Risen from the Ashes: The Complex Print History of Carl Dreyer's The Passion of Joan of Arc (1928)

2017 ◽  
Vol 17 (1) ◽  
pp. 52
Author(s):  
Stephen Larson
Keyword(s):  
Joan Of Arc ◽  
Print History ◽  
History Of

The St. Joan of Arc Parade, Gender, and Pride of Place

2019 ◽  
pp. 27-54
Author(s):  
Robin Roberts ◽  
Frank de Caro
Keyword(s):  
European History ◽  
Joan Of Arc ◽  
Twelfth Night ◽  
French Quarter ◽  
History Of ◽  
Female Icon ◽  
The City

This chapter explores the history of the Joan of Arc parade, a women’s enterprise that celebrates the birthday of the famous saint, which happens to fall upon January 6th, Twelfth Night, the traditional commencement of the Carnival season. The parade runs through the French Quarter, concluding at the gilded Joan of Arc statue on Decatur Street (Joanie on a pony). The chapter looks at the feminist aspect of the group, which celebrates this female icon, a woman who spoke truth to power and actively fought against it. The parade also is significant for drawing upon European history in a way that underscores the French heritage of the city.

scholarly journals Processo judicial e poder político: práticas inquisitoriais no julgamento de condenação de Joana D’Arc

2021 ◽  
Vol 13 (2) ◽  
pp. 191-221
Author(s):  
C. C. TOLENTINO ◽  
Paulo Eduardo A. SILVA
Keyword(s):  
Middle Ages ◽  
Political Power ◽  
Primary Sources ◽  
The Political ◽  
Joan Of Arc ◽  
Procedural Law ◽  
History Of ◽  
History Of Law ◽  
The Middle Ages

Records on the trial and sentencing for heresy of French warrior Joan of Arc dating to 1431 have been studied by a variety of fields. The present work explores the primary sources and several of these studies in the aim of analyzing the political significance of the forms adopted during the trial. From a perspective poised between the history of law and procedural law, the article clarifies aspects of the practical functioning of the Roman Canon inquisitorial procedure at the end of the Middle Ages, and, more widely, the phenomenon of the capillarization of the political power by means of the production of truth. The article concludes that, although Joan of Arc’s trial was clearly politically motivated, several of its dimensions correspond to the procedural practices of the time, leading us to an understanding that the influence of power over trials does not necessarily manifest in a direct violation of procedural rules, but rather in their very design and the ways in which they are put into operation.

The Declaration of Arbroath in print, 1680–1705

2021 ◽  
Vol 72 (2) ◽  
pp. 158-176
Author(s):  
Roger A. Mason
Keyword(s):  
English Translation ◽  
Print History ◽  
Original Manuscript ◽  
History Of ◽  
The Church ◽  
Manuscript Copy ◽  
The Revolution

This article examines the circumstances in which the Declaration of Arbroath was first printed in 1680 by Sir George Mackenzie of Rosehaugh and the original manuscript on which Mackenzie’s text was based (NRS SP13/7). It then traces its subsequent print history between the Revolution of 1689–90 and the Union of Parliaments in 1707 both in Latin and in an English translation that first appeared in 1689. It locates the Declaration within the broader context of whig propaganda that encompassed a defence not just of the Revolution Settlement but of Scottish sovereignty at the time of the Union, culminating in James Anderson’s new edition and translation of the text of 1705. An appendix further examines the earliest reference to the Declaration in print – in Archbishop John Spottiswoode’s History of the Church in Scotland (1655) – and Spottiswoode’s use of a manuscript copy of Walter Bower’s Scotichronicon.

Céline Martin’s Images of Thérèse of Lisieux and the Creation of a Modern Saint

2011 ◽  
Vol 47 ◽  
pp. 376-389
Author(s):  
Sophia L. Deboick
Keyword(s):  
Total Population ◽  
Religious Culture ◽  
Rapid Rise ◽  
Pope John Paul Ii ◽  
Second Career ◽  
Joan Of Arc ◽  
Teresa Of Avila ◽  
Unique Event ◽  
History Of ◽  
The Church

