Relevant bibliographies by topics / Rabanus Maurus

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Rabanus Maurus'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 April 2022

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Journal articles on the topic "Rabanus Maurus"

1

Mayeski, Marie Anne. "“Let Women Not Despair”: Rabanus Maurus on Women as Prophets." Theological Studies 58, no. 2 (May 1997): 237–53. http://dx.doi.org/10.1177/004056399705800202.

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Schipper, William. "Rabanus Maurus, De rerum naturis: A Provisional Check List of Manuscripts." Manuscripta 33, no. 2 (July 1989): 109–18. http://dx.doi.org/10.1484/j.mss.3.1306.

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Kochanek, Piotr. "Wpływ starożytnej schematyzacji mnemotechnicznej na kartografię średniowieczną i wczesnonowożytną." Vox Patrum 69 (December 16, 2018): 285–375. http://dx.doi.org/10.31743/vp.3264.

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The article analyzes the ancient geographical schemes seen on the 75 medieval and early modern maps. Here distinguishes three types of schemes: 1. geographi­cal and geometric, 2. chorographic, 3. topographic. The first type is based on the Globe of Crates of Malos and the acrostic of the name Adam. The second type includes Sicily, having a triangle scheme; Sardinia, having the shape of a human foot; Cyclades and Orkney, taking the form of a circle; Italia, having the shape of a triangle, a quadrangle, bull horns or the famous „Stivale”; Spain also schema­tized in the form of a triangle; Alps presented as ramparts of Italy and the mouth of the Nile, Rhine, Danube, Ganges and Indus in the form of the Greek letter delta. An example of the third type is the Caspian and Nubian Gates. The conclusion of the article is that, among the great number of ancient geographical schemes, me­dieval cartography preserved only those that survived in the encyclopedic works of such authors as Pliny, Solinus, Orosius, Macrobius, Martianus Capella, Isidore of Seville and Rabanus Maurus.
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Sakhno, Irina M. "Visual Rhetorics of Carmina Figurata in the Poetry of the Early Middle Ages." Observatory of Culture, no. 5 (October 28, 2014): 112–18. http://dx.doi.org/10.25281/2072-3156-2014-0-5-112-118.

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Examines the way the verbal image represents itself graphically in the shape of pattern poems and traces the forming of visual rhetorics back to the early medieval poetry. Pattern poems ( carmina figurata ) are considered to be the earliest genre of the visual poetry, where from new synthetic form springs. Visual images of pattern poems by Simmias of Rhode, Dosiades of Crete, Theocritus reveal the obvious interconnection between poetry and painting. The description visualises common or mythological object, while its reception is based on the reflection of the sign­symbolic level of the poetic structure in figurative iconicity. In addition, Latin poets contributed greatly to shaping verbal text as a new visual language. Particularly well­known is the visual experiment by Publilius Optatianus Porphyrius, namely The Panegyric to the Emperor Constantine the Great (326), in which the universality of verbal and visual levels represents the semantic whole and the way the rhetoric message is structured. A new approach to visual signification gave a new expressive form not just with the means of language as such but as a specific mode of musical expression of a poetic text. One may recall exceptional drawings based on the depiction of musical signs by the poet and musician Baude Cordier (c. 1380 - c. 1440), namely Belle, Bonne, Sage rondo for three voices presented in a heart­shaped score. The semantics of the Latin cross was reconsidered by the Latin poet Rabanus Maurus Magnentius (c. 780-856) in his treatise De laudibus sanctae crucis , where the semantic structure of the text distinctly reveals its visual potentials and the lexical level correlates with the sign system, so that verbal and visual elements constitute each other.
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Kieling, Michał. "Formacja duchownych w świetle "De institutione clericorum" Rabana Maura." Vox Patrum 49 (June 15, 2006): 277–88. http://dx.doi.org/10.31743/vp.8214.

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Geborene um 780 in Mainz Hrabanus Maurus gehórt zu den zentralen Gestalten der karolingischen Theologie und Kultur. Sein schriftstellerisches Werk ist von auerordentlichen Umfang, wobei die Bibelkommentare ein Schwerpunkt bilden.
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Burrows, Toby. "Holy Information: a New Look at Raban Maur's De Naturis Rerum." Parergon 5, no. 1 (1987): 28–37. http://dx.doi.org/10.1353/pgn.1987.0007.

