The interviews address the challenges presented to historians by research in the neurosciences and the like, highlighting the distinctive contributions offered by a historical approach. Un compte-rendu du livre de E.
Table of contents
I am therefore pleased to review the thoroughly revised adaptation that Lindgren published in print and as an e-book through Columbia University Press in The e-book contains the sections noted above, plus a gallery of images, including photographs of the architectural spaces that have survived, along with key illuminations, initials, and miniatures to which Lindgren refers in the course of her study. Readers should note that the hard-copy version of the book contains none of the images. Thus, it is highly recommended that readers access the on-line version or work with the on-line or e-book version on their computers if they choose to buy the print edition.
In addition to the three Sister-Books just named, Lindgren examines psalters, graduals, diurnals, martyrologies, collectars, and sanctorals from the Dominican monasteries such as St. Agnes, St. Katharina, and the Penitents of St. Augustine, the Dominican constitutions, sermons, and devotional writings by Johannes Tauler and Henry Suso, and a wealth of other texts.
The chapter on space concerns itself with two key questions, first, what was considered sacred space within Dominican monasteries, and, second, to what degree were the nuns in these houses actually enclosed. Lindgren reframes the question of enclosure by a nuanced study of cloister windows, showing how their size, design, and decoration served to restrict or to open visual or physical access to the outside. Katharina of Freiburg as reflections of worldly presence within the cloister. In her chapter on sound, Lindgren contrasts the severe injunctions concerning the maintenance of silence with both ritualized and spontaneous breaking of this silence.
The chapter on seeing and hearing is worth the price of the book alone, in that it catalogues and describes the manuscripts—beyond the Sister-Books and constitutions—produced and used by Dominican women of the pre-reform era. For this section, access to the images of the e-text will be essential. She cites these authors in the footnotes, but there is no sustained discussion of or response to their ideas, something that might have enriched her analysis considerably.
If Lindgren is willing to grant these Dominican women the ability to shape their spiritual environment by their actions, often in defiance of restrictions imposed by the patriarchy, why is it not possible for the sophisticated and literate authors of the Sister-Books to shape the narrative of events by incorporating motifs from hagiography and revelatory writing? Repris du site des presses universitaires de Chicago. In the late medieval era, pain could be a symbol of holiness, disease, sin, or truth.
Beyond French Feminisms
It could be encouragement to lead a moral life, a punishment for wrong doing, or a method of healing. Exploring the varied depictions and descriptions of pain—from martyrdom narratives to practices of torture and surgery— The Modulated Scream attempts to decode this culture of suffering in the Middle Ages. Esther Cohen brings to life the cacophony of howls emerging from the written record of physicians, torturers, theologians, and mystics. In considering how people understood suffering, explained it, and meted it out, Cohen discovers that pain was imbued with multiple meanings. While interpreting pain was the province only of the rarified elite, harnessing pain for religious, moral, legal, and social purposes was a practice that pervaded all classes of Medieval life.
In the overlap of these contradicting attitudes about what pain was for—how it was to be understood and who should use it—Cohen reveals the distinct and often conflicting cultural traditions and practices of late medieval Europeans. Ambitious and wide-ranging, The Modulated Scream is intellectual history at its most acute. ISBN: The Medieval Review. The affective devotion so characteristic of the later Middle Ages, and the literature of affective meditations, centering on the Passion of Christ, are phenomena which have been widely discussed, most recently and elaborately by Rachel Fulton.
The origins of this devotion are less easily explained. Fulton attempted to do so by connecting it with the expectations and fears surrounding the year McNamer also attempts to explain the origins of affective meditation, and, in doing so, she situates her study at the intersection of the history of emotion, gender, and devotion. This is a history of affective meditation as a literary form, where the history of emotion provides an additional framework.
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Moreover, it was in this form that these meditations influenced later notions of compassion. From this perspective, the meditations can be seen as scripts for performance meant to bring about the desired emotional experience. Implying that feeling compassion is feeling like a woman makes it into a historically contingent gendered performance, rather than one, for example, inflected by class, as in ancient Greece.
One of the paradoxes of the twelfth century would be that, while legal thinking gained ground, inner dispositions were seen as more important than outward manifestations like, for example, physical virginity. Its flawed structure has often been acknowledged. Only on this basis can the nun claim to be a true bride of Christ, a condition which is the subject of the first part.
