Álvaro Alfredo BRAGANÇA JÚNIOR

Published in The World of Tradition

Keywords: Charms, Germanic philology, Medieval Latin, Medieval Latin Paremiology, Medievistics, Old High German Literature.

The Middle Ages, in a long-term perspective, opens to different epistemological approaches from distinct fields of knowledge. Within the Brazilian academic scenario, the predilection for models of historiographical and literary analysis based on French, Anglo-American, Italian, Spanish and Portuguese theoretical and methodological assumptions is understood for linguistic and historical reasons in the development of medieval studies in Brazil. With this statement in mind and with the aim of expanding access to other historiographies, in this article, after an introduction based on the medieval or medievalistic binomial, we conceived a brief discussion on the medieval studies of German and Latin literature in the 10th and 11th centuries with the reflective focus on Der zweite Merseburger Zauberspruch in Old High German and Medieval Latin paremiologically expressions.

Marica COSTIGLIOLO

Original title: Interreligious Dialogue before and after Nicholas of Cusa: an Exegetical Approach

Published in Nicholas of Cusa in Dialogue 

Keywords: Exegesis, Hermeneutic, Interreligious Dialogue, Nicholas of Cusa, Rites.

In this article my aim is a philosophical reflection on a history of interreligious dialogue from the perspective of the dialectical relation between rites of different religions: given that rite is one of the most essential aspects of religions, it should be profitable to examine the significance of rites in light of interreligious dialogue. First, I will explain some theories about religions' difference. I will analyse texts written by Christian and Jewish authors from the Middle Ages to the Modern period in order to compare the crucial role of rite in philosophical and religious discourse among different chronological and cultural panoramas. Among the authors who wrote outstanding works focused on the relations between Islam and Christendom, I wish to mention in particular Nicholas of Cusa, who wrote the De pace fidei, one of the most famous interreligious dialogue in the Middle Ages. The following paragraph of my article is on a 12th century Jewish scholar, Judah Halevi, who wrote the book Kitab al Khazari (Sefer ha-Kuzari, in Hebrew), which is considered one of the most polemical and well-known medieval works and a source of Ramon Llull (1235-1315), the most relevant source of the De pace fidei. The second paragraph is on Aberlard, who, like Cusanus, wrote his Dialogus inter philosophum, Judaeum et Christianum in a period of conflicts and violence. Like De pace fidei Abelard’s dialogue is a work of the author’s maturity which deals with the theme of rational and intellectual knowledge as an instrument of confrontation between different confessions. I will analyse the theme of rites in this Abelard's work. I will also take a look of the work of Lessing, to highlight the fundamental role of transmission of traditions and rites for the construction of a specific religious identity.

Lola ESTEVA DE LLOBET

Original title: Isabel de Villena, una mirada teológica en femenino muy singular

Published in Isabel de Villena (1430-1490)

Keywords: Coadjuvants women, Redemption, Trinity theologie.

The traditional reception from on of the classical works referents of European spirituality, el Vita Christi, by Ludolf de Sajonia, hass been transformed by the writings of Isabel de Villena, who in her book, la Vita Christi, offers a new point of view, human and humanistic at the same time: the life of Christ develops in a theological threatsense of trinity experience where women at as adjuvant of Christ Redemption.

Alicia MANSO SAN ISIDRO

Original title: Itaque sine musica nulla disciplina potest esse perfecta: la iconografía musical en la escultura románica hispana

Published in Music in Antiquity, Middle Ages & Renaissance

Keywords: Instruments, King David, Last Judgement, Middle Ages, Minstrels, Music, Romanesque sculpture.

The presence of musical iconography in medieval art, particularly in Romanesque sculpture, is enormous. Thus, in this article we will focus on the chronology from the 11th to the 13th century, analyzing the most important examples on the most representented topics: the Final Judgement, King David, and profane scenes. Musical instruments are represented in both non-religious and religious scenes, included as a reflection of biblical texts with a profound theological content. Analyzing the representation of instruments gives us information about iconographic influences, that begin with the miniatures in the Beatos. Moreover, this analysis is useful regarding organology and musicology, assessing the verisimilitude of these representations with a multidisciplinar methology.