SINGING IN THE SPIRIT IN THE. HOLINESS, PENTECOSTAL, LATTER RAIN, AND CHARISMATIC MOVEMENTS. A Paper Delivered at Orlando '95, July 28, 1995. The Passion of Joan of Arc (French: La Passion de Jeanne d'Arc) is a silent film produced in France in 1928. It is based on the actual record of the trial.
Joan of Arc's Brief Life and Long Afterlife. Publication of the Robbins Library. Kristi J. Castleberry. Joan of Arc WWI Poster from the United States by Haskell Coffin, c. Note: This is an online version of a pamphlet for a Rossell Hope Robbins Library exhibit created by Kristi J. The exhibit ran from April to August of 2. Table of Contents. Introduction. Case One — Living Joan: Joan's Activity in France. Case Two — Visualizing Joan: Early Images of Joan of Arc. Case Three — Re- Writing Joan: Literature on Joan of Arc. Case Four — Analyzing Joan: Scholarship on Joan of Arc. Case Five — Re- Imagining Joan: Appropriations of Joan of Arc. Case Six — Dramatizing Joan: Spectacles of Joan of Arc. Select Bibliography. Acknowledgements. Introduction: Joan of Arc is simultaneously one of the most well documented figures in history and one of the most widely represented in literature and film. We know more about her than any other person before her, and yet she is still a mystery in many ways. How did she come to accomplish what she did? How do we explain her voices? Jeanne d’Arc, IPA: / . Joan of Arc 1999 Full Movie Milla Jovovich, John Malkovich, Rab Affleck . Reality Show 117,649 views. In the Fifteenth Century, France is a defeated and ruined nation after the One Hundred Years War against England. The fourteen years old farm girl Joan of Arc claims. St Joan of Arc Daughter of God Pilgrimage to France. Led by Chris and Catherine Snidow French Pilgrimage to St Thierry, Rheims, Domremy, Orleans, Rouen. I did not want it to be beautiful or fluid. How much of an influence did she have on the war? Is she a proto- feminist radical or a model for conservativism? Fictional representations (as well as historical ones) have attempted to explain her in various ways, and people with every sort of political and social agenda have appropriated her as a hero of their conflicting causes. What remains as a common factor among the varied representations of Joan . She inspires people, she confuses people, she intrigues people. Regardless of her motives or the ways in which she may or may not have promoted certain worldviews, one cannot help but be amazed at a peasant girl who approached the king of France, a teenager who led an army, a woman dressed as a man who called herself a maid, an illiterate nineteen year old who spoke for herself against learned theologians, and a condemned heretic who was declared a saint. Joan is, in short, a historical figure who has attained mythic proportions. Born around 1. 41. France torn apart by the Hundred Years' War and a Christendom torn apart by the Great Schism, Joan was a person who, under normal circumstances, would never have entered the historical record. The records are silent, in fact, until about 1. Joan decided to approach Robert de Baudricourt, governor of Vancouleurs, with a request to be introduced to the Dauphin. From that point until 1. Joan was burned at the stake, we have an account of nearly every word she spoke and move she made (though often recorded with particular biases). We have records of her trials, we have letters she dictated, and we even have her signature. We know that she began hearing voices that urged her to save France at around age 1. Once she met the Dauphin and gained his confidence in 1. Poitiers), she managed to gain wider confidence by leading soldiers to break the siege at Orl. After this point, however, her fortune seems to have changed. As Charles VII was attempting diplomacy, Joan was continuing to fight. Joan was taken prisoner at Compi. Tried for heresy at Rouen, Joan was turned over to secular authorities and burned at the stake on 3. May 1. 43. 1. As she was burning, witnesses report that she spoke the name of Jesus. In 1. 45. 5, a new trial, known as the Nullification or Rehabilitation trial, reopened Joan's case, and in 1. Nearly 5. 00 years after her death, in 1. Joan was canonized by Pope Benedict XV. Joan of Arc travelled a great deal in her short life. Her early years were probably spent mainly in or around her native town, but her final years spanned her entire country. The photographs below record some of the locations where the major events of Joan's life occurred, and can give a modern viewer a sense of how active she was. The map in the center may help locate each place according to the geography of fifteenth- century France. As Joan travelled, she dictated letters to important leaders and towns. She was thus in communication with a variety of people while on the move throughout her war torn country. Her letter to the city of Riom (to the bottom right) is a nice example of such communications, and includes an image of the signature Joan learned in the last few years of her life. Map of France during Joan of Arc's life. Joan's birth place and home. The city can be seen on the right side of the horizon. This would have been Joan's first view of Rouen. It is used today by the farmer as a storage room. The only extant image created during her life is the 1. Cl. Such contemporary images tend to portray a Joan with long hair and a dress, which was likely meant to signal to the viewer