2024
Färberböck, Peter; Mayer, Aska
Non si può guarire: An (Idea)historical Approach to Plague Games and Death in the Streets Proceedings Article
In: The Middle Ages in Modern Games: Conference Proceedings, pp. 33-37, The Public Medievalist, 2024.
Abstract | Links | Tags: Baroque, Digital games, Historical approach, Plague games
@inproceedings{Färberböck2024,
title = {Non si può guarire: An (Idea)historical Approach to Plague Games and Death in the Streets},
author = {Peter Färberböck and Aska Mayer},
url = {https://uni-salzburg.elsevierpure.com/en/publications/non-si-pu%C3%B2-guarire-an-ideahistorical-approach-to-plague-games-and
https://issuu.com/theuniversityofwinchester/docs/mamg23_proceedings},
year = {2024},
date = {2024-03-14},
urldate = {2024-03-14},
booktitle = {The Middle Ages in Modern Games: Conference Proceedings},
volume = {4},
pages = {33-37},
publisher = {The Public Medievalist},
abstract = {“We cannot be cured, we all must die!”
With this line, the historical song Homo Fugit Velut Umbra pronounces the fatality of experiencing the European plague, bringing to sound the manifold visual depictions of plague and suffering in urban environments by baroque painters. The message of these baroque examples of Plague Art is as simple as it is intense: No one can escape the pandemic death.
Within the following text, we will trace the idea-historical continuum of this message from the art of late mediaeval times to the contemporary digital game. Contextualized within the concept of neo-baroque, as established by Calabrese3 and Ndalianis4, we will introduce the depiction of death and critical shifts of established societal structures and present the specific relevance of the spatial trope of streets and its relation to the messages of Plague Art and Games.
By relating Plague Art with contemporary Digital Games, we do not only present a reemergence of historical patterns of representation, but also in the spirit of Ndalianis attempt to develop a “clearer understanding of the significance of (contemporary) cultural objects and their function” by examining their past counterparts.},
keywords = {Baroque, Digital games, Historical approach, Plague games},
pubstate = {published},
tppubtype = {inproceedings}
}
“We cannot be cured, we all must die!”
With this line, the historical song Homo Fugit Velut Umbra pronounces the fatality of experiencing the European plague, bringing to sound the manifold visual depictions of plague and suffering in urban environments by baroque painters. The message of these baroque examples of Plague Art is as simple as it is intense: No one can escape the pandemic death.
Within the following text, we will trace the idea-historical continuum of this message from the art of late mediaeval times to the contemporary digital game. Contextualized within the concept of neo-baroque, as established by Calabrese3 and Ndalianis4, we will introduce the depiction of death and critical shifts of established societal structures and present the specific relevance of the spatial trope of streets and its relation to the messages of Plague Art and Games.
By relating Plague Art with contemporary Digital Games, we do not only present a reemergence of historical patterns of representation, but also in the spirit of Ndalianis attempt to develop a “clearer understanding of the significance of (contemporary) cultural objects and their function” by examining their past counterparts.
With this line, the historical song Homo Fugit Velut Umbra pronounces the fatality of experiencing the European plague, bringing to sound the manifold visual depictions of plague and suffering in urban environments by baroque painters. The message of these baroque examples of Plague Art is as simple as it is intense: No one can escape the pandemic death.
Within the following text, we will trace the idea-historical continuum of this message from the art of late mediaeval times to the contemporary digital game. Contextualized within the concept of neo-baroque, as established by Calabrese3 and Ndalianis4, we will introduce the depiction of death and critical shifts of established societal structures and present the specific relevance of the spatial trope of streets and its relation to the messages of Plague Art and Games.
By relating Plague Art with contemporary Digital Games, we do not only present a reemergence of historical patterns of representation, but also in the spirit of Ndalianis attempt to develop a “clearer understanding of the significance of (contemporary) cultural objects and their function” by examining their past counterparts.