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Bibliografie tematiche / Medieval litterature

Letteratura scientifica selezionata sul tema "Medieval litterature"

Autore: Grafiati

Pubblicato: 6 luglio 2024

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Articoli di riviste sul tema "Medieval litterature":

1

BURGESS, G. S. "Review. Jeux d'errance du chevalier medieval: Aspects ludiques de la fonction guerriere dans la litterature du moyen age flamboyant. Stanesco, Michel". French Studies 44, n. 3 (1 luglio 1990): 325. http://dx.doi.org/10.1093/fs/44.3.325.

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2

Cerquiglini-Toulet, J. "Penser la litterature medievale: par-dela le binarisme". French Studies 64, n. 1 (17 dicembre 2009): 1–12. http://dx.doi.org/10.1093/fs/knp201.

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3

Simons, P. "Remanences: memoires de la forme dans la litterature medievale". French Studies 65, n. 3 (28 giugno 2011): 381–82. http://dx.doi.org/10.1093/fs/knr088.

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4

Solanki, Pratibha. "COLOR COMBINATION IN MEDIEVAL HINDI POETRY". International Journal of Research -GRANTHAALAYAH 2, n. 3SE (31 dicembre 2014): 1–3. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3602.

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Abstract (sommario):

There is a close interplay of literature and painting. Through both, the deep objectives of life are fulfilled. If the words of a litterateur can elicit our feeling, then the lines and colors inscribed from the painter's paint also have a wonderful power to touch the soft side of our heart. Both poets and painters create beauty through their art talent. The beauty of words in poetry and the color and lines in pictures is present. साहित्य और चित्रकला का पारस्परिक घनिष्ठ अंतर्सबंध है। दोनो के माध्यम से जीवन के गहन उद्देष्यों की पूर्ति होती है। साहित्यकार के शब्द यदि हमारी भावना को उद्वेलित कर सकते हैं तो चित्रकार की तूलिका से अंकित रेखाएं और रंग भी हमारे हृदय के कोमल पक्ष को छूने की अद्भुत शक्ति लिए होते हैं। कवि और चित्रकार दोनो ही अपनी कला प्रतिभा के जरिये सौंदर्य रचना करते हैं। कविता में शब्दों का तथा चित्रों में रंग और रेखाओं का सौंदर्य मौजूद रहता है।1 एक कुषल चित्रकार की भाँति साहित्यकार भी शब्दों के माध्यम से सुंदर बिंब एवं रंग संयोजन प्रस्तुत करता है।

5

Holden, A. J., Nico ven den Boogaard, S. Alexandrescu, F. Drijkoningen e W. Noomen. "Autour de 1300: Etudes de philologie et de litterature medievales". Modern Language Review 82, n. 4 (ottobre 1987): 950. http://dx.doi.org/10.2307/3729085.

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6

POSNER, R. "Review. Narrateur et points de vue dans la litterature medievale. Marnette, Sophie". French Studies 53, n. 4 (1 ottobre 1999): 459. http://dx.doi.org/10.1093/fs/53.4.459-a.

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7

KAY, S. "Review. Litterature medievale et psychanalyse: Pour une clinique litteraire. Huchet, Jean-Charles". French Studies 46, n. 3 (1 luglio 1992): 312. http://dx.doi.org/10.1093/fs/46.3.312.

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8

PENSOM, R. "Review. Historicite et conceptualite de la litterature medievale: un probleme d'esthetique. Holzermayr, Katherina". French Studies 40, n. 3 (1 luglio 1986): 321. http://dx.doi.org/10.1093/fs/40.3.321.

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9

Brown-Grant, Rosalind, e Yasmina Foehr-Janssens. "La Veuve en majeste: deuil et savoir au feminin dans la litterature medievale". Modern Language Review 99, n. 4 (ottobre 2004): 1043. http://dx.doi.org/10.2307/3738534.

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10

Spasova Ilieva, Vladislava. "«Those who extinguish candles and drink wine»: the Bulgarian Kizilbash is the Gaze of the Others, According to 15th-19th Century Litterature". Medievalia 19, n. 2 (14 aprile 2017): 73. http://dx.doi.org/10.5565/rev/medievalia.410.

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Più fonti

Tesi sul tema "Medieval litterature":

1

McCarthy, Terence. "Sir thomas malory dans la tradition anglaise". Paris 4, 1993. http://www.theses.fr/1993PA040085.