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Adkin, N. "Unidentified echoes of the Bible and the Fathers in Raban Maur’s Commentary on Judith." Sacris Erudiri 49 (January 2010): 249–60. http://dx.doi.org/10.1484/j.se.1.102057.

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Galle, Christoph. "Raban Maur’s Sermon Collections and their Sources: A Study of the Manuscripts from the Monastery in Fulda." Medieval Sermon Studies 62, no. 1 (January 2018): 61–81. http://dx.doi.org/10.1080/13660691.2018.1520995.

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Pałęcki, Waldemar. "The Time of Preparation for the Pasch in the Light of Medieval Allegory." Verbum Vitae 38, no. 1 (December 21, 2020). http://dx.doi.org/10.31743/vv.4855.

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In the medieval liturgy, especially in the celebration of the Mass, allegorical interpretation of the texts and gestures played a very meaningful role. Among the most prominent representatives of the allegorical interpretation of the liturgy were: Isidore of Seville, Alcuin, Amalarius of Metz, Rabanus Maurus, Walafrid Strabo, Rupert of Deutz, John Beleth, Pope Innocent III, and William Durand. These ideas were laid out in treatises with the titles Expositiones Missae, Rationale Divinorum Officiorum, or Liber de Divinis Officiis. This study presents the allegorical interpretation of the paschal preparation period, from Septuagesima Sunday to Holy Saturday, and its associated liturgical rites.
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Perrin, Michel Jean-Louis. "'WILHELMY, Winfried, KOTZUR, Hans-Jürgen, Rabanus Maurus. Auf den Spuren eines karolingischen Gelehrten'." Revue de l’Institut français d’histoire en Allemagne, January 1, 2006. http://dx.doi.org/10.4000/ifha.727.

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Dissertations / Theses on the topic "Rabanus Maurus"

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Richenhagen, Albert. "Studien zur Musikanschauung des Hrabanus Maurus." Regensburg : G. Bosse, 1989. http://books.google.com/books?id=aC04AAAAMAAJ.

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Picker, Hanns-Christoph. "Pastor doctus : Klerikerbild und karolingische Reformen bei Hrabanus Maurus /." Mainz : P. von Zabern, 2001. http://catalogue.bnf.fr/ark:/12148/cb377185002.

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Ferrari, Michele Camillo Leonardi Claudio. "Il "Liber sanctae crucis" di Rabano Mauro : testo, immagine, contesto /." Bern ; Berlin ; Paris [etc.] : P. Lang, 1999. http://catalogue.bnf.fr/ark:/12148/cb36978564r.

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Fernandes, Miguel José da Fontoura Müller da Cruz. "Finger-Counting in Two Illuminated Grammatical Manuscripts (12th – 13th centuries)." Master's thesis, 2021. http://hdl.handle.net/10362/128082.

