Ressources numériques en sciences humaines et sociales OpenEdition Nos plateformes OpenEdition Books OpenEdition Journals Hypothèses Calenda Bibliothèques OpenEdition Freemium Suivez-nous

Anthropologie trans et queer des mondes pré-modernes (Séminaires)

Source : calenda

ATQ – Programme 2025-2026

Un espace de réflexion collective autour des questions trans et queer, des mondes antiques au long Moyen Âge, proposant une approche réflexive des concepts de corps, de sexe et de genre et de leurs nouages dans différentes cosmologies, dans une perspective comparatiste. L’enjeu central du groupe de travail réside dans l’élaboration collective d’une base de données ouverte, composée de notices bibliographiques critiques d’ouvrages et articles à même de concerner les études trans et queer.

 

Présentation

Le séminaire « Anthropologie trans et queer des mondes pré-modernes » entend constituer un groupe de travail transdisciplinaire au sein d’AnHiMA et d’AHLoMA-CRH, conçu comme un espace de réflexion collective autour des questions trans et queer, des mondes antiques au long Moyen Âge. Il se propose de mettre en œuvre une approche réflexive des concepts de corps, de sexe et de genre et de leurs nouages dans différentes cosmologies, dans une perspective comparatiste. À travers une approche interdisciplinaire et critique centrée sur l’analyse philologique, historique et anthropologique des sources, ce groupe de travail invite étudiants et étudiantes, chercheurs et chercheuses à questionner les catégories modernes telles que masculinité, féminité, sexualité ou identité, en examinant leur processus d’historicisation et leur variabilité anthropologique.

L’enjeu central du groupe de travail réside dans l’élaboration collective d’une base de données ouverte, composée de notices bibliographiques critiques d’ouvrages et articles à même de concerner les études trans et queer. Soucieux de l’initiation méthodologique des jeunes chercheurs et chercheuses, ce travail collectif vise à constituer un cadre intellectuel rigoureux permettant de mieux comprendre comment les normes corporelles et sociales ont été construites, déconstruites et constamment reformulées au fil du temps.

Chaque séance propose une lecture critique de l’historiographie à partir des sources, enrichie ponctuellement par la présence d’auteurs et autrices invité·es à partager leurs recherches. Ce séminaire entend ainsi dépasser les frontières disciplinaires, favorisant un dialogue méthodologique exigeant sur la manière dont les corps, les genres et les sexualités ont été historiquement produits et perçus.

Par une démarche attentive à la complexité historiographique du corps sexué et sexuel, le séminaire ambitionne d’éclairer, sans essentialismes et par un anachronisme contrôlé, la richesse et la diversité des expériences pré-modernes trans et queer.

Ce séminaire est coorganisé par Cléo Carastro (ANHiMA), Camille Campos Fragoso (AHLoMA-CRH) et Mathilde Arnau (CRH-TELEMMe).

Salle Walter Benjamin

Rez-de-chaussée

Institut national d’histoire de l’art

2 rue Vivienne 75002 Paris

Programme

14 octobre 2025, 11h-13h

Séance inaugurale

25 novembre 2025, 11h-13h

Queer – La mise en crise des catégories nominales : une philologie queer

16 décembre 2025, 11h-13h

Féminin – Par-delà le genre en anthropologie : lectures de Nicole Loraux et Marilyn Strathern

13 janvier 2026, 11h-13h

Corps – Queer Sappho ? Parallèles mythiques et corps dégenrés

Avec Sandra Boehringer

27 janvier 2026, 11h-13h

Trans – À la recherche de l’humour sexuel et genré des Frères de Limbourg (XVe siècle)

Avec Clovis Maillet

24 février 2026, 11h-13h

Sexe – La fabrication d’une catégorie devant le juge : le sexe comme fiction interne au droit

Avec Camille Campos Fragoso

10 mars 2026, 11h-13h

Lesbianisme – Du lesbian-like aux gestes de tendresse : penser le lesbianisme au Moyen Âge

Avec Mathilde Arnau

24 mars 2026, 11h-13h

Sodomie – Les amours de Jeanne et Laurence au début du XVe siècle. D’un cas d’hermaphrodisme à une transgression de genre

Avec Damien Boquet et Didier Lett

14 avril 2026, 11h-13h

Nature – L’énigme du genre et les limites de l’art : une lecture attentive d’une gravure de Salomon et la Reine de Saba au Louvre