By appealing to the reader as eyewitness, and positing her in the first person, the prayers and meditations of this work offer her a script to enact. She constructs an alternative to the genealogy which speaks of Anselmian, Bernardine, and later Franciscan affective devotion. Instead of seeing these texts as generating a new affective devotion, they are seen here as textual siblings of existing practices She attributes the truly Franciscan elements, such as the ideal of poverty, to a later redactor, and she contends that these modifications somehow counter the revolutionary nature of the original work, and seem designed to arrest rather than foster the feelings of compassion.
Turning to Middle English literature in chapter four, McNamer argues that the genre remained deeply inflected by its gendered origins, even after its adaptation for a new readership of lay men and women. Feeling compassion is feeling like a woman, a performance position open to women and men with the help of meditation. For religious women these meditations could provide the tools for scripting feelings which helped enact a legal marriage.
The divide between male and female, however, seems to increase here. Men such as Joseph of Arimathea and Nicodemus are portrayed as onlookers whose compassion is mediated by being directed first to Mary The figure of John, portrayed with feminized features, but capable of adopting a male role, is especially apt for enabling men to feel like a woman, while acting as men. For women, this confirms their subordination, although it also left a space for experiment. For men, it meant a gap between what they were supposed to feel in their devotion and how they were supposed to act.
The gap mentioned before widens further in some lyrics which are the subject of the last chapter. In these, a growing male resistance to compassion is voiced, reflecting the intensification of competing demands on men to act according to a newly masculinized ethos, in which compassion was left to women. A fragmenting of tradition thus appears at the core of devotional orthodoxy.
As another example, a remark at the end of the book points to different ways allegory can work:. Viewing these texts as scripts rather than as self-expression has been considered previously, and the dichotomy may perhaps be slightly overemphasized. One might also question the view that in our Western culture compassion is seen as a predominantly feminine emotion 8. In those lives, it is by definition somehow extraordinary; in the works of Gregory it is meant to be cultivated, especially by preachers and pastors, but also by all Christians.
If emotional experience, including that of compassion, is shown in this book to be pre- eminently cultural , it can also be multifaceted. Nagy, Piroska and Damien Boquet, eds.
Debates on Women, Politics, and Culture in France, 1981–2001
Beauchesne: Paris, A clear distinction between human emotions and reason is one of the defining characteristics of western philosophy. From Plato, to Descartes, to Kant, our possession or pursuit of pure, powerful and superior reason has been sharply contrasted with our proclivity to be moved by base, blinding and animalistic passions. Yet, recent research from a wide variety of cognitive, bio-behavioral and social sciences has belied the centuries-long contention, most forcefully espoused by Enlightenment philosophers, that reason, removed from emotional and instinctual influence, is capable of catalyzing everything from our ideas about political life to our moral choices.
Overall, the collection provides a good example of how interdisciplinary collaboration can illumine the complexity and depth of the study of emotions. The text is split into five sections, including the thoughtful introductory and concluding essays. The introduction contains two essays that provide the reader with an overview of scholastic approaches and contributions to the study of the history of emotions.
Pace et salute. Voix et musiques exceptionnelles.
Vous remplissez nos coeurs de joie. Marie-Christine C. Bersillies-L'Abbaye Belgique le Soisy sous montmorecy J. France jocelynechetrit gmail. On vous aime depuis toujours. Mdrci de nous donner autant de bonheur. Grazia grazia. Christine C. Bises du coeur. Plus nous venons vous plus nous avons envie de vous revoir. Les musiciens et les chanteurs sont exceptionnels. Toulouse vous remercie et le sud ouest en redemande.
J ai bientot le plaisir de vous rencontrer a M ontreux , les gars qui chanterons le Lyoba de la fete des vignerons sont choisis 11 gars aux voix extra demandez leur de venir avec vous, pour nous et vous tous , je suis sur que cela leur ferait un immense plaisir ils sont tous des environs, et meme si c est non nous viendrons vous revoir avec super joie.
Jean-Pierre L. Quelles voix fabuleuses et quels musiciens! Encore un grand merci Pace e salute a tutti.
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