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A sophisticated system of finger-counting was developed in Greco-Roman antiquity and was used until the middle ages. It enabled people to count to high amounts on their fingers. In the early middle ages, this system gave emergence to a pictorial tradition that lasted centuries: throughout the middle ages, large numbers of illuminated manuscripts with depictions of number-gestures circulated across Europe. There is no doubt that finger-counting illuminated manuscripts carried a heavy cultural and intellectual weight in the middle ages. This is evident from the peculiar form of their images, the pervasiveness of the finger system in medieval society, and the diffusion and dynamism of the manuscript tradition. However, this tradition is still widely unexplored. Not only a broad comparative analysis is wanting, but many sources remain unexamined. This dissertation analyses two twelfth-thirteenth centuries little-studied Portuguese grammatical codices. Although these codices include finger-counting images – typically associated with arithmetic and astronomy – they are grammatical compilations. To properly evaluate this seeming misplacement, this dissertation contextualizes the codices in the intellectual and cultural framework of coeval Portuguese and European monasticism. As this dissertation shows, the finger system was a polyvalent medium that crossed discipline barriers and was even useful for the teaching of grammar. Furthermore, the finger-counting images are impregnated with rhetorical devices, including a variety of visual puns – functioning as “visual etymologies.” The Portuguese codices are thus a befitting framing for the finger-counting images. The nature of the problem required a multidisciplinary approach that benefitted from art history, latin, neuroscience, mathematics, computer science, and paleography.
Na antiguidade Greco-Romana, desenvolveu-se um sofisticado sistema de contagem digital, o qual foi usado até à idade média. Este sistema permitia contar até grandes quantidades usando apenas os dedos. Nos inícios da idade média, este sistema deu origem a uma tradição pictórica que se prolongou por séculos: ao longo da idade média, circularam pela Europa, em grandes números, manuscritos iluminados com representações de gestos numéricos. Não existem dúvidas de que os manuscritos iluminados com contagem digital transportavam consigo um grande peso cultural e intelectual, na idade média. Isto é evidente pela forma peculiar das suas imagens, pela ubiquidade do sistema digital na sociedade medieval, e pela difusão e dinamismo da tradição manuscrita. No entanto, esta tradição permanece ainda largamente inexplorada. Não só uma análise comparativa alargada está por fazer, como muitas fontes ainda não foram examinadas. Esta dissertação analisa dois manuscritos gramaticais Portugueses pouco estudados, dos séculos XII-XIII. Apesar destes códices incluírem imagens de contagem digital – tipicamente associada à aritmética e à astronomia – eles são compilações gramaticais. Para adequadamente avaliar o aparente extravio, este estudo contextualiza os códices no panorama cultural e intelectual do monasticismo coevo Português e Europeu. Tal como revela esta dissertação, o sistema digital era um medium polivalente que cruzava fronteiras entre disciplinas, e que era útil mesmo no ensino da gramática. Para além disso, as imagens de contagem digital estão impregnadas de dispositivos retóricos, incluindo uma série de trocadilhos visuais – funcionando como “etimologias visuais.” Os códices portugueses são, pois, um enquadramento adequado para estas imagens. A natureza do problema em estudo requereu uma abordagem multidisciplinar, que beneficiou da história da arte, do latim, da neurociência, da matemática, da informática, e da paleografia.
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Coutinho, Vânia Maria. "Carmina figurata e a teoria da imagem carolíngia: contributos para uma reflexão sobre a relação texto-imagem." Doctoral thesis, 2016. http://hdl.handle.net/10362/19090.

