Summary

How was Henry VII Tudor and his genealogical lines depicted in contemporary chronicle rolls? What determines the underlying functions realising the changing oppositional arguments in visual rhetoric? Does visual migration of familiar iconography based on collective memory make it possible to use the same images to propagate two opposite truths? In this article I examine two genealogical chronicle rolls on opposite sides in the Wars of the Roses’ later stages. The Plantagenet, Yorkist, and Tudor use of visual historiography was as much a means of political rhetoric as mythmaking and legend, to become part of the national identity and legitimate their claim to the throne. Given their place in the Wars of the Roses and their part in the formation of a state narrative, their use of familiar motifs of power and identity plays on the role myth has in the formation of history and national collective. The visual propaganda in the chronicle rolls plays on myth and history to create a shared collective belonging and a sense of agreed history or preferred truth.

概括

亨利七世都铎和他的家谱是如何在当代编年史卷中描绘的？是什么决定了实现视觉修辞中不断变化的对立论点的潜在功能？基于集体记忆的熟悉图像的视觉迁移是否可以使用相同的图像来传播两个相反的事实？在这篇文章中，我考察了玫瑰战争后期阶段的两个对立的家谱编年史卷。Plantagenet、Yorkist 和 Tudor 对视觉史学的使用既是神话和传说的政治修辞手段，也是国家认同的一部分，并使他们对王位的要求合法化。鉴于他们在玫瑰战争中的地位以及他们在国家叙事形成中的作用，他们使用熟悉的权力和身份主题，对神话在历史和民族集体形成中的作用发挥了作用。编年史卷中的视觉宣传以神话和历史为主题，以创造一种共享的集体归属感和认同的历史感或偏好的真理感。