'The Passion of Christ in Monastic Literature, c.1000-c.1200'

中世纪晚期的西方在它的心脏持有一个痛苦的形象：基督在十字架上受苦。这一形象从大教堂的彩色玻璃窗、教区教堂的祭坛装饰品和修道院图书馆的照明柜中给观察者留下了深刻的印象。相比之下，中世纪早期的西方人看起来像一个胜利的形象，与耶稣受难的表现，显示基督活着，战胜了死亡。60多年来，这种从一种表现到另一种表现的转变吸引了历史学家，他们认为11世纪和12世纪是见证这种对基督苦难的奉献的“情感转向”的时期。这种对十字架的描述变化的粗略看法，突出了基督受难形象的优势，源于R. W。我的项目将采用一个新的视角来探索从公元1000年到1200年的耶稣受难的表现，以修改对被钉十字架的基督是如何被表现和崇拜的解释。我将集中分析在英国和法国产生的修道院文学中的激情的文本表示，因为以前的历史学家在他们专注于图像学时忽略了文本图像的财富。在此期间，修道院，特别是法国的修道院，是宗教变革的熔炉和学习的中心，正是在它们的墙壁内，跟随南方的历史学家集中精力探索代表激情的变化。因此，分析这些社区产生的文学作品的重要性怎么强调都不过分。首先，我对文本表征的关注将解决一个拥有特权视觉材料的不平衡的历史编纂。第二，除了基督受难的表现之外，我还将探索更广泛的受难表现，例如那些把基督描绘成法官的作品，以及那些强调他战胜魔鬼的作品，以产生一种更具代表性的虔诚态度。我会仔细观察-通过探索文学体裁的塑造效果以及特定作者的关注如何影响这些修道院文本，个人代表。2这种做法的必要性是明确的。从“旧”到“新”意象的过渡的既定叙事的问题是，它鼓励通过对基督受苦的表征进行分析来进行还原性解释。例如，雷切尔富尔顿的重要，但方法论上有问题的研究从审判到激情（2002年）写挖掘的起源奉献给受苦的基督在十一世纪和相关的奉献给他的母亲玛丽。虽然富尔顿的工作很重要，但她没有其他证据来追踪一个尽管重要的发展轨迹。这种方法存在问题。例如，解释文本中“旧的”受难表征的持续存在受到从“旧的”到“新的”意象过渡的范式的威胁，这将鼓励我们将它们视为时代错误。相比之下，我所关心的并不是这些表现是“旧的”还是“新的”，而是通过分析寺院表现的背景来探讨它们为什么被写出来，并通过恢复权威的目标来建立这些表现的预期用途。图像学研究已经朝着这个方向发展，Barbara Raw和John Munnshaving分别在后来的盎格鲁-撒克逊和盎格鲁-诺曼艺术中仔细地语境化了激情图像。Celia Chazelle也采取了类似的方法来研究古罗马时期。

The late-medieval West held an image of pain at its heart: that of Christ suffering upon thecross. This image impressed itself upon the observer from the stained glass windows of thegreat cathedrals, the altar ornaments of parish churches, and the illuminated folios of themonastic libraries. By contrast the early-medieval West looked to a triumphal image, withrepresentations of the Passion showing Christ alive in victory over death. For over sixty yearsthis transition from the one representation to the other has fascinated historians, who haveidentified the eleventh and twelfth centuries as the period that witnessed this 'affective turn'of devotion to Christ's sufferings. This broad-brush view of changes in imaginings of thecrucifixion, which highlights the ascendancy of the suffering image of Christ, stems fromR.W. Southern's arguments in The Making of the Middle Ages (1953) and has dominatedassessments of this period since.My project will adopt a new perspective in exploring representations of the Passion fromc.1000-c.1200 to modify interpretations of how the crucified Christ was represented andworshipped. I will focus on analysing textual representations of the Passion in monasticliterature produced in England and France, as previous historians have overlooked this wealthof textual imagery in their preoccupation with iconography. During this period themonasteries, particularly those of France, were the crucible of religious change and centres oflearning, and it is within their walls that historians following Southern have concentrated onexploring changes in representing the Passion. The importance in analysing the literatureproduced by these communities, therefore, cannot be overstated.This project will move beyond previous historiography in three ways. First, my focus ontextual representations will address an unbalanced historiography that has privileged visualmaterial. Second, I shall explore a wider range of representations of the Passion in addition tothose of Christ's suffering, such as those depicting Christ as judge and those that emphasisedhis victory over the Devil, to produce a more representative view of devotional attitudes.Finally, I will nuance the broad-brush historiography using these monastic texts by exploringthe shaping effects of literary genres and how the preoccupations of particular authors boreon individual representations.2The need for this approach is clear. The problem with the established narrative oftransition from 'old' to 'new' imagery is that it encourages reductive explanation byprivileging representations of Christ suffering for analysis. For example, Rachel Fulton'simportant but methodologically questionable study From Judgment to Passion (2002) waswritten to excavate the origins of devotion to the suffering Christ in the eleventh century andthe associated devotion to his mother Mary. Whilst Fulton's work is important, she has castaside other evidence to trace just one, albeit significant, trajectory of development. Thisapproach presents issues. For example, explaining the persistence of 'older' representationsof the Passion in texts is threatened by the paradigm of transition from 'old' to 'new' imagerythat would encourage us to think of them as anachronisms. By contrast, my concern is not somuch whether representations are 'old' or 'new', but to explore why they were penned byanalysing the contexts of monastic representations and, through the recovery of authorialobjectives, to establish the intended uses of these representations.Iconographic studies have moved in this direction, with Barbara Raw and John Munnshaving carefully contextualised Passion imagery in later Anglo-Saxon and Anglo-Norman artrespectively. Celia Chazelle has also undertaken a similar approach to the Carolingian period.