One cannot scrutinize mediality in a pre-media age without referring to the complex issue of Christology. The idea of Christ as medium and mediator concerns not only particular theological questions but also general issues of translation and transference, as well as models of word and image. This paper sketches first the notion of Christ′s mediality up to early Scholasticism and then highlights the new conceptual patterns developed by Bonaventure (Collationes in Hexaemeron) and Nicolas of Cusa (De visione dei).

Dans son livre Le corps, c’est l’écran. La philosophie du visuel de Merleau-Ponty, Anna Caterina Dalmasso met en évidence la présence de la pensée merleau-pontienne dans les réflexions contemporaines relevant des visual studies, de la médiologie et des études cinématographiques. Les analyses menées révèlent un Merleau-Ponty à l’origine d’un certain nombre de « tournants » majeurs dans le questionnement, touchant notamment à la conception de l’image et du médium. Enfin, l’une des ambitions – et l’une des réussites – de l’ouvrage (...) est de restituer l’apport significatif de Merleau-Ponty pour les film studies. A.C. Dalmasso jette des lumières nouvelles sur une interrogation en constante évolution, en s’appuyant à la fois sur les textes bien connus et les « inédits ».In her book Le corps, c’est l’écran. La philosophie du visuel de Merleau-Ponty, Anna Caterina Dalmasso brings to light the presence of Merleau-pontian thought in contemporary reflections relevant to visual studies, as well as film and media studies. The analyses she carried out reveal a Merleau-Ponty at the origin of a certain number of major “turns” in the inquiry, touching notably on the conception of the image and of the medium. Besides, one of the ambitions – and one of the successes – of the work is to demonstrate the significant contribution of Merleau-Ponty for film studies. A.C. Dalmasso throws new light on an interrogation in constant evolution, stressing both well-known texts and unpublished manuscripts.Nel volume Le corps, c’est l’écran. La philosophie du visuel de Merleau-Ponty, Anna Caterina Dalmasso mette in evidenza la presenza del pensiero merleau-pontyano nelle riflessioni contemporanee dei visual studies, della teoria del cinema e dei media. Le analisi che vi sono condotte rivelano un Merleau-Ponty all’origine di alcune importanti “svolte”, che riguardano in particolare la concezione dell’immagine e del medium. Inoltre, una delle ambizioni – e uno degli aspetti più originali – dell’opera è quella di restituire il significativo apporto di Merleau-Ponty per l’ambito dei film studies. A.C. Dalmasso fa luce in modo innovativo su un tema di ricerca in costante evoluzione, appoggiandosi ad un tempo su scritti più noti e su alcuni testi “inediti”. (shrink)

Dieser Beitrag untersucht drei Beispiele zur Überwindung von Vergänglichkeit und Endlichkeit, einer Inversion der Vanitas-Motivik, vor allem in den Klangkünsten: Wie ist es technisch möglich und kulturell zu bewerkstelligen, dem Verwehen von Klängen entgegenzuwirken? Die transhistorische Übertragungstheorie der médiologie von Régis Debray wird hierbei genutzt, um Formen und Strategien zur ‚ewigen Übertragung’ jeweils näher zu bestimmen. Ausgehend von Edisons Bewerbung des Phonographen als eines Hilfsmittels für hörbare Testamente von Verstorbenen wird die Aufführung von John Cages ORGAN 2/aslsp in Halberstadt, das (...) Vorhaben einer Millennium Clock der Long Now Foundation von Stewart Brand und Brian Eno sowie die Pressung der kremierten Asche eines Verstorbenen in einer Vinylschallplatte durch die Firma Andvinyly untersucht. (shrink)

One cannot scrutinize mediality in a pre-media age without referring to the complex issue of Christology. The idea of Christ as medium and mediator concerns not only particular theological questions but also general issues of translation and transference, as well as models of word and image. This paper sketches first the notion of Christ′s mediality up to early Scholasticism and then highlights the new conceptual patterns developed by Bonaventure (Collationes in Hexaemeron) and Nicolas of Cusa (De visione dei).

Maria mediatrix represents a paradigm of mediality in the Middle Ages. Mary′s power consists in bridging the gap between the celestial sphere and the world, the Christ and mankind. She is full of grace and conveying grace, participating in humanity and divinity by these characteristics. Her influence is based on having given birth to the Christ, accompanied his life until his death on the cross, having suffered and died in her soul with him in love. She incites the individual to (...) follow her on her paths, to love and suffer as she did, to follow the Christ. Her path – if followed – offers the perspective to reach redemption and salvation. But she is also interceding for the sinners. Ascended to heaven and crowned as queen, she is able to change the severity of judgements of her son into mercy. The present article outlines a “mediologic” approach, presenting some developments from the bible to the Middle Ages and giving examples of different ways of Mary′s mediation. The latter are mainly focussed on homilies written by Bernhard de Clairvaux (1090–1153) on the occasion of the feasts of the birth and ascension of Mary and five chapters of the ‘Büchlein der Ewigen Weisheit’ by Heinrich Seuse (1295–1366). (shrink)