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Abstract (sommario):

Les critiques n'ont trop souvent vu dans le morte darthur de sir thomas malory que la simple version anglaise de la legende authurienne, une traduction adaptation fidele d'originaux, francais pour la plupart. Un etude plus approfondie suggere pourtant que malory est loin d'etre un traducteur, et que, sans faire souvent preuve de creativite litteraire, son livre est un remaniement independant de la matiere de bretagne qui a une structure, une conception et une identite propres. Il convient d'accorder a malory le statut d'auteur a part entiere, et d'etudier sonoeuvre selon les criteres litteraires que celle-ci impose, plutot qu'a la lumiere de certains textes francais que malory ne cherchait pas, apres tout, a reproduire
Sir thomas malory's le morte darthur has too often been studied as merely the english version of the arthurian legends, a faithful translation adaptation of (for the most part) french originals. Closer study reveals that malory is by no means a translator and that his book, although not a work of literary invention, is an independent reworking of the matter of britain with a structure, a conception and an identity of its own. It is essential that malory be accorded the status of an author in his own right and that his work be studied according to literary standards which the book itself imposes rather than in the light of certain french works which malory was not, after all, trying to reproduce

2

Carozzi, Claude. "Le voyage de l'ame dans l'au-dela d'apres la litterature latine (veme-xiiieme siecle)". Paris 4, 1989. http://www.theses.fr/1989PA040107.

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Cette etude du genre litteraire du voyage de l'ame dans l'au-dela est composee en trois parties. La premiere est consacree a l'apocalypse de paul, ecrite au iieme siecle et remaniee au veme, le seul texte chretien ancien qui decrive le sort des ames apres la mort. La seconde montre comment saint augustin puis gregoire le grand ont ouvert la voie a la redaction de grandes visions a partir du viieme siecle. Jusqu'au ixeme siecle les moines redacteurs mettent sur pied un itineraire et organisent les relations entre les morts et les vivants. L'ensemble, sous l'impulsion de bede le venerable devient un prolongement dans l'au-dela du systeme de la penitence publique dont la derniere phase, la purgation, s'accomplit dans l'au-dela. La troisieme partie decrit l'apogee et le declin brutal du genre litteraire. Aux xeme et xieme siecles il a tendance a se dissoudre et a devenir plus allusif. Au xiieme siecle deux orientations se font jour: certains textes prennent une dimension cosmique et de plus en plus symbolique tandis que d'autres reviennent a la tradition ancienne. Ces derniers, les plus celebres et les plus volumineux (purgatoire de saint-patrick, visions de tnugdal ou d'alberic) se heurtent progressivement au scepticisme des theologiens. Apres 1206 (vision de thurkill), le genre passe dans les langues vulgaires et aboutit, sous une forme tres differente, a la divine comedie. Ce genre litteraire est un temoignage sur l'emergence d'une conscience de soi qui joue un role important dans la naissance de l'individu au moyen-age
This study is concerned with the travel fo the soul through the otherworld, taken as a literary genre. It is divided into three parts. The first one is devoted to an analysis of the apocalypse of paul. Written in the ii cent. , revised in the v , it is the only ancient christian text describing the lot of the souls after death. In the second part it is shown how st. Augustine and bede opened the way for the great visions to be written from the vii cent. . Down to the ix cent. The monks compilers mapped out an itinerary and organised the relationships between the living and the dead. All these texts, as read by the venerable bede, are turned into the system of public penance prolonged inthe otherworld; the last stage, purgation, is to take place in the next world. The third part describes the peak and decline of the literary genre. During the x and xi cent. It has a tendency to dissolve itself and become more allusive. In the xii cent. , two orientations becom clear. Some texts show a cosmic and more symbolical trend, while others get back to the older tradition. The former, longer and more famous ones (saint patrick's purgatory, visions of tnugdal or alberic) progressively come up against the scepticism of the theologians. After 1206 (thurkill's vision) the genre passes into the vernacular language and, in a very different appearance, results in the divine comoedia

3

Aupest-Conduche, Dominique. "PAIENS, IDOLES ET SUPERSTITIONS PAIENNES DANS LA GAULE CHRETIENNE DU IVe AU VIIe SIECLE : les temoignages de la litterature, de l'hagiographie et de la legislation conciliaire". Paris 4, 1986. http://www.theses.fr/1986PA040038.

