Pathos in Late-Medieval Religious Drama and Art

Gabriella Mazzon (1962), University of Innsbruck, is Professor of English Linguistics at that University. She has published monographs and articles on varieties of English, on the history of English negation, and on historical pragmatics and dialogue studies.

"Pathos in Late-Medieval Drama and Art identifies a ‘pathos formula’ in theMiddle Ages. Whilst there are certain techniques unique to specific genres andart-forms, which Mazzon pinpoints and critiques, she is persuasive in her argumentthat there is a unified attempt by the Church to use pathos as a communicativestrategy, evident in both art and literature."-Hetta Elizabeth Howes, City University of London, in Emotions: History, Culture, Society, Vol. 3, No. 1 (2019) pp. 180-181

• ContentsAcknowledgementsList of FiguresIntroduction1 Words and Images in the late Middle Ages: the Social Functions of Drama and Art1.1 Iconography and Textual Studies1.2 The Development of Visual Narratives and New Images1.3 The Word Enacted1.4 ‘Modern Piety’ and Identification: the Importance of Presence1.5 Witnessing and Social Control: the Value of Memory2 The Codification of the Public Display of Emotions2.1 Emotions and Public Communication2.2 Looking at the Language2.3 Reading the Visual Arts2.4 Talking to the Congregacyoun2.5 Writing Paths to Salvation 1233 Verbal and Visual Rhetoric: Lexicon and Grammar3.1 The Rhetoric of Parental Love3.2 The Rhetoric of Crime and Punishment3.3 The Rhetoric of Social Structure: the Powerful and the Rejected3.4 The Rhetoric of Pain and Memory3.5 The Rhetoric of Mourning and Glory4 The Outward Gaze: Effective Audience EngagementConclusionBibliographyIndex