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Entrevista a mi en Català

The seminar reports are catching up but reports on my other activity seem still to be mired in busy busy November 2014. At the very end of that month, I had the unusual honour of being interviewed for a Catalan history news website, a sort of recognition I’m very flattered to receive although I wish I could have given them a better photograph. Should you be interested, it’s here:

I should probably post the English, shouldn’t I? But I am writing this on a train to Birmingham to x-ray more coins and time and wi-fi are both scant, so I’ll wait to see if anyone wants it. Meanwhile, speaking of Birmingham, even while posting was sparse here I was still cropping up in other places on the Internet, not least the blog of the Centre for the Study of the Middle Ages, as follows:

And then lastly, though I will write properly about All That Glitters soon I promise, even as Cross Country Trains carry me towards the next session, here is a snapshot about one of those we already did:

I have never been so twitterfied! Anyway, with that I must get back to what I am doing now, but here at least is some record of what I have been doing that you didn’t have before!

If you didn’t like that CFP, why not try this one?

The frontiers thing not catching your imagination? Perhaps you’re thinking: “So divisive! I want to look at what brings people together. Why couldn’t our subjects just all have been friends?” Well, Amy Brown of the Université de Genève has something made for you:

Elusive affection: Proposed session for Leeds IMC 2015 July 6-9

Organisers: Amy Brown (Université de Genève, amisamileandme), Regan Eby (Boston College)
Call for Papers (two speakers sought)
Deadline for abstract submission: 20th September
Send abstracts to: amy.brown@unige.ch (will be forwarded to Regan Eby from there)

What is affection? Can we reliably locate or describe the features of affection between medieval persons, real or fictional?

Love of God, romantic love, and love between monastic peers or loyal knights: these and other kinds of love are well attested across the range of medieval sources and periods, but historians of friendship recognise the difficulty of bridging the gap between felt affection and the literary tropes of love. Love might be spoken or written of in situations where the parties were unlikely to feel positively toward one another, such as in reconciliations and peace treaties. In other cases, sources might borrow from the scripts of romance, friendship at court, or family in order to characterise a peculiar relationship, such as an opposite-sex friendship. Some forms of affection might be indicated without reference to the vocabulary of love at all.

We invite medievalists from any period or discipline to propose a paper relating to the history of affection, unconventional affectionate bonds, or approaches to situations in which we have insufficient data for firm conclusions concerning the presence or absence of affection in lived experience. The abstract for Amy Brown’s paper (focusing on 14th c english romance) is below, and we would particularly like to complement this paper with evidence from other periods or other literary traditions.

Sir Lancelot in the Friend Zone: strategies for offering and limiting affection in the Stanzaic Morte Arthur

Amy Brown, Université de Genève

In erthe is nothing that shall me let
To be thy knight loud and still

This promise appears in the Middle English Stanzaic Morte Arthur not as a proposition to a beloved, but as Lancelot’s counter-offer in rejecting the Maid of Astolat’s romantic desires toward him. This text features a negotiation sequence, not found in other versions of the Astolat narrative, in which Lancelot and the Maid attempt to articulate the terms of a relationship which is both like and unlike that of romantic love.

This paper aims to do two things: firstly, to set out the history of the concept of affection (linguistically distinct from the 12th c) and its overlap with medieval ideas of love. Secondly, to read the Maid of Astolat segment of the Stanzaic Morte as an instance in which comparison and analogy with familiar relationship types is used to establish affection at the core of an unconventional bond, that of opposite-sex friendship.

Final note, especially since Amy intends to distribute this CFP to Swiss colleagues: proposals for papers in English preferred, but we enthusiastically endorse the idea of panelists (esp. early career researchers) unaccustomed to working in English. Amy can volunteer moral support and/or editing assistance if helpful, and we will aim to moderate questions with opportunity for clarifications and translations as needed.


(Hey Amy, with an interesting topic like this, you should totally have a blog amirite?)

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An alternative manifesto for this blog

“If I could live in any decade, it would definitely be the 960s.”