At the time of the death of Sœur Thérèse de l’Enfant-Jésus (Marie-Françoise-Thérèse Martin, 2 January 1873 — 30 September 1897) the Carmelite convent of Lisieux was a hidden and poor community, destined to remain as obscure and forgotten as Thérèse herself had been during her nine-year career as a nun. Just twenty-eight years later, Thérèse had been made a saint and the Carmel of Lisieux had become the focus of the attention of the whole Catholic world. There was little remarkable about Thérèse’s short and sheltered life, but she has enjoyed an incredible ‘posthumous life’ through her second career as a saint. The autobiographical writings she produced during her time at the Carmel were published in 1898 asL’Histoire d’une âme (The Story of a Sout)and were an instant success, later becoming a classic of Catholic spirituality. Her canonization in 1925 was the quickest since 1588 at the time, and Pope Pius XI referred to her rapid rise to fame as a ‘storm of glory’, later calling her ‘the star of his pontificate’. Named Patroness of the Missions in 1927, she became Patroness of France, alongside Joan of Arc, immediately after the liberation of France in 1944, and in 1997 Pope John Paul II named her a Doctor of the Church. Only the third woman to earn this title, she became ranked alongside the legendary names of Teresa of Àvila and Catherine of Siena. Since 1994 her relics have been on an almost constant world tour and when they visited Ireland in 2001 the organizers estimated that seventy-five per cent of the total population turned out to venerate them — some 2.9 million people. In September and October 2009 they visited England and Wales, a unique event in the religious history of Britain, which stimulated considerable interest in Thérèse as a historical personality. But while the biographies of Thérèse proliferate, the importance of her posthumous existence for European religious culture continues to be overlooked. This paper looks at the construction of the cult of Thérèse of Lisieux after her death, paying particular attention to the role which the Carmel of Lisieux and its key personalities played in this process, and highlighting the central role played by images and commercial products in the development of the cult.

scholarly journals A Puzzle in the Print History of Locke's Essay

Locke Studies ◽  
2018 ◽  
Vol 17 ◽  
pp. 49-60
Author(s):  
Patrick J. Connolly
Keyword(s):  
Print History ◽  
History Of

In the Epistle to the Reader that prefaces Locke’s Essay he famously declares that he considers himself to be an underlaborer to the great scientific minds of his generation.

MAKING DEAD MEN SPEAK: LAUDIANISM, PRINT, AND THE WORKS OF LANCELOT ANDREWES, 1626–1642

1998 ◽  
Vol 41 (2) ◽  
pp. 401-424 ◽  
Author(s):  
PETER McCULLOUGH
Keyword(s):  
Civil War ◽  
English Civil War ◽  
Print History ◽  
Print Publication ◽  
History Of ◽  
The Church

This study examines the posthumous competition over the print publication of works by Lancelot Andrewes (1555–1626) before the English Civil War. The print history of the two official volumes edited by Laud and John Buckeridge (1626), and of competing editions of texts rejected by them but printed by puritan publishers, sheds important new light not only on the formation of the Andrewes canon, but on Laud's manipulation of the print trade and his attempts to erect new textual authorities to support his vision of the church in Britain.

scholarly journals Joan’s of Arc Aria No. 7 from the opera "The Maid of Orleans" by P. Tchaikovsky: the spiritual symbolism of the canon of repentance when "trialed under the sign"

2018 ◽  
Vol 49 (49) ◽  
pp. 19-35
Author(s):  
Nadiya Varavkina-Tarasova
Keyword(s):  
Joan Of Arc ◽  
Holy Trinity ◽  
Spiritual World ◽  
Sound Structure ◽  
John Chrysostom ◽  
History Of ◽  
Baroque Era ◽  
Level Of Thinking ◽  
The Moment ◽  
Spiritual Potential