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Au paganisme greco-romain commun a l'ensemble de l'empire, se mele au ive siecle, dans les milieux intellectuels de la province, un gout tres vif pour les antiquites gauloises. Par ailleurs les seuls actes de resistance violente a l'action des missionnaires se font pour defendre des temples de tradition indigene. Au ve siecle il n'est plus question de nostalgie gauloise chez les derniers paiens cultives qui mettent l'accent sur la foi en la perennite de rome. Par contre dans le reste de la population, un repli sur la vie locale et, dans certains cas, sur les cultes locaux, se produit. Les francs ont frequente les sanctuaires locaux cote a cote avec les indigenes. Les rites pratiques dans ces sanctuaires sont essentiellement de tradition gauloise et c'est le rapprochement avec les textes insulaires qui semble le mieux en rendre compte. Probablement sous la pression des grands, eux-memes obliges de tenir compte de leurs familles, les rois merovingiens ont menage paiens et pratiques paiennes jusqu'au debut du viie siecle. Le milieu du viie siecle marque la disparition des derniers sanctuaires paiens. Les pratiques qui survivront dans certains cas pendant des siecles, ne sont plus que des superstitions d'origines fort diverses
The iv th century gallo-roman intellectuals are mixing with their grecoroman paganisme a strong liking for gaulish antiquities. The only known cases of armed resistance to christianity are in relation with the defence of indigene sanctuaries. From the beginning of the v th century, cultivated pagans have no more gaulish tendancies: their faith is in the perennity of rome. However, the bulk of the population is turning to local life and, in some cases, to local cults. Pagan francs go to local sanctuaries together with the gallo-romans. These sanctuaries rites are mainly indigene and are better accounted for by island texts. Merovingian kings tolerated pagans and pagan-pratices till the beginning of the vii th century, probably under pressure from the grands and their familiae. By the middle of the century, the last sanctuaries are being destroyed. The many practices remaining, sometimes for centuries, are only superstitions of miscellaneous origins

4

Adeux, Malo. "Appropriation et légitimation du discours historique : l’exemple de trois traductions vernaculaires du De Excidio Troiae de Darès le Phrygien : la Veraie Estorie de Troies, l’Ystoria Daret galloise, la Trójumanna saga islandaise (XIIIème siècle)". Electronic Thesis or Diss., Brest, 2023. https://theses-scd.univ-brest.fr/2023/These-2023-ALL-Langue_litteratures_francaises_litteratures_francophones-ADEUX_Malo-Tome_1.

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Se présentant comme témoin oculaire de la guerre de Troie, Darès le Phrygien est l’historien de référence du Moyen Âge latin sur le conflit troyen. Au XIIIe siècle, son ouvrage, De Excidio Troiæ, est traduit dans plusieurs langues vernaculaires, parmi lesquelles le français, le gallois ou l’islandais (ou norrois). Mais le récit de Darès vient rarement seul : on le trouve associé au récit romain, ainsi qu’à l’histoire des Bretons (les actuels Gallois), qui pensent à l’époque être d’ascendance troyenne. Dans cette étude, j’analyse les stratégies textuelles à l’oeuvre pour légitimer le transfert du récit darétique vers les langues vernaculaires et s’approprier ce récit par une nouvelle communauté textuelle, non latinisée. Ce travail se présente comme une étude comparée de ces trois corpus. Après une présentation du contexte d’écriture, des manuscrits, vient une analyse des sources et des manières dont elles sont employées par les traducteurs. Après une analyse des compilations, vient celle des stratégies textuelles internes, c’est-à-dire le traitement du texte de Darès, les modifications, l’explicitation des références, la figure du narrateur et les conceptions de l’histoire exprimées dans ces oeuvres. Je tâche de montrer ici que l’appropriation de la matière troyenne, si elle n’est jamais expliquée, provenait d’un intérêt spécifique pour le récit de Darès et l’histoire de Troie de manière générale
Presenting himself as an eyewitness of the Trojan war, Dares Phrygius is the reference historian of the Latin Middle Ages when it comes to the war of Troy. In the 13th century, his work, De Excidio Troiæ, wastranslated in many vernacular languages, amongst them French, Welsh and Norse (i.e. Icelandic). But the story of Dares seldom comes alone: it is often associated with the story of Romans or even of Bretons (i.e. Welsh), as they thought themselves then to be of Trojan ascent. In this study, I analyze the textual strategies at work in order to legitimize the transfer of Dares’s story towards vernacular languages and to appropriate this story by a new, unlatinized, textual community. This work presents itself as a compared study of these three corpuses. After a presentation of the context in which they were written and their manuscripts comes an analysis of the sources and their uses by the translators. After analyzing the compilations, I turn towards internal textual strategies, that is the treatment of the story of Dares, the modifications, the explanation of references, the role of the narrator and how history was conceived therefore in these works. In this study, I endeavor to show that appropriating the Trojan matter, even if the process is never made explicit in the texts, came from a specific interest for the story of Dares and more generally for the history of Troy

5

Dubost, Francis. "L'autre, l'ailleurs et l'autrefois : aspects fantastiques de la litterature narrative medievale (xiie - xiiie siecles)". Paris 3, 1989. http://www.theses.fr/1990PA030025.

