The purpose of this thesis is to analyze and discuss the changing ways in which the visual art of heraldiy was perceived by the feudal aristocracy of twelfth- and thirteenth-century England. It shows how the aristocracy evolved from a military class to a courtly, chivalric class, and how this change affected art and culture. The shifts in the perceptions of heraldry reflect this important social development of the knightly class.

The purpose of this project is to explore the historical image of Hell in Medieval Europe as an agent of socialization for illiterate Christian communities. The project focuses on a literary work, Tundale’s Vision, written in 1149 C.E in Cashel, Ireland. Tundale’s Vision came from a genre of vision literature derived from popular oracular folk tradition surrounding the image of Hell that served the purpose of socializing Christian communities to certain social norms and stigmas presented by the author. Vision literature would be used by preachers in vernacular sermons throughout the Medieval period in order to reinforce moral and social messages presented in to their congregations, and it drew much of its themes and imagery from folk traditions in order to be more relatable to local communities. This research provides a historical context from which this genre of literature emerged including a discourse on how it gained power as an agent of socialization in Medieval Europe. Time is devoted to the historical state of what are generally considered primary agents of socialization in human societies throughout Medieval Europe, and research reveals that much of these agents, aside from religion, were inaccessible to the majority of Medieval Europeans, especially those of the lower class. Additionally, this project provides information on the rise in popularity of the artistic image of Hell in the Medieval period. The analysis of Tundale’s Vision, a work that emerged from this environment saturated with artistic depictions of Hell, reconstructs potential social norms and stigmas of 12th century Ireland relating to a contemporary reform movement within the Irish Christian church. This analysis provides the historical origin of many images commonly associated with the popular Medieval conception of Hell as it appears in Tundale’s Vision, and it analyzes the use of the fear of a painful afterlife in order spread and reinforce ideals presented by the Christian Church. Much of this project draws from the scholarly works of Gwenfair Adams and John Seymour who produced research concerning Tundale’s Vision, other works of vision literature, and their impact on Medieval Christian communities. The power of religious artwork in the process of socialization in Medieval Ireland should become apparent throughout this work.

Au cours de la « Renaissance du XIIe siècle », l'écriture de l'histoire s'épanouit dans l'Europe Latine. L'un des genres dans lequel ce phénomène est le plus visible est celui des chroniques universelles. Les chroniqueurs tentent d'y raconter l'histoire de l'humanité, depuis la Création jusqu'à leur propre époque. Certaines sont particulièrement riches en matière d'histoire ancienne, et fournissent même parfois d'amples informations sur l'Orient ancien. Pourquoi des moines reclus dans leurs monastères s'intéressaient-ils à une histoire aussi éloignée dans le temps et dans l'espace ? Le présent travail s'occupe de deux grandes sections de l'histoire orientale telle qu'elle était conçue au XIIe siècle : les empires qui tournaient autour de la ville de Babylone et les hauts faits militaires d'Alexandre dans les régions d'Asie. En analysant le traitement que leur réservent les chroniques universelles, on observe que les auteurs ont mis ces histoires au service de problématiques propres à leur temps, guidés par des intérêts chaque fois plus proches du monde séculier. En même temps, ils utilisèrent des méthodes propres à l'historiographie, ce qui aboutit à différencier significativement leurs travaux des commentaires bibliques et des romans d'antiquité. / During the "Renaissance of the 12th century" there was a flourishing of historical writing in Latin Europe. One the genres where this is most noticeable is in the universal chronicles. In them, the chroniclers outline the history of the world from Creation until their own period. Some of them are particularly rich in ancient history and they provide a lot of information of the ancient Orient. Why did monks secluded in their monasteries take interest on a history so far removed from them in time and space? This study considers two great sections of ancient oriental history as it was understood in the twelfth century: the empires surrounding the city of Babylon and the military deeds of Alexander the Great in Asia. Analyzing the treatment that the universal chronicles give them we can appreciate that the authors put these histories at the service of the problems of their own time, being guided increasingly by interests close to the secular world. At the same time they used methods of historiography, which significantly differentiated their works from biblical commentary and the "romances of antiquity".

