L'Agenda des Médiévistes

À la rareté des mises en scène d’un répertoire proprement médiéval répond le nombre important de pièces, de la fin du XIX^e siècle aux premières années du XXI^e siècle, qui, d’une manière directe ou allusive, entretiennent un rapport avec le Moyen Âge. Cet ensemble constitue l’objet de ce livre.

Car le « Moyen Âge » possède, au sein de la modernité, une plasticité apte à s’adapter aux intentions artistiques et idéologiques aussi opposées que celles d’un Claudel, d’un Copeau ou d’un Jan Fabre, d’un Ghelderode ou d’un Laurent Gaudé, d’un Cocteau ou d’un Dario Fo. La référence médiévale permet les options dramaturgiques et scéniques les plus variées. Celle-ci semble, en effet, une matière qui circule de l’effet de vérité historique à l’anachronisme assumé, de la beauté à la laideur, du hiératique au grotesque, du mystique à la farce. Ce « Moyen Âge » est moins un temps saisi dans sa réalité concrète que fantasmé.

Cet essai propose d’analyser non seulement les choix scéniques et artistiques que prend ce que l’on appellera la figuration médiévale mais encore les modalités de ce choix (personnages médiévaux, figures légendaires, événements historiques) chez tel ou tel dramaturge, le contexte dans lequel le spectacle s’élabore et se produit (choix personnel, commande, festival, commémoration religieuse ou laïque…).

Enfin, le point de vue « médiéval » permet aussi de parcourir en pointillé l’histoire, moderne et contemporaine, des formes théâtrales, de l’esthétique scénique, de leur sens, sujet qui n’a pas été traité dans son ensemble, contrairement à ce qui a été fait pour le cinéma. C’est le pari de cette étude à deux mains.

Michèle Gally, spécialiste de littérature médiévale, travaille aussi sur les relations entre médiévalité et modernité. Elle est l’auteur de plusieurs essais dans l’un et l’autre de ces domaines.

Marie-Claude Hubert est spécialiste du théâtre des XX^e et XXI^e siècles, notamment de Beckett, de Genet, de Ionesco dont elle a édité les œuvres.

Table des matières : ici

Informations pratiques :

Michèle Gally, Marie-Claude Hubert, L’empreinte médiévale dans le théâtre moderne en France, XXe-XXIe siècles, Paris, Honoré Champion, 2026 ; 1vol., 264 p. (Littérature de notre siècle, 86). ISBN : 978-2-74536-485-2. Prix : € 46,00.

Source : Honoré Champion

This book offers a vivid account of women’s religiosity in Italy between 1400 and 1550, a crucial period of spiritual ferment and ecclesiastical change. Rather than focusing solely on institutions, this book brings to light the many ways in which women sought religious authority, pursued holiness, and contributed to broader hopes for renewal within the Church.

It examines the relationship between prophetic and political power in Italian Renaissance courts. Starting from an examination of the “living saints,” charismatic figures venerated by the people for their abstinence and by princes for their prophetic virtues, it considers figures including Elena Duglioli, Margherita da Russi, and Gentile da Ravenna who were perceived as “divine mothers.” It emphasizes women’s active role in spiritual and cultural circles focused on scriptural study and Church reform, often guided by charismatic figures considered saints. The case of the “divine mother” Paola Antonia Negri is not discussed here, since it has already been examined by others, but the intense anger she faced from ecclesiastical and civil authorities exemplifies the change that took place in Italian religious life in the mid-16th century. « Living saints » and « divine mothers » became suspect, and the Council of Trent promoted a new model of holiness and initiated a process of disciplining cults. The volume also paves the way for a European comparative approach, building on the work of Spanish scholars and an initial transalpine perspective proposed by Alessandra Bartolomei Romagnoli.

Clear, engaging, and richly documented, this volume will appeal to scholars and students of early modern history, religious studies, women’s and gender studies, and Italian cultural history, as well as to readers interested in the long history of women’s religious agency.

Gabriella Zarri is an Italian historian and one of the leading scholars of early modern religious culture and female sanctity. She was formerly Professor of Modern History at the University of Florence. Her research explores women’s religious experience, monastic life, devotional practices, and the cultural construction of sainthood between the late Middle Ages and the early modern period. Since 2012 she has been the editor of the journal Archivio italiano per la storia della pietà. Among her best-known works are Le sante vive: Cultura e religiosità femminile nella prima età moderna and Recinti: Donne, clausura e matrimonio nella prima età moderna.

Table des matières :

Bibliographic References

Introduction: Rethinking Early 16th- Century Italian Religiosity—Living Saints, Divine Mothers, and the Agency of Women’s Spiritual Circles

Chapter 1: Living Saints: A Typology of Female Sanctity in the Early 16th Century

Chapter 2: Court Prophets in Renaissance Italy

Chapter 3: The “Mother” of Guglielmo VIII Paleologo: Maddalena Panattieri da Trino, Dominican Penitent (1443-1503)

Chapter 4: A Compendium of Wondrous Deeds of Caterina da Racconigi: Hagiography or Philosophical Treatise?

Chapter 5: A “Noble Way” to Achieve Perfection: The Blessed Elena Duglioli Dall’Olio’s Letter to Anne of Monferrato (1521)

Chapter 6: Suspicions Surrounding Women’s Spiritual Circles: The Court of Mantua and the Cult of Margherita da Russi and Gentile da Ravenna

Conclusion: Women’s Agency in Early 16th-Century Italian Religiosity: from Political Prophecy and Church Reform to the Suspicion of Spiritual Circles—Towards a European Comparative Study

Informations pratiques :

From Living Saints to Divine Mothers. Women’s Religiosity in Italy, 1400–1550, éd. Gabriella Zarri, Londres, Routledge, 2026 ; 1 vol., 234 p. ISBN : 978-1-03293-563-8. Prix : € 210,00.

Source : Routledge

Giovanni de’ Matociis, mansionario della Cattedrale di Verona (m. 1337), è una delle figure più rappresentative dell’ambiente culturale veronese del primo Trecento. Probabilmente nel 1313, in occasione della discesa in Italia di Enrico VII, iniziò a comporre le Ystorie imperiales, che, con i Gesta pontificum Romanorum, dovevano realizzare un ambizioso progetto di storia bipartita della sesta età del mondo. Le Ystorie ricostruiscono la continuità ideale dell’autorità imperiale dall’antichità romana al Medioevo: il racconto si apre con Augusto e ripercorre le vite dei suoi successori, in un arco cronologico che, nelle intenzioni dell’autore, sarebbe dovuto giungere proprio fino a Enrico VII, ma che, nei codici, si interrompe con Carlo il Grosso. Il volume offre l’edizione critica princeps del I libro, che copre il periodo da Augusto alla Tetrarchia, accompagnata dall’edizione di quello che doveva essere il prologo generale delle due storie, pontificale e imperiale. Oltre a un’introduzione storico-letteraria, il libro comprende uno studio della tradizione manoscritta, che conferma l’autografia del ms. Chig. lat. I.VII.259, e propone un’indagine sistematica e approfondita delle fonti..

Informations pratiques :

Giovanni de’ Matociis, Ystorie imperiales (Liber primus), éd. Federico De Dominicis, Laura De Luisa, Michele Vescovo, Florence, SISMEL–Edizioni del Galluzzo, 2026 ; 1 vol., VIII–472 p. (Edizione Nazionale dei Testi Mediolatini d’Italia, 75 ; Serie I, 40). ISBN : 978-88-9290-450-7. Prix : € 82,00.

Source : SISMEL–Edizioni del Galluzzo