COMUNICAZIONI SOCIALI - 2024 - 2. BECOMING AGENS. Synesthetic and Active Processes of Image Reception in the Middle Ages by Carla Bino, Zuleika Murat is licensed under CC BY-NC-ND 4.0   
INDEX
di Carla M. Bino, Zuleika Murat
pagine: 7
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di Donatella Tronca
pagine: 7
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di Henning Laugerud
pagine: 13
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Abstract ∨
I take my point of departure in one of the Norwegian painted altar-frontals from the 13th century, from the church in Kinsarvik, and the early 14th Century Crucifix from the church of Fana outside of Bergen, and through these two specific medieval examples try to unravel some aspects of this animated and performative image culture, and the animated potential of common images and imagery through the lens of memory. Which is not just an important cognitive function of the human mind, but also a crucial cultural system. Memory makes up the cognitive environment and fundamental matrix of thinking. I argue that both the two-dimensional painted altar-frontal, and the three-dimensional ‘hyper-realistic’ sculpture might have worked as ‘image agents’ [imagines agentes], images with agency, through the movement of- and in the image user’s memory, that may be seen as a nexus between the outer and inner images and as such as a bodily and enlivening agent. Embodied and alive – articulating the performative and productive quality (or potential) of memoria, in a movement of dialogical transfiguration as animated and animating image(s). In the medieval image culture animation might be seen as a ‘total cultural fact’ – at the core of the cognitive environment of imagery – animating and animated. Animation is not only in the mind of the beholder, but in the epistemology, creation, interaction, and materiality of images. Images are embedded in social action, and animation is deeply constitutive of the production of meaning. Animation relates to the ontology of images and is a fundamental aspect of the life with images – in the pre-modern as well as today.
Images as Agents [‘imagines agentes’]. Memory and Animation by Henning Laugerud is licensed under CC BY-NC-ND 4.0
di Davide Tramarin
pagine: 20
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Abstract ∨
This article examines the agency of a small 14th-century wooden Holy Sepulchre containing a removable sculpture of the dead Christ, which originally belonged to the Cistercian nunnery of Lichtenthal, in Germany. Traditionally, scholars have assumed that this fascinating artifact was used by the whole community during the paraliturgical rites of the Easter Triduum. However, I argue that it was intended for spiritual practices related to the private devotion of the nuns. To support this argument, in this study I will first propose a reconstruction of the context related to the performance of Easter dramas in Lichtenthal. Secondly, I will focus on the specific individual devotional practice performed on the sculpture, particularly on Christ’s feet. This paper aims to provide a nuanced and precise explanation of the artwork, drawing on material evidence, archival documents, and contemporary sources. In doing so, it will elucidate the broader implications – bodily, sensory, and spiritual – of the active role played by sacred images in private devotion within medieval Cistercian convents.
“Osculatur Maria pedes Christi frequentibus osculis”. L’adorazione del Santo Sepolcro di Lichtenthal by Davide Tramarin is licensed under CC BY-NC-ND 4.0
di Magdalena Cerdà-Garriga
pagine: 11
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di Lenke Kovács
pagine: 12
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Abstract ∨
In this study, we propose to examine the scenic representation of angels as beings who, according to the definition in Luke 24:39, are pure spirits, that is, without a material body of flesh and blood. The depiction of the bodiless by Catalan late medieval playwrights and by those responsible for the organisation of processions such as the late medieval Majorcan and Valencian processions of the Guardian Angel required the transfer of the mental image into a tangible form. With angels being present in late medieval Catalan drama, for example in the context of the birth of Christ, the Passion of Christ, the Assumption of Mary, and in the lives of the saints, we examine the attributes of the heavenly beings as they can be deduced from the stage directions, the dialogues, and the archival sources. We aim to explore how the audience perceived these spiritual beings both in the context of drama and procession and to which extent the images in motion, created by playwrights and organisers of processions, respond to the depiction of angels in Catalan devotional and homiletic literature.
Harbingers, Guardians, Worshippers, and Warriors – Depicting Angels in Catalan Late Medieval Plays and Processions by Lenke Kovács is licensed under CC BY-NC-ND 4.0
di Franco Benucci
pagine: 18
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di Andrew Horn
pagine: 24
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MISCELLANEOUS SECTION
di Antonella Capalbi, Eleonora Costantini, Tommaso Fabbri, Serafino Negrelli, Giulia Piscitelli
pagine: 21
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Abstract ∨
The aim of this work is to critically examine the dimensions around which the process of flexibilisation of work has developed over time and to analyse the audiovisual forms in which it has been represented. Specifically, the analysis was carried out on the basis of 103 videos archived over the ten years of the project “Short on Work - International Context for Short Videos on Work”. The context is informed by a research question that guided its application and video selection process, making it a solid case study. After a brief reconnaissance of the multiple forms that flexible work has taken over time in advanced capitalist contexts, the theoretical frame of reference is defined in the wake of Cultural Studies and Visual Studies. Starting from a selection of nine videos considered representative of the different phases of the flexibilisation process, a number of relevant dimensions were identified for analysis, which were used in an inductive process to analyse the entire corpus of videos. The results of the analysis were discussed in terms of both the content represented by the videos and the form used to represent it. The results of the analysis point firstly to the fact that flexibilisation has been an ongoing process in a particular geopolitical context for about thirty years. This process has been socially accepted over time: even today, flexibility is first and foremost a way of life and not just a way of working. From this point of view, the grid used to analyse the short films captures the recurring dimensions in the processes of flexibilisation, which ‒ in the wake of Cultural Studies ‒ are represented in the videos as cultural products. At the same time, however, in the broader framework of Visual Studies, videos also become instruments of knowledge because they manage to fill these dimensions with individual biographies. In other words, videos make it possible to clearly analyse how the process is perceived in the first person by those who undergo it. The short films thus succeed in making visible, and therefore analysable, a precise point of view: that of the male and female workers. They are the protagonists of the videos analysed, and it is mainly through them that the consequences of the process of flexibilization studied are measured. From a methodological point of view, however, the process of analysis and the tools used have interesting potential both for analysing the same phenomenon in other geocultural contexts and for analysing other work-related issues that have found space in mainstream debate and representation.
Rappresentare la flessibilizzazione del lavoro. Un’analisi critica a partire dall’archivio audiovisivo di Short On Work by Antonella Capalbi, Eleonora Costantini, Tommaso Fabbri, Serafino Negrelli, Giulia Piscitelli is licensed under CC BY-NC-ND 4.0
di Davide Lampugnani, Monica Martinelli
pagine: 16
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Abstract ∨
In the last decades, biographical research has gained increasing relevance and visibility in social sciences. Starting from different themes, many scholars have proposed and explored new perspectives, concepts, and research methods. In particular, wide focus has been given to the relationship between individual biography and social change. Within this field, the article aims to analyze the concept of “founding rupture” (“rupture instauratrice”) as proposed by Michel de Certeau in his works. By identifying four dimensions (rupture of history; opening of possibilities; plural authorities; risk practice), biography could be read as an individual and social trajectory made of both continuity and change. The article concludes by adopting the concept to analyze two life stories.
Rotture instauratrici. Leggere racconti di vita alla luce della prospettiva di Michel de Certeau by Monica Martinelli, Davide Lampugnani is licensed under CC BY-NC-ND 4.0
di Maria Roberta Novielli
pagine: 10
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