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A presente tese investiga os poemas figurados compostos entre c. 780 e c. 814, por Alcuíno, Josefo Escoto, Teodulfo e Rábano Mauro, na sua relação com o funcionamento político, social, cultural e religioso coevo. Verifica-se que estas obras não testemunham apenas um projecto ideológico de fôlego, mas constroem-no. É notório um comprometimento com a elite que detém o poder, mas os poemas – por certo pela presença das imagens que lhes confere originalidade – não só resistem às suas circunstâncias, como manifestam a sua vida própria, uma capaz de gerar efeitos no espaço do comum. Assiste-se a uma produção excepcionalmente numerosa de poemas figurados no mesmo período em que a corte carolíngia se pronuncia sobre a querela das imagens bizantina. Investigam-se aqui os argumentos dos francos nos Libri Carolini, cujos contornos de redacção e (quase) proclamação oficial permitem aventar a hipótese de configurarem uma ‘teoria de Estado’ sobre a imagem, para a qual convergiriam os poemas figurados, designadamente os de Rábano Mauro. De acordo com interpretações historiográficas, em causa estaria a valorização das Escrituras e da cultura escrita em detrimento das imagens, subordinando a visualidade dos poemas à Palavra, ao texto, ao seu significado e vocação espiritual. A figuração, destituída da sua materialidade, actuaria fundamentalmente como apelo ao invisível e à vivência da religiosidade, ideia que se discute. Tendo presente a investigação sobre a eventual origem e linhagem poética dos poemas figurados, bem como a sua recepção em momentos particulares da história, explora-se como a tendente desvalorização do visual a que estas composições estão sujeitas tem antecedentes históricos. Isto é, contextos onde se formula uma antinomia entre texto e imagem – nomeadamente através da altercação, moderna, entre pintura e poesia e do desenvolvimento de paradigmas epistemológicos logocêntricos (de origem teológica, cultural ou política) – que condicionam, ainda hoje, os nossos modelos de análise. Neste sentido, procura-se também expor a imagem como irredutível às múltiplas soluções que a ‘textualizam’, vendo o que os poemas figurados mostram juntamente com o que dizem. Suspende-se a rasura da sua pictorialidade para acolher, enfim, o imperativo de unicidade que portam e os diferencia quer de um poema, quer de uma imagem, permitindo que aconteçam, com o texto, nesse espaço de pintura-poesia / texto-imagem. A reflexão exposta nas obras destes autores constitui um momento assinalável para discutir concepções sobre a imagem medieva, cujos contributos conceptuais e teóricos nos estudos crítico da relação entre texto e imagem, que nutriram esta investigação, são inegáveis; e são-no muito além da sua assinatura temporal.
The thesis focuses on the figured poems composed between c. 780 and c. 814, by Alcuin, Josephus Scottus, Theodulf and Rabanus Maurus, related with their contemporary political, social, cultural and religious circumstances. These works not only reverberate a comprehensive ideological project, but also build it. Despite the fact they are engaged with the dominant elite, the poems – surely by the existence of images that bestow their originality – express their own life, their presence, and one capable of generating effects in the common space. There is a remarkably numerous production of figured poems in the very same period in which the Carolingian court addresses the Byzantine quarrel of the images. Some of the Franks’ arguments of the Libri Carolini are considered in order to ponder if they formulate a sort of ‘image state theory’, to which the figured poems, namely the ones composed by Rabanus Maurus, would respond. According to some historiographical approaches, under appreciation would be the value of the Scriptures and of the writing culture over the image, a notion also confirmed in Rabanus Maurus poem “Ad Bonosum”. Hence, the Carolingian figured poetry would be subordinating its full visuality to the Word, to the text, to its meaning and spiritual vocation. Figuration, devoided of its materiality, would act primarily as an appeal to the invisible and to an experience of religiosity. An idea that is under discussion in this research, along with the difficulty in stabilizing one single conception of image. Bearing in mind the origin and poetic lineage of the figured poems, as well as their reception at specific moments in history, it is explored how the resistance to the full acknowledgment of their pictorial features has its own historical background. That is, contexts where an antinomy between text and image is formed – namely through the modern period dispute between painting and poetry or through the development of logocentric epistemological paradigms (of theological, cultural or political origin) – constrain, even today, our models of analysis of the carmina figurata. In this sense, the image is presented as irreducible to multiple textualizing solutions, in order to see what the figured poems show, alongside with what they say. The goal is also to focus on the effects of the image, harbouring the unique qualities of figured poetry well beyond the strict opposition between word and image, and the discussions about the supremacy of the word. The reflection on image presented in Rabanus Maurus’ and Theodulf’s works offers a remarkable opportunity to discuss notions of the medieval image. Its conceptual and theoretical contributions to Art History and to the critical studies of the relation between word and image are undeniable, and they are so besides their temporal circumstance.
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Books on the topic "Rabanus Maurus"

1

Paladino, Mimmo. Rabanus Maurus: De universo : Grafiken. [Langenhagen]: Depelmann, 2004.

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Haarländer, Stephanie. Rabanus Maurus zum Kennenlernen: Ein Lesebuch mit einer Einführung in sein Leben und Werk. Mainz: Bistum Mainz, 2006.

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Rabanus Maurus, Archbishop of Mainz, 784?-856 and CETEDOC, eds. Rabanus Maurus, In honorem Sanctae Crucis. Turnhout: Brepols, 2000.

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Rabanus-Maurus-Gymnasium Mainz: Die Geschichte der Schule. Ruhpolding: Franz Philipp Rutzen, 2007.

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Rabanus Maurus: Auf Den Spuren Eines Karolingischen Gelehrten. Verlag Philipp Von Zabern, 2006.

