévale Guillaume de Machaut c. 1300 1377 Médiévale Francesco Landini c. 1325 1397 Médiévale Johannes Ciconia c. 1335 1412 Médiévale/Renaissance Jacopo da Bologna Bologna c. 1340 c. 1386 Médiévale Zacara da Teramo c. 1350 c. 1413 Médiévale/Renaissance Leonel Power c. 1370 1445 Médiévale/Renaissance Oswald von Wolkenstein c. 1376 1445 Médiévale/Renaissance John Dunstaple c. 1390 1453 Renaissance Guillaume Dufay 1397 1474 Renaissance Gilles Binchois c. 1400 1460 Renaissance Johannes Ockeghem c. 1410 1497 Renaissance Gilles Joye c. 1424 1483 Renaissance Antoine Busnois c. 1430 1492 Renaissance Alexander Agricola c. 1446 1506 Renaissance Heinrich Isaac c. 1450 1517 Renaissance Loyset Compère c. 1450 1518 Renaissance Josquin des Prez c. 1450 1521 Renaissance Jacob Obrecht c. 1457 1505 Renaissance Jean Mouton c. 1459 1522 Renaissance Antoine Brumel c. 1460 c. 1513 Renaissance Pierre de la Rue c. 1460 1518 Renaissance Robert Fayrfax 1464 1521 Renaissance William Cornysh 1465 1523 Renaissance Francisco de Penalosa c.
    [Show full text]
  • Tell Me a Story; Hell Hath No Fury: a Set of Voice Recitals on the Overlap of Music, Literature, and Classics, and Their Treatme
    Tell Me A Story; Hell Hath No Fury A set of voice recitals on the overlap of Music, Literature, and Classics, and their treatment and depiction of women Senior Project Submitted to The Division of the Arts of Bard College by Alexandra Gilman Annandale-on-Hudson, New York May 2020 1 Artist Statement Over the past four years, I have had the privilege of answering the question, “what is your major?” My reply exists in various degrees of specificity. I am a Music major. I am a Classical Voice major. I am a voice major who is concentrating in Medieval Studies. Layer upon layer is added. The more specific I am, the more niche it all seems to become. Yet, that which I love exists in these niches, the in-between spaces where different areas of academia come together to create something new. Something that I have always appreciated about art, in general, is its fluidity. Art does not try to exist in a vacuum. Music takes its influence from all aspects of the world: nature, literature, mythology, history, even math. I have loved being able to explore these spaces, bringing together the different aspects of my study as opposed to keeping them isolated from one another. There is, in particular, a strong overlap between music, literature, and Classics; three of my most frequent studies at Bard. This became the prompt for my first concert, as well as an overall guiding theme of my repertoire. Tell Me A Story is a program constructed around the ​ ​ tales of my childhood, the ones that inspired me and guided me to the path I am on.
    [Show full text]
  • Bernard De Ventadorn - Poems
    Classic Poetry Series Bernard de Ventadorn - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Bernard de Ventadorn(1150 - 1195) Bernart de Ventadorn also known as Bernard de Ventadour or Bernat del Ventadorn, was a prominent troubador of the classical age of troubadour poetry. Now thought of as "the Master Singer" he developed the cançons into a more formalized style which allowed for sudden turns. He is remembered for his mastery as well as popularisation of the trobar leu style, and for his prolific cançons, which helped define the genre and establish the "classical" form of courtly love poetry, to be imitated and reproduced throughout the remaining century and a half of troubadour activity. Bernart was known for being able to portray his woman as a divine agent in one moment and then in a sudden twist, portraying her as Eve, the cause of man's initial sin. This dichotomy in his work is portrayed in a "graceful, witty, and polished" medium. <b>Life</b> According to the troubadour Uc de Saint Circ, Bernart was possibly the son of a baker at the castle of Ventadour (Ventadorn), in today's Corrèze(France). Yet another source, a satirical poem written by a younger contemporary, Peire d'Alvernha, indicates that he was the son of either a servant, a soldier, or a baker, and his mother was also either a servant or a baker. From evidence given in Bernart's early poem Lo temps vai e ven e vire, he most likely learned the art of singing and writing from his protector, viscount Eble III of Ventadorn.
