|
Affective piety is most commonly described as a style of highly emotional devotion to the humanity of Jesus, particularly in his infancy and his death, and to the joys and sorrows of the Virgin Mary. It was a major influence on many varieties of devotional literature in late-medieval Europe, both in Latin and in the vernaculars.: This practice of prayer, reading, and meditation was often cultivated through concentration on vivid images of scenes from the Bible, Saints' Lives, and other religious material. These images could be either conjured up in people's minds when they read or heard poetry and other pieces of religious literature, or they could gaze on manuscript illuminations and other pieces of art as they prayed and meditated on the scenes depicted. In either case, this style of affective meditation asked the "viewer" to engage with the scene as if she or he were physically present and to stir up feelings of love, fear, grief, and/or repentance for sin. A classic textual model for affective meditation is found in the ''De institutione inclusarum'', or ''The Rule for Recluses'', a text written by Aelred of Rievaulx for his sister, who was living as an anchoress (a female religious recluse). In the section of the text devoted to the Nativity of Jesus, Aelred wrote: :...follow her (Virgin Mary ) as she goes to Bethlehem, and turning away from the inn with her, help and humor her during the birth; and when the little child is placed in the manger, burst out words of exultation, crying out with Isaiah: A child is born to us, a son is given to us (Is. 9.6). :Embrace that sweet manger, let love conquer bashfulness, and emotion drive out fear so that you fix your lips on those most sacred feet and repeat the kisses. While the texts and art of Affective Piety could focus on a variety of subjects, they are particularly noted for their gory and violent depictions of the Passion and Crucifixion, as in Richard Rolle's ''Meditation on the Passion'': :Ah, Lord, your sorrow--why was it not ''my'' death? Now they lead you forth as naked as a worm, with torturers around you and armed knights. The press of the crowd was incredibly intense as they threw things and harried you so shamefully, kicking at you as if you had been a dog. I see in my soul how ruefully you walk, your body so bloody, so raw and blistered. The crown on your head is so sharp, and your hair, blown in the wind, is all matted with blood. Your lovely face is so pale and swollen with the blows and the beatings, and covered with spittle and phlegm. And down runs your blood; it horrifies me to see it. Margery Kempe is an oft-cited example of someone who put affective piety into practice. In the autobiographical book she dictated to two different scribes, Margery describes her imaginative and emotional reaction during Palm Sunday services: :Sche had many an holy thowt of owr Lordys passyon and beheld hym in hir gostly :syght as verily as he had ben aforn hir in hir bodily syght. Therfor myth sche not :wythstondyn wepyng and sobbyng, but sche must nedys wepyn, cryin, and sobbyn :whan sche beheld hir Savyowr suffyr so gret peynys for hir lofe. The Isenheim Altarpiece provides a good, late instance of a piece of art meant to engage the emotions. Images for more intimate, private use can be found in Books of Hours and other manuscripts. ==The Origins and Functions of Affective Piety: The Current Scholarly Consensus== 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Affective piety」の詳細全文を読む スポンサード リンク
|