"At præsentere sig selv”: Stifterfigurerne i Naumburg og psykehistorie

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Standard

"At præsentere sig selv” : Stifterfigurerne i Naumburg og psykehistorie. / Kaspersen, Søren.

I: Iconographisk Post, Bind 2016, Nr. 2, 2016, s. 4-52.

Publikation: Bidrag til tidsskrift › Tidsskriftartikel › Forskning › fagfællebedømt

Harvard

Kaspersen, S 2016, '"At præsentere sig selv”: Stifterfigurerne i Naumburg og psykehistorie', Iconographisk Post, bind 2016, nr. 2, s. 4-52.

APA

Kaspersen, S. (2016). "At præsentere sig selv”: Stifterfigurerne i Naumburg og psykehistorie. Iconographisk Post, 2016(2), 4-52.

Vancouver

Kaspersen S. "At præsentere sig selv”: Stifterfigurerne i Naumburg og psykehistorie. Iconographisk Post. 2016;2016(2):4-52.

Author

Kaspersen, Søren. / "At præsentere sig selv” : Stifterfigurerne i Naumburg og psykehistorie. I: Iconographisk Post. 2016 ; Bind 2016, Nr. 2. s. 4-52.

Bibtex

@article{7a16d3933e5445b98cb6ed89545037ff,
title = "{"}At pr{\ae}sentere sig selv”: Stifterfigurerne i Naumburg og psykehistorie",
abstract = "The ensemble of founder statues situated in the western choir of the Naumburg Cathedral is one of the most intriguing and most discussed examples of medieval portraiture. The twelve sculptures are very lifelike but they cannot be portraits of the historical persons in any real sense. Some of them behave very unlike founders, expressing different frames of mind and seeming to re- late to each other in an anachronistic way. This essay provides a new interpretation of the figures{\textquoteright} relations and functions considered within the framework of an Augustinian worldview and based mainly on a new identification and understanding of the Sizzo-figure. Furthermore the rhetoric and expressive means of the Naumburg Master are discussed in relation to the emergence of the new Gothic style, a process that included a significant reception of and negotiation with the art of Antiquity. In the view of the present article this process reflects a psychogenese dialectic connected with the contemporary sociogenese and created by the educational ideals and refinements of courtly culture in its relations with the religious sphere and with love as its central fore. The style of the figures then is the frame and visualization of a new {\textquoteleft}mental architecture{\textquoteright}.",
keywords = "Det Humanistiske Fakultet, Portr{\ae}t, Stifterfigurer, Naumburg domkirke, Augustine{\textquoteright}s De civitate Dei, Stile og antropology, sociogenese – psykogenese, h{\o}visk kultur, k{\ae}rlighed",
author = "S{\o}ren Kaspersen",
year = "2016",
language = "Dansk",
volume = "2016",
pages = "4--52",
journal = "Iconographisk Post",
issn = "0106-1348",
publisher = "Koebenhavns Universitet Afdeling for Kirkehistorie. Center for Kunst og Kristendom",
number = "2",

}

RIS

TY - JOUR

T1 - "At præsentere sig selv”

T2 - Stifterfigurerne i Naumburg og psykehistorie

AU - Kaspersen, Søren

PY - 2016

Y1 - 2016

N2 - The ensemble of founder statues situated in the western choir of the Naumburg Cathedral is one of the most intriguing and most discussed examples of medieval portraiture. The twelve sculptures are very lifelike but they cannot be portraits of the historical persons in any real sense. Some of them behave very unlike founders, expressing different frames of mind and seeming to re- late to each other in an anachronistic way. This essay provides a new interpretation of the figures’ relations and functions considered within the framework of an Augustinian worldview and based mainly on a new identification and understanding of the Sizzo-figure. Furthermore the rhetoric and expressive means of the Naumburg Master are discussed in relation to the emergence of the new Gothic style, a process that included a significant reception of and negotiation with the art of Antiquity. In the view of the present article this process reflects a psychogenese dialectic connected with the contemporary sociogenese and created by the educational ideals and refinements of courtly culture in its relations with the religious sphere and with love as its central fore. The style of the figures then is the frame and visualization of a new ‘mental architecture’.

AB - The ensemble of founder statues situated in the western choir of the Naumburg Cathedral is one of the most intriguing and most discussed examples of medieval portraiture. The twelve sculptures are very lifelike but they cannot be portraits of the historical persons in any real sense. Some of them behave very unlike founders, expressing different frames of mind and seeming to re- late to each other in an anachronistic way. This essay provides a new interpretation of the figures’ relations and functions considered within the framework of an Augustinian worldview and based mainly on a new identification and understanding of the Sizzo-figure. Furthermore the rhetoric and expressive means of the Naumburg Master are discussed in relation to the emergence of the new Gothic style, a process that included a significant reception of and negotiation with the art of Antiquity. In the view of the present article this process reflects a psychogenese dialectic connected with the contemporary sociogenese and created by the educational ideals and refinements of courtly culture in its relations with the religious sphere and with love as its central fore. The style of the figures then is the frame and visualization of a new ‘mental architecture’.

KW - Det Humanistiske Fakultet

KW - Portræt, Stifterfigurer, Naumburg domkirke, Augustine’s De civitate Dei, Stile og antropology, sociogenese – psykogenese, høvisk kultur, kærlighed

M3 - Tidsskriftartikel

VL - 2016

SP - 4

EP - 52

JO - Iconographisk Post

JF - Iconographisk Post

SN - 0106-1348

IS - 2

ER -

ID: 172802817