Los Estudios Visuales han ampliado los horizontes intelectuales de la Historia del Arte; la imagen ha dejado de ser sólo una forma para convertirse en el epicentro donde confluyen los rasgos, elementos o inquietudes de la sociedad que las contemplaba. Bajo esta perspectiva metodológica, la relación entre cultura escrita y cultura visual ha generado una amplia historiografía en torno a las imágenes medievales, donde la mirada no se centra en su mera condición de objetos artísticos sino en los usos y funciones que desempeñaban. El siglo xiii fue un momento convulso y revelador para la problemática de la imago; tras largas disputas entre partidarios y detractores, las imperantes necesidades devocionales y los debates teológicos aportaron el sustento argumental para legitimar su estatus. Dentro de esta historia de las imágenes, las colecciones de milagros han permitido comprender su construcción cultural tanto a nivel escrito, por recoger la relación con el prototipo a través de lo sobrenatural, como a nivel visual, puesto que formaron parte de los programas iconográficos bajomedievales.
Introducción. Les Miracles de Nostre Dame y las imágenes medievales.
Capítulo 1. “De sabios es honrar a la santa Iglesia y sus imágenes”. La devoción a las imágenes en Les Miracles de Nostre Dame.
La nueva imagen gótica.
Gautier de Coinci y la defensa de la imagen.
Capítulo 2. “Saludar a Nuestra Señora delante de su imagen”. El tránsito bizantino y la sacralidad de la imagen.
Las dobles imágenes y la relación imagen - prototipo.
La yuxtaposición de escenas y la mediación de las imágenes.
Capítulo 3. “Pero Nuestra Señora que estaba presente en su imagen”. El prototipo encarnado e imágenes vivientes.
La imagen apotropaica: Aqueropitas y Palladia.
Las imágenes vivientes: censura y exaltación.
Epílogo.
Bibliografía.
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