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Journal articles on the topic 'Tournaments, Medieval, in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

DAMEN, MARIO. "The town as a stage? Urban space and tournaments in late medieval Brussels." Urban History 43, no. 1 (2015): 47–71. http://dx.doi.org/10.1017/s0963926814000790.

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ABSTRACT:This article discusses the material and spatial features of the tournaments on the Grote Markt, the central market square in Brussels, in the fifteenth and first half of the sixteenth century. It investigates how the tournament acquired meaning in the urban space where it was organized, and how the chivalric event in its turn altered that urban space. These Brussels tournaments, for which both archival, iconographical and narrative sources are available, show us the dynamics of an inherently courtly festival within an urban setting. Recent historiography has stressed that these tourna

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2

Parsons, John Carmi. "City, Marriage, Tournament: Arts of Rule in Late Medieval Scotland by Louise Olga Fradenburg." Arthuriana 7, no. 1 (1997): 151–52. http://dx.doi.org/10.1353/art.1997.0036.

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3

Achnitz, Wolfgang. "Turnier ohne Zuschauer." Beiträge zur Geschichte der deutschen Sprache und Literatur 144, no. 1 (2022): 66–91. http://dx.doi.org/10.1515/bgsl-2022-0003.

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Abstract The ›Turnier von Nantes‹, attributed to Konrad von Würzburg, is considered a political poem. However, the specific historical occasion is controversial in research because of the ambiguous facts. This also applies to the dating. But the identified mixture of unspecific facts with fictitious elements can be described according to the rhetoric procedure of narratio verisimilis (verisimilitudo). The work of art therefore does not report an actual, but a fictitious event – and just like the tournament it expresses the common self-image of the medieval aristocratic society.

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4

de Lindquist, Jo Conde. "The Medieval Tournament as Spectacle: Tourneys, Jousts and Pas d’Armes, 1100–1600 ed. by Alan V. Murray and Karen Watts." Arthuriana 31, no. 4 (2021): 110–13. http://dx.doi.org/10.1353/art.2021.0043.

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5

Mills, David. "Chester ceremonial: re-creation and recreation in the English ‘medieval’ town." Urban History 18 (May 1991): 1–19. http://dx.doi.org/10.1017/s0963926800015959.

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During the last two decades the interests of scholars of early drama and of urban historians have found common ground in the study of urban celebration and ceremonial. For the student of early drama the beginnings of this interest coincided with a redefinition of the area and nature of the study of early drama, a shift in emphasis from the textual and literary problems of the few extant dramatic texts to the circumstances and conditions of their performance. Signalled in the mid-1950s by F.M. Salter's revealing study of the production of Chester's Whitsun plays, this movement gained impetus fr

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6

Du, Juan. "Characteristics of Medieval Western European Knightly Tournaments." Journal of Management and Social Development 1, no. 1 (2024): 89–93. http://dx.doi.org/10.62517/jmsd.202412112.

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Knightly tournaments emerged in the mid-11th to mid-12th centuries in France. Their origin is closely tied to combat exercises and military training, but with the increasing participation of knights and nobles, tournaments evolved beyond mere military practice. A sophisticated system of competition gradually took shape, giving rise to distinct characteristics of tournaments. During this process, the involvement of the church in knighthood ceremonies lent authority to knights through their prowess. Tournaments provided feudal lords with opportunities to display wealth and strength. For knights,

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7

Tormakhova, A. M., and A. A. Solovei. "THE PHENOMENON OF HISTORICAL REENACTMENT IN THE XX–XXI CENTURIES CULTURE." UKRAINIAN CULTURAL STUDIES, no. 2 (7) (2020): 78–81. http://dx.doi.org/10.17721/ucs.2020.2(7).14.

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The article deals with the phenomenon of historical reenactment. It is noted that its actualization in the context of the culture of the XX–XXI centuries is due to a change in trends in the development of society. The formation of a visual turn contributes to the emphasis on forms of perception that are focused on interactivity. The "dry" story of past events is extremely difficult to perceive in the context of the spread of digital culture. Mankind is accustomed to the appearance of events that shock, impress, inspire and most of the impact is due to visual stimuli. There are several types of

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8

Wilburne, Jane M. "Math by the Month: Medieval Times." Teaching Children Mathematics 16, no. 1 (2009): 16–17. http://dx.doi.org/10.5951/tcm.16.1.0016.

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Journey back in time with us to the Medieval Period, also known as the Middle Ages, where this month we solve math problems set in contexts such as castles, jousting tournaments, royal families, and palatial feasts.

