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In the discussions of the Frankfurt Council of 794 some elements of the material culture which are essential for the knowledge and understanding of early medieval Christianity can be traced, both in terms of liturgical and devotional objects and of daily life (reliquaries, altars, crosses). This allows us to reconstruct "the sensible matter" of those times and the thoughts lodged between the lines of what is written, from the "sensorial marks" and "emotional marks" that reveal and shape the sensory model of an era. With these notions we can recognize the visual, aural, olfactory, gustatory, tactile and emotional marks present in the texts, which identify the perceptions that hold a special significance for the sensory plot of a culture and that allow us to speak of the existence of a Carolingian sensory and emotional community, elaborated, recognized and felt between the middle of the 8th century and the end of the 9th century. [ABSTRACT FROM AUTHOR]

The focus of thePoema de Fernán Gonzálezfalls squarely on its protagonist, the tenth-century Castilian warrior lord known to us today as Count Fernán González. Nevertheless, a third of the poem is devoted to the narration of events and prominent figures who preceded the Count. Most notable among these is Bernardo del Carpio, a fully fictitious epic hero who prefigures the Count in his willingness to fight for the independence of the Castilian nation. This analysis of the narration of Bernardo's heroic deeds against the invading army of Charlemagne is meant to clarify lingering doubts about the sources of the poem and their mode of transmission. [ABSTRACT FROM AUTHOR]

In this article I propose to clarify the status of the issue of the ways in which the historiography of the 19th to the 21th centuries dealt with the construction of the ideal figure of the Carolingian sovereign from the analysis of the works of Ermoldo, Eginardo, Thegan, The Astronomer, Nitardo and Notker. This construction in turn implies the development of a Franco-Carolingian tradition, which brings epics, literature and history together in different discursive strategies. [ABSTRACT FROM AUTHOR]