The Reception and Adaptation of Courtly Culture in Old Norse Society: Changing Conceptions of Hierarchy and Networks in Two Versions of Tristrams saga

Author(s):  
Hans Jacob Orning
Keyword(s):  
2020 ◽  
pp. 103-122
Author(s):  
Sara Benninga

This article examines the changing approach towards the representation of the senses in 17th-century Flemish painting. These changes are related to the cultural politics and courtly culture of the Spanish sovereigns of the Southern Netherlands, the Archdukes Albert and Isabella. The 1617–18 painting-series of the Five Senses by Jan Brueghel the Elder and Peter Paul Rubens as well as the pendant paintings on the subject are analyzed in relation to the iconography of the five senses, and in regard to Flemish genre themes. In this context, the excess of objects, paintings, scientific instruments, animals, and plants in the Five Senses are read as an expansion of the iconography of the senses as well as a reference to the courtly material culture of the Archdukes. Framing the senses as part of a cultural web of artifacts, Brueghel and Rubens refer both to elite lived experience and traditional iconography. The article examines the continuity between the iconography of the senses from 1600 onwards, as developed by Georg Pencz, Frans Floris, and Maerten de Vos, and the representation of the senses in the series. In addition, the article shows how certain elements in the paintings are influenced by genre paintings of the courtly company and collector’s cabinet, by Frans Francken, Lucas van Valckenborch and Louis de Caullery. Through the synthesis of these two traditions the subject of the five senses is reinvented in a courtly context


2019 ◽  
Vol 15 ◽  
pp. 81-104
Author(s):  
Manu Braithwaite-Westoby

Few scholars would deny that some Old Norse myths have Christian counterparts, a phenomenon first noticed by nineteenth-century archaeologists and antiquarians in their observations of Anglo-Scandinavian stone sculpture in northern England. It is strange, therefore, that despite this long tradition, there is no systematic study on the topic. While this ambition is unfortunately outside the scope of this article, it does seek to address a number of Old Norse myths/legends and place them in conjunction with their Christian counterparts. One of the most important myths for Anglo-Scandinavian craftsmen was probably Sigurðr, who has an obvious parallel in Christ. The apocalyptic narrative in Voluspa known as Ragnarök was also a very popular subject and has a clear cognate in the apocalyptic sections of the Bible. Þórr and the Miðgarðsormr, though less appealing to artists, strongly recalls accounts of the conflict between Christ and Satan or Leviathan. This article uses a theoretical methodology called ‘figural interpretation’ to examine the Old Norse myths and explore how they reflect certain myths from the new religion. While distinctly art historical in approach, this article also invokes some Old Norse texts where relevant, which may themselves have been influenced by Christian thinking.


Mediaevistik ◽  
2018 ◽  
Vol 31 (1) ◽  
pp. 366-366
Author(s):  
Albrecht Classen

Eddic poetry constitutes one of the most important genres in Old Norse or Scandinavian literature and has been studied since the earliest time of modern-day philology. The progress we have made in that field is impressive, considering the many excellent editions and translations, not to mention the countless critical studies in monographs and articles. Nevertheless, there is always a great need to revisit, to summarize, to review, and to digest the knowledge gained so far. The present handbook intends to address all those goals and does so, to spell it out right away, exceedingly well. But in contrast to traditional concepts, the individual contributions constitute fully developed critical article, each with a specialized topic elucidating it as comprehensively as possible, and concluding with a section of notes. Those are kept very brief, but the volume rounds it all off with an inclusive, comprehensive bibliography. And there is also a very useful index at the end. At the beginning, we find, following the table of contents, a list of the contributors, unfortunately without emails, a list of translations and abbreviations of the titles of Eddic poems in the Codex Regius and then elsewhere, and a very insightful and pleasant introduction by Carolyne Larrington. She briefly introduces the genre and then summarizes the essential points made by the individual authors. The entire volume is based on the Eddic Network established by the three editors in 2012, and on two workshops held at St. John’s College, Oxford in 2013 and 2014.


Author(s):  
Ildar Garipzanov

The first section tests the main interpretations of Lactantius’ passage on Constantine’s victorious sign in 312 against existing graphic evidence from the 310s and early 320s, and consequently supports the interpretation of Lactantius’ description as a rhetorical device invented or modified by the Christian narrator. The next two sections support the argument that the perception of the chi-rho as Constantine’s triumphant sign became entrenched in courtly culture and public mentalities from the mid-320s onwards, and trace the diachronic change of the chi-rho from its paramount importance as an imperial sign of authority under the Constantinian dynasty to its hierarchic usage alongside the tau-rho and cross in the Theodosian period. The final section presents a contextualized discussion of the encolpion of Empress Maria and mosaics from several early baptisteries, illustrating the paradigmatic importance the chi-rho and tau-rho for early Christian graphicacy around the turn of the fifth century.


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