scholarly journals Nicht für immer. Ars moriendi nova – Sterbekunst ohne Jenseitsperspektive

2021 ◽  
Author(s):  
Nina Streeck
Keyword(s):  
Ars Moriendi

The Last Things, Ou Les Vérités Dernières, Une Variation Sur Le Genre Traditionnel D’ Ars Moriendi

Moreana ◽  
2003 ◽  
Vol 40 (Number 153- (1-2) ◽  
pp. 143-158
Author(s):  
Marie-Claire Phélippeau
Keyword(s):  
Ars Moriendi ◽  
Moyen Âge ◽  
Moyen Age

L’article a pour but de décrire l’œuvre de More : The Last Things, à l’occasion de sa première traduction en français. Il analyse les différentes caractéristiques du traité et en rattache la filiation au Moyen Age, par certains aspects, et à la Renaissance par certains autres. L’originalité de More est mise en évidence : elle réside à la fois dans la forte cohérence du discours, dans son éloquence avérée, ainsi que dans le caractère pastoral de l’œuvre.

scholarly journals Autonomy and ars moriendi

Neurology ◽  
2006 ◽  
Vol 67 (6) ◽  
pp. 1101-1102
Author(s):  
S. P. Ringel
Keyword(s):  
Ars Moriendi

Ars Moriendi

1996 ◽  
Vol 77 (910) ◽  
pp. 553-561
Author(s):  
Gilbert Márkus
Keyword(s):  
Ars Moriendi

"Om Alle Menschen Wel Te Leren Sterven"

1986 ◽  
Vol 66 (2) ◽  
pp. 148-179
Author(s):  
E.J.G. Lips
Keyword(s):  
Point Of View ◽  
Religious Communities ◽  
Original Text ◽  
The Public ◽  
Ars Moriendi ◽  
Text Types ◽  
Dutch Language ◽  
The Masses

AbstractThe genre of the Ars moriendi is by no means a homogeneous one. Indeed, the great textual diversity has more than once attracted the attention. This diversity, caused by various omissions and, more often, extensions in the original text-types, is often considered as the decay of an originally orthodox theological genre. In this essay, manuscripts and printed versions of the Ars moriendi in the Dutch language ( ± 1450-1530) are studied. Instead of considering the omissions and extensions meant above as a decline of the genre, the author attempts to regard them, as the medieval writers may have done, as means to make the texts find their way to the public more easily. Various methods used by the authors of these Artes to reach their public, are examined and their presumable succes is evaluated. It seems that, whereas particularly the older literature assumes an almost infinite public, recent research does not confirm this point of view. For, in spite of explicit remarks addressed to all christians, commerce dictated to the printers a more or less wealthy public. As for the manuscripts, these seem mainly to have had a public of clergy and (female) religious communities. However, considering the existence of a public of listeners, both manuscripts and printed versions had, in an indirect way, their impact on the masses of the christians.

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