The Joust as Performance: "Pas d'armes" and Late Medieval Chivalry

比武作为表演：“兵马俑”和中世纪晚期的骑士精神

基本信息

批准号：
AH/T005777/1
负责人：
Rosalind Brown-Grant
金额：
$ 4.73万
依托单位：
University of Leeds
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2020
资助国家：
英国
起止时间：
2020 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FT005777%2F1
关键词：
Joust Performance Pas armes Late

项目摘要

At the end of the 11th and the beginning of the 12th centuries, in northern France and the southern Low Countries, a new chivalric phenomenon emerged: the tournament. This form of collective "melée" typically took place in the countryside across an area of several square miles, with hundreds of knights and squires, grouped into two teams, performing mock battles against each other. From the 13th century onwards, however, the tournament was gradually superseded by a more individualised form of combat: the joust. More often taking place in towns than the countryside, the joust served chiefly to showcase the knight's individual acts of chivalric prowess in the field. The most elaborate type of joust was known as the "pas d'armes" (passage of arms). These costly and elite stagings involved a knight, often adopting a fictional persona drawn from historical or literary models, who issued a challenge to all comers of suitably noble birth who wished to fight him using lances, swords, or axes. Originating in Iberia but popular mainly among the nobility of France, Anjou and Burgundy, the "pas d'armes" would take place over an extended period of days, weeks, or even months. Sponsored by a wealthy nobleman, they were attended by participants belonging to the social elite from all over Europe, officiated by a high-ranking lord or his chief herald, and watched by mixed audiences in terms of gender and social milieu. The "pas d'armes" were described in detailed specifications known as "chapitres", while judgements on the various encounters were recorded by heralds for posterity, along with descriptions of the many banquets and dramatic interludes ("entremets") that formed an essential part of the entertainments post-combat. Many accounts of the "pas d'armes" circulated independently or were incorporated into other works such as tournament book collections and armorials and in historiographical narratives such as chivalric biographies and chronicles, sometimes with lavish illumination cycles. As a major contributor to the formation and dissemination of chivalric culture and values from the 15th-16th centuries, the "pas d'armes" could help mediate social relations between different groups wielding power in the polity; its complex staging and symbolism could also be an expression of aspiration and encouragement to crusade.The "pas d'armes" has long been known to medieval specialists but has attracted little attention other than from historians and literary scholars interested in tracing the evolution of tournaments and jousting. Yet the "pas d'armes" was not just a sporting event: it was also a political, social, cultural and artistic performance and a multi-media spectacle. For these reasons, it demands to be re-assessed from a cross-disciplinary perspective by scholars from a range of different backgrounds. The proposed research network thus brings together an international group comprising historians (cultural, social, political and material), art historians, literary and performance scholars, some of whom are also professionals from museums of arts and armour, or who have collaborated with colleagues in such museums. Its chief aim is to stimulate a scholarly dialogue among specialists that will cross disciplinary boundaries and shed new light on this important aspect of late medieval chivalric culture in all its myriad dimensions, including physical training for warfare, pre- and post-combat rituals and symbolism, spectatorship, gender identity formation, financing and political significance, collective memory formation, etc. The group's findings will be of interest to academic audiences in a range of different fields (literature, history, gender studies, performance/theatre studies, art history), to museum professionals working with arms and armour and in the culture and heritage industries more broadly, as well as, potentially, to school teachers and members of the general public interested in chivalry.

十一世纪末十二世纪初，在法国北部和南部低地国家，出现了一种新的骑士现象：这种形式的集体“混战”通常发生在跨越地区的乡村。然而，从 13 世纪开始，这项比赛逐渐被更个性化的形式所取代。战斗：比武更常在城镇举行，主要是为了展示骑士在战场上的个人侠义行为。这些昂贵的精英舞台涉及一位骑士，通常采用历史或文学模型中的虚构人物，向所有希望使用长矛与他战斗的贵族出身的人发出挑战， “pas d'armes”起源于伊比利亚半岛，但主要在法国、安茹和勃艮第的贵族中流行，由富有的贵族赞助，持续数天、数周甚至数月。出席会议的有来自欧洲各地的社会精英，有高级领主或其首席传令官，观看者的性别和社会环境也各不相同。 “pas d'armes”以被称为“chapitres”的详细规范进行了描述，而对各种遭遇的判断则由传令官记录下来供后人使用，以及对构成重要组成部分的许多宴会和戏剧插曲（“entremets”）的描述战后娱乐活动的许多记述被独立回收或纳入其他作品中，例如锦标赛书籍收藏和纹章以及史学中。作为 15 至 16 世纪骑士文化和价值观形成和传播的主要贡献者，“武器”可以帮助调解之间的社会关系。不同的团体在政体中行使权力；其复杂的舞台和象征意义也可以表达对十字军东征的渴望和鼓励。中世纪的专家们都在关注这一点，但除了对追踪锦标赛和马上比武的演变感兴趣的历史学家和文学学者之外，几乎没有引起人们的注意。然而，“兵马表演”不仅仅是一项体育赛事：它也是一项政治、社会、文化和艺术活动。由于这些原因，它需要来自不同背景的学者从跨学科的角度进行重新评估，因此拟议的研究网络汇集了一个由历史学家（文化、社会）组成的国际团体。，政治和物质），艺术史学家、文学和表演学者，其中一些人也是艺术和盔甲博物馆的专业人士，或者与这些博物馆的同事合作过。其主要目的是促进专家之间的学术对话，这种对话将跨越学科界限并产生新的知识。揭示中世纪晚期骑士文化的这一重要方面的各个方面，包括战争体能训练、战斗前后的仪式和象征、观众、性别认同的形成、融资和政治意义、集体记忆的形成等。调查结果将引起不同领域（文学、历史、性别研究、表演/戏剧研究、艺术史）的学术观众、从事武器和盔甲工作的博物馆专业人员以及更广泛的文化和遗产行业的兴趣，以及可能会面向对骑士精神感兴趣的学校教师和公众。