La littérature en langue vernaculaire du XIIe siècle cristallise une évolution lente dans les styles d'écriture : une simple lecture permet de constater l'absence ou presque de métaphores dans les chansons de geste, alors que des expressions métaphoriques, originales et diversifiées, ornent en nombre non négligeable les romans et les lais. Les arts poétiques médiolatins des XIIe et XIIIe siècles proposent leur définition de la métaphore, se situant dans la lignée des textes théoriques de l'Antiquité ou au contraire privilégiant la rupture. Ce bouillonnement réflexif caractérise l'engouement de l'époque pour le tour métaphorique. L'apparition et le développement de la littérature romanesque entraînent, dans son sillage, des modifications dans les manières de concevoir l'écriture : le traitement de certains motifs littéraires, au premier rang desquels la passion, ainsi que des contraintes nouvelles liées à la versification favorisent le recours aux métaphores. Des influences extérieures jouent également un rôle dominant : la littérature médiévale s'inspire de la poésie élégiaque latine, qui se complaît dans l'utilisation d'images amoureuses, mais également de la lyrique d'oc, qui offre une vision différente de la passion, fondée sur la réciprocité. / A slow evolution concerning the writing styles has taken shape in vernacular literature of the 12th century. A simple reading reveals that whilst hardly any metaphors are used in epic poems, original and varied figures of speech abound in novels and lays. The medieval Latin poetic arts of the 12th and 13th centuries have their own definition of metaphor. They either follow the line of ancient theoretical texts or choose to recreate it. This ferment of ideas illustrates the infatuation with metaphors which prevailed at that time. The appearance and the subsequent development of novelistic literature have caused writing modifications : the way some literary motifs –first and foremost passion- and new restraints due to versification encourage the use of metaphors. External influences also play a major part : medieval literature is inspired by Latin elegiac poetry -which indulges in love images- and by troubadour poetry, the latter offers another point of view about passion, based on reciprocity.

While we can easily acknowledge that many aspects the texts written by Chrétien de Troyes have been studied and discussed through the centuries, it is always possible to apply a new reading to the author's work. Like many authors of the same time period, the author of Le Conte du graal and LeChevalier de la charrette was not only writing for the audience of his time but was also openly targeting an audience set in a different century and social context. This timeless aspect of Chrétien's work is part of what makes his texts intricate and still relevant to this day. It also allows us to understand the impact they had by the time they were written as well as the long lasting interest that has been keeping them current throughout eight centuries. While the courteous aspect of these texts seems to be mostly relevant to the audience of a certain time period it is possible for us to conduct a psychoanalytical reading of Chrétien's work in order to appreciate the long- lasting qualities of these tales almost eight hundred years later. By using the drive theory established by Freud along with the work of Lacan based on search for the I, studies which were both established during the twentieth century, we will analyze the untold motivations of the quest and define the relationship between the knight and his physical and inner journey. In this study we will consistently question these motivations. In order to understand them we will first discuss the implications of the quest in a set medieval context which will then lead us to look at this behavior outside of this timeframe in order to focus on the psychological elements of these texts.

The master thesis focuses on a neumed breviary, which presently resides in the Czech National Library under the signature VI.E.4c. The source, originally from the library of women's Benedictine monastery of St. George at the Prague Castle, dates from the middle of 12th century and is the oldest neumed manuscript from the convent. However, it is not clear where it was created and for whom. The breviary might have been intended for the convent from the beginning or got to its library later. Therefore, the main aim of this work is to find out the provenance of the codex. The first chapter deals with the physical description of the manuscript. Especially the musical-palaeographic aspects are inspected, both the original and younger (written usually in margins). The newly discovered fragment XXIV.A.65, which originally belonged to the breviary, is also investigated. With the use of these aspects, the possibilities of the source's provenance are specified. The content of the breviary is examined in the second chapter. The single sections of the manuscript are described: calendar, tonary, Commune Sanctorum and the liturgical year itself. The chapter also mentions some of the typical specifics, which appearred during the work at the musical-liturgical index of the third and fourth section of the breviary,...

