Suchergebnisse

Dieser Band der Miscellanea Mediaevalia ist einem Jahr gewidmet: 1308. Die Wahl dieses Jahres scheint arbiträr, denn dieses Jahr zählt ‑ abgesehen von wenigen markanten Ereignissen wie dem Templerprozess oder dem Tod des Johannes Duns Scotus ‑ nicht zu den prominenten Jahren. Der Band wagt ein historiografisches Experiment, indem er gegenüber einem Entwicklungsmodell, das die Aufmerksamkeit auf vermeintliche Höhe- und Wendepunkte lenkt, sich jenen Momenten im Schlagschatten dieser "lauten" Ereignisse zuwendet. Die Fragestellung des Bandes, der auf die 36. Kölner Mediävistentagung zurückgeht, will daher neue Perspektiven eröffnen, indem sie einlädt, Sehgewohnheiten in Frage zu stellen, zu schärfen, zu verlängern ‑ anhand eines Jahres und auch über dieses Jahr und seine historische Peripherie hinaus. Die Aufmerksamkeit richtet sich, beginnend bei einer lokalen Detailaufnahme, auf verschiedene thematische und methodische Facetten: Ereigniswahrnehmung, auch mit Blick auf die Erschließung neuer Welten, Johannes Duns Scotus in Kontext, Theologie in Paris, Philosophie in Italien, Medizin und Poetik, die Grenzen Europas, Orthodoxie und Häresie, 1308 im Spiegel der Künste, aus jüdischer und islamischer Sicht. (Produktinfo Verlag)

The present short essay, drawn from the introductive lecture given by Lucio Villari during the seminar Duc La Nostalgia delle origini. Eugène Emmanuel Viollet-le-Duc e la percezione del Medioevo nell'Ottocento (University Mediterranea of Reggio Calabria, 7 May 2014). between the famous French architect's thinking and medieval thought. When speaking about Viollet-le-Duc, in fact, one is required to forget the term "restoration" for a while, seeing him in the light of the wider philosophical framework he applied to his own works, in which the rationality of the past was recalled for both a present and a future rationality of architecture. Viollet chose the Middle Ages as his reference period to develop this approach – which is applicable to any historical period – for two main reasons, cultural and political. From a cultural point of view, both the Middle Ages and Romanticism represented two vast avant-gardes, as they broke with traditional aesthetical languages. Using this commonality, from a political point of view, in the 19th century, it was possible to see the Middle Ages as the 'mother and father' of European history. This perception was strong in Italy, but even more so in France where, after the Napoleonic wars, the Middle Ages were seen as the true defining historical period of the country. Through reference to several intellectuals, such as Victor Hugo, Jules Michelet, Simon de Sismondi and Charles Baudelaire, Villari proves how Viollet-le-Duc was one of the few who glimpsed the continuity between past and present, developing a notion of the Middle Ages as 'the time and the place' where modern freedom germinated. ; ll presente saggio breve, trascrizione della relazione introduttiva tenuta dal professor Lucio Villari in occasione della Giornata di Studi "La nostalgia delle origini. Viollet-le-Duc e la percezione del Medioevo nell'Ottocento" (Università Mediterranea di Reggio Calabria, 7 maggio 2014), si confronta con il profondo rapporto tra il pensiero del famoso architetto francese e il pensiero ...

The present short essay, drawn from the introductive lecture given by Lucio Villari during the seminar Duc La Nostalgia delle origini. Eugène Emmanuel Viollet-le-Duc e la percezione del Medioevo nell'Ottocento (University Mediterranea of Reggio Calabria, 7 May 2014). between the famous French architect's thinking and medieval thought. When speaking about Viollet-le-Duc, in fact, one is required to forget the term "restoration" for a while, seeing him in the light of the wider philosophical framework he applied to his own works, in which the rationality of the past was recalled for both a present and a future rationality of architecture. Viollet chose the Middle Ages as his reference period to develop this approach – which is applicable to any historical period – for two main reasons, cultural and political. From a cultural point of view, both the Middle Ages and Romanticism represented two vast avant-gardes, as they broke with traditional aesthetical languages. Using this commonality, from a political point of view, in the 19th century, it was possible to see the Middle Ages as the 'mother and father' of European history. This perception was strong in Italy, but even more so in France where, after the Napoleonic wars, the Middle Ages were seen as the true defining historical period of the country. Through reference to several intellectuals, such as Victor Hugo, Jules Michelet, Simon de Sismondi and Charles Baudelaire, Villari proves how Viollet-le-Duc was one of the few who glimpsed the continuity between past and present, developing a notion of the Middle Ages as 'the time and the place' where modern freedom germinated. ; ll presente saggio breve, trascrizione della relazione introduttiva tenuta dal professor Lucio Villari in occasione della Giornata di Studi "La nostalgia delle origini. Viollet-le-Duc e la percezione del Medioevo nell'Ottocento" (Università Mediterranea di Reggio Calabria, 7 maggio 2014), si confronta con il profondo rapporto tra il pensiero del famoso architetto francese e il pensiero ...

