Cookies Policy
X

This site uses cookies. By continuing to browse the site you are agreeing to our use of cookies.

I accept this policy

Find out more here

Walk on the Wild Side

No metrics data to plot.
The attempt to load metrics for this article has failed.
The attempt to plot a graph for these metrics has failed.
The full text of this article is not currently available.

Brill’s MyBook program is exclusively available on BrillOnline Books and Journals. Students and scholars affiliated with an institution that has purchased a Brill E-Book on the BrillOnline platform automatically have access to the MyBook option for the title(s) acquired by the Library. Brill MyBook is a print-on-demand paperback copy which is sold at a favorably uniform low price.

Access this article

+ Tax (if applicable)
Add to Favorites

image of Medieval Encounters

The figure of the wild man is one that crosses artistic disciplines and genres in the cultures of medieval Iberia. In this article I show how the wild man operates within a variety of meanings in diverse literary contexts that, working simultaneously at different narrative levels, cross over from literature into daily life and spectacles, from legal to political discourses. The figure's continued presence from the medieval period into the sixteenth and seventeenth centuries suggests its use as a commonplace, as a motif with a number of fixed meanings that are put to work through context, providing the possibility of different, perhaps even contradictory readings. As commonplace, then, the wild man is presented as a case study for the reconsideration of other elements in the paintings of the Hall of Justice of the Alhambra, often interpreted to have a specific or fixed meaning, and thus programmed within a particular narrative. Seen in its entirety as a repository of commonplaces, I interpret the complex of the lateral paintings of the Hall of Justice in relation to the central one, in which a set of ten kings in Nasrid dress are depicted as conversing, as pretexts for narration that can be of a literary or juridical nature. I then go on to provide a possible itinerary of reading for the wild man scene not only in its immediate context, but as part of he overall visual project in a political key that illustrates the productive makeup of the paintings as pedagogical and ideological enterprise.

Affiliations: 1: Department of Romance Studies, Cornell University, 313 Morrill Hall, Ithaca, NY 14853, USA

10.1163/157006708X366308
/content/journals/10.1163/157006708x366308
dcterms_title,pub_keyword,dcterms_description,pub_author
6
3
Loading
Loading

Full text loading...

/content/journals/10.1163/157006708x366308
Loading

Data & Media loading...

http://brill.metastore.ingenta.com/content/journals/10.1163/157006708x366308
Loading

Article metrics loading...

/content/journals/10.1163/157006708x366308
2008-10-01
2016-09-26

Sign-in

Can't access your account?
  • Key

  • Full access
  • Open Access
  • Partial/No accessInformation