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Books > Arts & Architecture > History of art / art & design styles > 500 CE to 1400 > General
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The Inferno
(Paperback)
Dante Alighieri; Translated by James Romanes Sibbald; Contributions by Jim Agpalza
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R537
R449
Discovery Miles 4 490
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This volume assesses how current approaches to iconology and
iconography break new ground in understanding the signification and
reception of medieval images, both in their own time and in the
modern world. Framed by critical essays that apply explicitly
historiographical and sociopolitical perspectives to key moments in
the evolution of the field, the volume's case studies focus on how
iconographic meaning is shaped by factors such as medieval modes of
dialectical thought, the problem of representing time, the movement
of the viewer in space, the fragmentation and injury of both image
and subject, and the complex strategy of comparing distant cultural
paradigms. The contributions are linked by a commitment to
understanding how medieval images made meaning; to highlighting the
heuristic value of new perspectives and methods in exploring the
work of the image in both the Middle Ages and our own time; and to
recognizing how subtle entanglements between scholarship and
society can provoke mutual and unexpected transformations in both.
Collectively, the essays demonstrate the expansiveness,
flexibility, and dynamism of iconographic studies as a scholarly
field that is still heartily engaged in the challenge of its own
remaking. Along with the volume editors, the contributors include
Madeline H. Caviness, Beatrice Kitzinger, Aden Kumler, Christopher
R. Lakey, Glenn Peers, Jennifer Purtle, and Elizabeth Sears.
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Inferno
(Hardcover)
Dante Alighieri; Translated by J Simon Harris
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R841
R707
Discovery Miles 7 070
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In this beautifully illustrated study, Paul Binski offers a new
account of sculpture in England and northwestern Europe between c.
1000 and 1500, examining Romanesque and Gothic art as a form of
persuasion. Binski applies rhetorical analysis to a wide variety of
stone and wood sculpture from such places as Wells, Westminster,
Compostela, Reims, Chartres, and Naumberg. He argues that medieval
sculpture not only conveyed information but also created
experiences for the subjects who formed its audience. Without
rejecting the intellectual ambitions of Gothic art, Binski suggests
that surface effects, ornament, color, variety, and discord served
a variety of purposes. In a critique of recent affective and
materialist accounts of sculpture and allied arts, he proposes that
all materials are shaped by human intentionality and artifice, and
have a "poetic." Exploring the imagery of growth, change, and
decay, as well as the powers of fear and pleasure, Binski allows us
to use the language and ideas of the Middle Ages in the close
reading of artifacts.
A beautifully illustrated and thoroughly engaging cultural history
of beekeeping - packed with anecdote, humour and enriching
historical detail. The perfect gift. "A charming look at the
history of beekeeping, from myth and folklore to our practical
relationship with bees" Gardens Illustrated "An entertaining
collation of bee trivia across the millennia" Daily Telegraph *
Sweden's Gardening Book of the Year 2019 * Shortlisted for the
August Prize 2019 * Winner of the Swedish Book Design Award for
2019 Beekeeper and garden historian Lotte Moeller explores the
activities inside and outside the hive while charting the bees'
natural order and habits. With a light touch she uses her
encyclopaedic knowledge of the subject to shed light on humanity's
understanding of bees and bee lore from antiquity to the present. A
humorous debunking of the myths that have held for centuries is
matched by a wry exploration of how and when they were replaced by
fact. In her travels Moeller encounters a trigger-happy Californian
beekeeper raging against both killer bees and bee politics, warring
beekeepers on the Danish island of Laeso, and Brother Adam of
Buckfast Abbey, breeder of the Buckfast queen now popular
throughout Europe and beyond, as well a host of others as
passionate as she about the complex world of apiculture both past
and present. Translated from the Swedish by Frank Perry
Objects of Translation offers a nuanced approach to the
entanglements of medieval elites in the regions that today comprise
Afghanistan, Pakistan, and north India. The book--which ranges in
time from the early eighth to the early thirteenth
centuries--challenges existing narratives that cast the period as
one of enduring hostility between monolithic "Hindu" and "Muslim"
cultures. These narratives of conflict have generally depended upon
premodern texts for their understanding of the past. By contrast,
this book considers the role of material culture and highlights how
objects such as coins, dress, monuments, paintings, and sculptures
mediated diverse modes of encounter during a critical but neglected
period in South Asian history. The book explores modes of
circulation--among them looting, gifting, and trade--through which
artisans and artifacts traveled, remapping cultural boundaries
usually imagined as stable and static. It analyzes the relationship
between mobility and practices of cultural translation, and the
role of both in the emergence of complex transcultural identities.
