José María SALVADOR GONZÁLEZ

Original title: Presentación: La Imagen del Poder. Epifanías de la Potestas

Eirini ARTEMI

Nowadays, there is a question about the relationship between patristic and “after patristic” theology, according to Orthodox theology. This theology comes from the writings of the Fathers, the tradition of the Orthodox Church but also from the general revealed truth of the Church. The opposite of orthodox theology is “after patristic” theology. The latter is an extension of the various newer theologies of western Christian Churches. They make a relevance of theology and feminist, or politics, or different social problems, etc. What is the view of the Orthodox Theology, when many Orthodox support these kinds of theologies and some others have negative attitude to these theologies. Is there any real connection between patristic theology and “modern theology”?

Jesús CANTERA MONTENEGRO, Ángela ORGANERO MANZANERO

Original title: Decoración de interiores públicos laicos en la Edad Media

The secular presence on art during XIV century, reflects how artistics genres started a process of indipenditation of eclesiastic world. In Europe, in this age a fiscal system was stablished that aloud a fluence transmission of money to coffers. This made Florence and Siena gain a strong economic stability. With the total control of middle class, took place the building of Public Palace of Siena and the decoration of the Sala dei Nove by Ambrogio Lorenzetti. This frescos constitutes a unicum european painting because his conception and convey feelings, like one of famous manifiestion of political propaganda of Middle Age. Ambrogio, under allegorical, political, theological and philosophical pressure, put together a whole political ideology result of agreement between citizens.

Vinicius Cesar Dreger de ARAUJO

Original title: Dux et Rex: poder e legitimidade nas representações imagéticas dos governantes boêmios na Idade Média Central

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.

José María SALVADOR GONZÁLEZ, Cristina DE LA CASA RODRÍGUEZ

Original title: Sobre la supuesta línea de desarrollo de la retratística medieval. Del donante al retrato individual

This paper aims to assess the problems arisen when trying to talk about the development of medieval portraits. Usually, we tend to think that the donor is typical of the Early Middle Age, and then, progressively, the importance of the subject depicted increases, so that finally we can encounter the Italian, but mostly Flemish, portrait in which the values of modern society, such as the distance taken from the religious principles or the human being’s feeling of superiority, are reflected. Throughout our paper, this so-called perfect evolution will be tested, by doing an initial approach to the concepts of “donor” and “portrait”, so that we can realise that this kind of expressions used by art historiography are just characteristic of narrow-minded visions which cannot be used to reproduce the existing diversity of the Art. Finally, we will analyze the different ways of depicting people throughout the Middle Ages, giving particular emphasis on the line of thought and the philosophy dominant every concept and piece described, with the firm belief that ideas, instead of mere formalist analysis, give us the key points about the human being’s representations throughout history, and in a more precise way, the medieval period.

Susana FIORETTI

Original title: Marginales, Cismáticos, herejes. Su expresión religiosa en la patrística de los siglos IV y V

During the fourth century, once Constantine’s politics placed Christian worship on equal footing to Paganism, a fruitful and swift effort to create a corpus of doctrine and thought was carried out. Fourth-century Christians became increasingly vigilant with respect to their own Christian identity when they faced the rapid and sometimes incomplete conversion of the heathen, but fundamentally when facing internal divergences that were becoming more visible and problematic in this new political process. The century witnessed the emergence of numerous marginalized Christian movements that resisted the creation of a Catholic orthodoxy supported by the Empire. Hence, heresy was the hub of the problem, configured as a negative limit for orthodoxy. The “Constantinian Revolution” marked the beginning of the end of the old system, eclectic and tolerant of doctrinal matters, yielding to a religious centralization that would not be limited only to ritualism, but would also extend into the realm of personal behavior and belief. By transforming a persecuted faith into a stable Church, not only was it sought that it be present in society, but that it would control it. Hence, the absolute and exclusive conception of dogma constructed by the Church shows its inability to conceive as possible the coexistence of its preaching with other forms of truth. The center of the philosophical and theological universe was solidly occupied by the truth of the Church, who ended up becoming the arbiter of all discourse. The topic has come a long way and evolved to an intolerance that, undoubtedly, entailed a modification of Roman policies. Many of the works that we have analyzed are a registry of the Church’s struggle against its persecutors and against heretics, who were becoming the biggest threat to its continuity, as understood by many of its contemporaries.

Jesús CANTERA MONTENEGRO, Clara Mª CASTREJÓN VELLÉ

Original title: Los frescos del Palazzo Pubblico de Siena. Pinturas para una ciudad en guerra

Study of the Siena’s palace paintings as an example of a secular public interior in the Middle Ages and the social and political circumstances that influenced them in their iconography and symbolism, taking a special attention to Ambrogio Lorenzetti’s Good and Bad Government and Simone Martini’s Maestà.

Claudio R. CUELLAR

Original title: Registro y tradición fabulística: el caso del lobo, la zorra y el simio

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.

Gustavo Rocha CHRITARO

Original title: El Maestro e El Cortesano. Intermidialidade na obra literária e musical de Luis de Milán

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).

Ofelia MANZI, Patricia GRAU-DIECKMANN

Original title: La reina testigo. Jeanne d’Evreux en su Libro de Horas

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.

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

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.

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

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.