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Arthurian romances --- Cycle d'Arthur --- History and criticism --- Congresses. --- Histoire et critique --- Congrès --- Chrétien, --- Chrétien, --- Criticism and interpretation --- Influence --- Intertextualité --- Roman courtois --- Actes de congrès --- Chrétien de Troyes, --- critique et interprétation --- Congrès --- Actes de congrès. --- Arthurian romances - History and criticism - Congresses --- Chrétien, - de Troyes, - active 12th century - Criticism and interpretation - Congresses --- Chrétien, - de Troyes, - active 12th century - Influence - Congresses --- Chrétien, - de Troyes, - active 12th century

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Kalhaṇa, --- Jammu and Kashmir (India) --- Description and travel --- Stein, Aurel, --- History. --- Kalhaṇa, --- Kalhaṇa, - active 12th century. - Rājataraṅgiṇī --- Jammu and Kashmir (India) - Description and travel

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This work, first published in 1863, relates the biography of a complex, visionary reformer from his birth in 1091 to his death in 1153, capturing in the process the major currents of twelfth-century politics, culture and faith. From the foundation of the Cistercian Abbey of Clairvaux to its rise as a centre of monastic austerity and devotion, the book traces Saint Bernard's participation in the seismic events of his day, including the creation of the Knights Templar, the rise of scholasticism and the preaching of the Second Crusade. Told in a lucid, anecdotal style by the Victorian essayist, biographer and political reformer James Cotter Morison (1832-88), whose friends included Matthew Arnold and Thomas Carlyle, this is an important work of Victorian medievalist criticism, capturing the spirit of its own age even as it evokes the spirit of another.

Christian saints --- Twelfth century. --- Church history --- Crusades --- Bernard, --- Europe, Western --- History --- Second Crusade, 1147-1149 --- 12th century --- Middle Ages --- Bernard de Clairvaux, --- Bernardo, --- Bernardus, --- Bernhard, --- Bernhardus, --- Clairvaux, Bernard of, --- West Europe --- Western Europe

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"Par suite de quoi as-tu douté ? Peut-être à cause de ceux en qui les miracles ont été accomplis ? Ou parce que les miracles ne se produisent plus comme au début et que tu ne vois pas chaque jour des hommes soulagés ? … Pourquoi doutes-tu… ? Pourquoi redoutes-tu que la sainte Église romaine s’engage dans la canonisation d’un tel homme ?" La Vie de Bérard, évêque des Marses, n’était connue à ce jour que par la transcription ap­proxi­mative qu’en publia Ferdinando Ughelli en 1644, reprise presque à l’identique dans les Acta Sanctorum en 1894. S’appuyant sur cinq témoins manuscrits du XVIIe siècle, Jacques Dalarun en livre pour la première fois l’édition critique, assortie d’une traduction française scrupuleusement annotée. Surtout, à la partie biographique déjà connue, il ajoute l’édition du copieux recueil des miracles posthumes de Bérard, qui n’avait jamais été mis au jour. Et voici que le dossier s’anime: l’hagiographe -Jean, évêque de Segni- prend rudement à partie son commanditaire -Jean "le Voleur", prieur du chapitre cathédral des Marses- en lui reprochant de ne plus croire en la cause de canonisation que tous deux s’étaient pourtant accordés à promouvoir. Pour présenter le dossier de Bérard, l’éditeur nous invite à suivre pas à pas le cheminement même de l’enquête, remontant de la plus récente édition à la rédaction originelle du XIIe siècle. Puis il descend le cours du temps, explorant le réseau intellectuel qui, au XVIIe siècle, assura le transfert de la Vie de Bérard de l’Abruzze vers Milan, Rome et Naples, de l’éru­dition locale vers les centres lettrés de la Contre-Réforme. Le texte qui émerge de cette enquête est d’un latin rugueux, d’un style souvent échevelé. Il nous entraîne au cœur d’une autre réforme, la réforme grégorienne que l’évêque Bérard, issu des comtes des Marses, tenta de mettre en œuvre de 1110 à 1130 dans cette région perdue de l’Abruzze. Non sans difficulté. C’est dans cette dialectique heurtée entre élan réformateur et résistance au mouvement que le conflit insolite de l’hagiographe et du commanditaire prend pleinement son sens historique.

Bérard de Marses --- Bérard, --- Christian saints --- Church history --- 235.3 "04/14" --- C1 --- hagiografie --- Hagiografie--Middeleeuwen --- Kerken en religie --- Berard, --- Jean, --- Vita beati Berardi episcopi Marsorum. --- Berardo, --- Giovanni, --- Berardus, --- Johannes Signiensis --- Ioannes Signensis --- Bérard, --- Berardus episcopus Marsorum --- Italy --- Biography --- Catholic Church --- History --- Sources --- 12th century --- Iohannes Signiensis episcopus --- Christian hagiography --- Berardus --- Berardus ep. Marsorum

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Representations of monsters and the monstrous are common in medieval art and architecture, from the grotesques in the borders of illuminated manuscripts to the symbol of the "green man", widespread inchurches and cathedrals. These mysterious depictions are frequently interpreted as embodying or mitigating the fears symptomatic of a "dark age". This book, however, considers an alternative scenario: in what ways did monsters in twelfth-century sculpture help audiences envision, perhaps even achieve, various ambitions? Using examples of Romanesque sculpture from across Europe, with a focus on France and northern Portugal, the author suggests that medieval representations of monsters could service ideals, whether intellectual, political, religious, and social, even as they could simultaneously articulate fears; he argues that their material presence energizes works of art in paradoxical, even contradictory ways. In this way, Romanesque monsters resist containment within modern interpretive categories and offer testimony to the density and nuance of the medieval imagination.

Kirk Ambrose is Associate Professor & Chair, Department of Art and Art History, University of Colorado Boulder.

Monsters in art. --- Christian art and symbolism --- Decoration and ornament, Architectural --- Decoration and ornament, Romanesque --- Sculpture, European --- Sculpture, Romanesque --- Themes, motives. --- 12th century art. --- Dark Age. --- Fear in art. --- Medieval France. --- Medieval Manuscript. --- Medieval Portugal. --- Medieval monsters. --- Romanesque monster. --- Romanesque sculpture. --- Twelfth-century. --- green man. --- grotesques. --- medieval art. --- medieval sculture.