Among the subjects discussed are the rendering of Arabic sacred
texts in Sanskrit on Indian coins, the adoption of Turko-Persian
dress by Buddhist rulers, the work of Indian stone masons in
Afghanistan, and the incorporation of carvings from Hindu and Jain
temples in early Indian mosques. Objects of Translation draws upon
contemporary theories of cosmopolitanism and globalization to argue
for radically new approaches to the cultural geography of premodern
South Asia and the Islamic world.
More than any other secular story of the Middle Ages, the tale of
Tristan and Isolde fascinated its audience. Adaptations in poetry,
prose, and drama were widespread in western European vernacular
languages. Visual portrayals of the story appear not only in
manuscripts and printed books but in individual pictures and
pictorial narratives, and on an amazing array of objects including
stained glass, wall paintings, tiles, tapestries, ivory boxes,
combs, mirrors, shoes, and misericords. The pan-European and
cross-media nature of the surviving medieval evidence is not
adequately reflected in current Tristan scholarship, which largely
follows disciplinary and linguistic lines. The contributors to
Visuality and Materiality in the Story of Tristan and Isolde seek
to address this problem by opening a cross-disciplinary dialogue
and by proposing a new set of intellectual coordinates-the concepts
of materiality and visuality-without losing sight of the historical
specificity or the aesthetic character of individual works of art
and literature. Their theoretical paradigm allows them to survey
the richness of the surviving evidence from a variety of
disciplinary approaches, while offering new perspectives on the
nature of representation in medieval culture. Enriched by numerous
illustrations, this volume is an important examination of the story
of Tristan and Isolde in the European context of its visual and
textual transmission.
The Stammheim Missal is one of the most visually dazzling and
theologically ambitious works of German Romanesque art. Containing
the text recited by the priest and the chants sung by the choir at
mass, the manuscript was produced in Lower Saxony around 1160 at
Saint Michael's Abbey at Hildesheim, a celebrated abbey in medieval
Germany.
This informative volume features color illustrations of all the
manuscript's major decorations. The author surveys the manuscript,
its illuminations, and the circumstances surrounding its creation,
then explores the tradition of the illumination of mass books and
the representation of Jewish scriptures in Christian art.
Teviotdale then considers the iconography of the manuscript's
illuminations, identifies and translates many of its numerous Latin
inscriptions, and finally considers the missal and its visually
sophisticated and religiously complex miniatures as a whole.
The long and vibrant history of north-eastern England has left rich
material deposits in the form of buildings, works of art, books and
other artefacts. This heritage is examined here in fifteen studies,
ranging from the sculpture of the Roman occupation through the
monuments and architecture of the Anglo-Saxon and Norman periods,
to the manuscripts and fortified houses of the later Middle Ages.
The monasteries at Hexham, Lindisfarne and Tynemouth, and the City
of Newcastle itself, are all subjected to individual analysis, and
there are papers on Alnwick and Warkworth castles, the great keep
at Newcastle, the coffin of St Cuthbert and the Lindisfarne
Gospels. The expert opinions presented here are intended to
stimulate and advance scholarly debate on the material culture of a
region which has played a critical role in English history, and
whose broad and varied profile still offers many opportunities for
critical inquiry.