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9

Woodacre, Elena. "Medieval Art in Motion." Medieval Feminist Forum 56, no. 2 (2021): 218–20. http://dx.doi.org/10.17077/1536-8742.2263.

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10

Hofmann, Richie. "Looking at Medieval Art." Yale Review 108, no. 2 (2020): 168. http://dx.doi.org/10.1353/tyr.2020.0056.

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11

Foster, Paul. "Medieval Manichaean Book Art." Expository Times 121, no. 1 (2009): 26. http://dx.doi.org/10.1177/00145246091210010302.

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12

Hofmann, Richie. "Looking at Medieval Art." Yale Review 108, no. 2 (2020): 168. http://dx.doi.org/10.1111/yrev.13641.

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13

Mänd, Anu. "Art in Medieval Tartu." Baltic Journal of Art History 27 (January 2, 2025): 91–122. https://doi.org/10.12697/bjah.2024.27.04.

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Of the three medieval Livonian cities, Tartu is in the most challengingposition when it comes to both written and visual sources. Repeatedlyconquered and plundered during the wars of the 16th–20th centuries,Tartu lost its medieval archives and buildings. To date, research onmedieval Tartu’s art has largely concentrated on the architecture ofits cathedral and the parish church of St. John.This article aims to explore potential avenues for studying medievalart in Tartu by utilizing written sources, historical drawings, andsurviving works of art. Many of the stone carvings discussed arepublished

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14

Pestell, Richard. "Medieval art and the performance of Medieval music." Early Music XV, no. 1 (1987): 57–70. http://dx.doi.org/10.1093/earlyj/xv.1.57.

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15

Neconesnic, Noemi, and Nadia-Nicoleta Morărașu. "Recreating the Medieval Past through Neomedievalism: Knights, Tournaments and Fangirls in Popular Romance." CULTURAL PERSPECTIVES - JOURNAL FOR LITERARY AND BRITISH CULTURAL STUDIES IN ROMANIA 28 (December 20, 2023): 163–86. http://dx.doi.org/10.29081/cp.2023.28.08.

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The purpose of this paper is to investigate the paradigm of neomedievalism in historical popular romance novels as the process of recreating the medieval past through a combination of character types and medievalist tropes accepted by the readership as iconic. Considering that the typical readers of popular romance novels set in the Middle Ages are less preoccupied with historical accuracy, and neomedievalism does not prescribe specific gender tropes (Ford 2015), we shall explore the ways in which knights are developed as male characters, and whether the cultural assumption about the medieval

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16

Clifton, Nicole. "Medieval Romance, Medieval Contexts (review)." Arthuriana 22, no. 2 (2012): 110–11. http://dx.doi.org/10.1353/art.2012.0023.

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17

Bauduin, Tessel M., and Julia W. Krikke. "Images of Medieval Art in the French Surrealist Periodicals Documents (1929–31) and Minotaure (1933–39)." Journal of European Periodical Studies 4, no. 1 (2019): 144–61. http://dx.doi.org/10.21825/jeps.v4i1.8843.

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The avant-garde movement Surrealism claimed historical figures as supposed ancesters, as is well known, but also interacted with the past, and especially art of the past, in other ways. This article explores the reception of the European Middle Ages in French Surrealism, in particular medieval art, by means of a case study: illustrations of medieval and early-modern Western art in the surrealist periodicals Documents (1929-1931) and Minotaure (1933-1939). The cerebral and contrary Documents challenged the canon of art by actively looking at the margins of European art, reproducing medieval art

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18

PETRAKIS, N. "Earmarks of art history: Cerumen and medieval art." American Journal of Otolaryngology 21, no. 1 (2000): 5–8. http://dx.doi.org/10.1016/s0196-0709(00)80067-8.

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PETRAKIS, N. "Earmarks of art history: Cerumen and medieval art." American Journal of Otolaryngology 21, no. 1 (2000): 5–8. http://dx.doi.org/10.1016/s0196-0709(00)80104-0.

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20

Frazer, Margaret E., Jane Hayward, Timothy Husband, and Katharine R. Brown. "Medieval Art and the Cloisters." Recent Acquisitions, no. 1985/1986 (1985): 14. http://dx.doi.org/10.2307/1513683.

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21

Husband, Timothy B. "Medieval Art and the Cloisters." Metropolitan Museum of Art Bulletin 59, no. 1 (2001): 33. http://dx.doi.org/10.2307/3269168.

