This chapter explores the aesthetic dynamics unfolding from acting personifications in medieval l... more This chapter explores the aesthetic dynamics unfolding from acting personifications in medieval literature and visual art. It aims to contribute to a better understanding of the artistic concepts of personification in the Middle Ages. Focusing on Caritas' acts of violence against Christ, the authors trace aesthetic reflection by asking how these uncommon representations are related to practical functions such as religious didactics and practice. The discussion encompasses two case studies of ‚personified charity' harming Christʼs body, the literary Daughter Zion theme and the Wienhausen stained glass window of the crucifixion with virtues. Together, both show that medieval artists and writers reflected on the potential of personification and purposefully employed it in works of art and literature.
https://doi.org/10.17885/heiup.mial.2022.1.24540
Auditory phenomena have a particular power in t... more https://doi.org/10.17885/heiup.mial.2022.1.24540 Auditory phenomena have a particular power in the various narrations of Roland’s defeat in the battle of Roncesvalles: in the French ‘Chanson de Roland’, the Middle High German ‘Rolandslied’ of Konrad der Pfaffe, and in Stricker’s adaptation (‘Charlemagne’), sounds contribute to the continuity of the narrative, establish temporary spatial structures or social distinctions and serve to affect the hearing characters within the narrative as well as the readers and beholders. Sound − or its absence − is employed in a sophisticated way and often assigned to certain characters. Although a few studies have already addressed audible aspects in the narration of Roland, a closer look has yet to be taken at the acoustic variety, its design and functionality. With this interdisciplinary approach, we would like to make a start and stimulate future studies by combining the perspective of medieval German studies with that of art history.
Materialität und Medialität: Aspekte einer anderen Ästhetik / Materiality and Mediality: Aspects ... more Materialität und Medialität: Aspekte einer anderen Ästhetik / Materiality and Mediality: Aspects of a Different Aesthetics Organized by Jan Stellmann (jan.stellmann@uni-tuebingen.de) and Daniela Wagner (daniela.wagner@uni-tuebingen.de) SFB 1391 Andere Ästhetik, Tübingen
This chapter explores the aesthetic dynamics unfolding from acting personifications in medieval l... more This chapter explores the aesthetic dynamics unfolding from acting personifications in medieval literature and visual art. It aims to contribute to a better understanding of the artistic concepts of personification in the Middle Ages. Focusing on Caritas' acts of violence against Christ, the authors trace aesthetic reflection by asking how these uncommon representations are related to practical functions such as religious didactics and practice. The discussion encompasses two case studies of ‚personified charity' harming Christʼs body, the literary Daughter Zion theme and the Wienhausen stained glass window of the crucifixion with virtues. Together, both show that medieval artists and writers reflected on the potential of personification and purposefully employed it in works of art and literature.
https://doi.org/10.17885/heiup.mial.2022.1.24540
Auditory phenomena have a particular power in t... more https://doi.org/10.17885/heiup.mial.2022.1.24540 Auditory phenomena have a particular power in the various narrations of Roland’s defeat in the battle of Roncesvalles: in the French ‘Chanson de Roland’, the Middle High German ‘Rolandslied’ of Konrad der Pfaffe, and in Stricker’s adaptation (‘Charlemagne’), sounds contribute to the continuity of the narrative, establish temporary spatial structures or social distinctions and serve to affect the hearing characters within the narrative as well as the readers and beholders. Sound − or its absence − is employed in a sophisticated way and often assigned to certain characters. Although a few studies have already addressed audible aspects in the narration of Roland, a closer look has yet to be taken at the acoustic variety, its design and functionality. With this interdisciplinary approach, we would like to make a start and stimulate future studies by combining the perspective of medieval German studies with that of art history.
Materialität und Medialität: Aspekte einer anderen Ästhetik / Materiality and Mediality: Aspects ... more Materialität und Medialität: Aspekte einer anderen Ästhetik / Materiality and Mediality: Aspects of a Different Aesthetics Organized by Jan Stellmann (jan.stellmann@uni-tuebingen.de) and Daniela Wagner (daniela.wagner@uni-tuebingen.de) SFB 1391 Andere Ästhetik, Tübingen
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Auditory phenomena have a particular power in the various narrations of Roland’s defeat in the battle of Roncesvalles: in the French ‘Chanson de Roland’, the Middle High German ‘Rolandslied’ of Konrad der Pfaffe, and in Stricker’s adaptation (‘Charlemagne’), sounds contribute to the continuity of the narrative, establish temporary spatial structures or social distinctions and serve to affect the hearing characters within the narrative as well as the readers and beholders. Sound − or its absence − is employed in a sophisticated way and often assigned to certain characters. Although a few studies have already addressed audible aspects in the narration of Roland, a closer look has yet to be taken at the acoustic variety, its design and functionality. With this interdisciplinary approach, we would like to make a start and stimulate future studies by combining the perspective of medieval German studies with that of art history.
Organized by Jan Stellmann (jan.stellmann@uni-tuebingen.de) and Daniela Wagner (daniela.wagner@uni-tuebingen.de)
SFB 1391 Andere Ästhetik, Tübingen
Auditory phenomena have a particular power in the various narrations of Roland’s defeat in the battle of Roncesvalles: in the French ‘Chanson de Roland’, the Middle High German ‘Rolandslied’ of Konrad der Pfaffe, and in Stricker’s adaptation (‘Charlemagne’), sounds contribute to the continuity of the narrative, establish temporary spatial structures or social distinctions and serve to affect the hearing characters within the narrative as well as the readers and beholders. Sound − or its absence − is employed in a sophisticated way and often assigned to certain characters. Although a few studies have already addressed audible aspects in the narration of Roland, a closer look has yet to be taken at the acoustic variety, its design and functionality. With this interdisciplinary approach, we would like to make a start and stimulate future studies by combining the perspective of medieval German studies with that of art history.
Organized by Jan Stellmann (jan.stellmann@uni-tuebingen.de) and Daniela Wagner (daniela.wagner@uni-tuebingen.de)
SFB 1391 Andere Ästhetik, Tübingen