    [Show full text]
  • Troubadours NEW GROVE
    Troubadours, trouvères. Lyric poets or poet-musicians of France in the 12th and 13th centuries. It is customary to describe as troubadours those poets who worked in the south of France and wrote in Provençal, the langue d’oc , whereas the trouvères worked in the north of France and wrote in French, the langue d’oil . I. Troubadour poetry 1. Introduction. The troubadours were the earliest and most significant exponents of the arts of music and poetry in medieval Western vernacular culture. Their influence spread throughout the Middle Ages and beyond into French (the trouvères, see §II below), German, Italian, Spanish, English and other European languages. The first centre of troubadour song seems to have been Poitiers, but the main area extended from the Atlantic coast south of Bordeaux in the west, to the Alps bordering on Italy in the east. There were also ‘schools’ of troubadours in northern Italy itself and in Catalonia. Their influence, of course, spread much more widely. Pillet and Carstens (1933) named 460 troubadours; about 2600 of their poems survive, with melodies for roughly one in ten. The principal troubadours include AIMERIC DE PEGUILHAN ( c1190–c1221), ARNAUT DANIEL ( fl c1180–95), ARNAUT DE MAREUIL ( fl c1195), BERNART DE VENTADORN ( fl c1147–70), BERTRAN DE BORN ( fl c1159–95; d 1215), Cerveri de Girona ( fl c1259–85), FOLQUET DE MARSEILLE ( fl c1178–95; d 1231), GAUCELM FAIDIT ( fl c1172–1203), GUILLAUME IX , Duke of Aquitaine (1071–1126), GIRAUT DE BORNELH ( fl c1162–99), GUIRAUT RIQUIER ( fl c1254–92), JAUFRE RUDEL ( fl c1125–48), MARCABRU ( fl c1130–49), PEIRE D ’ALVERNHE ( fl c1149–68; d 1215), PEIRE CARDENAL ( fl c1205–72), PEIRE VIDAL ( fl c1183–c1204), PEIROL ( c1188–c1222), RAIMBAUT D ’AURENGA ( c1147–73), RAIMBAUT DE VAQEIRAS ( fl c1180–1205), RAIMON DE MIRAVAL ( fl c1191–c1229) and Sordello ( fl c1220–69; d 1269).
    [Show full text]
  • Levitsky Dissertation
    The Song from the Singer: Personification, Embodiment, and Anthropomorphization in Troubadour Lyric Anne Levitsky Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 Anne Levitsky All rights reserved ABSTRACT The Song from the Singer: Personification, Embodiment, and Anthropomorphization in Troubadour Lyric Anne Levitsky This dissertation explores the relationship of the act of singing to being a human in the lyric poetry of the troubadours, traveling poet-musicians who frequented the courts of contemporary southern France in the twelfth and early thirteenth centuries. In my dissertation, I demonstrate that the troubadours surpass traditionally-held perceptions of their corpus as one entirely engaged with themes of courtly romance and society, and argue that their lyric poetry instead both displays the influence of philosophical conceptions of sound, and critiques notions of personhood and sexuality privileged by grammarians, philosophers, and theologians. I examine a poetic device within troubadour songs that I term ‘personified song’—an occurrence in the lyric tradition where a performer turns toward the song he/she is about to finish singing and directly addresses it. This act lends the song the human capabilities of speech, motion, and agency. It is through the lens of the ‘personified song’ that I analyze this understudied facet of troubadour song. Chapter One argues that the location of personification in the poetic text interacts with the song’s melodic structure to affect the type of personification the song undergoes, while exploring the ways in which singing facilitates the creation of a body for the song.
    [Show full text]
  • BORJA CAUQUI QUIRÓS Tutores
    TRABAJO DE FIN DE GRADO «LA COMTESSA DE DIA EN EL CONTEXTO TROVADORESCO» Autor: BORJA CAUQUI QUIRÓS Tutores: ANTONIA VÍÑEZ SÁNCHEZ Y JUAN SÁEZ DURÁN GRADO EN FILOLOGÍA HISPÁNICA Curso Académico 2018-2019 Fecha de presentación 27/05/2019 FACULTAD DE FILOSOFÍA Y LETRAS ÍNDICE RESUMEN .......................................................................................................................... 4 1. INTRODUCCIÓN .............................................................................................................. 6 1.1. OBJETIVO ................................................................................................................ 6 1.2. METODOLOGÍA Y ESTRUCTURA ............................................................................... 7 2. LA MUJER EN EL CONTEXTO HISTÓRICO DE LA EDAD MEDIA ......................................... 8 3. AMOR CORTÉS ............................................................................................................. 23 4. TÓPICOS ....................................................................................................................... 31 4.1. ANÁLISIS DE LOS PRINCIPALES TÓPICOS CORTESES ............................................... 31 4.1.1. El dios Amor .................................................................................................. 32 4.1.2. Amor como enfermedad ................................................................................ 33 4.1.3. La queja amorosa .........................................................................................
    [Show full text]