Article
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Influences of Jerome Stridonensis in J. L. Vives
Marco Antonio CORONEL RAMOS
Original title: Influencias de Jerónimo de Estridón en J. L. Vives
Published in Mirabilia Journal 31 (2020/2)
Keywords: Christian Woman, History of the Church, Juan Luis Vives, Pedagogy, Sacred Philology, St. Jerome.
It is obvious that St Jerome is a key author in shaping European Renaissance Huma-nism. His figure, however, has been practically unstudied in relation to Juan Luis Vi-ves. This work is a first approach to this question, which attempts to illustrate some points of contact between the two authors. Specifically, it relates the aspects of Jero-me’s philology that coincide with the historiographic, pedagogical and religious as-sumptions of the Valencian humanist.
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Evangelization and Translation into Nahuatl: Holy Scripture in New Sapin in the 16th Century
Verónica MURILLO GALLEGOS
Original title: Evangelización y traducción a la lengua náhuatl: las Sagradas Escrituras en la Nueva España del siglo XVI
Published in Mirabilia Journal 31 (2020/2)
Keywords: Evangelization, Holy Scripture, New Spain, Translation into Nahuatl.
This chapter presents the linguistic, theological and cultural mesh found in the transla-tion of excerpts of the Holy Scriptures into Nahuatl that were carried out by religious missionaries in sixteenth-century New Spain. It aims to consider the translation of the Bible into Indoamerican languages as an extension of the European problems of that time, signaling the caracteristics and difficulties that they acquire within the context of the evangelization and colonization of the American indigenous people.
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Saint Jerome: From the Image to the Imaginary
Lucía LAHOZ
Original title: San Jerónimo: de la imagen al imaginario
Published in Mirabilia Journal 31 (2020/2)
Keywords: Image, Imaginary, Saint Jerome.
In the chapter, an approach to the image and the imaginary of Saint Jerome is presen-ted. Far from a logocentric conception, we prefer a cultural approach, which encom-passes the web of meanings concreted in a visual culture, and delimitates the areas and contexts in which certain iconographies flow. Jerome articulates a great variety of ico-nographic types: the father of the church, the author of exegesis on the scriptures, the translator, but also the anchorite. His figuration does not belong to a single type, but rather articulates several iconic models: he continues to metamorphose himself re-vealing new aspects to please an ever-expanding audience, and thereby reflects the de-velopment of a social dynamic of devotion.
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The manuscripts with works of Saint Jerome in the Library of the Colegio Mayor de San Bartolomé in 1433-1440 and in 1550
Jorge JIMÉNEZ LÓPEZ
Original title: Los manuscritos iluminados con obras de san Jerónimo en la Librería del Colegio Mayor de san Bartolomé en 1433-1440 y en 1550
Published in Mirabilia Journal 31 (2020/2)
Keywords: Colegio Mayor de San Bartolomé, Diego de Anaya, Maître de Blanche de Castille, Patristics.
The study shows the presence of the Saint Jeronimo in different moments of the school library, taking the only preserved documentary testimonies as reference: the 1433-1444 inventaries, the 1550 index and the registers before the closing of the School in 1798. From then, the manuscripts conserved nowadays are located and the analysis of his iconic repertoire is approached, with the objective of defining the ways and space of his creation. That is how the testimonies from the primitive laic ateliers in Languedoc or from the most relevant groups in the parisian setting are identified in the 12th century, Maître de Blanche de Castille. The contrast of these refined pieces with the copy promoted by Diego de Anaya also allows to understand the attitude and the relationship of the founder with the books and the bartolomea library.
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Jerome of Stridon’s Epistolario as a Source of Iconological Problems
Elena MUÑOZ
Original title: El Epistolario de Jerónimo de Estridón como fuente de problemas iconológicos
Published in Mirabilia Journal 31 (2020/2)
Keywords: Epistolary, Figure, Flemish painting, Iconology.
Some exegetes of the Late Antiquity used a system of allegorical and figurative relationships to extract Christian meanings from texts, and in this way, writing a historical memory. Later, in the 20th century, historians such as Erwin Panofsky, established the principles of the iconological method through a ‘scientific’ interpretation of figurative arts, that subjected those texts to the historical context, the iconographic code, and the technical medium of each work, in order to ‘reconstruct’ its meaning and, therefore, the history of art. In this essay, based on examples from Jerónimo’s Epistolary, Panof-sky’s theoretical texts, and Flemish painting, we try to observe how –underneath historical contexts and technical mediums– these disciplines can share processes of construction and communication of historical reality content, by means of figures and images.
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L’établissement de la fête de la Dormition de la Vierge Marie à l’époque byzantine
Spyros P. PANAGOPOULOS
Published in Mirabilia Journal 31 (2020/2)
Keywords: 15 août, Assomption, Constantinople, Dormition, Vierge Marie.