Avec Nancy Thébaut

26 mai 2026, 11h-13h

Éros – Retour sur Le Banquet de Platon

Avec Cléo Carastro

2 juin 2026, 11h-13h

Sexualité – Actes, identités, ruptures : pour une histoire des sexualités après Foucault

9 juin 2026

Clôture

Écritures médiévales de la pleurabilité. Éthiques et frontières de la compassion au Moyen Âge (colloque)

Source : L’agenda des médiévistes

Si l’on en croit les textes médiévaux, la tristesse et la douleur ne sont pas nécessairement des émotions contagieuses. Les pleurs d’un personnage peuvent certes y inspirer la compassion de ceux devant qui ils sont versés. Mais les infortunes d’autrui peuvent aussi susciter des affects variés chez celles et ceux qui les observent, en une polyphonie des points de vue que les fictions confrontent parfois au sein d’un même texte : la paralysie soudaine du héros éponyme de Renaut de Montauban provoque la pitié de certains mais la raillerie des autres ; la mort des fils de Soliman dans la Chanson d’Antioche entraîne l’hilarité des croisés contre le désespoir du père ; dans Sire Hain et dame Anieuse, les blessures d’Anieuse lors du combat qui l’oppose à son mari affligent sa voisine Aupais sans émouvoir le voisin Simon. 

C’est cette conscience du caractère fondamentalement subjectif et variable de la compassion que ces journées d’études se proposent d’interroger. Si le champ bien établi de l’histoire des émotions a déjà longuement exploré, à travers le concept de communautés émotionnelles, la façon dont les normes sociales d’un groupe déterminent qui pleure et comment, ces journées entendent s’intéresser aux conditions, explicites et implicites, délimitant dans les textes médiévaux qui et ce qui peut être pleuré, autrement dit, ce qui est ou non “pleurable”. 

En employant cet adjectif, emprunté à la notion de pleurabilité (grievability) forgée par Judith Butler pour penser l’inégale reconnaissance de la vulnérabilité des individus dans les modèles sociaux contemporains, cet appel voudrait proposer une rencontre entre le champ de l’histoire des émotions et celui de la philosophie politique auquel les travaux de Judith Butler se rattachent : alors que les études sur la pitié, l’empathie et la compassion médiévales se sont beaucoup intéressées aux aspects religieux et dévotionnels voire érotiques de la sensibilité aux malheurs d’autrui, notre approche entend se concentrer sur les conditions sociales et politiques de l’émergence et de l’expression de la pitié. Si, comme l’ont montré les travaux de Butler, la capacité d’un sujet à penser les souffrances d’un groupe est étroitement liée à la visibilisation de ce groupe autant qu’à la reconnaissance sociale dont il bénéficie, des recherches récentes témoignent de la conscience que certains auteurs médiévaux peuvent avoir de ces déterminants sociaux.

Fortes de ce constat, ces journées d’études se proposent d’analyser la façon dont les écrits et les représentations médiévales formulent et théorisent, mais aussi interrogent voire déplacent les conditions sociales et littéraires, politiques et poétiques, qui favorisent ou au contraire interdisent l’éveil et l’expression de la compassion à l’égard des individus ou de groupes qui pourraient être définis comme “à la marge” de la norme sociétale. Au-delà de cet examen d’une possible redéfinition des frontières du pleurable au Moyen Âge selon les contexte, ces rencontres seront l’occasion de réfléchir aux mécanismes éthiques et esthétiques ainsi qu’aux dispositifs d’écriture qui permettent la reconnaissance de certaines souffrances, ou au contraire favorisent la minimisation ou l’invisibilisation de certaines peines. 

En se situant dans une perspective interdisciplinaire cherchant à croiser les domaines de la littérature, de l’histoire et de la philosophie, il s’agira en fin de compte d’explorer les réponses que les textes médiévaux apportent à la question formulée par Judith Butler pour nos temps d’aujourd’hui : “Quels sont les corps qui comptent, et pourquoi ?”.