The purpose and scope of this paper is to discuss the emergence of the individual in the eleventh and twelfth centuries in light of the societal changes occurring at the time, and to establish the fact that this beginning of individualism can be seen particularly in the arts of the time. The evidence presented gives rise to the supposition that the society of the eleventh and twelfth centuries can be defined as humanistic, given that humanism implies a concern with and a concentration upon life on earth as opposed to life in heaven.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-05-12T13:15:46Z No. of bitstreams: 1 Mônica Soares Stacheski.pdf: 20430811 bytes, checksum: e8a855e80c376c2b39448d517600276c (MD5) / Made available in DSpace on 2017-05-12T13:15:46Z (GMT). No. of bitstreams: 1 Mônica Soares Stacheski.pdf: 20430811 bytes, checksum: e8a855e80c376c2b39448d517600276c (MD5) Previous issue date: 2017-02-17 / Antidotarium Nicolai is a collection of recipes of composite medicines probably written about 1180 in Salerno, southern Italy, was related to the medical literary movement originated in the School of Salerno. Its author remains unknown, although the manuscript begins stating “Ego, Nicolaus” (I, Nicholas). It was written for the author’s colleagues, i.e., practicing doctors, or students as a practical book on the preparation of medicines. Copied in hundreds of manuscripts and printed as incunabula and books, Antidotarium Nicolai circulated across medical schools outside Italy starting at the end of the 13th century. It was included both officially and unofficially in the syllabus of European university courses along the Middle Ages and modern times. The present study discusses the historical-social context, secondary literature and primary sources closest to Antidotarium Nicolai and analyzes its content from the perspective of history of science / O Antidotarium Nicolai é uma coleção de receitas de medicamentos compostos, redigido provavelmente perto de 1180, na cidade de Salerno, no sul da península itálica e conexo ao movimento literário médico da Escola de Salerno. De autoria desconhecida, apesar do autor escrever “Ego, Nicolaus” (Eu, Nicolau), essa obra surgiu da solicitação de colegas praticantes de medicina ou discípulos, no sentido de elaborar uma obra prática sobre a produção de medicamentos. Copiado em centenas de manuscritos, impresso em incunábulos e livros, o Antidotarium Nicolai circulou em escolas médicas estrangeiras a partir do final do século XIII. Fez parte de currículos universitários de forma oficial e extraoficial pela Europa medieval e moderna. O presente estudo averigua o contexto histórico-social, a literatura secundária e as fontes primárias temporalmente mais próximas da origem, e faz uma análise da obra da perspectiva da história da ciência

In the Beneventan region, chant manuscripts and the chants they transmitted served as a documentary ritualization of political and liturgical transition. In the twelfth century, circumstances relegated the Beneventan monastery of San Pietro extra muros, for which the chant manuscript Ben 35 was destined, and its parent monastery San Vincenzo al Volturno, to liminal frontier positions between political and liturgical factions. Newly-composed music such as that found in Ben 35 anchored the alliegances of these monasteries within a fluctuating political and liturgical context at a time when ties to Rome and assertion of local practices were both necessary to assure the continuation of a monastery's influence. Thus Ben 35's unusual features are more easily explained when greater consideration is given to the context of its origin and destination. In particular, the destination of Ben 35 played a very important role in determining the musical styles of the chants that were associated with the feasts of Saint Vincent and Saint Peter, saints whose cults were most closely tied to the location of the manuscript. / text

The kings of Norway issued coins on a regular basis starting in the mid-11th century, and probably conducted renovatio monetae whenever a new king came to power. As a privilege of bona regalia, the king could use coin production to serve his own interests. Economic factors are usually the main focus of discussions on coinage, but there were also political, religious and cultural dimensions that must have been important both for the production of coins and in the choice of motives, form and style. From the outset, manipulation of the coinage is visible in the debasement of silver content, followed by a reduction in weight to re-establish the silver level.  In the 12th century, the weights continued to drop and single-faced coins and bracteates became the standard; only a few biface coins are known. These small coins and bracteates from the 12th century carry little or no information concerning issuer, date or place of production. This lack of information has resulted in a gap in our knowledge about the role of these coins in medieval society in Norway. This role was dependent both on the intentions of the producer and on how the coins were perceived by the people, and their will to use them in certain ways. What were the reasons behind issuing the smallest coins ever produced in coin history, and what impact did this dramatic reduction in weight have on the understanding and use of the coin? To advance the discussion it has been vital to establish new knowledge about chronology, coin-issuing authority and mints. These areas have been addressed through two analyses using numismatic and archaeological methods. The results of the initial analyses are combined with an investigation of the size of the coin production and a study of archaeological contexts, in order to reveal how, where and when the bracteates were used.  The theoretical approach to understanding the role of coins is inspired by theories in anthropology and sociology about the many ways in which money can be incorporated in a society, emphasising the complex social component of coins in contrast to the traditional economic emphasis on their neutral qualities as a means of exchange. Central to this are the concepts behind formalism and substantivist and post-substantivist theory. The study concludes with a discussion that explores what can be said about economy and economic systems based on the 12th-century Norwegian coins.