The present short essay, drawn from the introductive lecture given by Lucio Villari during the seminar Duc La Nostalgia delle origini. Eugène Emmanuel Viollet-le-Duc e la percezione del Medioevo nell'Ottocento (University Mediterranea of Reggio Calabria, 7 May 2014). between the famous French architect's thinking and medieval thought. When speaking about Viollet-le-Duc, in fact, one is required to forget the term "restoration" for a while, seeing him in the light of the wider philosophical framework he applied to his own works, in which the rationality of the past was recalled for both a present and a future rationality of architecture. Viollet chose the Middle Ages as his reference period to develop this approach – which is applicable to any historical period – for two main reasons, cultural and political. From a cultural point of view, both the Middle Ages and Romanticism represented two vast avant-gardes, as they broke with traditional aesthetical languages. Using this commonality, from a political point of view, in the 19th century, it was possible to see the Middle Ages as the 'mother and father' of European history. This perception was strong in Italy, but even more so in France where, after the Napoleonic wars, the Middle Ages were seen as the true defining historical period of the country. Through reference to several intellectuals, such as Victor Hugo, Jules Michelet, Simon de Sismondi and Charles Baudelaire, Villari proves how Viollet-le-Duc was one of the few who glimpsed the continuity between past and present, developing a notion of the Middle Ages as 'the time and the place' where modern freedom germinated. ; ll presente saggio breve, trascrizione della relazione introduttiva tenuta dal professor Lucio Villari in occasione della Giornata di Studi "La nostalgia delle origini. Viollet-le-Duc e la percezione del Medioevo nell'Ottocento" (Università Mediterranea di Reggio Calabria, 7 maggio 2014), si confronta con il profondo rapporto tra il pensiero del famoso architetto francese e il pensiero medievale. Quando si parla di Viollet-le-Duc, infatti, è necessario dimenticare il termine "restauro" per un istante, guardando all'architetto francese nella più ampia prospettiva della struttura filosofica nella quale inquadrava i suoi lavori, nei quali la razionalità del passato era richiamata sia per la razionalità del presente che del futuro dell'architettura. Viollet scelse il Medioevo come periodo di riferimento per il proprio approccio – applicabile a qualsiasi altro periodo storico – per due ragioni principali, di tipo culturale e politico. Dal punto di vista culturale, sia il Medioevo che il Romanticismo hanno rappresentato, infatti, due grandi avanguardie, poiché in entrambi i casi avvenne una rottura dei linguaggi estetici tradizionali. Dal punto di vista politico, invece, attraverso i Comuni, nel diciannovesimo secolo era possibile guardare al Medioevo come 'la madre e il padre' della storia europea. Questa percezione era fortemente sentita in Italia, ma ancora di più in Francia dove, dopo le guerre napoleoniche, il Medioevo era avvertito come la 'vera' storia del paese. Attraverso il riferimento ad alcuni intellettuali, tra i quali Victor Hugo, Jules Michelet, Simon de Sismondi e Charles Baudelaire, Villari dimostra come Viollet-le-Duc sia stato uno dei pochi a intravedere la continuità tra passato e presente, sviluppando una nozione di Medioevo inteso come "il tempo e il luogo" di origine della libertà moderna.

International audience ; La translatio poétique, c'est-à-dire la traduction ou l'adaptation d'un texte-source (en vers ou en prose) dans une forme versifiée, est un mode de composition important dans la première moitié du XVe siècle anglais, dans le cadre plus large du développement de l'anglais écrit. Les auteurs de ces textes, au contenu didactique, encyclopédique ou politique – tels Thomas Hoccleve, John Lydgate et bien d'autres – sont parfaitement conscients de leur contribution à la formation d'une tradition poétique en anglais, et plus précisément d'une « poétisation du savoir ». Cet article tente de montrer que le choix de la versification doit être resitué dans le contexte troublé de la période, marqué notamment par l'usurpation de la dynastie des Lancastre, la présence de la seule hérésie anglaise de la fin du Moyen Âge, l'énergie lollarde, ou encore les remous liés à la guerre de Cent ans. ; Poetic translatio, that is translation or adaptation of a source-text (in verse or in prose) in verse, is an important mode of composition in the first half of the English fifteenth-century, in the larger context of development of English writings. Authors of these texts, with a didactic, encyclopedic or political content – such as Thomas Hoccleve, John Lydgate and many others – are conscious of their contribution to the formation of an English poetic tradition. This paper intends to show that the choice of verse must be situated in the troubled political context of the period, especially because of the Lancaster usurpation, the Lollard heresy or the Hundred Years' War.

International audience ; La translatio poétique, c'est-à-dire la traduction ou l'adaptation d'un texte-source (en vers ou en prose) dans une forme versifiée, est un mode de composition important dans la première moitié du XVe siècle anglais, dans le cadre plus large du développement de l'anglais écrit. Les auteurs de ces textes, au contenu didactique, encyclopédique ou politique – tels Thomas Hoccleve, John Lydgate et bien d'autres – sont parfaitement conscients de leur contribution à la formation d'une tradition poétique en anglais, et plus précisément d'une « poétisation du savoir ». Cet article tente de montrer que le choix de la versification doit être resitué dans le contexte troublé de la période, marqué notamment par l'usurpation de la dynastie des Lancastre, la présence de la seule hérésie anglaise de la fin du Moyen Âge, l'énergie lollarde, ou encore les remous liés à la guerre de Cent ans. ; Poetic translatio, that is translation or adaptation of a source-text (in verse or in prose) in verse, is an important mode of composition in the first half of the English fifteenth-century, in the larger context of development of English writings. Authors of these texts, with a didactic, encyclopedic or political content – such as Thomas Hoccleve, John Lydgate and many others – are conscious of their contribution to the formation of an English poetic tradition. This paper intends to show that the choice of verse must be situated in the troubled political context of the period, especially because of the Lancaster usurpation, the Lollard heresy or the Hundred Years' War.