A new approach to the tympanum of Neuilly-en-Donjon

Romanesque sculpture can be profitably studied by trying to create the thought processes of those responsible for designing the programs. In particular, the thought pattern of associating various biblical stories which contain the same or similar words can be applied to the program of the little church of Neuilly-en-Donjon (Allier). It is clear that the various stories depicted are related to one another by sound - for example the Adoration of the Magi and the fall of Simon Magus and Mary Magdalen at the house of Simon the Pharisee. However, just as the genius of a monastic author such as Bernard of Clairvaux was the thematic unity he could use to organize these aural associations, so does the importance of the program at Neuilly derive from the sophisticated thematic unity of the program around the theological virtue of faith. From this study, we can learn not only to appreciate the genius of the designer of the program at Neuilly but also to attempt to unlock other secrets of Romanesque sculpure by applying this or other elements of contemporary thought processes to the parts of a program.     

Laughing at a saint? Miracle and irony in the Vita Gangulfi prima

This article examines the Vita Gangulfi prima, a text which was frequently copied and widely circulated in the Middle Ages. It argues that the text can be understood as an ironic discourse on miracle stories in hagiographical texts: the central message of the Vita is that meek and penitential living leads to sanctity, and not the enjoyment of stories about miracles. At the same time, the Vita presents the reader to some extent with a performance of this idea. The reader who sees through to the Vita's ironic intent is encouraged to laugh at the saint and thereby comes to comprehend the very sin for which the various characters in the Vita are punished, while the text simultaneously depicts penitence as the way out of this sinfulness. The Vita's critique of miracle stories made an eccentric contribution to a discourse which was also carried on in a number of other hagiographical texts of the early tenth century.     

Simon McBurney’s Ambitious Pursuit of the Pure Maths Play

Abstract

When Simon McBurney set out to create a play about the fabled relationship between Cambridge mathematician G. H. Hardy and the self-taught Indian genius Srinivasa Ramanujan, he was immediately confronted by the question of how to engage the mathematics authentically. Undaunted by his own uneasiness with the subject, McBurney incorporated a host of experts into the rehearsal process, calling on mathematical educators, expositors, and Fields medalists to come work with the company. While on the surface maths and drama make an incongruous pair, the result was a vibrant collaboration. The final product — the award-winning play A Disappearing Number — shines an interesting light on the surprising similarity between the creative process in mathematics and the creative process in theatre, especially as manifested by the company at Complicite.     

The Land of Allium: an exploration into the magic of place

Magical. A common adjective used to describe places. But does the magic of place spring from genius loci? Or could it be that we are the magicians, casting spells to transform places into what we desire (or what we fear)? Our sense of place is not a mirror on reality. We come to know places by inscribing our fantasies atop them, by writing onto the landscape our own imagined geographies. C.S. Lewis provides an intriguing glimpse into sense of place through the Pevensie children and their experience in The Lion, the Witch, and the Wardrobe: a mere wardrobe becomes a complex fantasy world in which the children play and interact. As adults, and as societies, we take real geographies and treat them as Lewis's wardrobe, creating Narnias in the depths of our most mundane landscapes. In this paper I explore the magic of place through an autobiographical photo essay set in a nature preserve in eastern Kansas. The stories I tell highlight in a literary and artistic way the phenomenological aspects of sense of place and the potential political import of the geographical imagination.     

Empires for Peace: Denis Veiras’s Borrowings from Garcilaso de la Vega

Writing The History of the Sevarambians in the 1670s, the Huguenot Denis Veiras borrowed many ideas from Garcilaso de la Vega, also known as El Inca, whose Royal Commentaries of the Incas was published in 1609. Both works describe the history of an empire and justify it on the ground that it brought peace and unity. While Garcilaso’s book purported to be a history, his selection of facts reflected his goal of improving the treatment of the Incas by the Spanish. Veiras’s story also claimed to be a history, but it was transparently a fiction, even to the point of lifting many elements from Garcilaso’s book. What both works equally emphasized was that empires could aim at, and could be justified by, the benefits they provided their subjects. Both tell stories of benevolent and paternalistic rulers who founded nearly ideal societies in the countries they conquered. These were models of empire for peace and unity rather than merely promoting toleration of differences or concord among differing parties. Veiras’s utopia thus offers an instructive case study of the effects of cross-cultural borrowings of literary and political ideas.     