that she was, in fact, the Maid. Although Joan's life was filled with visual spectacle, she presented artists with a unique challenge. There was no precedent for representing a woman who dressed as a man but called herself the Maid, no visual model for a peasant girl who rode next to the king to his coronation. Medieval and Early Modern artists used a variety of visual cues to signal Joan's identity and avoid the troubling fact that Joan's image defied categorical representation. The standard Joan carried, represented in the images along the bottom of this case, was a particularly powerful clue as to her identity, and it gives us a sense of the way in which that identity was tied to her religious zeal and patriotic fervor. The standard, which Joan claimed to love more than her sword, features an image of the King of Heaven, the kneeling figures of Michael and Gabriel, the words . Although, like the image to the top left of Joan tied up for execution, there was some representation of Joan's death, much more frequently depicted was Joan in glorious and powerful life. The striking image to the right, for example, forges a popular comparison between Joan of Arc and the biblical Judith. Instead of using the standard to represent Joan's identity, this 1. Martin le Franc addresses her identity as a strong and warrior- like female. Joan's champions, including contemporary poet Christine de Pizan (see Case Three), justified Joan's breaking of gender roles by comparing her to biblical heroines such as Judith. Images from Martial d'Auvergne's Les Vigiles de Charles VII, 1. The poem, which recounts the events of the Hundred Years' War, idealizes French victories, and thus idealizes Joan of Arc. Despite the poem's sympathy toward the Maid (or, perhaps, because of it), she appears in a dress and with long hair throughout. Even on the battle field among her men and amid flying arrows, the Joan depicted here is decidedly feminine. This could be to differentiate between her and her men, though the context of the surrounding poem is such that her role should be clear. From Martin le Franc's Le Champion des Dames, 1. Not only are Joan and Judith parallel images on the page, but their weapons are leaning toward one another and nearly touching at the top center of the image. Joan has, like Judith, a dress and long hair. Since each figure is labeled by name, Joan's feminine appearance is likely to make the connection to Judith more probable and to avoid the problematic issue of Joan's cross- dressing. Joan's flowing hair and long skirt may be a function of the artist's imagination, especially as he attempted to imagine how a warrior- like woman might appear, but were not meant to cue viewers to Joan's identity, since this sketch was not meant to be a public artifact. The fact that this image of Joan depicts her with a sturdy sword in one hand and her banner in the other indicates that these material symbols had already become common knowledge. From Antoine Dufour's Vie des femmes c. Born in Orleans himself, Dufour presents us with a Joan who is nearly divine. He recounts her miracles, and focuses more on her piety than her battles. Yet his image is one of the few nearly contemporary ones that depicts her in full armor. She carries no sword, but does carry a banner, which appears to say . Late fifteenth- century German tapestry. Clearly meant to be a positive portrayal, a scroll along the top of the tapestry reads, in German, . Last half of the fifteenth century. She is armed, with her sword in one hand and her standard on the other. The most recognizable feature of this image is Joan's standard, which surrounds her face where a halo would appear in later representations. Her letters give us a sense of her passionate mission, and her trial records read like a gripping script (George Bernard Shaw used them as such in his play, Saint Joan, to the bottom right). The letters, trial records, and chronicles of the time give us a wealth of information about Joan, and a variety of authors have attempted to pull the information together into a coherent narrative. Despite the abundance of historical sources, such narratives often more closely reflect upon the author and the time in which they were written than upon Joan herself. Christine de Pizan's Diti. Christine's poem explicitly states that God has chosen to save France through a divine miracle, and it represents Christine's own reaction as a French woman to the events. Joan is not only a miracle for France, but she is a credit to womanhood – she outdoes Esther, Judith, and Deborah. Diametrically opposed to this glowing portrait is the Joan we meet in William Shakespeare's Henry VI, Part 1 (to the top right). Shakespeare's Joan is a witch and a whore, a fitting leader for the effeminate Frenchman who cannot equal the English leaders in this very English version of history. Possibly the first thoroughly researched version of Joan is American: Mark Twain's Personal Recollections of Joan of Arc (to the bottom left). Twain's Joan is both historically grounded and unabashedly idealized. His Joan is a saint before her canonization, and represents purity and goodness destroyed by a wicked world (or, more precisely, by a wicked France). Written after her canonization, George Bernard Shaw's above- mentioned play, though called Saint Joan, depicts a fairly unsaintly woman.
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