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@PHDTHESIS{Gormans:61189,
author = {Gormans, Andreas},
othercontributors = {Holländer, Hans},
title = {{G}eometria et ars memorativa : {S}tudien zur {B}edeutung
von {K}reis und {Q}uadrat als {B}estandteile
mittelalterlicher {M}nemonik und ihrer {W}irkungsgeschichte
an ausgewählten {B}eispielen},
address = {Aachen},
publisher = {Publikationsserver der RWTH Aachen University},
reportid = {RWTH-CONV-122869},
year = {2003},
note = {Aachen, Techn. Hochsch., Diss., 1999},
abstract = {The transdisciplinary study supplies a contribution to the
examination of the mnemonic significance of medieval and
modern illustrations which are composed of a circle and a
square. Scrutinizing various examples, the present
investigation discusses the origin, meaning and history of
those graphic representations in which cosmological tetrads
and such which are concerned with the history of salvation
are centred around a central idea, notion or picture. These
diagrams are supposed to convert the initial inner and
mental seeing of the ars memorativa into an external
physical one. They substitute whole texts or certain
passages and provide a reductive synopsis of the current
idea of the world, its structure and characteristics or
central axioms of Christian belief. While frequently
changing their contextual meaning, they appear, for
instance, in encyclopaedic or liturgical medieval
manuscripts, on reliquaries and candlesticks or
monumentalized rose-windows. These different medieval forms
create an own tradition which does not suddenly end in
postmedieval times since the power of imagination is one of
the basic elements of memory. Proofs for this are, for
example, towers and castles of knowledge as well as mnemonic
theatres; they all are three-dimensional pictural
architectures which are so mnemonic as the two-dimensional
diagrams upon which they are erected. This is also
exemplified by maps representing the world, continents or
nations of the Netherlands in the 17th century with their
explanatory peripheral vignettes or continental pictures of
those times which are comparable with the former. Although
the diagrammatic structures the cited architectures and
pictures consist of vanish in the 18th century, there can be
no doubt of their importance in medieval times. The
diagrammatic ars memorativa in the Middle Ages has to be
regarded as the most important element of a highly advanced
pictural mnemotechnique which serves Christian religion both
as a monotheistic religion of memory and as a backwards
oriented understanding of sciences which believes in ancient
authorities. Apart from these facts, mnemonic diagrams
principally testify the significance of pictural thinking in
the Middle Ages; moreover, they are essential components of
a culture history of knowledge, its visual presentation,
tradition and fixing, of their methods and their pictural
instruments.},
keywords = {Quadrat <Motiv> (SWD) / Kreis <Motiv> (SWD) / Kunst (SWD) /
Mnemotechnik (SWD) / Geschichte (SWD)},
cin = {700000},
ddc = {700},
cid = {$I:(DE-82)700000_20140620$},
typ = {PUB:(DE-HGF)11},
urn = {urn:nbn:de:hbz:82-opus-5518},
url = {https://publications.rwth-aachen.de/record/61189},
}
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