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The Spring session of California Medieval History Seminar meets at the Huntington Library to discuss four pre-distributed research papers. Participants are expected to have read the papers in advance and come prepared to discuss them. Speakers and paper topics are announced by e-mail and on the CMRS website. To be added to the announcement list contact firstname.lastname@example.org. More information is at cmrs.ucla.edu/programs/med_hist_seminar.html.
R.I. Moore (Professor Emeritus of Medieval History, Newcastle University) and David Nirenberg(Deborah R. and Edgar D. Jannotta Professor of Social Thought, Medieval History, Middle East Studies, and the College, University of Chicago) partcipate in a dual presentation and debate on the topic of religious violence.
Professor Zrinka Stahuljak (UCLA French and Francophone Studies) is the moderator. The program is co-sponsored by the Center for Medieval and Renaissance Studies, the Department of History, and the LAMAR Consortium.
This conference examines and compares different traditions concerning the polymorphic figure of the dragon. An international roster of specialists conducts an informative tour of the lore, lairs, and symbolism of dragons from various cultures and historical periods. Organized by Joseph F. Nagy (English, UCLA) and sponsored by the UCLA Center for Medieval and Renaissance Studies and the UCLA Humanities Division of the College of Letters and Sciences.
A talk presented by Francisco Prado-Vilar, Director of Cultural and Artistic Projects at the Real Colegio Complutense (Harvard University) and Scientific Director of the Andrew W. Mellon Program for the Cathedral of Santiago de Compostela.
This year the annual Pepys Lecture is presented by Michael J. B. Allen (English, UCLA).
The “Getty Gratian” manuscript (officially known as 83 MQ 163 : MS Ludwig XIV :2) is one of the Getty Center’s finest treasures. Several features of this manuscript suggest that it may have been written for Thomas Becket or for his exile court. A recent publication draws attention to some notes added to the manuscript : their unique contents echo the history of Thomas Becket. This talk by CMRS Associate Dr. Leena Löfstedt (University of Helsinki) will continue the analysis of the manuscript’s notes, specifically focusing on those marginal notes, which are carefully constructed to have a triangular shape. Their first initial is colored in the same shade of blue or red that is used for the illuminated initials in the main text. These notes (whose contents vary considerably) seem to have accompanied the manuscript from the time of its illumination; they were certainly written before the manuscript was bound, as several of them remain partially hidden in the inner margins. Many of the notes could illustrate the beginnings of systematic Gratian studies and could be of interest to canonists. A few other notes seem to have been used for some special occasion thus allowing us to give them a rather exact date. Some notes may have helped to prepare the Old French translation of Gratian. A study of the notes sheds light on the interesting history of the Getty Gratian.
The history of architecture is a story based on survivors and this is especially true for Paris between 1130 and 1350. Our image of the city’s monumental architecture during those two hundred years is composed by a handful of notable churches from St-Martin-des-Champs to the Sainte-Chapelle; mendicant complexes, college compounds, and residential buildings have disappeared from view. This lecture by Professor Michael Davis (Art, Mount Holyoke College) focuses on three complexes: the convent of the Cordeliers; the Collège de Navarre; and, the church of the Bernardins. Their digital resurrection on the basis of archaeological, graphic, and verbal records not only alters the understanding of the architectural “scene” in medieval Paris by materializing its variety, but also highlight the building as a physical object rather than a house of words.
CMRS Director Massimo Ciavolella speaks at this international conference on “L’ombra di Fellini nei fumetti americani sulla Divina Commedia.”