Jean-Loup Lemaitre, Michel Dmitriev, Pierre Gonneau (eds.), Moines et monastères dans les sociétés de rite grec et Latin (Hautes Etudes Médiévales et Modernes 76, Genève 1996). IX + 504 blz. ISBN 2-600-00143-3

Jean-Loup Lemaitre, Michel Dmitriev, Pierre Gonneau (eds.), Moines et monastères dans les... 116 used in Christ's passion, he sees this visual and literary practice not just as a prayerful recollection, but also as an act of adoration (p. 129). To stress the double sense of intimacy (a private act) and spectacle (a public act) which the "arms of Christ" simultaneously evoke, conveys better to us the meaning of this devotion than exploring the list of individual instruments can. What Hirsh wants to make clear is how this spectacle, which seems so alienating, could yet draw medieval people in and serve a meditational purpose as they prepared for the Last Judgement. To underline the central relevance of this devotion, he compares the medieval arma Christi with the arma urbis of contemporary North American culture. Comparable to the cross, there we have the gun as the central icon (p. 145). But whereas the devotion of the "arms of Christ" allowed the spectators to derive power from identifying themselves with the victimized Christ, the gun as the icon of the modern arma urbis has the countereffect of signalling the helplessness of a getthoized people underneath the outward projection of a reign of terror. In either case, it is not so much the "arms" http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Nederlands Archief voor Kerkgeschiedenis (in 2006 continued as Church History and Religious Culture) Brill

Jean-Loup Lemaitre, Michel Dmitriev, Pierre Gonneau (eds.), Moines et monastères dans les sociétés de rite grec et Latin (Hautes Etudes Médiévales et Modernes 76, Genève 1996). IX + 504 blz. ISBN 2-600-00143-3

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Publisher
Brill
Copyright
© 1998 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0028-2030
eISSN
1871-2401
D.O.I.
10.1163/002820392X00310
Publisher site
See Article on Publisher Site

Abstract

116 used in Christ's passion, he sees this visual and literary practice not just as a prayerful recollection, but also as an act of adoration (p. 129). To stress the double sense of intimacy (a private act) and spectacle (a public act) which the "arms of Christ" simultaneously evoke, conveys better to us the meaning of this devotion than exploring the list of individual instruments can. What Hirsh wants to make clear is how this spectacle, which seems so alienating, could yet draw medieval people in and serve a meditational purpose as they prepared for the Last Judgement. To underline the central relevance of this devotion, he compares the medieval arma Christi with the arma urbis of contemporary North American culture. Comparable to the cross, there we have the gun as the central icon (p. 145). But whereas the devotion of the "arms of Christ" allowed the spectators to derive power from identifying themselves with the victimized Christ, the gun as the icon of the modern arma urbis has the countereffect of signalling the helplessness of a getthoized people underneath the outward projection of a reign of terror. In either case, it is not so much the "arms"

Journal

Nederlands Archief voor Kerkgeschiedenis (in 2006 continued as Church History and Religious Culture)Brill

Published: Jan 1, 1998

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