Probably as thinking humans you all read The Onion already and saw this when it was new, or when Another Damned Medievalist also linked it (though I can’t now find where she did so), but it appeals on so many levels…

“… Everyone was in this vibrant period of transition between Byzantine autocracy and fealty to large landowners, just trying to discover themselves. For a brief moment you had this optimism that made you feel like you could just stick your thumb out, hop in a passing cart transporting waterfowl, and go. Didn’t even matter where—you’d just take it easy at the next fiefdom and figure it out. Who was going to tell you no? The king? Edgar the Peaceable was on the throne and he didn’t care. It was a simpler time…”

I mean, I’m probably more a fan of the 970s myself—so many exciting possibilities as Europe begins to have access to gold again, even if it comes with a side-order of Muslim military campaigns of terror in Spain and Southern France, Norman ones of opportunity in Southern Italy and Viking ones of conquest in England… But the arts were so much more ambitious!—but he’s totally right about the 980s. That can only seem like a good decade if you don’t remember it!

Aside

OK, it is clear that my existing routine for updating this blog is not working. I won’t go into the details of that, as my obsessive-compulsive-like symptoms don’t deserve that much publicity, but let us simply say that the slot … Continue reading

Leeds blogger meet-up (better late than never…)

Various things have kept me away from electronic media till today, more or less since I last wrote, but events march fast upon us and not the least of these is the 2012 International Medieval Congress, to which I shall be departing tomorrow (or, looking at the clock, today) and at which there has in recent years been a bloggers’ meet-up. I’m not sure we’re up to strength this year but since there will be at least five of us and possibly more Magistra has been canvassing behind the scenes and has settled upon the following time and place: the Stables pub at Weetwood Hall, on Monday evening, from 20:00. I and she will certainly be there, I perhaps from earlier, and if you are a blogger of any kind you would of course be very welcome to join us. (Please, bloggers and others, bear in mind that some who might attend do not necessarily want their real names and their blogs linked more widely, and we ask you to be suitably careful about that.)

Your humble author Jonathan Jarrett in gratuitous black tie

This was taken shortly after a lengthy formal dinner, and doesn’t it show?

Thus, although Magistra’s academic identity is not what you would call secret any more, she has not yet gone so far as to put her name and likeness directly on her blog, whereas mine is all over the web, I suppose I will probably be recognisable for something other than probably being the only male in the gathering, and so if you’re looking for us you can look for me. And I currently look like this, not usually so formally attired but just about as tired… Maybe see you there!

My writing in other places (or not)

I have some hopes of resuming reasonably regular posting some day soon, but that day is not today, sorry; there are two papers needing rewriting, one requiring no little reading, two reviews to write neither of whose books I’ve yet read, and a multitude of other things almost all of which are late, and although this term’s crop of students is not, proportionally, as disaster-struck as last term’s, their misfortunes are still taking a bit of managing. But, I have been doing the odd little bit of blogging elsewhere, and I also wanted to mention a couple of other things connected with my text appearing on the Internet, since some of you have been kind enough to mention them to me.

My writing where I wanted it

In the first place, over the course of February I have put two posts up on Cliopatria. I’ve been having some misgivings over my place there, as I am an extremely occasional and fairly irrelevant presence by some measures, but it does avail me a place to get political, and thus, if you be interested in that, you can find it in two posts, entitled respectively, “‘They Are Trying To Rob Us of Our Right To Communicate’” (which was not about the SOPA Bill in the USA, though perhaps it should have been, but the motivations behind UK Higher Education policy such as it has been manifest here), and “A historian’s place in (current) politics”, which is more or less as it says. The latter has an egregious malapropism in it that Judith Weingarten quickly spotted, but the site appears to have lost my login details so I can’t currently fix it.1 Find it while you can!

My writing where I didn’t want it

[Update: the threats and exposure now seem to have paid off and as far as I can see the author mentioned below has taken my stuff down. However, I leave the paragraph here for continuity.]