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Applique a la litterature narrative du moyen age francais (xiie-xiiie siecles), le concept de "fantastique" est considere comme une categorie semantique, et non comme une designation de genre litteraire. Les moments fantastiques de la narration medievale sont sous-tendus par la resurgence de formations imaginaires archaiques (l'autrefois prechretien); par la tradition des merveilles de l'ailleurs, breton ou oriental; par la projection des formes historiques, morales et metaphysiques du mal sur l'image fantasmee de l'autre (le monstre, la creature demoniaque). Les phenomenes fantastiques sont saisis au croisement des deux modes de pensee pensee symbolique (verticale) et pensee discursive (horizontale) - qui entrent en concurrence a l'epoque consideree. A travers l'etude de l'espace fantastique (foret, ile, chateaux, cimetieres) et des acteurs fantastiques (animaux monstrueux, hommes-betes, geants,mediateurs diaboliques), on met en evidnce deux grandes categories de fantastique : le fantastique du phenomene (la lance qui saigne); le fantastique de l'etre (merlin, l'enfant sans pere). L'etude des rapports entre fantastique et "senefiance" montre enfin comment le materiel imaginaire submerge les visees du didactisme chretien
When applied to french medieval narrative literature of the 12th and 13th centuries, the fantastic, as a concept, designates a semantic category rather than a literary genre. In medieval narrative, fantastic episodes are underpropped by resurgent figments of an archaic imaginary (a mythical pre-christian age, l'autrefois) as well as by the traditions of wonders from abroad (l'ailleurs) - whether from brittany or the east - and by the super imposition of historical, moral, and metaphysical patterns of evil on the fantasized image of the alien (l'autre), i. E. The monster or devi- lish creature. Fantastic phenomena occur at the intersection between two modes of thought - symbolical thought on the vertical axis and discursive thought on the horizontal axis - as these coexist and conflict at the time. An examination of the topography of the fantastic (including the forest, the island, the castle, the churchyard) and of its actors (including monstrous animals, semi-humans, giants and agents of the devil) reveals two great categories : the fantastic whic involves facts (the blee- ding spear, diabolic shows, "deablies"), and the fantastic which involves beings (the fatherless child : merlin). The study of the links subsisting between the fantastic and the allegorical narrative reveals to what considerable extent the potential of images outweighs christian

6

Boutet, Dominique. "Mythes et ideologies de la royaute dans la litterature francaise medievale (1100-1250) : charlemagne et arthur". Paris 3, 1991. http://www.theses.fr/1992PA030023.

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Le but de ce travail est de degager les conditions qui ont preside a la formation des deux mythes de charlemagne et arthur, de definir leur nature et d'examiner la place et le role des ideologies (augustinisme, feodalisme, trifonctionnalite indo-europeenne). L'ambiguite de la condition de roi (sang royal 2lection divine) se retrouve dans le fonctionnement des institutions (justice, guerre, relations feodales) et est ressentie par les auteurs comme un probleme a explorer. L'augustinisme est l'ideologie dominante, en tension permanente avec le feodalisme. La mutation courtoise de l'image du roi cherche vainement a surmonter cette contradiction en introduisant une dimension esthetique qui devient sa propre fin. Cette crise peut expliquer la resurgence des schemas indo-europeens. Les univers de la fiction epique ou romanesque explorent l'ideal, les crises et les desequilibres, autour de la dualite irreductible de la condition royale. D'ou, a partir de 1180, une crise de la representation de la royaute qui n'a rien a voir avec une contestation ideologique de la fonction royale. Les necessites esthetiques et narratives contribuent a gauchir les images royales. Charlemagne et arthur sont, plus encore que deux types de rois, des points de cristallisation des angoisses et des recherches d'une societe qui s'interroge, sous l'influence de l'exercerbation de la conscience historique et du cours de l'histoire, sur son sens et sur son destin: en ce sens, ils sont pleinement des figures mythiques. Le corpus analyse comprend une trentaine de chansons de geste et autant de romans arthuriens
This study aims to highlight the conditions which lead to the formation of both literary myths of charlemagne and arthur, to define their nature and to assess the function of the ideologies (augustinism, feodalism, indo-euroepan thought). The ambiguities of the king's estate (royal blood versus divine election) is reflected in the functioning of institutions (justice, war, feodal relationships). Augustinism is the prevaling ideology, in conflict with feodalism. The courtly mutation of the king's figure fruitlessly tries to overcome this contradiction. This crisis can explain the reappearance of indo-european schemes. The epic fiction and the arthurian romance investigate ideal, crises and discrepancies, in relation with the ambiguity of kingship. Hence, from 1180, grows a crisis of the image of kingship, which is by no means an ideological contestation of the king's office. Aesthetical and narrative needs often alter the royal figures. Charlemagne and arthur appear like crystallisations of concerns and research of a society which is questionning itself on its own signification and fate. Therefore, they are quite mythical figures. The present analysis involves about thirty chansons de geste and as many arthurian romances