The article examines the spiritual symbols of the musical and sound structure of Joan’s Aria No. 7 " Forgive me, hills and native fields " from the opera "The Maid of Orleans" by P. Tchaikovsky. The subject of the study is the iconic expositional characteristics of the dramatic development of the image of the protagonist of the opera as a vividly representative historical and symbolic phenomenon, expressed through the centuries-old context of musical spiritual symbols. "Liturgy of John Chrysostom" and "The Maid of Orleans" were marked by a powerful creative core, bravely creating a new level of thinking, opening new opportunities for the Transfiguration. P. Tchaikovsky reflected deeply on the spiritual quality of the man. By the wisdom of the Gospel postulates, one can realize how indissolubly these two works have merged together: "Divine Liturgy" and the history of the Divine feat of the main heroine of the opera. The birth of a new spiritual quality in Tchaikovsky’s music was accompanied by a sufficiently strong resistance of the surrounding psychological field of belief and world outlook. The composer had been working on the opera for about 9 months, which is associatively comparable to the bearing and birth of his "spiritual child". The spiritual meaning of the genre canvas of Aria is liturgical which is the canon of repentance. Syncretism of symbols manifested in systems of semantic and genre assimilation is represented by rhetorical signs and baroque genres. The ostinato spiritual and psychological Credo of the personality of Joan of Arc is explained - 1) in her legendary 19-year-old life, a young peasant girl who could not read and write possessed the greatest gift of purity of thoughts and an unshakable faith in the Spiritual World, which governs the earth; 2) she had intuitive-hearted Mercy to her persecutors, enemies, executioners; 3) she subtly felt the highest signs and symbols that were inaccessible and incomprehensible to her surroundings and contemporaries; 4) Joan at her own and sole discretion considered the form, colors and meanings of her symbols – a white embroidered banner, a coat of arms with holy symbols and a sword that she used only to defend and repel the blows. We should pay attention to the fact that both the composer and the heroine of the the "font" of the spirit materializes. Hence, perhaps, the source of the inner potential of spirituality for the related and beloved female images in his works, embodied by the composer one after another – Tatiana and Joan, – being so distant historically and socially from one another are both so close to the great spiritual potential and victorious level of morality, invigorated by the naturalness of the free space of nature, the inner beauty and sincere kindness, concealing the heroic courage of female charm behind the delicate refinement, able to illuminate many generations of people with the centuries-old example to follow. The 18-year-old Joan at the moment of exhibiting the image in the first act of the opera is shown in the vital fullness of a thinking person, who can follow her Divine Principle. The dramaturgic line of Joan is a mono opera of Spirit in the whole opera. In the context of the analysis of the melody, there attracts attention the symbol of harmony of the "lyrics of light" with the intonations of the achieved through much suffering world of the loving heart – the rhetorical formula of the Baroque era - the figures of "pathopoija:" the excitement of passions " parrhesa "," relatio non harmonia ". In the melody of Aria, there is a tension that arises under another symbol, but does not go into it, but psychologically preserves the previous harmony through inclination to the main tonic. This symbol in music of different styles and creative interpretation in the article is defined as "trial under the sign" - powerful in its might, which originates from the environment of reflective knowledge of the Spirit. In the Aria melody, the symbol tirata is not associated, as is customary, with a "shot" or "lightning," but is a symbol of a sparkling spiritual instrument – a sword. Such is embodied in a rather rare image of St. Nicholas the Miracle-Worker, for example, on the icon in the Church of the Holy Trinity in the monastery of St. Iona in Kiev. Saint Nicholas is depicted with a mighty sword, passionately raised vertically upward in the name of protecting holy justice. The sword is also associated with the power of the spiritual thought-arrow, reflected in the symbols of the graphic hooked notation of Kievan Rus.

scholarly journals Na granicy mroku. Język świętości w filmowych portretach Joanny d’Arc

2019 ◽  
Vol 40 ◽  
pp. 29-48
Author(s):  
Marek Kotyński
Keyword(s):  
Joan Of Arc ◽  
Film Directors ◽  
History Of ◽  
Film Language ◽  
Christian Saints ◽  
Robert Bresson

On the border of darkness. The language of sainthood in film portraits of Joan of Arc The unusual history of the patroness of France — Saint Joan of Arc — became the inspiration for many creators of culture, including film directors, who most willingly chose this figure from among all the Christian saints. The article firstly presents the history of life of the French saint and in the next part consists of the analysis of the film language of the devoted to her three emblematic movies in which the well known film creators tried to “show” the sainthood of Joan or/and to assume an attitude towards the phenomenon of sainthood. The first movie analyzed by the author of the article is The Passion of Joan of Arc 1928 by Carl Theodor Dreyer, the second one is The Trial of Joan of Arc 1961 by Robert Bresson, who used an ascetic idiom to present the sainthood of Joan. And at the end of the text the film by Luc Besson — Joan of Arc 1999 — is discussed as a postmodern deconstruction of the figure of the saint.