In less cheerful news, I discovered very rapidly on February 12th that someone had grabbed about thirty posts from this blog and put them up on one of their own, to which I shall not link. I discovered this because they didn’t remove any of my numerous pingbacks to this site, and thus I could find out that they have not used my name, and so as well as stupid things like adverts for my books he has got my musings about being unhappy in church services etc. (or just unhappy) up under no name but `admin’, which is extremely odd to see and makes me quite angry. I am, of course, nothing to do with this site and I gave no permission for anything of the kind. I have been in touch with the author (who wrote to me about one of their other blogs, advertising the one where they’d loaded up my content! Perhaps not the brightest thief in the class, this person) and demanded they take the stuff down, I have been in touch with the abuse address at their web-host, but since none of this has as yet resulted in any action by anyone else, I am now also in touch with the University of Oxford’s lawyers and we’ll see what they advise. But since people had mentioned it to me in private, I wanted to say that I knew, and furthermore, firstly that if you’re linking to anything being run by someone calling themselves Djalma Bright, I’d appreciate it if you unlinked them, and secondly that if you work on Arthuriana your stuff may also have been raided there and you should probably Google some of your work’s key phrases up to make sure. I presume that the idea is that they get some of my search traffic for their own material, but perhaps they haven’t yet started writing any of that…

It’s all complications I don’t want, anyway, but it has made me rethink my copyright policy and decide that while I may guard my text fiercely, I don’t really see any point in not releasing my images, as in, ones I took, into the public domain. Does anyone else have any views on that they’d like to share?

My writing not being where I want it

Lastly, as I return to reading other people’s blogs again periodically, I discover that Blogger has had another reinvention of its spam protection Captcha gear. Either I’m a far worse palæographer than I thought, or just as with the previous version, their OpenID support is crooked again. Either way, if you’re on Blogger and running either of the two latest Captcha set-ups, I can’t comment on your blog except as name/URL and you will understand how just now I am concerned about authentication! So it’s not that I don’t love your various writings, I just can’t say so, and you might want to see if anyone who’s not on Blogger actually can…


1. And since the site’s various technical issues (such as the visible spell-check that only shows up in live posts) were another reason why I was considering quitting, it’s quite fitting that, having decided to carry on, I now can’t because of them…

Have you seen this emperor?

Edit: two minor errors fixed, indicated with strikethrough

Let me ask you something that may reveal my ignorance. Or, it might reveal someone else’s, we’ll see. A while ago I saw the image below on the one Tumblr blog you’ll find in my sidebar, Medium Aevum. Now this is not an unfamiliar image to me, because it is the one used for the cover of Paul Edward Dutton’s excellent reader Carolingian Civilization in its second edition (and maybe its first, which I only ever saw in a library binding), and it ought not to be unfamiliar anyway, because it comes from the Sacramentary of Charles the Bald, so an actual piece of Carolingian book-painting (which is as you may well know about the only kind of Carolingian painting we really have).1 And that manuscript is now Paris, Bibliothèque Nationale, MS Lat. 1241 1141, which means that a certain amount of poking around Mandragore can get you the full thing digitised, because the web is wonderful like that.