Programme :

MERCREDI 15 OCTOBRE

14 h 15 INTRODUCTION – Lisa Sancho et Claire Donnat-Aracil

SESSION 1 : LES VOIX DES LARMES : POLYPHONIES DES LAMENTATIONS

14 h 45 La médiation des larmes : qui pleure, pour qui et pour quoi, dans la littérature hébraïque médiévale – Alexandre Cerveux, MCF en musique médiévale, Sorbonne Université/IReMus

15 h 15 Venite a pianger cum Maria. Distributions des pleurs et des lamentations dans le planctus Virginis médiéval – Andrea Ghidoni, chercheur post-doctoral, université de Gênes/université de Pavie

15 h 45 « Gé ! prent en pitié e enten cri e plor » : le son des larmes dans la poésie française transcrite en caractères hébraïques au Moyen Âge – Julien Stout, Assistant Professor, Princeton University

16 h 15 DISCUSSION ET PAUSE

SESSION 2 : RIRE ET COMPASSION : QUESTIONNEMENTS GENERIQUES

17 h Le Roman de Renart et la compassion impossible ? – Valentine Eugène, PRAG, Université Paris Cité

17 h 30 18 h À pleurer de rire : larmes risibles et fallacieuses dans la littérature comique médiévale – Nicolas Garnier, docteur en littérature médiévale, Sorbonne Université

DISCUSSION

JEUDI 16 OCTOBRE

SESSION 3 : TYPOLOGIES DES PLEURS

9 h 30 Le Traité des larmes de Catherine de Sienne, une poétique de la pleurabilité – Naïs Virenque, chercheuse post-doctorale en histoire de l’art, univ. catholique de Louvain

10 h La larme, pas l’œil : nature des pleurs dans le Registre de Gilles le Muisis –Hugo Tullii, doctorant en littérature, université de Neuchâtel

10 h 30 DISCUSSION ET PAUSE

SESSION 4 : SUJET (NON)PLEURANT, SUJET
(IM)PLEURABLE ? COMMUNAUTES DE RECEPTION

11 h 15 Merlin ou le refus des larmes – Lise Fuertes, docteure en littérature, université de Bourgogne

11 h 45 Les larmes du berger : rire, compassion, consolation – Charlotte Guiot, MCF en littérature médiévale, université Lyon II

12 h 15 DISCUSSION

SESSION 5 : LES CORPS QUI COMPTENT : L’EMPATHIE EN FICTION

14 h 30 La chanson de geste tardive : une école de la sollicitude ? – Rose Delestre, doctorante en littérature, université de Genève

15 h De pitié, en larmoiant… » : dichotomie et mobilité empathique dans Le Réconfort de Madame de Fresne d’Antoine de la Sale – Tristan Fourré, ATER, université de Rennes II

15 h 30 DISCUSSION

CONCLUSIONS

Informations pratiques :

15 > 16 octobre 2025

Université Paris Cité, bâtiment des Grands Moulins

Aile 6 | 6e étage | salle Pierre Albouy | 5 rue Thomas Mann | Paris 13e

COMITÉ D’ORGANISATION

Lisa Sancho | sancho.lisa@gmail.com

Claire Donnat-Aracil | claire.donnat@yahoo.com

COMITÉ SCIENTIFIQUE

Emmanuel Bain, Damien Boquet, Estelle Doudet,

Jean-Marie Fritz, Piroska Nagy, Anne Paupert

CET ÉVÉNEMENT A REÇU LE SOUTIEN DE L’APPEL À PROJETS ANIMATIONS SCIENTIFIQUES DE LA FACULTÉ SOCIÉTÉS & HUMANITÉS D’UNIVERSITÉ PARIS CITÉ

Avec le soutien financier de la Cité du Genre, projet inIdEx d’Université Paris Cité, ANR-18-IDEX-0001

With the financial support of la Cité du Genre, inIdEx project of Université Paris Cité, ANR-18-IDEX-0001

Approaches to emotion in Middle English literature

Source : Manchester University Press / The Medieval Review

Carolyne Larrington, Approaches to emotion in Middle English literature, Manchester University Press, 2024

Over the last twenty-five years, the ‘history of emotion’ field has become one of the most dynamic and productive areas for humanities research. This designation, and the marked leadership of historians in the field, has had the unlooked-for consequence of sidelining literature – in particular secular literature – as evidence-source and object of emotion study. Secular literature, whether fable, novel, fantasy or romance, has been understood as prone to exaggeration, hyperbole, and thus as an unreliable indicator of the emotions of the past.

The aim of this book is to decentre history of emotion research and asks new questions, ones that can be answered by literary scholars, using literary texts as sources: how do literary texts understand and depict emotion and, crucially, how do they generate emotion in their audiences – those who read them or hear them read or performed?

