Tuesday, October 2, 2007

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WOMEN OF THE MIDDLE AGES ...
... WITCHES OR ANGELS?





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Monday, October 1, 2007

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SOME EDUCATIONAL INFORMATION ...

Our blog aims to address various aspects related to the figure of woman in medieval times, in particular, we focus not only on its more historical and social factors but also on the role of women in literary and artistic production of that period.
The choice of the title comes from this: the woman, witch in history, becomes angel in poetry and pictorial representation.
Since the Middle Ages, a historical period examined during the second year of secondary school studies in a Grade II, we turn our attention mainly to the students who attend the classes. Through the "navigation" and guided reflection, it will be possible for them to make comparisons between different disciplines (history, Italian art), managing to gain a sufficiently broad subject matter.
To stimulate this process as independently as possible, it was decided to propose a short bibliography (with texts related to different types in terms of stylistic and thematic) and an interesting filmography: in this way the students, according to their personal interests, may decide to expand their knowledge.
For the same purpose, each text was accompanied by a number of links, and students can use to investigate issues that they care most about.

At first it will ask the class to reflect on the "Life of women in the Middle Ages", focusing on certain aspects:
- fashion
- work
- the woman seen by clerics
- the role of women in society and its education
- the portrait of a great woman: Joan of Arc

We ask students to draw some observations relating to particular elements, suggested by us.
As for the card on fashion, inviting the children to compare the typical dress of the medieval era with that of other times they known, more generally, we ask them to establish a broad comparison between the condition of Women in the Middle Ages and the status of women in vintage greek-roman.
As regards, however, the figure of Joan of Arc (read in parallel with the track dedicated to "Charmed"), students will be guided to reflect on the following question: can we consider Joan of Arc a witch? Why?
The combination of written text, text, illustrations and musical contribution will foster a dynamic and interactive learning mode.

Later, the class will be invited to consider carefully the role of women proposed by the literature: one part will be offered a number of short texts for courtly literature, the other looking at the female figures present in the works of Dante, Petrarch and Boccaccio.
After reading the lyrics proposals, we will ask the students to detect significant differences that characterize the presence of women in the production of each author, using the following guide:
- The description of the woman he loved, he prefers the ' physical or spiritual?
- The love for the woman lived in a haunted?
- What are the effects that the beloved in the life of the poet?
- The woman reciprocates the love?
- What issues are typical of the literary currents of the Middle Ages, are present in compositions?

To answer these questions students will have to bring some significant ways, learning to work on the text.

It was decided then to add to the picture on the literary figures of starting a "trobairiz"
The "poetry of women, however, are not accompanied by analysis and commentary to encourage students to reflect and draw of his claim to be, then, to be compared in class.
Under the label "The trobairitz" is placed on the track to tasks Donzella, Florentine poet that can not be counted among the Troubadours but in this case, is placed among the Provencal poets as Italian counterpart.

addition, a section of the blog is devoted to an analysis of an artistic nature.
The images are not only related to the medieval period, but cover a longer span of time, up to the first half of the twentieth century.
Given the breadth of the information provided, we ask children to work autonomously and a summary to create a concept map.
You can then initiate an interdisciplinary work in which we examine in parallel the "Rooms" police and "Spring" by Botticelli.

To complete the picture, it was decided to propose some bios on the figure of some saint who lived during the Middle Ages: S. Chiara, S. Rita S. Catherine.

On completion of the work pupils should have acquired a greater familiarity with the tools offered by the "network", contributing ideas and suggestions for enlargement of the same blog.






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THE REPRESENTATION OF WOMEN IN

The female figure has always been an object of representation in the visual arts, serving from time to time as a different symbol. The way to represent it and the symbolic role it played have changed over the centuries, keeping pace with the evolution of artistic techniques and styles, with a change of taste, and no less important element, with the different way of conceiving the role of women in society.
Since the dawn of civilization, the female figure, then, was the protagonist of human history: archaeologists have unearthed many sculptures of female deities, attributed the organization of the patriarchal tribe, the Paleolithic era.
In many ancient civilizations the woman was at the core of society, was the custodian of the principle of life, fertility and as such was rappresentata.La statue below, depicting a mother goddess in some Anatolian civilization (dating back to the first Chalcolithic ) is certainly a clear example of what has been said. The playing technique is not yet come to perfection: the figure is very stocky and almost sketchy, but it is clear that the symbolic importance. This sort of Magna Mater ahead of its time, "softly" session, is nothing but a personification of fertility, abundance, fertility.






