Visual ambiguity in the oeuvre of the Gela Painter: a new lekythos from Thessaly

This paper presents a previously unpublished Attic lekythos and discusses visual ambiguity as an intentional drawing style used by a vase painter who conceptualised the many possible relationships between pot and user, object and subject. The Gela Painter endowed this hastily manufactured and decorated lekythos with visual effects that drew the viewer into an inherently ambivalent motif: a mounting Dionysos. This motif, like other Dionysian themes, had a vogue in late Archaic times but did not necessarily invoke chthonic associations. It had the potential to be consumed in diverse contexts, including religious festivals, by a wide range of audiences. Such images were not given to the viewer fully through visual perception but through interpretation.

Going global: the Brazilian scripted film

This article departs from the assumption that a certain section of world cinema, usually defined as ‘independent’, has been evolving on the basis of good scripts. Between the late 1980s and early 90s, there has been a boom of new cinemas in the world, such as the new Iranian, Taiwanese, Japanese, Mexican, Argentine and Brazilian cinemas. A significant part of this production shows a renewed interest in local and national peculiarities of their respective countries, going against the grain of globalisation and its typical cultural dilution. Most of these films are also engaged in reassessing narrative cinema, as a kind of reaction against the deconstructive work carried out by postmodern cinema of the 1980s.Recent new cinemas are supported by a combination of local and international resources, derived from public and private sponsors at home, and funding agencies, festivals and TV channels abroad. In most cases funds are granted after the film script has been analysed and approved by commissions of experts. The New Brazilian Cinema, or cinema da retomada as it is locally called, has been enormously affected by this scheme, which has even caused a ‘script boom’ in Brazil in the past decade. The chapter examins the results of this process.

Entre histoire et fiction: la représentation du règne d'Arthur dans le manuscrit enluminé du Brut en prose, Londres, Lambeth Palace 6 (c. 1480)

The manuscript London, Lambeth Palace 6, contains the Middle English prose Brut, a text which benefited from a great popularity throughout the fifteenth century. It was copied by an English scribe and richly illuminated by the Master of Edward IV and his assistants at Bruges around 1480. This article studies the representation and integration of the reign of Arthur in the historical framework of the Brut or Chronicles of England, including its fictional aspects: Arthur emerges as a historical character but also as a chivalric and mythical figure. The analysis covers the miniatures ranging from the plot leading to the conception of Arthur to the end of his reign (fols. 36-66). The textual and iconographic choices of the prose Bruts are highlighted by comparisons with Geoffrey of Monmouth’s Historia Regum Britanniae, Wace’s Brut, and later prose rewritings in the Lancelot-Grail romance cycle, especially Merlin and its Vulgate Sequel. They show the continuous interest raised by Arthur in the aristocratic and royal circles of late fifteenth century England and the relationship be¬tween continental and insular historiographical, literary and artistic traditions.

L’illustration marginale d’un ouvrage profane : étude du manuscrit Paris, Bibliothèque nationale de France, français 95, xiiie siècle (1290)

BnF fr. 95 is a late 13th century manuscript containing Arthurian romances and other fictional and didactic texts. The Estoire del saint Graal and Merlin section is the most highly illuminated, with a rich marginal iconography, an unusual feature in the illustration of lay works and in these texts’ manuscript tradition. This article shows how in Merlin and its Vulgate Sequel marginal scenes overlap with widespread subjects in courtly and chivalric vernacular romances, in contrast with Latin and religious works. The reuse of similar patterns in principal and marginal miniatures, examined in the episode of the Battle of Danablaise, where King Arthur fights the Saxon King Rion, highlights the need for a comprehensive reading of text and images, taking into account the mise en page and the different levels of illustration in the manuscript.

Arthur’s refusal to eat: ritual and control in the romance feast

Arthur's refusal to begin feasting before he has seen a marvel or heard a tale of adventure is a recurring motif in medieval romance. Previous comment on this ritual has suggested that the source for such a taboo on eating may be found in earlier narratives in the Celtic languages. This paper argues that, although the ritual almost certainly originates in pre-chivalric society, romance authors adapted and developed it to reflect the courtly-chivalric preoccupations of their own world. Arthur's ritual gesture may be seen as a means of containing and controlling both interior moral threats and exterior physical peril, and is intimately connected to the courtly conception of the feast. This study draws on the evidence of religious writing and courtesy manuals and explores some highly-developed treatments of the motif in romance in order to suggest that literary engagements with Arthur's refusal to eat have much to say about contemporary ideas of ritual and reality as mediated through the symbolically-charged arena of the medieval feast.