A one-volume introduction to and overview of Christian art, from
its earliest history to the present day. Diane Apostolos-Cappadona
begins by examining how art and Christianity have intersected
throughout history, and charts this tumultuous relationship that
has yielded some of the greatest outpourings of human creativity.
To introduce readers to the way a painting can be read
Apostolos-Cappadona begins with an analysis of a painting of the
Adoration of the Magi, helping readers to see how they can
interpret for themselves the signs, symbols and figures that the
book covers. In the more-than 1000 entries that follow
Apostolos-Cappadona gives readers an expert overview of all the
frequently used symbols and motifs in Christian art as well as the
various saints, historical figures, religious events, and biblical
scenes most frequently depicted. Readers are introduced to the ways
in which religious paintings are often "coded'" such as what a lily
means in a picture of Mary, how a goldfinch can be
"Christological", or how the presence of an Eagle means it is
likely to be a picture of St John. The entries are organized by
topic, so that students and beginners can easily find their way to
discussion of the themes and motifs they see before them when
looking at a painting.
This volume builds upon the new worldwide interest in the global
Middle Ages. It investigates the prismatic heritage and eclectic
artistic production of Eastern Europe between the fourteenth and
seventeenth centuries, while challenging the temporal and
geographical parameters of the study of medieval, Byzantine,
post-Byzantine, and early-modern art. Contact and interchange
between primarily the Latin, Greek, and Slavic cultural spheres
resulted in local assimilations of select elements that reshaped
the artistic landscapes of regions of the Balkan Peninsula, the
Carpathian Mountains, and further north. The specificities of each
region, and, in modern times, politics and nationalistic
approaches, have reinforced the tendency to treat them separately,
preventing scholars from questioning whether the visual output
could be considered as an expression of a shared history. The
comparative and interdisciplinary framework of this volume provides
a holistic view of the visual culture of these regions by
addressing issues of transmission and appropriation, as well as
notions of cross-cultural contact, while putting on the global map
of art history the eclectic artistic production of Eastern Europe.
A radical reassessment of the role of movement, emotion, and the
viewing experience in Gothic sculpture Gothic cathedrals in
northern Europe dazzle visitors with arrays of sculpted saints,
angels, and noble patrons adorning their portals and interiors. In
this highly original and erudite volume, Jacqueline E. Jung
explores how medieval sculptors used a form of bodily
poetics-involving facial expression, gesture, stance, and
torsion-to create meanings beyond conventional iconography and to
subtly manipulate spatial dynamics, forging connections between the
sculptures and beholders. Filled with more than 500 images that
capture the suppleness and dynamism of cathedral sculpture, often
through multiple angles, Eloquent Bodies demonstrates how viewers
confronted and, in turn, were addressed by sculptures at major
cathedrals in France and Germany, from Chartres and Reims to
Strasbourg, Bamberg, Magdeburg, and Naumburg. Shedding new light on
the charismatic and kinetic qualities of Gothic sculpture, this
book also illuminates the ways artistic ingenuity and technical
skill converged to enliven sacred spaces.
Spirited Prospect: A Portable History of Western Art from the
Paleolithic to the Modern Era is a lively, scholarly survey of the
great artists, works, and movements that make up the history of
Western art. Within the text, important questions are addressed:
What is art, and who is an artist? What is the West, and what is
the Canon? Is the Western Canon closed or exclusionary? Why is it
more important than ever for individuals to engage and understand
it? Readers are escorted on a concise, chronological tour of
Western visual culture, beginning with the first art produced
before written history. They learn about the great ancient cultures
of Egypt, Mesopotamia, Greece, and Italy; the advent of
Christianity and its manifestations in Byzantine, Medieval,
Renaissance, and Baroque art; and the fragmentation of old
traditions and the proliferation of new artistic choices that
characterize the Enlightenment and the Modern Era. The revised
second edition features improved formatting, juxtaposition, sizing,
and spacing of images throughout. Spirited Prospect is an ideal
textbook for introductory courses in the history of art, as well as
courses in studio art and Western civilization at all levels.
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