POSTPOSITIVISM AND THE LOGIC OF THE AVANT‐GARDE

The purpose of this article is to explore the conditions under which the postpositivist interest in rewriting or reinterpreting history could operate legitimately from a historical point of view. The first part of the article outlines and explains some of the key thematic elements of historical postpositivism. The second proceeds to investigate how these elements can be configured and related to each other within Arthur Danto's influential account of the development of contemporary art, and especially the avant‐garde. The intention is to acquire a sense of the working dynamics of postpositivist thought, so as to better understand its possible implications for the writing of history. In the concluding section an argument is proposed to the effect that, although the postpositivist interest in the rewriting of history can in principle be admitted as entirely legitimate, its legitimacy depends on introducing some substantive constraints on content, in addition to the formal considerations that postpositivist discourse generally tends to favor. It is further suggested that this constraint should take the form of a requirement on historical literacy whose meaning is, finally, elucidated by drawing a contrast with historical common sense.     

Calvin's Legacy for Public Theology

Abstract

Many thinkers, of whom Jean-Jacques Rousseau is a prominent example, have expressed ambivalence regarding John Calvin's contribution to our understanding of a healthy civic order: while Calvin's political genius is undeniable, he and his followers are also known for intolerant attitudes and practices. Thus the image of "two Calvins" by a recent biographer of the Reformer. In this essay I lay out some relevant tensions in Calvin's political thought, while also identifying underlying themes that were later developed by his followers. Special attention is given to the ways in which the "neo-Calvinist" movement, initiated in the nineteenth century by Abraham Kuyper, both corrected and expanded upon Calvin's theology of public life. It is noted that while Kuyper's thought also influenced the Afrikaners' apartheid ideology, Reformed opponents of apartheid also appealed to elements in Kuyper's theology of public life. Although the results have been mixed, Kuyper and others did demonstrate the ways in which some basic elements of Calvin's thought can be used to address issues that are being given sustained attention today in broad-ranging explorations of what makes for a flourishing civil society characterized by a variety of "mediating structures."     

Interview with Jeanne Hyvrard

Born in Paris in 1945, Jeanne Hyvrard published her first novel, Les Prunes de Cythère (Minuit), in 1975, and her subsequent work ranges from prose novels to short stories, poetry, essays, and experimental texts which exceed the bounds of conventional genre definitions. Hyvrard claims to be articulating the emergence of a new organisation of thought, la tierce pensée, which will enable us to understand and to manage the economic changes brought about by the increasing globalisation of trade and by technological advances. She is an economist by training, and her writing manifests a deep concern with relationships of production, exchange and consumption between individuals, at the heart of which is the possibility of a renewed ethical relationship between the self and the other. This ethical stance influences Hyvrard's thought on themes as diverse as psychology, gender, education, literature, environmentalism, and immigration; and her holistic vision of the world, as structured by networks of interconnected relationships, is now attracting growing critical attention, as it strikes a chord with contemporary concerns about the effects of economic and cultural globalisation.     

Grimspound

Abstract

During the summer meeting held at Hereford in 1990, the Association visited Shobdon. General concern was voiced as to the deteriorating condition of the ‘arches’, not least by our vice-president, Professor George Zarnecki.

The first publication of the Association, issued in 1844, volume 1 of the Archaeological Journal, contained a paper by Thomas Wright on the Romanesque sculpture of Shobdon, and when the decision was made to adopt one of the illustrations from this article as the new cover device to celebrate our 150th Anniversary (see Fig. I), it was thought highly appropriate to ask Professor Zarnecki to comment on the importance of the ‘arches’ and their present state.     

Fragmente Ärztlicher Texte in Mittelalterlichen gesetzbüchern norwegens

The evidence offered by the Lives and the Moralia shows that Plutarch had a low opinion of women, regarding them as being deceitful, savage, sexually insatiable, frivolous and gossips. Women are thought to be weak and to need to be protected, from themselves as much as from others, by men but, at the same time, dangerous. There are, however, notable exceptions, most obviously those women whose stories are related in the Mulierum Virtutes.     