7

POPIN, AUDBOURG MARIE. "La fonction de la musique dans la lyrique courtoise : la chanson au temps de charles vi". Paris 8, 1989. http://www.theses.fr/1989PA080580.

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Ce travail vise a preciser la place de la chanson francaise a la fin du xive siecle, sa fonction dans la vie des cours ou des particuliers, sa nature et la transformation qu'elle subit. Sans ecarter aucune information donnee par les manuscrits du xive siecle, on s'est attache a deux d'entre eux, chantilly et turin, eloignes dans le temps de pres de vingt ans et tres differents de conception. Un des objectifs etait de comprendre le fonctionnement du texte et et de la musique, en dehors de tout a priori, comme deux discours autonomes. Cet examen confirme l'incapacite de la musique a se confondre avec le texte, la rhetorique ne consistant qu'en quelques rares coincidences. Le deuxsieme plan d'investigation a ete celui de l'ecrit (le contrepoint) dans sa relation a l'oral (la realite de l'oeuvre interpretee). Une double demarche contradictoire entraine le compositeur dans deux directions opposees: la rationalisation ou subtilitas et l'exteriorisation, dans la recherche des effets
This work seeks to determine the importance of the french song at the end of the 14th century and, more specifically, its function in the life of the courts and individuals, its nature and the changes it underwent. While not neglecting any information contained in the 14th century manuscripts, particular emphasis has been placed on two of them, chantilly and turin, separated in time by almost twenty years and very different in conception. One of our aims was to understand how the text and the music operate independently without any pre-conditions as two distinct forms of expression. This examination confirms the fact that the music cannot merge with the words apart from the few rare occasions when language lends itself to this. At another level an attempt has been made to establish the relation between written counterpoint and performance. With the help of a dual approach the composer acheives rationalisation which is subtilitas or exteriorisation in his search for effects

8

Cheikh-Moussa, Abdallah. "De l'adab. Litterature arabe et societe a l'epoque classique". Paris 3, 1997. http://www.theses.fr/1998PA030029.

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De par sa nature de discours historique et social a la fois, de par sa fonction normative et sa recherche de l'exemplarite, la litterature d'adab de l'epoque classique peut-nous eclairer, pensons-nous, sur des pratiques et des phenomenes de societe ou de culture tels que le milieu de production et de reception (khassa) de cette litterature a pu les percevoir ou les imaginer. Les travaux que nous presentons et qui sont consacres a la representation des figures negatives, telles que les eunuques, le "commun", les ayyarun, les fous, les esclaves chanteuses ou les sophistes "avares", tentent de mieux preciser l'"ideologie" de l'une des composantes de la culture et de la societe arabo-islamiques, de degager les normes supposees communes et de decrire la vision globale du monde et de la societe de ce groupe socio-semiotique
Considered as a social and historical discourse, adab literature in the classical period, can enlighten us on some social or cultural practices and phenomena as they were perceived by the khassa, the production and reception milieu of this literature. The works presented here and devoted to the representation of negative figures, such as eunuchs, the mob, ayyarun, madmen, singing-slaves or sophist misers try to define more accurately the "idelogy" of one of the components of arabic-islamic society and culture, by bringing out the supposed common norms of this "social semiotic group", and describing his global vision of the world and the society

9

Schrevelius, Ally. "Balladspår i modern svensk litteratur : Intertextuella influenser". Thesis, Växjö University, School of Humanities, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-1986.