Critique – The Medieval Review

The study of medieval emotions is a garden that continues to bloom lavishly, but it also bristles with theoretical concepts. Armed with Carolyne Larrington’s new book, as with a stout pair of secateurs, the reader will find that the thistles can be plucked with the flowers. Larrington does not attempt an exhaustive survey of emotion in Middle English literature, but offers orientation to the scholarly background, four chapters on different thematic and methodological strands, and a fifth chapter discussing what changes in the fifteenth century. Her book is concerned with what is distinctive aboutliterary emotions and specifically Middle English literary emotions. Nonetheless, the book will be of use to historians and to those addressing other languages or periods, thanks to its lucid account of the theoretical issues and its thought-provoking central claim.

 

The introduction narrows down by stages, looking first at evolutionary, psychological and philosophical accounts of emotion (James, Ekman, Oatley, Scherer, Nussbaum), then historical approaches (Rosenwein, Reddy, Boquet and Nagy, Althoff), then medieval theories (Avicenna, Augustine, Aquinas), and finally questions specific to literature. The survey is necessarily rapid but the account of humoral theory is a useful overview, as is the summary of medieval debates over the roles of the faculties of the soul such as will and appetite. As an early medievalist I note that the period between Augustine and c. 1100 remains a flyover zone, but the reception of classical medicine and philosophy in the twelfth century is certainly key to later medieval understandings. Larrington’s critique of the historians is worth attention: she points out that Rosenwein and Reddy show limited sensitivity to literary issues such as genre, rhetoric and personas, while Boquet and Nagy take more account of imaginative texts and “are inclined to regard literary and non-literary texts as situated on a continuum” (15). Larrington’s own proposal for how to approach the literary emphasises the rise of fictionality, citing Laura Ashe for the argument that “it is precisely…fictionality which allows audiences to reflect upon and develop their own interiority” (28). This can be connected to the emergent concept of the individual. While the idea of literature as a set of “culturally specific practices” (27) has a wider applicability, the emphasis on fictionality singles out what is new in Middle English and has the effect of centring the genre of romance. The centrality of romance throughout Larrington’s study distinguishes it from the work of Sarah McNamer and other scholars who focus on religious self-fashioning and practices of compassion.

 

Chapter One addresses “Words, Taxonomies and Translations.” It offers a brief account of the changing English vocabulary of emotion under the impact of French and, to a lesser extent, Old Norse, noting how Chaucer plays with dialectal differences in “The Reeve’s Tale” and how alliterative texts reveal “associative networks for key emotion terms” (53). In many romances, the emotions named may be basic and predictable, but narrative settings can imply more complex feelings. Similarly, complexity grows out of simplicity in the section on taxonomies: the Seven Deadly Sins in the personification allegory of Langland’s Piers Plowman acquire social contexts, body language and a range of behaviours. The section on translation emphasises how translators tackle not just equivalence between terms in different languages but the different emotion schemas available to different audiences; translation into Middle English of texts such as Chrétien’s Yvain or Marie de France’s Lai de Lanval means also a move out of the courtly world with its very particular ideology, which is reflected in its expectations for emotion.

 

Chapter Two, on “Embodiment and Action,” looks at different bodily signs and expressions of emotion, which lie on a continuum from unintended changes to deliberate gestures. Such bodily signs play a large role in Middle English representations of emotion (a respect in which they differ from Old English). Medieval theories of the physiological aspects of emotion, which Larrington follows Stephanie Trigg in labelling “affect” (98), explain that sensory input produces a response from vital spirits within the heart; this in turn gives rise to reactions such as blushing or fainting (99-100). Discussion is offered of changing colour, trembling, laughter and tears, plus kissing, kneeling and smiling as consciously intended expressions of feeling. Tears are particularly complicated; not only are they multivalent–one may cry with joy as much as with sorrow–but they are sometimes fake. Anti-feminist discourse accuses women of being able to cry at will. Bodily signs “are generally legible, even to modern audiences” (122) and the religious and secular texts do not have substantially different gestures, but the possibility of dissimulation complicates the conception of “‘natural’ movements of the humours and the spirits within the body” (p123). This provides a logical progression into the following chapter, which is on “Performativity and Performance.”