Dans le présent article, nous essayons de présenter comment la fête de la Dormition de la Vierge Marie s'est formée dans la tradition orthodoxe, pendant l’Empire byzantin. Le travail est structuré en trois parties: La première partie traite brièvement de la fête originale de la Mère de Dieu qui a été célébrée dès le 5ème siècle presque dans tout l’empire. La deuxième partie étudie la genèse et l’évolution de la fête de la Dormition de la Vierge Marie et à la fin examine l’histoire de la fête notamment à Constantinople. L’écriture de la dernière partie, après que la capitale soit devenue le principal centre d’honneur de la Mère de Dieu, un honneur associé au statut de la Vierge Marie en tant que patronne de la Basileuousa.
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The theological and doxological reference to the Resurrection and the Pentecost according to the orations of Gregory of Nazianzus XLI and XLV
Eirini ARTEMI
Published in Mirabilia Journal 31 (2020/2)
Keywords: Doxology, Gregory of Nazianzus, Pentecost’s, Resurrection.
In the forty-one oration, Gregory of Nazianzus analyzes the divinity of the Holy Spirit, a subject that is developed again with more severe way in his Fifth Theological Oration. Gregory tries to establish the point by quite a different set of arguments from those adopted in the former discourse, none of whose points are here repeated. In the other oration, forty-five, Gregory refers to the importance of the resurrection for the human race. He presents Christ as the new Adam who saved the human from the death and reunites again the man with God. This is a subject that is referred to the oration forty-one, too. In this paper, we will examine the teaching of Gregory of Nazianzus about the divine status of the Holy Spirit and his equality to the other two persons of the Triune God through theological and biblical images. Also, we will present how he connects his teaching for anthropology based on the Christology. In the end we will show how Gregory produced these orations for public festivals within the literarily ripe tradition of pagan festival rhetoric, but he gives to his orations theological content.
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The Acedia. Refuse to take refuge in sacred or the danger of secularization
Marcos PIÑEIRO BOULLOSA
Original title: La Acedia. Negarse a acogerse a sagrado o el peligro de la secularización
Published in Mirabilia Journal 31 (2020/2)
Keywords: Acedia, Evagrio Pontic, John Cassian, Logismoi, Penance, Tristitia.
The acedia, is received by the Patristic, with special development in the Egyptian desert with Evagrio Pontic. The development of this logismoi and sin will revolve around its relationship with sadness and laziness, as well as a discursive development in the monastic and secular space, projected throughout the Middle Ages. The objective is to show the transmutation of the term and the conceptualization of acedia throughout the medieval period in the Latin west, with special attention to the writings of Evagrio Ponticus and Saint Thomas Aquinas.
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The church of San Marco in the eleventh century
Elena Ene D-VASILESCU
Published in Mirabilia Journal 31 (2020/2)
Keywords: Byzantium, Dominico Selvo, Emperor Henry IV, St Mark’s church, The eleventh century, Venice.
In 1084 the most important of the few consecrations of St Mark’s church in Venice – that which solemnized the completion of its largest altar – took place. It is assumed that Doge Dominico Selvo (1071-1084) assigned Byzantine mosaicists to finish the decorative programme in time for the respective event. In part because of the beauty and the remarkable quality of the works they created, the eleventh century saw the prestige of this Venetian shrine increase. Also what in the popular imagination was the miraculous appearance of the relics of its patron saint from a pillar (either in 1084 or 1094, depending on the source employed) further augmented it. The article attempts to prove that the eleventh century was the most important period in the existence of the medieval Venetian church which much later became the cathedral San Marco. It will venture a description of this shrine not only on the basis of its similarities, claimed by most scholars, with the Apostoleion church in Constantinople, but also using information from extant documents as well as results of new scientific and archaeological discoveries, especially those published in the catalogue of the exhibition organised by its Procuratoria between July and November 2011, in Ken Dark and Ferudun Özgümüş’s works, in the reports concerning the research undertaken by the British Museum, and in other sources.
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The second level of St. Bonaventure’s Transcendent Aesthetics: Speculating the divine Trinity through the good
José María SALVADOR-GONZÁLEZ
Published in Mirabilia Journal 31 (2020/2)
Keywords: Christ, Contemplation, Good, St. Bonaventure, Theology, Trinity.
After pointing out that St. Bonaventure of Bagnoregio conceives his Aesthetics as a free way to be able to ascend contemplatively towards God, this article seeks to explain the surprising and ingenious “arguments” (deeply imbued by faith) that this author proposes to base the second level of the “transcendent” stage of his peculiar Aesthetics. In the first four levels of his Aesthetics, Bonaventure establishes this initial ascent to God by considering the external beings of the material world as vestiges of the Creator (first and second levels), and then by examining our mind as an image of God, in which he can be seen reflected in a mirror (third and fourth levels). St. Bonaventure states that in the third stage of his Aesthetics (the "transcendent" stage), the human mind can look over itself to speculate on God in his essential property as the Supreme Being (fifth level) and in his personal properties as highest Good (sixth level). Our article focuses exclusively on the expression of this sixth level of Bonaventurian Aesthetics.
