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

中世纪晚期的西方在内心深处保持着痛苦的形象：基督在十字架上受苦的形象。从大教堂的彩色玻璃窗，教区教堂的祭坛装饰品，以及宗教图书馆的照亮的对开页，这一形象给观察者留下了深刻的印象。相比之下，中世纪早期的西方看起来是胜利的形象，耶稣受难的表现显示基督在战胜死亡的胜利中活着。60多年来，从一种代表到另一种代表的转变吸引了历史学家，他们认为11世纪和12世纪是见证对基督苦难的虔诚的“情感转折”的时期。这一对受难想象变化的概括性看法，突出了基督受难形象的优势，源于R.W.Southern在中世纪(1953)的形成过程中的论点，并主导了这一时期的评估。我的项目将采用一个新的视角来探索从公元1000-公元1200年的受难表现，以修改对受难基督如何被代表和崇拜的解释。我将重点分析英国和法国的修道院文学作品中对激情的文本表现，因为以前的历史学家在专注于肖像学时忽视了这一丰富的文本意象。在此期间，这些国家，特别是法国的国家，是宗教变革的熔炉和学习的中心，正是在它们的城墙内，南方人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献的重要性怎么强调都不为过。这个项目将从三个方面超越以往的史学。首先，我的重点将放在文本表达上，以解决具有特权视觉材料的不平衡的历史学。其次，除了基督的苦难之外，我还将探索更广泛的关于受难的表现，例如那些将基督描绘为法官的表现，以及那些强调他战胜魔鬼的表现，以产生对虔诚态度的更具代表性的观点。最后，我将通过探索文学体裁的塑造效果以及特定作者的关注如何对个人表现产生微妙的影响，来细微区别使用这些修道院文本的一目了然的史学。从“旧”到“新”意象转换的既定叙述的问题是，它鼓励通过优先表现基督受苦以供分析的简约化解释。例如，雷切尔·富尔顿的《从审判到受难》(2002年)的重要但在方法上有问题的研究是为了挖掘11世纪对受难的基督的奉献和对他母亲玛丽亚的相关奉献的起源。虽然富尔顿的工作很重要，但她抛开了其他证据，只追踪了一条尽管意义重大的发展轨迹。这种做法带来了问题。例如，从“旧”意象向“新”意象过渡的范式会鼓励我们认为它们是不合时宜的，这对解释文本中“旧”的激情的持续存在构成了威胁。相比之下，我关心的不是表现形式是“旧的”还是“新的”，而是通过分析修道院表现形式的背景来探索它们为什么被写下来，并通过恢复权威目标来确定这些表现形式的预期用途。肖像学研究已经朝着这个方向发展，芭芭拉·劳和约翰·芒肖分别在后来的盎格鲁-撒克逊和盎格鲁-诺曼艺术中仔细地研究了情境中的受难意象。西莉亚·查泽尔也对加洛林时期采取了类似的做法。

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.