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Rabanus-Maurus-Gymnasium Mainz: Die Geschichte der Schule. Ruhpolding: Franz Philipp Rutzen, 2007.

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Ferdinand, Scherf, Hensel-Grobe Meike, and Dumont Franz 1945-, eds. Rabanus-Maurus-Gymnasium Mainz: Die Geschichte der Schule. Ruhpolding: Franz Philipp Rutzen, 2007.

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Begegnungen mit dem Judentum am Rabanus-Maurus-Gymnasium Mainz. Mainz: Rabanus-Maurus-Gymnasium, 1993.

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Bernhard, Irrgang, Klawitter Jörg, and Seif Klaus Philipp, eds. Wege aus der Umweltkrise: Dokumentation einer Tagung der Katholischen Akademie Rabanus Maurus, Wiesbaden, und der Studiengruppe Entwicklungsprobleme der Industriegesellschaft (STEIG) e.V., Würzburg. Frankfurt/M: J. Schweitzer, 1987.

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Dr, Schmidt Margot, and Rabanus Maurus-Akademie, eds. Tiefe des Gotteswissens: Schönheit der Sprachgestalt bei Hildegard von Bingen : Internationales Symposium in der Katholischen Akademie Rabanus Maurus Wiesbaden-Naurod vom 9. bis 12. September 1994. Stuttgart-Bad Cannstatt: Frommann-Holzboog, 1995.

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Book chapters on the topic "Rabanus Maurus"

1

Kloft, Matthias Th. "Hrabanus Maurus, die ‘tituli’ und die Altarweihen." In Raban Maur et son temps, 367–87. Turnhout: Brepols Publishers, 2010. http://dx.doi.org/10.1484/m.hama-eb.3.4653.

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Kottje, Raymund. "Die handschriftliche Überlieferung der Bibelkommentare des Hrabanus Maurus." In Raban Maur et son temps, 259–74. Turnhout: Brepols Publishers, 2010. http://dx.doi.org/10.1484/m.hama-eb.3.4647.

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Raaijmakers, Janneke. "Word, image and relics: Hrabanus Maurus and the cult of saints (820s-840s)." In Raban Maur et son temps, 389–405. Turnhout: Brepols Publishers, 2010. http://dx.doi.org/10.1484/m.hama-eb.3.4654.

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Zechiel-Eckes, Klaus. "Ein Dummkopf und Plagiator? Hrabanus Maurus aus der Sicht des Diakons Florus von Lyon." In Raban Maur et son temps, 119–35. Turnhout: Brepols Publishers, 2010. http://dx.doi.org/10.1484/m.hama-eb.3.4639.

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Hartmann, Wilfried. "Raban et le droit." In Raban Maur et son temps, 91–104. Turnhout: Brepols Publishers, 2010. http://dx.doi.org/10.1484/m.hama-eb.3.4637.

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Coumert, Magali. "Raban Maur et les Germains." In Raban Maur et son temps, 137–53. Turnhout: Brepols Publishers, 2010. http://dx.doi.org/10.1484/m.hama-eb.3.4640.

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Sot, Michel. "Introduction." In Raban Maur et son temps, 9–17. Turnhout: Brepols Publishers, 2010. http://dx.doi.org/10.1484/m.hama-eb.3.4631.

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Lebecq, Stéphane. "Fulda au temps de Raban: une esquisse." In Raban Maur et son temps, 19–29. Turnhout: Brepols Publishers, 2010. http://dx.doi.org/10.1484/m.hama-eb.3.4632.

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Judic, Bruno. "Grégoire le Grand, Alcuin, Raban et le surnom de Maur." In Raban Maur et son temps, 31–48. Turnhout: Brepols Publishers, 2010. http://dx.doi.org/10.1484/m.hama-eb.3.4633.

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Depreux, Philippe. "Raban, l’abbé, l’archevêque. Le champ d’action d’un grand ecclésiastique dans la société carolingienne." In Raban Maur et son temps, 49–61. Turnhout: Brepols Publishers, 2010. http://dx.doi.org/10.1484/m.hama-eb.3.4634.

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