Thesis (Ph. D.)--University of Missouri-Columbia, 2004. / Typescript. Vita. Includes bibliographical references (leaves 205-217). Also available on the Internet.

Thesis--Lund. / Summary in English. Includes bibliographical references (p. 247-251).

Thesis--Berlin. / Vita. Includes bibliographical references.

Thesis (Ph. D.)--State University of New York at Binghamton, 1984. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 131-150, 274-279).

Thesis--Lund. / Summary in English. Bibliography: p. 247-251.

Tese (doutorado)—Universidade de Brasília, Instituto de Ciências Humanas, Programa de Pós-Graduação em História, 2017. / Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2017-08-24T16:00:18Z No. of bitstreams: 1 2017_ThiagoJoséBorges.pdf: 17584423 bytes, checksum: 0079875ec28bce4e3ac311d600c8e770 (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2017-09-22T16:55:54Z (GMT) No. of bitstreams: 1 2017_ThiagoJoséBorges.pdf: 17584423 bytes, checksum: 0079875ec28bce4e3ac311d600c8e770 (MD5) / Made available in DSpace on 2017-09-22T16:55:54Z (GMT). No. of bitstreams: 1 2017_ThiagoJoséBorges.pdf: 17584423 bytes, checksum: 0079875ec28bce4e3ac311d600c8e770 (MD5) Previous issue date: 2017-09-22 / Tomando como referência fontes textuais, imagéticas e, sobretudo, cartográficas, o presente estudo se fundamenta na análise crítica dos processos e eventos responsáveis pela consolidação, no Ocidente medieval cristão, das diferentes formas de percepção e representação dos espaços sagrados. Espaços de culto, devoção e peregrinação que extrapolam os limites de seus domínios materiais e encontram, no âmbito do pensamento religioso, novas formas, sentidos e significados. Pontos centrais de uma geografia sagrada, que ao largo da Idade Média foi sendo progressivamente construída, estes loca sancta atuam como espaços de memória do cristianismo, suscitando práticas, discursos e comportamentos que se ramificam entre os diferentes estratos da sociedade medieval. Como sutis indícios de uma complexa estrutura social, acreditamos que essas representações foram efetivamente capazes de registrar as sensibilidades de uma sociedade delineada pela complexidade dual do sagrado e do profano. Portanto, para além dos aspectos formais que regem os princípios de sua produção artística e intelectual, interessa-nos igualmente a compreensão das práticas e realidades que permeavam o cotidiano dos homens e mulheres que pensaram, traçaram e, a seu modo, fizeram uso operativo desses textos e imagens. / Taking textual, iconographic and, mainly, cartographic sources by reference the present study is based on a critical analysis of the processes and events responsible for the consolidation of the different forms of perception and representation of the sacred spaces in the medieval Christian West. Spaces of worship, devotion and pilgrimage that go beyond the limits of its material domain and find, in the context of religious thought, new shapes, meanings and symbologies. Key features of a sacred geography, which had been progressively built throughout the Middle Ages, these loca sancta act as a memory space of Christianity, calling forth practices, speeches and behaviors that branch out among the different strata of medieval society. As subtle evidences of a complex social structure, we believe that these representations were effectively capable of register the sensitivities of a society outlined by the dual complexity of the sacred and the profane. Therefore, in addition of the aspects that rule the principles of its artistic and intellectual production, we are equally interested on the understanding of the practices and realities that pervade the daily life of those men and women who thought, traced and, in their own way, have made an operative use of writings and images, tranced and, in their own way, made operational use of these texts and images. / Teniendo como referencia fuentes textuales, imagéticas y, sobre todo, cartográficas, el estudio que ahora se presenta se basa en el análisis crítico de los procesos y eventos responsables por la consolidación, en el Occidente medieval cristiano, de las diferentes formas de percepción y representación de los espacios sagrados. Espacios de culto, devoción y peregrinación que extrapolan sus limites materiales y encuentran, en el ámbito del pensamento religioso, nuevas formas, sentidos y significaciones. Puntos centrales de una geografia sagrada, construida al longo de la Edad Media, estos loca sancta actúan como espacios de memoria del cristianismo, suscitando prácticas, discursos y comportamentos que se ramifican entre los diferentes estratos de la sociedade medieval. Como sutiles indicadores de una estructura social compleja, creemos que estas representaciones fueran capaces de registras las sensibilidades de una sociedade delineada por la complejidad dual de lo sagrado y lo profano. Por lo tanto, además de los aspectos formales que rigen los principios de su producción artística y intelectual, nos interesa igualmente la comprensión de las prácticas y realidades que influian em la vida cotidiana de los hombres y mujeres que pensaban, dibujaban y, a su manera, hicieran uso operativo de estos textos y imágenes.

