Model, mirror and memorial: Imitation of the passion and the annihilation of the imagination in Angela da Foligno’s “Liber” and Marguerite Porete’s “Mirouer des simples âmes”

346 Pages·2002·16.46 MB·English

by  Robin Anne O’Sullivan

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THE UNIVERSITY OF CHICAGO
MODEL, MIRROR AND MEMORIAL:
IMITATION OF THE PASSION AND THE ANNIHILATION OF THE
IMAGINATION IN ANGELA DA FOLIGNO’S LIBER AND MARGUERITE
PORETE'S MIROUER DES SIMPLES AMES
VOLUME ONE
A DISSERTATION SUBMITTED TO
THE FACULTY OF THE DIVINITY SCHOOL
IN CANDIDACY FOR THE DEGREE OF
DOCTOR OF PHILOSOPHY
BY
ROBIN ANNE O’SULLIVAN
CHICAGO, ILLINOIS
AUGUST 2002
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UMI Number 3060249
Copyright 2002 by
O'Sullivan, Robin Anne
All rights reserved.
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TABLE OF CONTENTS
VOLUME ONE
LIST OF FIGURES...........................................................................................................................iii
ACKNOWLEDGEMENTS..............................................................................................................v
Chapter
I. CHAPTER ONE: INTRODUCTION.................................................................1
II. CHAPTER TWO: ‘NUDUS NUDUM CHRISTUM SEQUI”:
THE WOMEN’S RELIGIOUS MOVEMENT AND THE
PURSUIT OF THE APOSTOLIC LIFE...........................................................19
III. CHAPTER THREE: THE SCHOOL OF LOVE: MEDITATION,
MEMORY AND THE TRAINING OF THE RELIGIOUS SELF 88
IV. CHAPTER FOUR: ANGELA OF FOLIGNO AND THE
POVERTY OF THE IMAGINATION...........................................................148
VOLUME TWO
Chapter
V. CHAPTER FIVE: THE IMAGE OF THE SOUL IN FLIGHT:
MARGUERITE PORETE’S MIROUER DES SIMPLES AMES..............220
VI. CHAPTER SDC: CONCLUSION...................................................................280
APPENDIX: FIGURES...............................................................................................................284
BIBLIOGRAPHY...........................................................................................................................305
ii
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LIST OF FIGURES
FIGURE PAGE
1. St. Francis with the Stigmata.............................................................................................284
2. Joseph and the Virgin Asking the Neighbors About the Child, and Joseph
and the Virgin Asking Others About the Child...........................................................285
3. The Christ Child Found By Parents, and The Virgin and Child Embracing 286
4. Maestro di San Francesco, large painted cross, ca. 1272...........................................287
5. The Stripping of Christ.......................................................................................................288
6. Pieta.......................................................................................................................................289
7. None Crucifixion.................................................................................................................290
8. Ascent of the Cross............................................................................................................291
9. A Nun Experiences the Three Stages of Mystical Experience..................................292
10. Maestro di San Francesco, double-sided painted cross, ca. 1272.............................293
11. Anna christi devotional booklet, ca. 1330-1340..........................................................294
12. Anna christi devotional booklet, ca. 1330-1340..........................................................295
13. Psalter and Hours of Bonne of Luxembourg.................................................................296
14. “Seer” and Deus Abscondilus...........................................................................................297
15. Palma contemplationis.......................................................................................................298
16. Liberal Arts...........................................................................................................................299
iii
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17. Christ Embracing the Sponsa in the Garden, Christ and the Sponsa
Entering the Garden, the Sponsa as Caritas, and the Man of Sorrows..................300
18. Christ Crucified By the Virtues.......................................................................................301
19. Mulier amicta sole.............................................................................................................302
20. Giunta Pisano, crucifix, ca. 1236...................................................................................303
21. Berlinghiero, triptych. The Madonna and Child with Saints, ca. 1200-1240 ..... 304
iv
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ACKNOWLEDGEMENTS
My fascination with the mystics began while I was an undergraduate at NYU
when I happened into a class taught by a visiting professor, Ewert Cousins, on a subject I
knew nothing about: Medieval Christian Mysticism. At once puzzled and intrigued by
this literature. I, unwittingly, began this project then by resolving to understand these
texts and the people that wrote them. Since that first encounter with the mystics, my
interests have changed and evolved. Nevertheless, at its core, this project remains true in
its interdisciplinary approach to that encouraged in me by the Medieval and Renaissance
Studies Program (M.A.R.S.) at NYU and my First mysticism teachers Ewert Cousins,
Penny Johnson, and James Carse.
There have been a number of people and institutions that have made this
dissertation possible. First, I would like to thank my dissertation committee: Bernard
McGinn, Rachel Fulton, Kathryn Tanner and Paul Lachance. Each of these scholars
contributed in different ways and at different times. Bernard McGinn has been a model
of scholarly erudition and integrity. As an advisor, his support, and, at times, his critical
eye, has made me grow as a scholar and has enabled me to write a better dissertation.
Rachel Fulton has been a constant source of wisdom, knowledge, and practical advice.
Her unswerving faith in the importance of what I had to say, and, indeed, in the
importance and vitality of medieval studies, sustained me through some of the “rough”
patches in the research and writing process. Kathryn Tanner always managed to ask the
important questions and to challenge me to answer them even when my energy flagged.
V
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