El llindar de la modernitat: Mallorca a la tardor medieval i el Renaixmeent, editat per Rafael Ramis Barceló, Madrid, Sindéresis, ISBN 978-84-10120-36-5, 2024
El present text té com a objectiu presentar l’anàlisi de tres obres del teatre català antic que s... more El present text té com a objectiu presentar l’anàlisi de tres obres del teatre català antic que s’inscriuen en la tradició del Memento mori: la Consueta del Juý, la Representació de la Mort i la Consueta dels Set Sagraments, és a dir les peces núm. 11, 36 i 40 del Manuscrit Llabrés (Ms. 1139 de la Biblioteca de Catalunya), també conegut com a «consuetes mallorquines». Analitzem la manera en què aquestes tres peces enfoquen la presa de consciència de la mortalitat de l’ésser humà i la reflexió sobre les darreries de la humanitat, tot assenyalant aquells elements que pertanyen a la tradició medieval i aquells que es poden interpretar com a signes d’una aproximació contrareformista al tema en qüestió.
The aim of this text is to present the analysis of three Catalan late medieval plays that are part of the Memento mori tradition: the Play of the Last Judgement (Consueta del Juý), the Performance of Death (Representació de la Mort) and the Play of the Seven Sacraments (Consueta dels Set Sagraments), that is to say the pieces no. 11, 36 and 40, respectively, of Ms. 1139 of the Biblioteca de Catalunya, which is known as Majorcan play texts (consuetes mallorquines). We analyze the way in which these three plays focus on the awareness of the mortality of the human being and the reflection of the end of the world, pointing out those elements that belong to the medieval tradition and those that can be interpreted as the signs of a counter-reformist approach to the subject.
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Papers by Lenke Kovács
The aim of this text is to present the analysis of three Catalan late medieval plays that are part of the Memento mori tradition: the Play of the Last Judgement (Consueta del Juý), the Performance of Death (Representació de la Mort) and the Play of the Seven Sacraments (Consueta dels Set Sagraments), that is to say the pieces no. 11, 36 and 40, respectively, of Ms. 1139 of the Biblioteca de Catalunya, which is known as Majorcan play texts (consuetes mallorquines). We analyze the way in which these three plays focus on the awareness of the mortality of the human being and the reflection of the end of the world, pointing out those elements that belong to the medieval tradition and those that can be interpreted as the signs of a counter-reformist approach to the subject.
The Christmas custom of ‘cradle rocking’ (Kindelwiegen), documented in the German speaking territories from the fourteenth century onwards, achieved wide popularity both in the secular and in the religious context. The manger or crib (Krippe) mentioned in the Gospel (Luke 2. 2-7, 12, 16) was turned into a cradle (Wiege), thus enabling the faithful to express their devotion to the Infant by getting involved both spiritually and physically in the act of worship. In the present essay the author analyses the tradition of ‘cradle rocking’ with regard to its characteristics, its function and its forms, taking into account the criticism and appraisal the practice brought about among contemporary Church authorities, such as Gerhoh of Reichersberg and Martin Luther.
Keywords:
Cradle rocking / Manger / Hesse Nativity Play / Gerhoh of Reichersberg / Martin Luther / German Christmas customs / Ludus in cunabulis Christi / Resonet in laudibus / Joseph, lieber Joseph mein
The aim of this text is to present the analysis of three Catalan late medieval plays that are part of the Memento mori tradition: the Play of the Last Judgement (Consueta del Juý), the Performance of Death (Representació de la Mort) and the Play of the Seven Sacraments (Consueta dels Set Sagraments), that is to say the pieces no. 11, 36 and 40, respectively, of Ms. 1139 of the Biblioteca de Catalunya, which is known as Majorcan play texts (consuetes mallorquines). We analyze the way in which these three plays focus on the awareness of the mortality of the human being and the reflection of the end of the world, pointing out those elements that belong to the medieval tradition and those that can be interpreted as the signs of a counter-reformist approach to the subject.
The Christmas custom of ‘cradle rocking’ (Kindelwiegen), documented in the German speaking territories from the fourteenth century onwards, achieved wide popularity both in the secular and in the religious context. The manger or crib (Krippe) mentioned in the Gospel (Luke 2. 2-7, 12, 16) was turned into a cradle (Wiege), thus enabling the faithful to express their devotion to the Infant by getting involved both spiritually and physically in the act of worship. In the present essay the author analyses the tradition of ‘cradle rocking’ with regard to its characteristics, its function and its forms, taking into account the criticism and appraisal the practice brought about among contemporary Church authorities, such as Gerhoh of Reichersberg and Martin Luther.
Keywords:
Cradle rocking / Manger / Hesse Nativity Play / Gerhoh of Reichersberg / Martin Luther / German Christmas customs / Ludus in cunabulis Christi / Resonet in laudibus / Joseph, lieber Joseph mein