 

Chapter Three has the heaviest lifting to do of all the chapters in terms of explaining concepts. For Larrington, the difference, indeed the tension, between performativity and performance is important to various medieval texts; the chapter offers subtle analyses of scenes from Chaucer’s Troilus and Malory’s Morte Darthur. Nonetheless, there is often overlap in practice between emotional performances and performativity. Drawing on J. L. Austin’s account of performative utterances, performativity is explained as “getting things done with emotion,” making changes, especially in a social setting but also within the self. Reddy’s much-criticised concept of the “emotive” (a statement about emotion that enacts emotion or even brings it into being) finds rehabilitation here: Criseyde’s words about her own emotions are “exploratory and self-altering”; Lancelot and Guinevere’s words at their parting are “managerial” and “both lovers say what they must in order to discipline themselves” (140). Meanwhile, performance has to do with displaying emotion and is “calculated” (138). Performativity may seem to look inward to the real feeling that really happens and performance to the outward display that can be fake, but the performance itself can be performative. The chapter finishes with a case study on danger, the modest reluctance women show in response to approaches from a lover. Danger is both required and resented; a woman without reserve is too easy to get and loses honour, but men resent danger and always suspect it of being dissembled. There is very little space for a woman simply to refuse a man because she does not desire him, as the story of Ettarde illustrates in Malory. This chapter makes an especially strong case for the presence of complex depictions of emotional interiority in medieval texts; references to emotion do more than just “get things done” in the plot.

 

Chapter Four turns to “Audiences and affectivity.” Reconstructing the feelings of medieval audiences carries a risk of anachronistically projecting modern responses, but it can be attempted thanks to a combination of biological and cultural continuities and devices within texts. The reader of Middle English texts may be helped to use their mirror neurons by “mirror characters” within the text, who model expected emotional reactions. Emotions aroused by texts include emotions related to the artistic properties of the text (A-emotions, in Ed Tan’s terminology), while presenting the puzzle of affective response to events and people who are only represented, not real. A point that emerges strongly from the chapter is how deeply interested medieval writers were in the latter issue. Augustine reproached himself for being so easily stirred by the superficial emotions of tragedies; in the twelfth century, Aelred of Rievaulx and Peter of Blois were bothered by weeping over Arthurian literature when they ought to weep for Christ. Three hundred years later, the author of the Tretise of Miraclis Pleyinge thought that play audiences were moved by the staging of physical pain rather than by sorrow for sin. Nonetheless, as Larrington shows, medieval authors not only deployed a range of sonic, rhetorical and formal devices to elicit affect, including using romance tropes to arouse religious feeling, they also told stories within stories and represented characters responding to them. The Canterbury Tales is the most sophisticated but by no means the only example. Group pressures and emotional contagion are important to shaping audience emotion; in medieval plays, gestures are often accompanied by verbal commentary, to make sure people get the right message.

 

Chapter Five introduces a diachronic dimension. At the end of the fourteenth century, Chaucer is the great innovator in the representation of character. His direct imitators didn’t respond so much to this aspect of his art, but nonetheless individual character and greater complexity in the representation of emotion come increasingly to the fore in the fifteenth century. Larrington argues the key developments are the turn to long-form romance, especially prose romance, and the rise of life-writing. Many of the features that are newly found in fifteenth-century Middle English romances were already present in their much earlier French sources, but were generally curtailed in earlier translations. More extended dialogue, elaborated scenes of emotional display and increased narratorial comment are all encountered in texts such as the Prose Melusine, Malory’s Morte, Partonope of Blois and Blanchardyn and Eglantyne. In life-writing, the major examples discussed are the Male regle, Complaint and Dialogue of Hoccleve and the Book of Margery Kempe. Larrington repeatedly draws attention to something dynamic, tricky and shifting in these texts: Hoccleve achieves “a precarious integration of private and social self” (254) while Margery’s book offers “a highly unstable mixture of plausible fact and unverifiable interior experience” (256). Fifteenth-century developments provide the foundation for further change in the sixteenth century.

 

Finally, the conclusion summarizes the foregoing discussion and once more stresses the importance of romance, which enables the exploration of individual interiority in a way audiences can apply to themselves and to others. Devotional texts may offer routes to affectivity, but they are concerned not with distinctiveness but with salvation. Chaucer and theGawain-poet (another major source of examples throughout the book) are singled out as writers who “revolutionised the writing of interiority” (277).