THE PRESENT STATE AND TASKS OF COMPLEX MAPPING IN THE USSR

Recent developments in the Soviet Union's program of national thematic mapping and regional complex mapping are reviewed. A comprehensive mapping program along these lines, formulated in 1969 by GUGK, the government planning agency, has not been implemented. National thematic maps in the Soviet Union continue to be compiled by individual government agencies without coordination and without uniformity in legend and design, so that comparability is made difficult. The only thematic GUGK maps now being prepared are concerned with two long-term regional development programs in the Soviet Union–the rural development plan for the Nonchernozem zone of the European RSFSR and the construction of the Baykal-Amur Mainline (BAM) railroad in the Soviet Far East. The need for a comprehensive and coordinated program of national thematic maps and regional atlases or map series is once again stressed in connection with economic planning and environmental problems, and a program of continuously updated regional atlases, based on digital data banks, is proposed. Suggestions are also made for the coordination of thematic maps at the international level.     

Orientation of the Romanesque churches in the region of Val d’Aran,Spain (11th–13th centuries)

This study examines an ensemble of Romanesque churches in the region of Val d’Aran in the Spanish Pyrenees, built between the 11th and 13th centuries. Seven topographical studies performed between 2014 and 2015 examined these churches systematically using terrestrial laser scanning (TLS) as a data‐acquisition technique. The data obtained allowed for a geometrically accurate analysis of the orientation of these churches based on four Romanesque liturgies: Gemma animae (c.1120), by Honorius of Autun; Rationale divinorum officiorum (c.1150), by Jean Beleth; Mitralis de Officio (1190), by Sicard, Bishop of Cremona; and Prochiron, vulgo rationale divinorum officiorum (1291), by Guillaume Durand.     

‘What say you to free trade in literature?’ The Thief and the Politics of Piracy in the 1830s

Between 1832 and 1834, Henry Mayhew and Gilbert Abbot à Beckett produced a weekly twopenny paper called The Thief. As its title suggested, this publication consisted of articles, stories and illustrations extracted, condensed and brazenly stolen from other periodicals, magazines, newspapers and books. Modelled on the format of Le Voleur, an early paper of Émile de Girardin, the great innovator of French popular journalism, scholars of Mayhew have generally treated The Thief as inconsequential hack work, if they even mention it at all. This essay, the first analysis of the paper itself, argues that The Thief is less ‘throwaway’ than it first appears. In satirical fashion, the paper used the methods of the radical press to critique the ‘liberal values’ of useful knowledge and free trade. Mayhew's involvement with The Thief connected him with a vibrant radical underground print culture. Moreover, in its suspicion of middle-class liberalism and of the rhetoric of free trade, The Thief set the thematic tone for much of Mayhew's later work.     

Hallucinations and Pathological Visual Perceptions in Maupassant's Fantastical Short Stories- A Neurological Approach

Maupassant excelled as a realist writer of the nineteenth century, with fantastical short stories being an outstanding example of his literary genius. We have analysed four of his fantastical stories from a neurological point of view. In “Le Horla,” his masterpiece, we have found nightmares, sleep paralysis, a hemianopic pattern of loss and recovery of vision, and palinopsia. In “Qui sait” and in “La main” there is also an illusory movement of the objects in the visual field, although in a dreamlike complex pattern. In “Lui,” autoscopy and hypnagogic hallucinations emerge as fantastical key elements.

The writer suffered from severe migraine and neurosyphilis involving the optic nerve, which led to his death by general paralysis of the insane (GPI). Visual loss and visual hallucinations affected the author in his last years, before a delirant state confined him to a nursing home. Our original hypothesis, which stated that he could have translated his sensorial experiences coming from this source to his works, had to be revised by analyzing some of his earliest works, notably “Le Docteur Héraclius Gloss” and “La main d’écorché” (1875). We found hallucinatory symptoms, adopting the form of autoscopy and other elaborated visual misperceptions, in stories written at age 25, when Maupassant was allegedly healthy. Therefore, we hypothesize that they may be related to his hypersensitive disposition, assuming that no pathology is necessary to experience such vivid experiences. In addition, Maupassant's abuse of drugs, as illustrated in “Rêves,” could have provided an additional element to outline his painstaking visual depictions. All these factors, in addition to his up-to-date neurological knowledge and attendance at Charcot's lectures at “La Salpêtrière,” armed the author for repetitive and enriched hallucinatory experiences, which were transferred relentlessly into his works from the beginning of his career.     