Greek mythology, however, gives the woman a goddess-size impossible: think, for example, made representations to the statues, dating from the fifth century BC
While Roman mythology makes it more "human" and less powerful than the male gods, but not the cult of Magna Mater first, and then Ceres and Cybele, assumes less importance ...
Doing a nice jump from Roman times to the Middle Ages, we can see how different the way of representing the woman. E 'notice theocentric concept typical of this time, it involves every area of \u200b\u200blife, including art, which is an expression of the latter. Medieval art has almost always religious subjects. Subject to excellence are the sacred virgins occurring compound, soft and elegant, as in the case of Simone Mart ini (bottom left), or rich in humanity and human traits almost those of Giotto (bottom right)). So how can we define women seen by the artists of this era? Witches or angels? Undoubtedly angels, in unison with the poets and writers of the period.

Even during the centuries following the fourteenth century Giotto and Simone Martini, I just mentioned, the representation of the female figure is articulated primarily through sacred subjects, although they can count on the side of mythological subjects (the advent of 'Humanism onwards, many artists paint or sculpt subjects of this kind: among them, for example , include Sandro Botticelli ; Raphael, Michelangelo ; Tiziano ; Bernini, Canova etc..) and increasingly also subjects taken from real life.
In particular painting, from the seventeenth century, Caravaggio is to introduce the protagonists s real life in his paintings is very famous his "Death of the Virgin" (picture below), whose protagonist is depicted pouring on his deathbed, in a pose that certainly did not suit the theme and then caused a scandal, because the painter was painting the virgin walk naked. He even said that he had used as a "model" the corpse of a drowned woman (a detail, the latter being derived from swollen feet and stomach of the young woman), thus introducing the humble reality of everyday life in painting .





In fact, we can say that the female figure, despite the different styles and different taste, has always been represented with angelic features and delicate. Precisely for this reason, the question "Women in the Middle Ages witches or angels?" We can not answer that "Angels"!
In fact, paradoxically, and especially in painting, she is represented as a "witch" only in the late nineteenth and early twentieth century, when many artists express their concern and their uneasiness with the woman who is seen as a femme fatale, one who eats and submits to the man fully, and as such represent it on the canvas. Here
(middle figure) as Edward Munch, in 1894-95, depicted in an entirely new staff and the "Madonna" by communicating their own suffering and their terror.



The same suffering and terror that we find in many other artists. It would be impossible to list them all and for this reason it is necessary to make a small selection, but will be sufficient, in my opinion, to make clear what is claimed!
We could start with "The bride in the wind" (1914) by Oscar Kokoschka.



Continue "The angry" (1910), by Egon Schiele (top center)
ending with the "Judith 1" (1901) by Gustav Klimt
(bottom center)


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Woman "stilnovistica"



The " Dolce Stil Novo "is not a" school ", but a different set of experiences yet converged to bring the head to a new love poem, which cut ties with the experimentalism of the courtly lyric hall.
How is the woman singing? Unlike the "lady" of the courts and castles of Provence, the woman of the "stil novo" suddenly appears somewhere in the city. The love affair is made of fleeting encounters and emotions that are located in an urban setting. These meetings and appearances devastating effects on the poet, who sees to stop all their physical and mental.


The effects of love are considered as a result of the movement of substances incorporeal. These entities airlines, with their autonomy and calling spirits, move and change impacting on the faculties of the individual soul, and are also able to relocate, away from the individual they belong to and following their own account, the 'image of the woman he fell in love. Sudden revelation, the woman stilnovistica "is almost never reached.
The woman is not described physically and become more spiritual and ethereal: the woman is a summary of the ideals that the poet wants to reach, takes on the virtues of the angel, and as such transmits spiritual influences man, but there must be a heart capable of receiving them. The sonnet by Guido
Guinizzelli which we describe below, shows some typical themes of the opera stilnovistica.



