Title: Planctus Mariae : performing compassion as a means of social promotion
Source document: Theatralia. 2020, vol. 23, iss. 2, pp. 74-91
Extent
74-91
-
ISSN1803-845X (print)2336-4548 (online)
Persistent identifier (DOI): https://doi.org/10.5817/TY2020-2-5
Stable URL (handle): https://hdl.handle.net/11222.digilib/143239
Type: Article
Language
License: CC BY-NC-ND 4.0 International
Notice: These citations are automatically created and might not follow citation rules properly.
Abstract(s)
The aim of the study is to explore the emancipative potential of performative practices associated with the high medieval idiom of affective devotion, particularly with the genre of Marian Lament (planctus Mariae). The mechanisms of (temporal) social elevation through a bodily experience of such cultural motives as Christ's Bride (sponsa Christi), Tools of Christ's Passion (arma Christi) and the veneration of Christ's Side Wound are demonstrated on the example of the Planctus Mariae in the Passional of Abbess Kunigunde, a 14th-century manuscript codex produced in Bohemia for the eponymous abbess of the Benedictine nunnery of St. George at the Prague Castle.
References
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[30] VILIKOVSKÝ, Ján. 1948. Písemnictví českého středověku [Czech Medieval Literature]. Praha: Universum, 1948.
[31] WALSH-BOWERS, Richard. 2006. A Theatrical Acting Perspective on the Dramaturgical Metaphor and the Postmodern Self. Theory & Psychology 16 (2006): 5: 661–690. | DOI 10.1177/0959354306067442
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[33] WELCH, Cyril. 1981. A Preface to Reading. Philosophy & Rhetoric 14 (1981): 1: 31–50.
[2] BAGNOLI, Martina (ed.). 2016a. A Feast for the Senses. Art and Experience in Medieval Europe. Baltimore: Walters Art Museum, 2016.
[3] BAGNOLI, Martina. 2016b. Making Sense. In Martina Bagnoli (ed.). A Feast for the Senses. Art and Experience in Medieval Europe. Baltimore: Walters Art Museum, 2016: 17–30.
[4] BARTLOVÁ, Milena. 2012. Skutečná přítomnost. Středověký obraz mezi ikonou a virtuální realitou [The Real Presence. Medieval Picture Between Icon and Virtual Reality]. Praha: Argo, 2012.
[5] BRILLIANT, Virginia. 2016. Items 64–68, Catalogue. In Martina Bagnoli (ed.). A Feast for the Senses. Art and Experience in Medieval Europe. Baltimore: Walters Art Museum, 2016: 200–203.
[6] BUTLER, Judith. 1988. Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory. Theatre Journal 40 (1988): 4: 519–531. | DOI 10.2307/3207893
[7] Connel, Catherine and Ashley Mears. 2018. Bourdieu and the Body. In Thomas Medvetz and Jeffrey J. Sallaz (eds.). The Oxford Handbook of Pierre Bourdieu. New York: Oxford University Press, 2018: 561–576.
[8] CONWAY, Charles Abbot. 1976. The Vita Christi of Ludolph of Saxony and Late Medieval Devotion Centred on the Incarnation: A Descriptive Analysis. Salzburg: Institut für Englische Sprache und Literatur, Universität Salzburg, 1976.
[9] COOPER, Lisa H. and Andrea DENNY-BROWN (eds.). 2014. The Arma Christi in Medieval and Early Modern Material Culture. Surrey/Burlington: Ashgate, 2014.
[10] HAMBURGER, Jeffrey F. 2011. Bloody Mary: Traces of the peplum cruentatum in Prague and in Strasbourgh. In Zoë Opačić and Achim Timmermann (eds.). Image, Memory and Devotion: Liber Amicorum Paul Crossley. Turnhout: Brepols, 2011: 1–34.
[11] HOLLYWOOD, Amy. 2016. 'The Glorious Slit'. Irigaray and the Medieval Devotion to Christ's Side Wound. In Amy Hollywood. Acute Melancholia and Other Essays: Mysticism, History and the Study of Religion. New York/Chichester: Columbia University Press, 2016: 171–188.
[12] HRBÁČOVÁ, Jana (ed.). 2015. Křivákova pieta. Restaurování 2005/2013–2014 [Křivák's Pieta. Renovation 2005/2013–2014]. Olomouc: Muzeum umění Olomouc, 2015.
