1,721,347 research outputs found
Letters of Peter Abelard, Beyond the Personal. Translated by Jan M. Ziolkowski, Washington (DC), Catholic University of America Press, 2008
No full textNoblesse-Rocher Annie. Letters of Peter Abelard, Beyond the Personal. Translated by Jan M. Ziolkowski, Washington (DC), Catholic University of America Press, 2008. In: Revue d'histoire et de philosophie religieuses, 88e année n°4, Octobre-Décembre 2008. p. 529
Jan M. Ziolkowski. — Jezebel. A Norman Latin Poem of the Early Eleventh Century. New York, Lang, 1989 (" Humana Civilitas ", 10)
No full textTilliette Jean-Yves. Jan M. Ziolkowski. — Jezebel. A Norman Latin Poem of the Early Eleventh Century. New York, Lang, 1989 (" Humana Civilitas ", 10). In: Cahiers de civilisation médiévale, 37e année (n°145-146), Janvier-juin 1994. Henri II Plantagenêt et son temps. Actes du Colloque de Fontevraud. 29 septembre – 1er octobre 1990. pp. 173-175
Jan M. Ziolkowski. — Jezebel. A Norman Latin Poem of the Early Eleventh Century. New York, Lang, 1989 (" Humana Civilitas ", 10)
No full textTilliette Jean-Yves. Jan M. Ziolkowski. — Jezebel. A Norman Latin Poem of the Early Eleventh Century. New York, Lang, 1989 (" Humana Civilitas ", 10). In: Cahiers de civilisation médiévale, 37e année (n°145-146), Janvier-juin 1994. Henri II Plantagenêt et son temps. Actes du Colloque de Fontevraud. 29 septembre – 1er octobre 1990. pp. 173-175
Mary Carruthers & Jan M. Ziolkowski (dir.), The Medieval Craft of Memory. An Anthology of Texts and Pictures
Full text linkMary Carruthers et Jan M. Ziolkowski ont réuni neuf collaborateurs pour compléter avec cette anthologie deux des livres publiés précédemment par la première : The Book of Memory : A Study of Memory in Medieval Culture, Cambridge, 1990 et The Craft of Thought : Meditation, Rhetoric, and the Making of Images, 400-1200, Cambridge, 1998. Ces deux titres sont maintenant accessibles en français : Le Livre de la Mémoire. Une étude de la mémoire dans la culture médiévale, traduit de l’anglais par Dia..
Jan M. Ziolkowski, éd. trad. — The Cambridge Songs (Carmina Cantabrigensia). New York, Garland, 1994 (Garland Libr. of Mediev. Lit., 66/A)
No full textSzövérffy Joseph. Jan M. Ziolkowski, éd. trad. — The Cambridge Songs (Carmina Cantabrigensia). New York, Garland, 1994 (Garland Libr. of Mediev. Lit., 66/A). In: Cahiers de civilisation médiévale, 39e année (n°153-154), Janvier-juin 1996. La recherche sur le Moyen Age à l'aube du vingt-et-unième siècle, sous la direction de Piotr Skubiszewski. pp. 169-170
Jan M. Ziolkowski, éd. trad. — Nigel of Canterbury. The Passion of St. Lawrence. Epigrams and Marginal Poems. Leyde, Brill, 1994 (Mittellaltein Stud. u. Texte, 14)
No full textBate Keith. Jan M. Ziolkowski, éd. trad. — Nigel of Canterbury. The Passion of St. Lawrence. Epigrams and Marginal Poems. Leyde, Brill, 1994 (Mittellaltein Stud. u. Texte, 14). In: Cahiers de civilisation médiévale, 39e année (n°155), Juillet-septembre 1996. p. 298
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Reading the Juggler of Notre Dame: Medieval Miracles and Modern Remakings (XML)
No full textIn this two-part anthology, Jan M. Ziolkowski builds on themes uncovered in his earlier The Juggler of Notre Dame and the Medievalizing of Modernity. Here he focuses particularly on the performing arts.
Part one contextualises Our Lady’s Tumbler, a French poem of the late 1230s, by comparing it with episodes in the Bible and miracles in a wide variety of medieval European sources. It relates this material to analogues and folklore across the ages from, among others, Persian, Jewish and Hungarian cultures. Part two scrutinizes the reception and impact of the poem with reference to modern European and American literature, including works by the Nobel prize-winner Anatole France, professor-poet Katharine Lee Bates, philosopher-historian Henry Adams and poet W.H. Auden.
This innovative collection of sources introduces readers to many previously untranslated texts, and invites them to explore the journey of Our Lady’s Tumbler across both sides of the Atlantic.
Reading the Juggler of Notre Dame: Medieval Miracles and Modern Remakings will benefit scholars and students alike. The short introductions and numerous annotations shed light on unusual beliefs and practices of the past, making the readings accessible to anyone with an interest in the arts and an openness to the Middle Ages
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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