Traducción al español del texto \"En tale mot biskopene\"

Esta traducción es uno de los apéndices de mi tesis doctoral. Izquierdo Paredes, José María. (1993) El espíritu del bosque (Skogens ånd). El arte como sistema comunicativo en la transición de los siglos XII y XIII. El caso noruego. Tesis doctoral, Universidad de Valencia. Ver ficha en el catálogo de la CCUC: http://ccuc-classic.cbuc.cat/search~S23?/aIzquierdo%2C+M{u00AA}+Jos{u00E9}/aizquierdo+m+jose/47%2C-1%2C0%2CB/frameset&FF=aizquierdo+paredes+jose+maria&1%2C1%2C SUMMARY OF THE DOCTORAL THESIS «Spirit of the wood (Skogens and). The art as a communicative system in the transition in the 12 th and 13 th centuries. The Norwegian case.» The thesis consists of two volumes and several slides (third volume) depicting objects of art from the Norwegian Middle Ages. The first volume includes the text itself and its footnotes. The second volume deals with, among other things, a translation of a Norwegian Middle Age text in to Spanish: Tale against the bishops and a graphic section of photographs, schematic outlines and drawings of Norwegian Middle Age objects. The thesis is a study of changes of ideology and mentality in Norway in the transitional period of the 12th and 13th centuries. The object of the analysis concentrates on explaining the role played by the ecclesiastical visual art as communicative system, in its rhetoric persuasive function, in the Norwegian Middle Ages. The applied methodology is based on the History of Mentality, Cultural Semiotics (Jury Lotman) and Aesthetic theory of the novel (Mikhail Bakhtin). The initial part of the text is based on the study of the epic of French chivalry as an imaginary non-existent model of a social group prior to the 12th and 13th centuries in Norway. The reason for this analysis is based on the fact that a collection of advanced works in this literary genre was translated during the reign of Hakon Hakonsson (l3th century) assuming the necessary existence of a public capable of "understanding" the literature mentioned above. The second part has dealt with the Norwegian reality, the pre-Christian/«Vikingtime»/pagan reality as well as the Christian, in its religious, political, social and aesthetic aspects. In this part, concentrating on the period from the 12th to the l3th century, three objects of art have been analysed, iconographically and iconologically: 1) The stave church or the Roman wooden church Urnes (lI), (l2th century). 2) The western portal of the Hylestad stave church (l3th century). 3) The relic of the Hedal stave church (l3th century). These three are what is left of a communicative strategy which in the process of time has aesthetically been «reevaluated». The use of the visual ecclesiastical art assumed the «import» of the social, political and even aesthetic models existing in ChristianlWestern Europe. The mentioned visual ecclesiastical art integrated syncretically various religious and literary matters, producing the typical epic phenomenon of polyphony of voices or dialogism of discourses. The old .materials easy to recognize for a public just christianized, serve «perverted» to «translate» the new religion/vision of the world. The conclusion (of the thesis) is, coinciding with the hypothesis outlined in the introduction of the text, that the visual art in Norway in the 12th and l3th centuries played an important part in the transformation of the ideological model of the Norwegian intellectuals of that period and of the mentality of people as a whole. Oslo, 20.6.93 Jose María Izquierdo Paredes