On reading the scriptures as literature

Samuel Taylor Coleridge's thought has been seen by many scholars to be derivative of German Idealism, especially Kantian critical philosophy. The present article challenges that claim by offering an analysis of Coleridge's interpretation of Francis Bacon's founding of the empirical method. Through the course of this discussion, Coleridge's understanding of the distinction between the intellective faculties of reason and understanding will be established, and will be shown to run counter to Kantian epistemology. Coleridge's dialectical approach to the role of reason in the operations of the understanding will be applied to their uses in scientific discovery, aesthetics, and religious thought. The various uses of symbolic representation in the context of these different endeavors will be given critical expression, revealing the unity of the human mind and nature, of subject and object. Ultimately, it is by appeal to the existence of God that the intelligibility of these various fields of symbolic representation are established. Coleridge's interpretation of Bacon offers a way of reconciling Baconian empiricism with Platonic Forms, in a genealogical recovery of the concealed methodology established in his Novum Organum. The overall argument proceeds critically, through a discussion of the subjective operations of the symbol-making powers of human thought, in the sciences and mathematics, in aesthetic, and in theological speculation and religious representation, revealing the Romantic origins of modernity.     

ARCHAEOLOGICAL,STYLISTIC AND SCIENTIFIC RESEARCH ON 11TH–13TH CENTURY AD PAINTED FRAGMENTS FROM THE SAN GIOVANNI BATTISTA CHURCH IN CEVIO (SWITZERLAND)

The painted fragments collected during the archaeological excavation campaign in the San Giovanni Battista church in Cevio represent a unique patrimony of Romanesque wall painting in Tessin, Switzerland, having a strong stylistic linkage with the Lombardic art of the same period. The archaeological and stylistic research allowed the fragments to be dated between the 11th and 13th centuries ad and to group them in three chronological phases. The scientific research (p‐XRF, OM, SEM–EDS, FTIR and XRD) was aimed at characterizing the pigments and the pictorial techniques used. Important changes occurred in terms of some pigments used during the 11th and 12th centuries: in particular, azurite was used to decorate the earlier wall paintings while lapis lazuli was used for the 12th‐century ones. During the second period, lead‐based pigments (lead white and minium) were introduced into the palette. The use of natural yellow and red ochres and green earth was common for the three periods. The fresco technique was generally used, except for the application of azurite and lead‐based pigments, where the a secco technique was adopted. The integrated research is a contribution to the knowledge of Romanesque art in the Insubric Region.     

MOVING CENTRAL KNOWLEDGE TO A NORTHERN PERIPHERY: EXPLORING LOGICS OF PUBLIC SECTOR JOB RELOCATION IN SWEDEN

Through the means of Swedish relocation politics, the capital of Stockholm has been constructed as a governing centre with the ability of giving something to a periphery thought of as unable to survive on its own. The relationship between centre and periphery, furthermore, produces images of what kind of knowledge can be located to “central” or “peripheral” regions. In this article I research the move of a knowledge‐intense government agency from Stockholm to Östersund, a smaller inland town in the north. The data were collected through an ethnographic case study of a government agency. I adopt a discourse theoretical approach that provides a clear ontology of identity and processes of identification. This enables research on how ideological images of places create geographical identity positions. The aim of this article is to explore how groups of professionals at the government agency identified with geographical identities dependent on whether they were seen as experts or generalists. In conclusion, identity positions became important for how the relocation was organized. The establishment of the two identity positions functioned to stabilize the social environment during the move, a time when many things at work seemed to be in turmoil. At the same time the positions worked to exclude other ways of identifying with (work)place, and in this way sustained asymmetrical relations of domination and subordination between centre and periphery.     

KOSELLECK ON MODERNITY,HISTORIK, AND LAYERS OF TIME

In the scholarly reception of his work, Reinhart Koselleck's notion of modernity and his theory of multiple times have been cast as essentially at odds with each other. This article argues that although these positions are valid, Koselleck's writings can also accommodate an interpretation according to which the theory of multiple temporalities, or “layers of time,” provides theoretical ground for the modern understanding of time and history. Elaborating on this insight, the article shows the linkages sustaining the unity between Koselleck's formal theory of multiple times and his interpretation of modernity. To that end, I outline the main premises of the temporalization thesis that lies at the heart of Koselleck's theory of modernity, scrutinize his notion of Historik within which the framework “layers of time” belongs, and explore Niklas Olsen's and Helge Jordheim's interpretive accounts on how to conceive of the relationship between the two strands in Koselleck's thought. Ultimately, I argue that “layers of time” entails the formal conditions for historical acceleration, which is crucial for explaining the emergence of a specifically modern temporality wherein experience and expectation increasingly grow apart.