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22

Brown, Katharine R., William D. Wixom, Charles T. Little, Barbara Drake Boehm, and Timothy B. Husband. "Medieval Art and the Cloisters." Metropolitan Museum of Art Bulletin 49, no. 2 (1991): 14. http://dx.doi.org/10.2307/3258929.

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23

Wixom, William D., Margaret E. Frazer, Timothy B. Husband, Barbara Drake Boehm, and Katharine R. Brown. "Medieval Art and the Cloisters." Metropolitan Museum of Art Bulletin 48, no. 2 (1990): 16. http://dx.doi.org/10.2307/3258949.

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24

Wixom, William D., Charles T. Little, Katharine R. Brown, and Timothy B. Husband. "Medieval Art and The Cloisters." Metropolitan Museum of Art Bulletin 47, no. 2 (1989): 14. http://dx.doi.org/10.2307/3259893.

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25

Chikarkova, Maria. "Medieval origins of street art." Bulletin of Mariupol State University. Series: Philosophy, culture studies, sociology 10, no. 19 (2020): 99–106. http://dx.doi.org/10.34079/2226-2830-2020-10-19-99-106.

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The article deals with "street art" as a kind of urban culture, outrageous self-expression of urban youth. Its study is condensed mainly on modern modifications of phenomena such as graffiti, video projection, art intervention, flash mob and more. But the historical forms of this phenomenon, whose roots go back to cave times, are much more diverse and unexpected. The ancient street art is pretty well known to us, however the medieval street art, even the closest ‒ European, scientists were much less interested. However, the Soviet-era disregard for the experience of the Middle Ages, which was

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26

Whelan, Estelle, and Eva Baer. "Metalwork in Medieval Islamic Art." Journal of the American Oriental Society 110, no. 1 (1990): 136. http://dx.doi.org/10.2307/603940.

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27

v. GladiSS, Almut, and Eva Baer. "Metalwork in Medieval Islamic Art." Die Welt des Islams 29, no. 1/4 (1989): 221. http://dx.doi.org/10.2307/1571024.

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28

HICKS, CAROLA. "ANIMALS IN EARLY MEDIEVAL ART." Art Book 1, no. 2 (1994): 27. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00032.x.

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29

Kessler, Herbert L. "Reading ancient and medieval art." Word & Image 5, no. 1 (1989): 1. http://dx.doi.org/10.1080/02666286.1989.10435390.

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30

Boev, Zlatozar. "Birds in medieval bulgarian art." Natural Science and Advanced Technology Education 33, no. 5-6 (2024): 375–83. https://doi.org/10.53656/nat2024-5-6.06.

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An attempt has been made to present and summarize some monuments of fine art from the 7th-17th centuries in Bulgaria, which have preserved images of birds – metal sculpture, sgraffito ceramics, marble bas-reliefs, statuettes, wood carvings, graffiti in rocks, etc.

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31

Kornbluth, Genevra. "Early Medieval Art. Lawrence Nees." Speculum 79, no. 3 (2004): 805–7. http://dx.doi.org/10.1017/s0038713400090321.

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32

Jensen, Robin M. "Book Review: Medieval Liturgical Art." Expository Times 122, no. 2 (2010): 98–99. http://dx.doi.org/10.1177/00145246101220020702.

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33

Foletti, Ivan, and Adrien Palladino. "Roundtable. Medieval Art Today, Why?" Convivium 7, no. 2 (2020): 160–85. http://dx.doi.org/10.1484/j.convi.5.123124.

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34

Barral i Altet, Xavier, and Ivan Foletti. "Medieval Art History in Prison." Convivium 4, no. 1 (2017): 11–14. http://dx.doi.org/10.1484/j.convivium.4.2017002.

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35

Mocholí Martínez, María Elvira. "Medieval Christian Religion and Art." Religions 15, no. 3 (2024): 298. http://dx.doi.org/10.3390/rel15030298.

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36

Perratore, Julia. "The Art of Medieval Iberia at The Metropolitan Museum of Art and The Met Cloisters." La corónica: A Journal of Medieval Hispanic Languages, Literatures, and Cultures 50, no. 1-2 (2021): 435–47. http://dx.doi.org/10.1353/cor.2021.a910138.

