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

中世纪晚期的西方社会把痛苦的形象铭记于心：基督在十字架上受难的形象。从大教堂的彩色玻璃窗，教区教堂的祭坛装饰，以及修道院图书馆的明亮的对开开本上，观察者都能看到这一景象。相比之下，中世纪早期的西方则看重胜利的形象，以耶稣的受难来表现基督战胜死亡的活力。六十多年来，这种从一种表现到另一种表现的转变吸引了历史学家，他们认为十一世纪和十二世纪是见证这种对基督苦难奉献的“情感转变”的时期。这种对受难想象变化的粗浅看法，突出了基督受难形象的优势地位，源于w。他在1953年出版的《中世纪的形成》一书中提出了他的观点，并从那时起主导了对这一时期的评价。我的项目将采用一种新的视角来探索公元1000年的激情。1200年修改了对被钉在十字架上的基督如何被代表和崇拜的解释。我将重点分析英国和法国修道院文学中受难的文本表现，因为以前的历史学家在他们专注于图像学的时候忽视了这种丰富的文本意象。在这一时期，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，正是在修道院的围墙内，南方的历史学家们集中精力探索耶稣受难的表现变化。因此，分析这些群体产生的文献的重要性怎么强调都不为过。这个项目将在三个方面超越以往的历史编纂。首先，我对文本表现的关注将解决一种不平衡的历史编纂，这种历史编纂享有视觉材料的特权。其次，除了基督的苦难之外，我将探索更广泛的受难表现，比如那些把基督描绘成审判者和那些强调他战胜魔鬼的表现，以产生更有代表性的虔诚态度。最后，我将通过探索文学流派的塑造效果，以及特定作者的关注点如何影响个人表现，来对这些修道院文本进行细致入微的梳理。这种做法的必要性是显而易见的。从“旧”意象过渡到“新”意象的既定叙事的问题在于，它鼓励通过对基督受苦的特殊表现进行分析来简化解释。例如，雷切尔·富尔顿（Rachel Fulton）的重要但方法论上存在问题的研究《从审判到受难》（From Judgment to Passion, 2002）是为了挖掘人们对11世纪受苦受难的基督及其母亲玛丽的虔诚的起源而写的。虽然富尔顿的工作很重要，但她抛弃了其他证据，只追踪了一条尽管重要的发展轨迹。这种方法存在问题。例如，解释文本中受难的“旧”表现的持久性受到从“旧”到“新”图像过渡范式的威胁，这将鼓励我们认为它们是时代错误。相比之下，我关心的不是表征是“旧的”还是“新的”，而是通过分析修道院表征的背景来探索它们被写作的原因，并通过恢复权威目标来确定这些表征的预期用途。肖像学研究也朝这个方向发展，芭芭拉·劳和约翰·蒙恩胡分别在后来的盎格鲁-撒克逊和盎格鲁-诺曼艺术中仔细地将激情意象语境化。西莉亚·查泽雷对加洛林王朝时期也采取了类似的方法。

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.