Between text and image: The prayer gestures of saint dominic

Schmitt, Jean‐Claude

doi:10.1080/02757206.1984.9960738

Cited by 17 publications

(4 citation statements)

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“…According to the Dominican friar St. Thomas Aquinas (c. 1224-1274), the use of the body and the voice in divine worship helps arouse devotion in the heart [mens or affectus] of the worshipper, 5 and allows one to serve God "with everything that he has from God, that is, not only with the mind [mente], but also with the body [corpore]". 6 For Thomas, "it was fittingly instituted that chant should be used in the divine praises, that the souls of the weak might be more incited to devotion," 7 although he makes an important distinction for Dominicans by nothing that "it is a more noble mode to lead men to devotion by teaching and preaching than through chant." 8 Another aspect of the relationship of chant and the body is the Dominican emphasis on strong or virile singing ( [2], p. 105).…”

Section: In Hismentioning

confidence: 99%

“…We may also recall that St. Thomas Aquinas was given the gift of tears while praying the liturgy, particularly during the chanting of the Media vita (Nunc dimitis antiphon) [13]. 3 In the late 13th century, a text known as the "Nine Ways of Prayer of St. Dominic" associated various liturgical postures with the private prayer of St. Dominic, offering an example for Dominicans who wished to imitate these prayer postures of their founder; see [6]. For further considerations on the body and gesture in the Middle Ages, see [7].…”

Section: In Hismentioning

confidence: 99%

“…1, response: "Proficit etiam laus oris ad hoc quod aliorum affectus provocetur in Deum." 6 Thomas Aquinas, ST II-II, q. 83, a.…”

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Dominican Chant and Dominican Identity

Smith¹

2014

Religions

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Abstract:The Order of Preachers possesses a venerable chant tradition that dates back to the thirteenth century. This essay describes Dominican chant, showing how it developed as a consequence of the attitudes to the liturgy expressed in the Ancient Constitutions of the Order of Preachers. These constitutions stressed that the liturgy was to be performed with careful attention to bodily posture, with a succinctness and brevity that would allow time for study and preaching, and with gradations of solemnity that would express the inner hierarchy of parts of the liturgy and of the liturgical year. After the initial development of the repertoire, Dominican chant has gone through periods of decline and revival, which are briefly traced in this article together with a consideration of the place of the chant in the contemporary practice of the Order. Throughout the last eight centuries, the chant of the Order of Preachers has played an important role in the inculcation and preservation of Dominican identity within the Order and in the lives of individual friars and sisters.

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Section: In Hismentioning

confidence: 99%

Section: In Hismentioning

confidence: 99%

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Dominican Chant and Dominican Identity

Smith¹

2014

Religions

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“…This manual specifies the many duties which are connected with being the object of the congregation's gaze, an object of spectatorship: fitting and modifying the preaching, gestures, facial expression, appearance and the like, according to the specific audience. 63 such a private sphere could not ostensibly exist for the clerics; several of the brothers are depicted as watching him clandestinely out of curiosity, while others listened behind closed doors to the words of his prayers. accordingly, the preaching brother should always behave as if he himself is subjected to somebody's gaze, wherever he is; even when he is by himself, he should act as if he is being watched by an invisible eye, and primarily by god.…”

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Voyeuristic Stimuli

Pinkus¹

2010

Wiener Jahrbuch für Kunstgeschichte

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a fter Philomena had recounted her story on the first day of boccaccio's Decameron, Dieoneo begins his own -a tale about a monk and an abbot who had lapsed into sin, epitomizing the late medieval discourse on seeing and hearing. 1 This fourth tale of the day tells about a certain monk in Lunigiana who was overtaken by carnal appetite at the sight of a well-favored lass. 2 after entering into conversation with her, and knowing that all the other monks were asleep, he brought her to his cell to satisfy his needs. While the couple were disporting themselves, it so chanced that the abbot arose from his sleep and, hearing the racket that betrayed the amorous couple, he crept stealthily up to the door to listen. The monk, who had heard the scuffling of the abbot's feet, put his eye to a crack in the wall and saw the spying abbot eavesdropping on them. seeking to escape condemnation, he slipped away from his cell, leading the abbot into a trap, to take his place there. rather than reproaching the poor girl and the monk, however, as he planned, the abbot instead shut the door behind him and delighted in the pleasures of the flesh. Meanwhile, the monk went back to looking through the crevice, and he both heard and saw all that the abbot was doing and saying. When the abbot returned to his chamber -not before he had locked the damsel in the monk's cell -he was eager to rebuke the monk and send him to prison. however, when he realized what the monk now knew and had seen through the 'key-hole', he withdrew his plan and pardoned him instead. The story ends with the narrator's cynical remark that the girl, if it is to be believed, returned more than once to the monastery afterward, making thus the (superior) abbot and the (relatively inferior) monk equal partners in sin.Dieoneo's tale is set into motion by two sensory and cognitive experiences: hearing and seeing. While the abbot organizes his viewpoint, ethics, and information according to things heard, the monk does so by means of things seen. both senses are at play, and each is voyeuristic in its turn: while the abbot practices aural voyeurism, the monk's voyeurism is ocular. These, however, are not depicted as equal; eavesdropping appears to be less convincing and reliable than peeping. in order to enforce his alleged superiority, to attain knowledge, and to understand what

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Gestures and Looks in Medieval Narrative

Burrow

2002

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In medieval society, gestures and speaking looks played an even more important part in public and private exchanges than they do today. Gestures meant more than words, for example, in ceremonies of homage and fealty. In this, the first study of its kind in English, John Burrow examines the role of non-verbal communication in a wide range of narrative texts, including Chaucer's Troilus and Criseyde, the anonymous Sir Gawain and the Green Knight, Malory's Morte D'arthur, the romances of Chrétien de Troyes, the Prose Lancelot, Boccaccio's Il Filostrato, and Dante's Commedia. Burrow argues that since non-verbal signs are in general less subject to change than words, many of the behaviours recorded in these texts, such as pointing and amorous gazing, are familiar in themselves; yet many prove easy to misread, either because they are no longer common, like bowing, or because their use has changed, like winking.

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Between text and image: The prayer gestures of saint dominic

Cited by 17 publications

References 2 publications

Dominican Chant and Dominican Identity

Dominican Chant and Dominican Identity

Voyeuristic Stimuli

Gestures and Looks in Medieval Narrative

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