<p> This dissertation explores the close literary, thematic and linguistic relationships between <i>The Hebrew Chronicles of the First Crusade</i> and the later pietistic text <i>Sefer Hasidim</i>. Despite a long-standing tendency to view the Jewish martyrdom of 1096 and the development of German pietism (<i>Hasidut Ashkenaz</i>) as unrelated. upon closer scrutiny, we find strong ties between the two texts. <i>Sefer Hasidim</i>, the most well-known pietistic text, contains dozens of martyrological stories and references that share similar language, themes and contexts as the crusade chronicles. Indeed, rather than standing alone, and unrelated to the first crusade literature, we find tales of martyrdom that closely resemble those in the first crusade narratives. <i>Sefer Hasidim</i> also contains numerous statements that indicate the primacy of martyrdom within the hierarchy of the pietistic belief system, while other martyrological references function as prooftext for the traditional pietistic themes distilled by Ivan Marcus and Haym Soloveitchik. The extent to which martyrological themes are integrated into the belief system articulated in <i>Sefer Hasidim</i> indicates that the martyrdom of the First Crusade should be viewed as formative to the development of <i>Hasidut Ashkenaz</i>. A close reading of <i> Sefer Hasidim</i> conclusively demonstrates this premise. Moreover, a similar analysis of the crusade chronicles reveals a wide range of martyrological tales described in quintessential pietistic terms; expressions of the will of God, the fear of God. and the pietistic preference for life in the hereafter, are found throughout the martyrological text.</p><p> When reading these two diverse texts side by side, we find substantive elements of a common world view spanning the period of the first crusade through the appearance of <i>Sefer Hasidim</i>. This allows us to understand each text through a new lens; the crusade chronicles now appear to be an early articulation of pietistic thought, while the later pietistic text now reads in part as a martyrological document of great significance.</p><p>

Focusing on a small number of richly illuminated manuscripts produced in Cologne around the year 1000—and known to scholars since the early twentieth century as the so-called "painterly" group of manuscripts—this dissertation takes the close study of a well-defined group of objects as the starting point for an examination of issues central to broader histories of medieval art. A diptych-like pairing of miniatures with inscriptions, each of which is given a full page, constitutes a characteristic feature of these manuscripts. Because these inscriptions were written specifically to accompany the facing images, the manuscripts from Cologne afford us a rare glimpse of a discourse on art and image making in the tenth and eleventh centuries, as well as providing insights into how such miniatures were meant to be viewed. The first chapter establishes a theoretical framework for the project, which examines both the historical and the scholarly origins of the Cologne School. Moreover, the concept of a "painterly" style is scrutinized and its use is traced back to significant developments in German art-historical writing of the late nineteenth century. The second chapter—devoted to a remarkable, yet relatively unknown tenth-century gospel book in Milan—demonstrates how the manuscript's carefully-crafted pictorial program draws upon an impressive tradition of Carolingian poetry and epigraphy in order to instill a pointed moralizing lesson on its recipient. A closely related sister-manuscript, preserved today in Paris, forms the subject of the third chapter, which demonstrates how the designer of its program employed philosophical and dialectical terms—taken from the school texts of the day—in order to devise an ambitiously complex set of miniatures and inscriptions, centered on a contemplative engagement with the paintings. The dissertation concludes with a chapter on the more famous Hitda Codex, illuminated at the behest of a powerful abbess in the early eleventh century. Through an analysis of the manuscript's narrative program, the chapter details how both image and inscription coordinate the active engagement of the viewer—prompting a consideration of the ways in which the pairings function as allegories of introspection. Throughout the dissertation I aim to reconcile the innovative formal qualities of the miniatures with the unusual complexity of their accompanying inscriptions. As a consequence of this study, it can be demonstrated that in the painterly manuscripts from Cologne, the close intertwining of image and inscription results in sophisticated programs of illumination, which elucidate an unprecedented contemporary reflection on the nature of painting in age otherwise known for its scarcity of written sources on art. / History of Art and Architecture

The so-called Crusader States established by European settlers in the Levant at the end of the eleventh century gave rise to a variety of Latin literary works, including historiography, sermons, pilgrim guides, monastic literature, and poetry. The first part of this study (Chapter 1) critically reevaluates the Latin literary texts and combines the evidence, including unpublished materials, to chart the development of genres over the course of the twelfth century. The second half of the study (Chapters 2–4) subjects this evidence to a cultural-rhetorical analysis, and asks how Latin literary works, as products by and for a cultural elite, appropriated preexisting materials and developed strategies of their own to construct a Frankish cultural identity of the Levant. Proceeding on three thematically different, but closely interrelated, lines of inquiry, it is argued that authors in the Latin East made cultural claims by drawing on the classical tradition, on the Bible, and on ideas of a Carolingian golden age. Chapter 2 demonstrates that Latin historians drew upon classical traditions to fit the Latin East within established frameworks of history and geography, in which the figures Vespasian and Titus are particularly prevalent. Chapter 3 traces the development of the conception of the Franks in the East as a “People of God” and the use of biblical texts to support this claim, especially the Books of the Maccabees. Chapter 4 explores the extent to which authors drew on the legend of Charlemagne as a bridge between East and West. Although the appearance of similar motifs signals a degree of cultural unity among the authors writing in the Latin East, there is an abundant variety in the way they are utilized, inasmuch as they are dynamic rhetorical strategies open to adaptation to differing exigencies. New monastic and ecclesiastical institutions produced Latin writings that demonstrate an urge to establish political and religious authority. While these struggles for power resemble to some extent those between secular and ecclesiastical authorities and institutions in Western Europe, the literary topoi the authors draw upon are specific to their new locale, and represent the creation of a new cultural-literary tradition. / Classics

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