The greeting and your beautiful 'the gentle gaze
v'encontro when you do, kill me:
love overwhelms me and already reguardo
If he did not face shame over merzede,
that through my heart I threw a dart over
ched 'n part of the cut and divided;
I can not speak, for' n
penis I glow even as those who see his death.
their eyes as it does pass the throne, which
fer 'for the window de la torre
and what is in shatters and cracks:
remagno como brass statue,
where life or spirit is not satisfied,
except that the figure of a man makes.


gaze of the woman becomes a vehicle of love: the greeting and the look (the only forms of contact between the woman and the poet) is the vehicle with arrows of love that can only cut to the heart of the poet. He is not in itself the strength drains away and is condemned to immobility, like a statue in which there is no vital spirit.

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the Sicilian School







The new Italian vernacular courtly lyric in built around the thirties of the thirteenth century in an environment of great cultural vitality, the court of Frederick II of Swabia . The authors are officers of the imperial government, however, or characters of the administration of the Southern Kingdom. They decide to transplant in the Sicilian vernacular models of Provencal courtly lyric, purified by references to the concrete, the chronicle of courtly life and people readily identifiable, frequent references in the Provencal poetry. The Sicilian poets intend to give their poetry a social function: to reflect the value and prestige of the court where they belong. The poetry of the Sicilian
addresses the theme of love especially from the perspective of the feudal relationship of love and tries to define the character of communication. At the center there is a woman, a noble lady and mistress, to serve with dedication, but never expresses the pathos of distance and dell'indecifrabilità of his beloved lady-that is typical of some poets of Provence. Beware of the transmitted probing love to see the Sicilian poets identify the main plot of the relationship with the woman, and around to see focus various images and metaphors.
In singing his relationship with the woman, the poet tries and increases its value, its serving his beloved, his loyalty makes him engage in more socially worthy.
The first and greatest exponent of the school is the Sicilian Giacomo Da Lentini notary (the Notary), an imperial official. Thin investigator, with wisdom and metrical rhetoric, was probably the inventor of the new form of the sonnet.


m'aggio I place in my heart to serve God,
as I could go unto heaven,
the holy place, audited c'aggio say
or 'sollazo keeps playing and rice.
without my woman there Voria depart, that
c'a Blonda claro head and face, without
that she could not Gaudete,
estandar split from my wife.
But I do not say that proposal
pecato there because I wanted to do;
if you do not see the beautiful port,
and beautiful face and 'the soft look:
which are of such me great consolation in the artery,
seeing my woman in ghiora be.

In this sonnet the woman is described according to the style typical of Provencal poetry: the hair, the look sweet and elegant bearing. But it's also developed the theme of the impossibility the poet to be happy even in heaven, if separate from the contemplation of his lady. Here, too, love feeds on itself. The poet, in fact, reaffirms its attachment does not derive from the desire to possess: he would be happy just to see the woman he loves in the glory of Paradise.

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The fin 'amors



model of courtly strongly characterizes the troubadour poetry (a poem created in the courts of Provence and southern France in the late eleventh century and the beginning of XIII). The subjectivity of the troubadour is expressed in the song of joi, a joy determined by the fin 'amors, "perfect love", and the desire to enhance the woman-woman, who is often identified with the feudal lord, a princess or the wife of the prince to her lover is in the position of vassal ready to serve in an absolute and disinterested. Even when the woman-woman is physically close, her beauty and power make it unattainable. The song of the poet emphasizes the charm of this distance.
Every gesture of the poet-lover is indeed threatened by the words of slanderers, those who are unable to recognize the value of fin 'amors and can damage or even exclude it from the graces of the woman. The passion in the subject provokes contradictory effects, that poetry looks thin.




However, the experience of love can be represented in different ways. Next to the woman-woman, set in the icy crystal forms, alternate figures that give off a impetuous sensuality. In some texts, love is described by unscrupulous realism, joyfully libertine ways, in others it looks menacing and destructive aggression.
beginning of the thirteenth century, Provencal poetry was a sudden crisis, caused primarily by the Crusade Against the Albigenses, which caused great upheavals in Provence and caused the end of the most important courts of Provence. Already in the twelfth century models of Provencal lyric had spread to Germany, with the poetry of Minnesanger , "singers of the Minne," that the thought of love.
We received word of about four troubadours, among which Bernart De Ventadorn , in the second half of the twelfth century served and courted Eleanor of Aquitaine, poet from the vein, easy and natural, to the love song that combines autobiographical reasons.