[13] IOHANNIS DE CAULIBUS. 1997. Meditationes vitae Christi, olim S. Bonaventuro attributae. Ed. by Mary Stallings-Taney. Turnhout: Brepols, 1997.
[14] MCNAMER, Sarah. 2010. Affective Meditation and the Invention of Medieval Compassion. Philadelphia: University of Pennsylvania Press, 2010.
[15] Ms. XIV A 16, National Library Prague, Passionale quod dicitur Cunegundis abbatissae, the planct on fol. 11r–17v, accessible from www.manuscriptorium.com [cited 28. 4. 2020].
[16] NEFF, Amy. 1998. The Pain fo Compassio: Mary's Labor at the Foot of the Cross. The Art Bulletin 80 (1998): 2: 254–273. | DOI 10.2307/3051232
[17] NEUBAUER, Zdeněk. 2011. O pokladu v srdci Evropy: Jedna z cest k duchovnímu bohatství obrazů Vyšebrodského oltáře [On a Treasure in the Heart of Europe: One of the Ways to the Spiritual Wealth of the 'Vyšebrodský oltář' Desk Paintings]. Praha: Malvern, 2011.
[18] OBERHELMAN, Steven M. 2012. Pharmacological and Non-Pharmacological Treatment of Headaches in Cretan Healing Manuals. ATINER'S Conference Paper Series, No: MDT2012–0009, Athens 2012, accessible from https://www.atiner.gr/papers/MDT2012–0009.pdf/ [cited 14. 4. 2019].
[19] PEŠINA, Jaroslav. 1982. Der Hohenfurther Meister. Prag: Odeon, 1982.
[20] POLÁČKOVÁ, Eliška. 2021. Marian Laments From Medieval Bohemia. Performing Suffering and Redemption Through Compassion. European Medieval Drama, in print.
[21] RUDY, Gordon. 2002. The Mystical Language of Sensation in the Latter Middle Ages. New York: Routledge, 2002.
[22] RUDY, Gordon. 2018. Touching the Book Again: The Passional of Abbess Kunigunde of Bohemia. In Patrizia Carmassi and Gia Toussaint (eds.). Codex und Material. Wolfenbütteler Mittelalter-Studien 34. Wiesbaden: Harrassowitz Verlag, 2018: 247–257.
[23] SHARROCK, Wes and Graham Button. 1991. The Social Actor: Social Action in Real Time. In Graham BUTTON (ed.). Ethnomethodology and the Human Sciences. Cambridge: Cambridge University Press, 1991: 137–175.
[24] SHOEMAKER, Stephen J. Mary at the Cross, East and West: Maternal Compassion and Affective Piety in the Earliest Life of the Virgin and the High Middle Ages. The Journal of Theological Studies 62 (2001): 570–606. | DOI 10.1093/jts/flr135
[25] SOFER, Andrew. 2003. The Stage Life of Props. Ann Arbor: The University of Michigan Press, 2003.
[26] ŠRONĚK, Michael. 2009. The Veil of the Virgin Mary: Relics in the Conflict Between Roman Catholics and Utraquists in Bohemia in the Fourteenth and Fifteenth Centuries. Umění 57 (2009): 118–139.
[27] STANISLAVSKI, Konstantin. 2003 [1936]. An Actor Prepares. New York: Routledge, 2003.
[28] TAMMEN, Silke. 2006. Blick und Wunde – Blick und Form: zur Deutungsproblematik der Seitenwunde Christi in der spätmittelalterlichen Buchmalerei. In Kristin Marek (ed.). Bild und Körper im Mittelalter. Munich: Wilhelm Fink, 2006: 85–114.
[29] URBÁNKOVÁ, Emma and Karel STEJSKAL (eds.). Pasional přemyslovny Kunhuty – Passionale abbatissae Cunegundis. Praha: Odeon, 1975.
[30] VILIKOVSKÝ, Ján. 1948. Písemnictví českého středověku [Czech Medieval Literature]. Praha: Universum, 1948.
[31] WALSH-BOWERS, Richard. 2006. A Theatrical Acting Perspective on the Dramaturgical Metaphor and the Postmodern Self. Theory & Psychology 16 (2006): 5: 661–690. | DOI 10.1177/0959354306067442
[32] WARD, Jennifer. 2002. Women in Medieval Europe: 1200–1500. New York: Routledge, 2002.
[33] WELCH, Cyril. 1981. A Preface to Reading. Philosophy & Rhetoric 14 (1981): 1: 31–50.