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Abstract: This essay reflects upon the rich holdings in medieval Iberian art at The Metropolitan Museum of Art, acknowledging both the organizational challenges and intellectual rewards of delving into this multifaceted collection. Focusing on the Department of Medieval Art and The Cloisters, it highlights a selection of artworks that reveal encounters between people of different faith traditions in medieval Iberia. In so doing, it argues for the importance of looking to the visual arts for layered, complex, and nuanced testimonies of interfaith interaction in the medieval peninsula.

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37

Richards, Jeffrey. "Robin Hood Medieval and Post-Medieval edited by Helen Phillips." Arthuriana 15, no. 4 (2005): 75–76. http://dx.doi.org/10.1353/art.2005.0034.

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38

Fitzgerald, Tadhg, Yuri Malitsky, Barry O’Sullivan, and Kevin Tierney. "ReACT: Real-Time Algorithm Configuration through Tournaments." Proceedings of the International Symposium on Combinatorial Search 5, no. 1 (2021): 62–70. http://dx.doi.org/10.1609/socs.v5i1.18314.

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The success or failure of a solver is oftentimes closely tied to the proper configuration of the solver's parameters. However, tuning such parameters by hand requires expert knowledge, is time consuming, and is error-prone. In recent years, automatic algorithm configuration tools have made significant advances and can nearly always find better parameters than those found through hand tuning. However, current approaches require significant offline computational resources, and follow a train-once methodology that is unable to later adapt to changes in the type of problem solved. To this end, thi

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39

Sheingorn, Pamela. "The Medieval Feminist Art History Project." Medieval Feminist Newsletter 12 (September 1991): 5–10. http://dx.doi.org/10.17077/1054-1004.1591.

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40

Muzaffarli, D. "GROTESQUE IN MEDIEVAL ART OF AZERBAIJAN." Journal of history 88, no. 1 (2018): 20–25. http://dx.doi.org/10.26577/jh-2018-1-175.

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41

Brook, Leslie C., and Douglas Kelly. "The Art of Medieval French Romance." Modern Language Review 90, no. 1 (1995): 180. http://dx.doi.org/10.2307/3733306.

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42

Voyer, Cécile. "Collectif, The Art of Medieval Hungary." Cahiers de civilisation médiévale, no. 256 (December 1, 2021): 367–69. http://dx.doi.org/10.4000/ccm.8646.

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43

Иванова, С. В. "Angelic Trumpets in Medieval Christian Art." OPERA MUSICOLOGICA, no. 2022 (September 12, 2022): 46–63. http://dx.doi.org/10.26156/om.2022.14.3.003.

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В статье исследуются изображения духового музыкального инструмента, в который трубят ангелы; подобные изображения появляются в христианском искусстве с XI века. Это труба характерной формы, слегка изогнутая, с очень небольшим раструбом, она может быть как сравнительно небольшой, так и довольно значительного размера, бывает украшена резьбой или же инкрустацией. Сопоставление изображений позволяет сделать вывод, что перед нами шофар — особый библейский инструмент, труба, изготовленная из рога парнокопытных животных (диких и домашних баранов, козлов, антилоп). Шофары описаны в видениях ветхозавет

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44

Busby, Keith, and Douglas Kelly. "The Art of Medieval French Romance." Comparative Literature 47, no. 3 (1995): 263. http://dx.doi.org/10.2307/1771489.

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45

Haidu, P. "The Art of Medieval French Romance." Modern Language Quarterly 54, no. 3 (1993): 427–30. http://dx.doi.org/10.1215/00267929-54-3-427.

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46

Dunbabin, J. "Anjou: Medieval Art, Architecture and Archaeology." English Historical Review 119, no. 480 (2004): 171. http://dx.doi.org/10.1093/ehr/119.480.171.

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47

Bagnoli, Martina. "Preface: Medieval art and the object." Word & Image 22, no. 3 (2006): 193–95. http://dx.doi.org/10.1080/02666286.2006.10435746.

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48

Lord, Carla, and Carol Lewine. "INTRODUCTION: SECULAR IMAGERY IN MEDIEVAL ART." Source: Notes in the History of Art 33, no. 3/4 (2014): 1–2. http://dx.doi.org/10.1086/sou.33.3_4.23725944.

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49

Gillerman, Dorothy. "Seeing Medieval Art. Herbert L. Kessler." Speculum 81, no. 2 (2006): 546–48. http://dx.doi.org/10.1017/s0038713400003146.

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50

Gutmann, Joseph. "On Biblical Legends in Medieval Art." Artibus et Historiae 19, no. 38 (1998): 137. http://dx.doi.org/10.2307/1483588.

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