Painting of an emperor between two popes, being crowned by God

Now my query here is with the identification given to the figures in this picture in the Medium Aevum post, and indeed elsewhere. (The owner of Medium Aevum has disabled comments there because of abuse, so I hope they won’t mind my using their page as an example. The place I actually borrowed the image from, About.com’s Medieval History pages, makes the same statement though they do there at least notice some of the difficulties I’m about to point out.) There it is said to be Charlemagne, standing between Popes Gelasius I and Gregory the Great. That immediately gave me pause. Firstly I paused because, well, that guy just doesn’t look like a Carolingian: as has been said here before, there seems to have either been a strong resemblance between the males of the line or else a strong idea among artists about what they should look like, and it includes more jowls than that, also moustaches, and quite less late-Antique hair.2 This looks like a young Constantine to me, not that an artist in 870 would have known what that looked like. But then there’s the popes. Why those two? Why not Leo III and Hadrian, the one whom Charlemagne was actually crowned Emperor by and the one he actually got on with?3 Gelasius, as the man who told Emperor Anastasius that his power was ultimately lesser than the pope’s (or at least, his responsibility was), I can kind of see although why a king would want that in his Sacramentary is harder to imagine. Gregory I would make a kind of sense, too, just because of his fame and connection with Saint Benedict, though I think the Carolingian fascination with him was lesser than the Anglo-Saxon one, but it’s still only a kind of sense, and certainly he had no special connection with imperial power (quite the reverse, in fact, if you look at his career, which was pretty much all about how to manage disconnection from Empire).4 Gregory the Great does admittedly turn up on the next page of the manuscript, being inspired by the Holy Spirit in the form of a dove in that way that he so often apparently was, and they do look similar, so it’s not impossible, but still a strange thing to put a coronation of Charlemagne. If that’s what it is… Because I see nothing on the page that so identifies it; it’s not even clear if the text in the panel beneath them is actually from this page, because if you seek it out in Mandragore you’ll see that one of the two sources has reversed the image, and I think the text may actually have imprinted from the previous or subsequent page: Mandragore shows it faded and backwards, and very little left of the text on the subsequent page’s equivalent panel.

Ivory carving of Pope Gregory the Great being inspired by the Holy Spirit, now in the Kunsthistorisches Museum, Vienna

Ivory carving of Pope Gregory the Great being inspired by the Holy Spirit, now in the Kunsthistorisches Museum, Vienna

With suspicions thus up, I started with Dutton’s book, whose back cover identifies the portrait only as “The Crowning of a Christian King”. Hmmm, I thought, and betook me armed with the shelfmark usefully given there to Mandragore, as described, and they entitle the picture, “Allégorie : royauté de droit divin”.5 Yes, I thought, that’s more like what I had in mind, so where on earth has this come from? And there I draw a blank. Medium Aevum almost always gives a source, and it’s usually Wikipedia; so it was in this case. The file on Wikipedia is called “Karl 1 mit papst gelasius gregor1 sacramentar v karl d kahlen.jpg”, which is fairly unambiguous, and as so often with Wikipedia too, it gives a source for this, but as is also so often the case, that source is a dead link, a course web-page at the University of (Edit: North) Florida whose course or whose owner has obviously left the building. And there the trail goes cold, although from Wikipedia it has grown widely as you will see if you Google elements of the filename. (There is a further link on the Wikipedia page to the Bridgeman Art and Culture image library, but, well, I do not retrieve this image on any search I can be bothered to follow through with, and certainly not one for Charlemagne.)

Emperor Lothar I, illustration of a Tours Evangeliary now in the BN Paris

Now that's a Carolingian! To wit, Emperor Lothar I, illustration of a Tours Evangeliary now also in the BN Paris and also here taken from Wikipedia

So okay, there’s the question. Has anyone thought that this was a scene of the coronation of Charlemagne before, is this just out there in a book I perhaps should have read? If so, on what basis did that person make the identification of king and popes? And if not, how on earth has this idea got out there?


1. That is, P. E. Dutton (transl.), Carolingian Civilization: a reader (Ontario 1994), 2nd edn. Readings in Medieval Civilizations and Cultures (Ontario 2004); for more on Carolingian-period painting my first resort would be George Henderson, “Emulation and Innovation in Carolingian Art” in Rosamond McKitterick (ed.), Carolingian Culture: emulation and innovation (Cambridge 1994), pp. 248-273.

2. From which statement we learn that apparently after seeing two Kalamazoo papers about late antique hairstyles I feel like an expert. Ignore me about the hair.

3. Dutton’s anthology indeed includes the tombstone inscription for Hadrian that Charlemagne had put up in San Pietro di Roma, Carolingian Civilization 2nd edn., c. 9.4, but you can also see it here.

4. My go-to book on Gregory, who was an interesting man, is Jeremy Jeffrey Richards’s Consul of God: the life and times of Gregory the Great (London 1980), though there are probably more recent things by now.

5. It’s seemingly not possible to give direct links to a Mandragore record, it’s all dynamic, but the first box in the search page has an index that lets you pretty much pull the thing up.