Article (Mirabilia Ars)
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Register and fabulistic tradition: the case of Wolf, the fox and the ape
Claudio R. CUELLAR
Original title: Registro y tradición fabulística: el caso del lobo, la zorra y el simio
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Keywords: Collocation, Fidem, Furtum, Lexical cohesion, Systemic-functional grammar.
The objective of this communication is to analyze the purpose that is granted to the legal use of slang and knowledge of the Roman law and Spanish in two sources that tell a judicial process by theft: on the one hand, the episode on the lawsuit that happened between the wolf, the fox and Don Ximio in the Libro de Buen Amor (321-371); and on the other hand, we will analyze the roman version in which indirectly inspired the Arcipreste de Hita, the fable “Lupus et vulpes judice simio” (Pha. Ae. X) written by Fedro. And given that it is studying the log to determine the reception of Roman law and Spanish in the mentioned authors, use -the only methodological effect – the grammar systemic-functional, in regard to placement and the field, tenor and mode.
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El Maestro and El Cortesano. Intermidiality in the literary and musical work of Luis de Milán
Gustavo Rocha CHRITARO
Original title: El Maestro e El Cortesano. Intermidialidade na obra literária e musical de Luis de Milán
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Keywords: El Cortesano, El Maestro, Luis de Milán, Vihuela.
This paper focus its efforts on the analysis of the intermediality in the musical and literary poetics of Spanish vihuelista Luis de Milán (1500-1561). Parting from his two best-known publications, El Maestro (1535) and El Cortesano (1561), we carried out a comparative study of generative discursive strategies contained in each work. As support for approaching the musical primary sources, we used the work of Griffiths (1999 and 2005), as well as some commented transcriptions for guitar produced by Koonce (2008) and Chiesa (1974), while the approach to literary sources sought support Hart (1972).
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The Ave Maria for four voice mixed choir attributed to Tomás Luis de Victoria (1548-1611): a hermeneutic analysis of the text/compositional procedures relations
Ernesto HARTMANN
Original title: A Ave Maria para coro misto a quatro vozes atribuída a Tomás Luis de Victoria (1548-1611): uma análise hermenêutica das relações entre texto e processos composicionais
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Keywords: Ave Maria, Hermeneutical Windows, Tomás Luis de Victoria.
This research examines the work Ave Maria for mixed choir attributed to Iberian composer Tomás Luis de Victoria (1548-1611). Seeking for new analytical perspectives I apply the notion of hermeneutical windows, by Lawrence Kramer, in order to elucidate the relations of the text and compositional procedures in the work. To do so, I first present a brief historical perspective of musical representation of text, I analyze the work outlining its texture, church mode and metric choices and discuss the results in order to open the hermeneutical windows and reach the possible meaning beyond the text.
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Dux et Rex: power and legitimacy in pictorial representations of bohemian rulers in Central Middle Ages
Vinicius Cesar Dreger de ARAUJO
Original title: Dux et Rex: poder e legitimidade nas representações imagéticas dos governantes boêmios na Idade Média Central
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Keywords: Duchy of Bohemia, Holy Roman Empire, Kingdom of Bohemia, Middle Ages, Political Iconography.
In the vast anthology of Minnerlyrik (now known as Große Heidelberger Liederhandschrift or more commonly Codex Manesse), compiled during the first decades of the fourteenth century, commissioned by Rüdiger Manesse and his son, we can highlight the presence of the single author (from the 137 catalogued there) proven as a non-German: the King “Wenzel von Behein” (in Hochmitteldeutsch) or, more appropriately, Václav II of Bohemia. Our study begins with the analysis of iconographic representation in the consolidated state. Next, we will perform an analysis of the key elements of power, authority and legitimacy of power of the Bohemian dukes. Then we will start an “Archaeology of Representations” from a imagery corpus based primarily on Numismatics and Sigillography, whose pieces are included in a chronological arc extending from 1086 to 1278, from which we will draw a critical study of the development path both of images as the power and legitimacy of these rulers and expressed by them in the same representations. Increasingly, the use of analysis of iconographical representations allows the medievalists to reassess the political history of the Middle Ages, enabling us to have deeper insights on the Political Culture developed in many different European regions. The images and sources discussed here aim to develop a study about Bohemia, the region which is roughly the territory of the Czech Republic today: a duchy, then a kingdom of great material wealth and great political importance between the thirteenth and fifteenth centuries, but virtually unknown by the Brazilian medievalist historiography.
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The witness Queen. Jeanne d’Evreux in her Book of Hours
Ofelia MANZI, Patricia GRAU-DIECKMANN
Original title: La reina testigo. Jeanne d’Evreux en su Libro de Horas
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Keywords: Book of Hours, Jeanne d’Evreux, Miniature, Politic iconography, St. Louis.