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The purpose of this study is to investigate the distribution of medieval ballads as semiotics of intertextuality in modern Swedish literature, here represented by August Strindberg, Erik Axel Karlfeldt, Kerstin Ekman and Katarina Frostenson. They are famous authors from different epochs, ranging from the period called “the modern breakthrough” in the 1880s until the postmodernism of the present time. My aim is to expose their attraction to medieval balladry, and their different ways of using form, language and style from this old poetry in poems, prose and plays, explicit as well as implicit.

10

Banniard, Michel. "Viva voce. Communication orale et communication ecrite du ive au ixe siecle en occident latin". Paris 4, 1988. http://www.theses.fr/1988PA040057.

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Più fonti

Libri sul tema "Medieval litterature":

1

Leupin, Alexandre. Barbarolexis: Medieval writing and sexuality. Cambridge, Mass: Harvard University Press, 1989.

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2

Gally, Michèle. Littératures de l'Europe médiévale. [S.l.]: Magnard, 1985.

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3

Biow, Douglas. Mirabile dictu: Representations of the marvelous in medieval and Renaissance epic. Ann Arbor: University of Michigan Press, 1996.

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4

Delany, Sheila. Medieval literary politics: Shapes of ideology. Manchester: Manchester University Press, 1990.

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5

Danielle, Buschinger, e Fourquet Jean, a cura di. Litterature épique au Moyen Age: Hommage à Jean Fourquet pour son 100ème anniversaire. Greifswald: Reineke, 1999.

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6

International Courtly Literature Society. Congress. Courtly literature and clerical culture =: Höfische Literatur und Klerikerkultur = Litterature courtoise et culture clericale. A cura di Huber Christoph e Lähnemann Henrike. Tübingen: Attempto, 2002.

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7

William, Machan Tim, a cura di. Medieval literature: Texts and interpretation. Binghamton, N.Y: Medieval & Renaissance Texts & Studies, 1991.

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8

McRoberts, J. Paul. Shakespeare and the medieval tradition: An annotated bibliography. New York, N.Y: Garland, 1985.

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9

Calin, William. The French tradition and the literature of medieval England. Toronto: University of Toronto Press, 1994.

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10

Muir, Lynette R. Literature and society in medieval France: The mirror and the image, 1100-1500. New York: St. Martin's Press, 1985.

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Più fonti

Capitoli di libri sul tema "Medieval litterature":

1

de la Peña, Manuel Alejandro Rodríguez. "The King as Miles Litteratus". In The Cultural Power of Medieval Monarchy, 132–56. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003142454-4.

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2

Rodríguez de la Peña, Manuel Alejandro. "Rex strenuus valde litteratus: Strength and Wisdom as Royal Virtues in Medieval Spain (1085–1284)". In Disputatio, 33–50. Turnhout: Brepols Publishers, 2007. http://dx.doi.org/10.1484/m.disput-eb.3.447.

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3

Aleksidze, Nikoloz. "THE DISPUTED SAINTS OF EARLY MEDIEVAL CAUCASIA". In Culte des saints et litterature hagiographique, 77–92. Peeters Publishers, 2020. http://dx.doi.org/10.2307/j.ctv1q26rcc.8.

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4

Genet, Jean-Philippe. "Language and Political Communication in France and England (Twelfth to Fifteenth Centuries)". In Political Communication in Chinese and European History, 800-1600. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463720038_ch03.

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Abstract (sommario):

Symbolic power depends on the efficiency with which the values of any dominant group are transmitted to society at large. In the eleventh century, the Latin medieval Church initiated a fundamental transformation of the Western European symbolic communication system. In France and England, the symbolic power of the Gregorian Church was derived from the superiority of the spiritual power of the papacy. Its armies of monks and priests had to convince the members of the ecclesia (the Christian society) of the necessity to embark on the road to individual salvation under the guidance of the Church, imposing a new division between clergy and laity. Yet, whereas clericus and litteratus had earlier been synonymous, many lay people were now able to read and write. If the Church had developed its own administration and bureaucracy, the Gregorian educational and cultural revolution offered the same opportunity to cities and states, which thus acquired the capacity to govern by the written word. As the laity entered into an age of literacy, the foundations were laid for the genesis of a new type of state.

5

"The Personal Anthology of an Ottoman Litterateur: Celâlzâde Sâlih (d.1565) and His Mecmua". In Dimensions of Transformation in the Ottoman Empire from the Late Medieval Age to Modernity, 165–82. BRILL, 2021. http://dx.doi.org/10.1163/9789004442351_008.

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