 

It is difficult to do justice to the many observations and ideas offered in this book, and I am aware my precis is already rather long, while omitting many of the texts and ideas it addresses. As an Old English specialist, I find the thesis concerning fictionality, interiority and individuality especially intriguing. A favourite pastime of medievalists is arguing that the developments claimed as new and special by scholars of later periods are anticipated earlier. This is certainly true of affective piety; there are already texts in Old English and Anglo-Latin that promote a cultivation of emotion for devotional purposes, though penitence and fear are more prominent than compassion (see for example Jennifer Lorden’s 2023 study, Forms of Devotion in Early English Poetry). With respect to fictionality, one might say that, as Larrington acknowledges, the matter of romance is often framed as history. WhileBeowulf strikes a similar balance to the Arthurian texts between fantastic elements and historical claims, it also repeatedly mentions the subjective feelings of its characters, such as Grendel’s expectation of a feast or Beowulf’s moment of inner weariness as he fights Grendel’s mother. But romance expands the repertoire of emotions salient for narrative, foregrounds personal goals and relationships and enables a more granular exploration. The tension of performance and performativity and the connection Larrington draws between the possibility of dissembling and the possession of a private interiority are especially worth further thought. Larrington is responding in part to Graham Williams’ brilliant book, Sincerity in Medieval English Language and Literature (2018), in which he argues that the concept of sincerity has its origins in Christian teaching on scrutinising the heart and forming a right inner disposition. However, there has to be a movement from the religious to the secular realm for the actual state of the heart to be as interesting as the formation of a righteous heart.

 

This book is warmly recommended to anyone interested in the periodization of English literature, audience response and subjectivity and the emergence of the individual, as well as the study of emotions in literature.

Saga emotions

Source : Manchester Univesity Press

Gareth Lloyd Evans, Brynja Þorgeirsdóttir and Carolyne Larrington (éd.), Saga emotions, Manchester University Press, 2025

Focusing particularly on historically oriented sagas, Saga emotions identifies and examines a range of emotions from across Old Norse-Icelandic saga literature. Each chapter begins with a discrete emotion term, such as reiði (anger), gleði (joy), or the peculiarly Old Norse víghugr (killing-mood), exploring its usages within the broad saga corpus, and focusing on its contextual meanings and narrative purposes. The contributions explore the specifics of the lexical terms used for different emotion states and offer in-depth case studies that consider how various emotions manifest within particular examples of saga literature. The book offers the emotional granularity lacking in current studies of Norse emotion and serves as an essential foundation for future research and study into emotional depiction in Old Norse-Icelandic saga literature.

Introduction
1 angr, hryggr (sadness) – Edel Maria Porter
2 ást (Christian love) – Siân Grønlie
3 ást, elska, unna (Secular love) – Sif Rikhardsdottir
4 aumka, líkn, sampíning (compassion) – Ásdís Egilsdóttir
5 berserksgangr and víghugr (going berserk and the killing mood) – Gareth Lloyd Evans
6 girnd (desire) – Alexander Wilson
7 gleði (happiness, joy) – Carolyne Larrington
8 harmr, ho¨rmung, sorg, tregi (grief) – Kristen Mills
9 leiðask, leiðendi, viðbjóðr (disgust) – Rebecca Merkelbach
10 ofsi (pride) – Kate Olley
11 ótti (fear) – Teodoro Manrique Antón
12 reiði (anger) – George Manning
13 skomm, skammask (shame) – Brynja Þorgeirsdóttir
Index

 

 

Communicating the Passion

Source : Brepols

Pietro Delcorno, Holly Johnson (éd.), Communicating the Passion. The Socio-Religious Function of an Emotional Narrative (1250-1530), Brepols, 2025

This volume investigates the vivid and emotionally intense commemoration of the Passion of Christ as a key element in late medieval religious culture. Its goal is to shed light on how the Passion was communicated and on its socio-religious function in late medieval Europe. By adopting a multidisciplinary approach, the volume analyses the different media involved in this cultural process (sermons, devotional texts, lively performances, statues, images), the multiple forms and languages in which the Passion was presented to the faithful, and how they were expected to respond to it. Key questions concern the strategies used to present the Passion; the interaction between texts, images, and sounds in different media; the dissemination of theological ideas in the public space; the fashioning of an affective response in the audience; and the presence or absence of anti-Jewish commonplaces.

By exploring the interplay among a wide range of sources, this volume highlights the pervasive role of the Passion in late medieval society and in the life of the people of the time.

