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首页> 外文学位 >Defining the boundaries of self and other in the Girona Beatus of 975.
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Defining the boundaries of self and other in the Girona Beatus of 975.

机译：在975的赫罗纳比阿图斯中定义自我和他人的界限。

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摘要

The history of early medieval Spain can be nearly impenetrable to modern scholars. Relatively little textual evidence dated before 1000 C.E. exists and those sources are rarely contemporary to the events they describe. Luckily early medieval Christian Iberia left behind artistic monuments, primarily illustrated manuscripts such as the Commentary on the Book of Revelation , for study. This text, written in the latter half of the eighth century by a monk named Beatus of Liebana, was reproduced in illustrated versions from the ninth to thirteenth centuries in northern Iberia and southern France.;This project will focus on a single manuscript from this group, the so-called Girona Beatus [Girona, Museu de la Catedral de Girona, Num. Inv. 7(11)] dated to 975 and probably produced at the monastery of San Salvador de Tabara in Leon. I will ask what the images of the Girona Beatus, specifically those images not directly illustrating the Commentary text itself, reveal about the Christians of the northern Iberian Peninsula. The previous scholars have focused primarily on finding a Late Antique model from which the Girona Beatus and others were merely copies. As a result, the historical context of the Girona Beatus's making has been of little concern in the scholarship. Through my examination of images that map, chart, or guide, I will discuss how contemporary events and the recent past shaped the iconography of those illuminations in the Girona Beatus.;With my project, I hope to contribute to the study of medieval Iberian art, specifically to the study of the Beatus manuscripts, by presenting an alternative framework of questions with which to approach that art. I also hope to encourage a greater level of interaction between art historians and other scholars of medieval Iberia.
机译：中世纪早期西班牙的历史几乎可以被现代学者所理解。相对而言，公元1000年以前的文字证据很少，而且这些资料对于它们描述的事件而言很少是当代的。幸运的是，中世纪早期的基督徒伊比利亚（Iberia）留下了艺术古迹，这些古迹主要是插图手稿，例如《启示录》。这段文字是八世纪后半叶由一位名叫Beatus of Liebana的和尚撰写的，在第9至13世纪的伊比利亚北部和法国南部有插图版本的复制本；该项目将集中于该组的手稿，即所谓的赫罗纳·比阿图斯[赫罗纳，圣母大教堂，赫罗纳大教堂，努姆。 Inv。 7（11）]的历史可追溯到975年，可能是在利昂的San Salvador de Tabara修道院生产的。我想问一下赫罗纳比阿图斯的图像，特别是那些没有直接说明《评论》文本本身的图像，它们揭示了北伊比利亚半岛的基督徒。以前的学者主要集中在寻找“晚期古董”模型上，赫罗纳·比阿图斯和其他人只是复制而已。结果，赫罗纳·比阿特斯（Girona Beatus）创作的历史背景在学术界几乎没有受到关注。通过检查地图，图表或指南中的图像，我将讨论当代事件和最近的过去如何塑造了赫罗纳比阿特斯（Girona Beatus）那些照明的图像。通过我的项目，我希望为中世纪伊比利亚艺术的研究做出贡献，特别是对Beatus手稿的研究，通过提出一种替代的问题框架来探讨该艺术。我也希望鼓励艺术史学家和中世纪伊比利亚其他学者之间进行更大程度的互动。

著录项

  • 作者

    Sponsler, Jessica.;

  • 作者单位

    The University of North Carolina at Chapel Hill.;

  • 授予单位 The University of North Carolina at Chapel Hill.;
  • 学科 Art History.;History Medieval.
  • 学位 Ph.D.
  • 年度 2009
  • 页码 225 p.
  • 总页数 225
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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