Performing women

2018 ◽  
Author(s):  
Susannah Crowder
Keyword(s):  
Fifteenth Century ◽  
Young Woman ◽  
Public Culture ◽  
Urban Life ◽  
New Paradigm ◽  
Full Spectrum ◽  
Joan Of Arc ◽  
The Core ◽  
Female Performance ◽  
History Of

Performing women takes on a key problem in the history of drama: the “exceptional” staging of the life of Catherine of Siena by a female actor and a female patron in 1468 Metz. These two creators have remained anonymous, despite the perceived rarity of this familiar episode; this study of their lives and performances brings the elusive figure of the female performer to center stage, however. Beginning with the Catherine of Siena play and broadening outward, Performing women integrates new approaches to drama, gender, and patronage with a performance methodology to trace connections among the activities of the actor, the patron, their female family members, and peers. It shows that the women of fifteenth-century Metz enacted varied kinds of performance that included and extended beyond the theater: decades before the 1468 play, for example, Joan of Arc returned from the grave in the form of a young woman named Claude, who was acknowledged formally in a series of civic ceremonies. This in-depth investigation of the full spectrum of evidence for female performance – drama, liturgy, impersonation, devotional practice, and documentary culture – both creates a unique portrait of the lives of individual women and reveals a framework of ubiquitous female performance. Performing women offers a new paradigm: women forming the core of public culture. Networks of gendered performance offered roles of expansive range and depth to the women of Metz, and positioned them as vital and integral contributors to the fabric of urban life.

Publishing

2020 ◽  
Author(s):  
Troy Bassett
Keyword(s):  
Book History ◽  
Cultural Practice ◽  
History Of The Book ◽  
Book Production ◽  
Business Practices ◽  
Mass Market ◽  
Print History ◽  
New Novel ◽  
History Of ◽  
Print Materials

Over the course of the 19th century, British publishing evolved unevenly from a handcrafted industry run by gentleman publishers to the modern industrialized mass media of the 20th century. At the same time, the period witnessed a massive increase in the size of the reading public due to population growth and increased literacy. These changes affected all aspects and levels of literary production. For authors, the increase in publishing output meant more opportunities to earn a living at writing, particularly for women writers and especially in the fields of literature and journalism. For publishers, the growing demand for print materials led to the adoption of mechanized production and the cultivation of a mass market for print. For readers, the increasing abundance of print materials at decreasing prices created a mass market where thousands of publications competed for readers’ eyes and pennies. To take the novel as one example, early in the century a new novel frequently appeared in an expensive three-volume edition of 500 copies priced at 31s 6d (thirty-one shillings and sixpence) each, a price well out of the range of the majority of readers who then depended on circulating libraries for access. By the end of the century, a new novel typically appeared in a one-volume edition of thousands of copies priced at 3s 6d or 6s each, an appealing price for nearly all middle-class readers. Magazine publication followed a similar transition: in the 1830s, monthly magazines such as Bentley’s Miscellany cost 2s 6d; at midcentury, monthly magazines such as the Cornhill cost 1s; and by century’s end, monthly magazines such as the Strand cost 6d, with stark increases in circulation. Past scholarship of publishing has often focused on the history of one author’s or publisher’s experiences in publishing: for instance, the descriptive bibliography of Alfred Lord Tennyson’s editions of poems or the general history of William Blackwood’s publishing company. Based on this well-developed bibliographical foundation, recent scholarship has been influenced by the development of book history as a field—the History of the Book, sometimes called print history or print culture, focuses on the authorship, production, and reading of books as a material practice. Broadly speaking, the history of the book investigates book production as an important cultural practice: in what ways do the interactions between authors, publishers, and readers affect what print material is produced? Alternately, how do social forces—such as class and gender—affect the production and consumption of print materials? The history of the book field has greatly widened our scope of study to, among other things, the lives of lesser-known authors, the business practices of publishers, and the experiences of readers: for example, on the experiences of women authors in the literary marketplace, the adoption of steam-powered presses by magazine publishers, or the changing tastes of children readers.

Sign in / Sign up

Export Citation Format

Share Document