The Books of Hours produced in the late Middle Ages are a key plastic document for studying the iconography of the period. The multiplication of copies from the thirteenth century has given to the art of the Middle Ages some of the most interesting products in both formal and iconographic aspects. An additional element of interest of these works is the illustration developed in the margins, where figures and scenes are a sort of “parallel universe” in relation to the central theme of the respective folio. One of the most interesting works, not only for its extraordinary artistic level but also for its condition and original workmanship, is the tiny Book of Hours of Jeanne d’Evreux, third wife of Charles IV, who took on herself the responsibility and the final possibility of continuity of Capetian dynasty. In this manuscript some historical characters embodying an interpretative key are present. Two folios belonging respectively to the Hours of the Virgin and the Hours of St. Louis, have miniatures that testify a game between past and present, in which the contemporary history integrates with the biblical one, and demonstrate the value given to the image by its multiple possibilities of meaning.
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Relics, materiality and expression of the sacred body: a medieval wooden sculpture in the National Museum of Art of Buenos Aires
María Laura MONTEMURRO
Original title: Reliquias, materialidad y expresión del cuerpo sagrado: una talla medieval en el Museo Nacional de Bellas Artes de Buenos Aires
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Keywords: National Museum of Art of Buenos Aires, Reliquary sculpture, Virgin and Child in Majesty.
Among the works of medieval art preserved at the National Art Museum of Buenos Aires, there is an important medieval sculpture of the Virgin and Child in Majesty. This 12th century wooden sculpture from the French region of Auvergne exemplifies a type of carving that became very popular around the second half of that century: the so-called “Throne of Wisdom” or Sedes Sapientiae. Such sculptures were generally employed as reliquaries and hold special interest for the art historian since they mark the renaissance of sculpture in the round nearly five hundred years after this technique had fallen into disuse. How can we explain then, the transition from a period of nearly complete lack of sculpture in the round to one of increasing popularity of these same carvings? In this paper we propose that the same motives argued by ecclesiastical authorities to object tridimensional sculpture, later became the reason why these Sedes Sapientiae sculptures turned to be regarded as objects of a foremost devotional value and attracted a massive popular cult. The same nature of the sculptural technique (its tridimensional character), as well as the focus on its materiality, together with the inclusion of built-in relics, resulted in the “epiphanic character” that Jean Claude Schmitt has assigned to the medieval image. We believe that the sculpture in Buenos Aires, and other similar carvings, did not only succeed in representing a sacred body but even, in a certain way, to restore it.
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Introduction: The Image of Power. Epiphanies of Potestas
José María SALVADOR GONZÁLEZ
Original title: Presentación: La Imagen del Poder. Epifanías de la Potestas
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Death and Memory in some Texts of Medieval Liturgy
Rubén PERETÓ RIVAS
Original title: Muerte y memoria en algunos textos de la liturgia medieval
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Keywords: Burial, Death, Liturgy, Memory, Sarum.
The human societies need to build and keep safe the memories of their deaths in order to strength their owns structures and avoid its dissolution by the oblivion. In this paper I want to show the way in which the Medieval society kept the memories of their deaths according the liturgical texts. The issue will be analyze in three parts: the polysemy of the deaths memory, way and places of the commemoration, and the cult of the corpse. I take account the text of the Sacramentarium Gelasianum and the Sarum Missal as well as the the rites of the commendatione animae in use at the St. Augustine Abbey of Canterbury.
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Saint James in the conquest of New Spain
Carlos MORAL GARCÍA
Original title: Santiago en la conquista de Nueva España
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Keywords: America, Indian-Slayer, Mexico, Moor-Slayer, New Spain, Saint James.
This paper tries to analyze the symbol of Saint James the Great in the conquest of New Spain, studing the chronicles and the different apparition of this apostle in them. Therefore, it is convenient to make an identification of the symbolic evolution of this character, from Saint James Moor-Slayer to Indian-Slayer. In addition it is paying attention to the change of this symbol and its acceptance by some American native populations, resulting in the feast of Saint James Indian-Slayer and the subsequent taking as latinamerican patron saint.
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The Five Buddhas of Meditation from Yungang
André BUENO
Original title: Os Cinco Budas da Meditação de Yungang
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Keywords: Ancient China, Buddhism, Buddhist Iconography, Intercultural Dialogue, Theory of Five Buddha’s of Meditation.
In a previous article, we examined the relationship between the Buddha Akshobhya 阿閦如来 of cave 16 from the Yungang complex 雲崗石窟 in China, and the construction of a Buddhist iconography with Indo, Greek and Roman origin’s. Our proposal was that the Buddha of cave 16 is designed to spiritually receive the peoples from the Mediterranean. Now we want to analyze the elements by which we can say that the Buddha of cave 16 is Akshobhya, and as the original set of five caves of Yungang was organized according to the theory of “Five Buddhas of Meditation”.
