“I feel you”. Using the Mother’s Gaze to See beyond Otherness

digital

Articolo

rivista	COMUNICAZIONI SOCIALI
fascicolo	COMUNICAZIONI SOCIALI - 2018 - 2. iGEN CINEMA Moving Image Consumption and Production by Post-Millennials
titolo	“I feel you”. Using the Mother’s Gaze to See beyond Otherness
Autore	Carla Bino
Editore	Vita e Pensiero
formato	Articolo \| Pdf
online da	09-2018
doi	10.26350/001200_000018
issn	0392-8667 (stampa) \| 1827-7969 (digitale)
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Descrizione Commenti dei lettori
This article is focused on a new narrative form of the Planctus Mariae: the prayer to the glorious Mary in order to obtain the tale of the pain she felt during the death of her Son. Through the analysis of some textual examples – in particular of the Planctus written by the Cistercian monk Oglerio from Lucedio at the end of the 12th century – this paper aims to underline a different dramatic device of the representation of the Passion of Christ which is characterized by a very specific ‘affective gaze’, capable to see and to feel the likeness to God at the same time. As a consequence, the concept of ‘otherness’ is defined according to an affective knowledge and must be intended as ‘unlikeness’ to God. From Bernard to Dante, seeing through the eyes of Mary makes it possible both to acknowledge the ‘other’ as a neighbour, and to recognise in God “la nostra effige”. keywords Christian drama; Planctus Mariae; visual culture of the Middle Ages; performative vision; Cistercian affectus. Biografia dell'autore carla.bino@unicatt.it Inserisci un commento per “I feel you”. Using the Mother’s Gaze to See beyond Otherness

Descrizione Commenti dei lettori

This article is focused on a new narrative form of the Planctus Mariae: the prayer to the glorious Mary in order to obtain the tale of the pain she felt during the death of her Son. Through the analysis of some textual examples – in particular of the Planctus written by the Cistercian monk Oglerio from Lucedio at the end of the 12th century – this paper aims to underline a different dramatic device of the representation of the Passion of Christ which is characterized by a very specific ‘affective gaze’, capable to see and to feel the likeness to God at the same time. As a consequence, the concept of ‘otherness’ is defined according to an affective knowledge and must be intended as ‘unlikeness’ to God. From Bernard to Dante, seeing through the eyes of Mary makes it possible both to acknowledge the ‘other’ as a neighbour, and to recognise in God “la nostra effige”.