TABLE OF CONTENTS

Communicating the Passion of Christ: An Introduction
PIETRO DELCORNO

Negotiating Gender Roles in Fourteen-Century Bohemian Literature and Performance: Marian and Magdalenian Laments
ELIŠKA KUBARTOVÁ

Picturing the Passion: Devotional Strategies in the Passional of Abbess Kunigunde
KATRIN JANZ-WENIG AND LENKA PANUŠKOVÁ

The Passion Narrative in the Meditationes Vitae Christi: Texts and Images
DÁVID FALVAY

Meditational and Narrative Techniques in a Passion Text of a Hungarian-Language Dominican Manuscript
ÁGNES KORONDI

Hearing the Passion: Soundscapes of Richard Rolle’s Vernacular Passion Meditations
TAMÁS KARÁTH

The Art of Seeing: Passion Imagescapes in the Sermons of Robert Rypon
HOLLY JOHNSON

Preaching the Passion in Fourteenth-Century Bohemia: Milíč of Kroměříž’s Good Friday Sermons
OLGA KALASHNIKOVA

Communicating the Passion and Sainthood: Patterns in Preaching on Saint Stanislaus of Krakow
STANISLAVA KUZMOVÁ

Emotions, Theology, and Society in a Blockbuster: The Good Friday Sermon by Gritsch/Grütsch
PIETRO DELCORNO

Roberto Caracciolo’s Good Friday Preaching: Performance, Religious Drama, and Poetry
GIACOMO MARIANI

Words from the Cross: The Speaking Crucifixes and the Passion of the Franciscan Friars
CARLA BINO

Examining Finnish Anti-Judaic Imagery through Sermons: The Passion Iconography of the Holy Cross Church of Hattula
JUSSI HANSKA

 

Index

Managing Emotions in the Middle Ages

Source : Brill

Flocel Sabaté (ed.), Managing Emotions in the Middle Ages, Brill, 2025

The life experiences of men and women take on meaning through the emotionality they entail, and the intensity of these experiences build certain memories which link the individuals within a society. As such, this volume argues that examining the management of emotions in late medieval society will allow us to better understand it. By discussing theoretical frameworks for the historical study of emotions and presenting a range of case studies from the Middle Ages, the authors of this book illustrate how the management of emotions reflects and sheds light on the code of values and behaviour that guided this society.

Contributors are: Maravillas Aguiar, Iñaki Bazán, Anna Caiozzo, Carla Casagrande, Riccardo Cristiani, Vincent Debiais, Jonas Holst, Eduard Juncosa, Andrea Knox, Mauricio Molina, Miguel Ángel Motis, Josep Maria Ruiz Simon, Flocel Sabaté, Karen Stöber, William Marx, Barbara H. Rosenwein, Alberto Velasco, and Alexandra Velissariou.

The Emotional Expression of Authority and Power in the Middle Ages

Source : Brill

Flocel Sabaté, The Emotional Expression of Authority and Power in the Middle Ages, Brill, 2025

The relationship between rulers and their subjects is always channelled by emotion. This volume explores the specific tones this relationship took on in the Middle Ages, as well as their accordance with a concept of power based ultimately on agreement, an inclination to visualise emotions, a social pedagogy based on fear, and a religious ideology which placed humanity between divine order and divine wrath. It also examines the emotive models used to rule society and deal with conflicts. Together, the contributions in this book demonstrate how our understanding of late medieval society can be enhanced by recognising the emotional strategies present in the game of power and how they were used to build authority.

Contributors are: Alexandru Stefan Anca, Attila Bárány, Ulrike Becker, Luciano Gallinari, Sari Katajala-Peltomaa, Vinni Lucherini, Esther Martí Sentañés, Francesc Massip, Rob Meens, Tamás Olbei, Bernard Ribémont, Flocel Sabaté, and Hans-Joachim Schmidt.

Defining and Perceiving Feelings in the Late Middle Ages

Source : Brill

Flocel Sabaté (ed.), Defining and Perceiving Feelings in the Late Middle Ages, Brill, 2025

In order to have a constructive discussion about feelings in the late Middle Ages, it is beneficial to first evaluate how the feelings of individual men and women were defined. As such, the purpose of this book is to explore the words used by late medieval men and women to refer to their feelings and to examine their meanings. By doing so, we can better understand the efforts of late medieval society to express, use, and transmit certain feelings, especially as they related to manoeuvres of power or the articulation of social values.

Contributors are: Mechthild Albert, Jacqueline Cerquiglioni-Toulet, Frank Collard, Paola Corti Badia, Francesca Español, Isabel Grifoll, Juan Francisco Jiménez Alcázar, José Martínez Gázquez, Alicia Minguélez, Matilde Juan, Liza N. Pina-Rubio, Gerardo Rodríguez, Flocel Sabaté, Benedicte Sère, and Marta Serrano.

“Bellica. Guerre, histoire et sociétés”, 1/2024 : “La honte”

Source : Bellica

À la croisée d’une histoire des sensibilités et d’une his­toire sociale et politique des sociétés en guerre, ce nu­méro de la revue Bellica a pour ambition d’appréhender dans le temps long toute la complexité de la honte et de ses usages sociaux et politiques. Qualifiée, à la suite d’Aristote de passion, d’émotion ou encore de senti­ment, la honte articule, à di­verses échelles, l’individuel et le collectif, l’intime et le social. Le numéro souligne l’omniprésence des références à la honte, depuis le récit de la guerre de Troie proposé par l’Iliade jusqu’aux écrits des officiers de la Marine française de la Grande Guerre. La honte jette l’opprobre sur ceux dont le com­portement écorne l’honneur guerrier ou sur ceux pour qui la défaite signifie le déclassement, tels les capitaines mal­heureux de la défaite de la Savoie contre Gênes en 1672. Les articles réunis démontrent toute la plasticité de la honte du guerrier qui recouvre une myriade de comportements sans pour autant présenter aucun ca­ractère d’automaticité. Mise au service du politique, cette plasticité non seulement rejaillit dans la cité et poursuit les anciens combattants, et par­fois leurs fa­milles, mais constitue aussi un outil de mo­bilisation pour la guerre. Ce numéro analyse enfin les usages de la honte comme instrument de contrôle so­cial : l’humi­liation de l’en­nemi participe de son abaissement, comme en témoignent les pillages et vio­lences sexuées commis pendant la guerre de Cent Ans, tandis qu’au sein des groupes combattants, dans un jeu de balancier entre récompenses et punitions, l’infamie et la stigma­tisation contribuent au maintien de la discipline et des hiérarchies.

Éditorial

pages 5-6

par Simon Cahanier, Benjamin Deruelle, Émilie Dosquet, Guillaume Pinet et Quentin Verreycken
Télécharger l’article

Honte et humiliations en guerre

pages 7-18

par Julie Le Gac et Silvia Mostaccio
Télécharger l’article








Fin de l’année 2022 à août 2024

pages 129-133

par François Cadiou, Valérie Toureille, Paul Vo-ha et Mathias Thura
Télécharger l’article

Tomber en amour. Enquêtes sur la naissance du sentiment au XVIIIe siècle

Source : Classiques Garnier

Elodie Ripoll et Catherine Gallouët (dir.), Tomber en amour. Enquêtes sur la naissance du sentiment au XVIIIe siècle, Paris, Classiques Garnier, 2025.

L’amour est un des sujets majeurs des belles-lettres au xviiie siècle. L’instant de sa naissance, aussi fugace que merveilleux, n’a cessé de fasciner auteurs et autrices. Dix-huit essais enquêtent sur ce topos et ses représentations à l’aune de travaux sur l’histoire des émotions, du corps et du genre.

 

10ème colloque du “Consortium of European Research on Emotion” (Grenoble, 16-18 juillet 2025)

Source : CERE2025

About the Conference

We are thrilled to announce that the 2025 Conference of the Consortium of European Research on Emotion (CERE) will be held in-person from July 16 to 18 in the beautiful city of Grenoble, France!

Join us at the main campus of Université Grenoble Alpes for CERE2025, an unparalleled opportunity to connect with international colleagues, showcase your research, and engage with cutting-edge developments in emotion research. Explore a diverse array of disciplines, including affective computing, anthropology, art and design, education, history, linguistics, neuroscience, philosophy, psychology, and sociology.

Don’t miss this chance to immerse yourself in the vibrant academic community and stunning surroundings of Grenoble. Mark your calendars and prepare for an inspiring conference experience!

Important Dates

  • Submission system opens: December 1, 2024
  • Submission deadline: February 1, 2025
  • Main conference: July 16-18, 2025

Contact Us

If you have any questions about CERE2025, please contact the Conference Chairs at CERE2025@univ-grenoble-alpes.fr.