Transforming Type examines kinetic or moving type in a range of fields including film credits, television idents, interactive poetry and motion graphics. As the screen increasingly imitates the properties of real-life environments, typographic sequences are able to present letters that are active and reactive. These environments invite new discussions about the difference between motion and change, global and local transformation, and the relationship between word and image. In this illuminating study, Barbara Brownie explores the ways in which letterforms transform on screen, and the consequences of such transformations. Drawing on examples including Kyle Cooper's title sequence design, kinetic poetry and MPC's idents for the UK's Channel 4, she differentiates motion from other kinds of kineticism, with particular emphasis on the transformation of letterforms into other forms and objects, through construction, parallax and metamorphosis. She proposes that each of these kinetic behaviours requires us to revisit existing assumptions about the nature of alphabetic forms and the spaces in which they are found.

Julian Gardner s preeminent role in British studies of the art of the 13th and 14th centuries, particularly the interaction of papal and theological issues with its production and on either side of the Alps, is celebrated in these studies by his pupils. They discuss Roman works: a Colonna badge in S. Prassede and a remarkably uniform Trinity fresco fragment, as well as monochrome dado painting up to Giotto, Duccio's representations of proskynesis, a Parisian reliquary in Assisi, Riminese painting for the Franciscans, the tomb of a theologian in Vercelli, Bartolomeo and Jacopino da Reggio, the Room of Love at Sabbionara, the cult of Urban V in Bologna after 1376, Altichiero and the cult of St James in Padua, the orb of the Wilton Diptych, and Julian Gardner s career itself. The contributors to the volume are Serena Romano, Jill Bain, Claudia Bolgia, Louise Bourdua, Joanna Cannon, Roberto Cobianchi, Anne Dunlop, Jill Farquhar, Robert Gibbs, Virginia Glenn, Dillian Gordon, John Osborne and Martina Schilling.

This volume incorporates all the articles and reviews published in volume 14 (2014) of the Journal of Hebrew Scriptures.

An introduction to the medieval cathedral, those churches that are regarded as the greatest achievements of medieval architecture. Details their social history, who built them, how they were built, and why. Forty photos and maps help to guide the reader through a narrated tour of these awe-inspiring churches. When we think of cathedrals, we usually envision the great Gothic Buildings of 12th- and 13th-century Europe. But other than being a large church, a cathedral is neither a specific building type nor specifically medieval. What a makes a large church a cathedral is the presence of a single item of furniture: the chair (in Latin: cathedra) or throne that is the symbol of the ecclesiastical and spiritual authority of a bishop. This book is an introduction to the medieval cathedral, those churches that are usually regarded as among the greatest achievements of medieval architecture. While cathedrals were often the most prominent urban structure in many European cities, their construction was never a civic responsibility, but remained the responsibility of the clergy in charge of the day to day activities and services. Beginning with an overview of the social history of cathedrals, Clark examines such topics as patrons, builders and artists, and planning and construction; and provides an in-depth examination of the French Cathedral at Reims—a seminal building with significant technological advances, important sculptural programs, a surviving bishop's palace, and other structures. The volume concludes with a series of illustrations, a selection of original texts, and a selected bibliography for further study. A full index is also provided.

The collection Migration, Integration and Connectivity on the Southeastern Frontier of the Carolingian Empire offers insights into the Carolingian southeastern frontier-zone from historical, art-historical and archaeological perspectives. Chapters in this volume discuss the significance of the early medieval period for scholarly and public discourses in the Western Balkans and Central Europe, and the transfer of knowledge between local scholarship and macro-narratives of Mediterranean and Western history. Other essays explore the ways local communities around the Adriatic (Istria, Dalmatia, Dalmatian hinterland, southern Pannonia) established and maintained social networks and integrated foreign cultural templates into their existing cultural habitus. Contributors are Mladen Ancic, Ivan Basic, Goran Bilogrivic, Neven Budak, Florin Curta, Danijel Dzino, Kresimir Filipec, Richard Hodges, Nikola Jaksic, Miljenko Jurkovic, Ante Milosevic, Marko Petrak, Peter Stih, Trpimir Vedris.

Bringing together the work of scholars from disparate fields of enquiry, this volume provides a timely and stimulating exploration of the themes of transmission and translation, charting developments, adaptations and exchanges - textual, visual, material and conceptual - that reverberated across the medieval world, within wide-ranging temporal and geographical contexts. Such transactions generated a multiplicity of fusions expressed in diverse and often startling ways - architecturally, textually and through peoples' lived experiences - that informed attitudes of selfhood and 'otherness', senses of belonging and ownership, and concepts of regionality, that have been further embraced in modern and contemporary arenas of political and cultural discourse. Contributors are Tarren Andrews, Edel Bhreathnach, Cher Casey, Katherine Cross, Amanda Doviak, Elisa Foster, Matthias Friedrich, Jane Hawkes, Megan Henvey, Aideen Ireland, Alison Killilea, Ross McIntire, Lesley Milner, John Mitchell, Nino Simonishvili, and Rachael Vause.

This book is dedicated to an outstanding architectural monument of medieval Armenia - the church of the Holy Cross, built in the tenth century on the island of Alt'amar on Lake Van, and a UNESCO world heritage site. This jewel of architecture has been researched mainly from an art historical perspective. The current multi-author volume offers diverse studies aimed at placing the construction of the church in its proper historical, political, religious, and spiritual context. It explores the intellectual climate in the Kingdom of Vaspurakan during the reign of its founder, King Gagik Arcruni, the Kingdom's relations with Byzantium and the Abbasids, analyzes local historiography, biblical exegesis, hagiography, veneration of the True Cross, and royal ideology. Novel interpretations of architectural features and sculptural decorations close the volume. Le livre est consacre a l'un des plus importants monuments architecturaux de l'Armenie medievale, l'eglise de la Sainte-Croix construite au Xe siecle sur l'ile d'Alt'amar sur le lac de Van. Elle est inscrite sur la liste du patrimoine mondial de l'UNESCO. Ce joyau de l'architecture armenienne a ete etudie principalement dans la perspective de l'histoire de l'art. Le present volume multi-auteurs propose une diversite d'approches qui placent la construction de cette eglise dans le contexte historique, politique, religieux et spirituel. Il etudie l'ambiance intellectuelle du Royaume du Vaspurakan durant le regne de son fondateur, le roi Gagik Arcruni, les relations du Royaume avec Byzance et les Abbassides, il analyse l'historiographie locale, l'exegese biblique, l'hagiographie, le culte de la Vraie Croix et l'ideologie royale. De nouvelles interpretations des particularites architecturales et des decors sculptes achevent le volume. Contributors are Krikor Beledian, Jean-Claude Cheynet, Patrick Donabedian, Bernard Flusin, Tim Greenwood, Gohar Grigoryan, Armen Kazaryan, Davit Kertmenjyan, Sergio La Porta, Jean-Pierre Mahe, Zaroui Pogossian, Robert Thomson (), Alison Vacca, Edda Vardanyan.

Nature and Illusion is the first extended treament of the portrayal of nature in Byzantine art and literature. In this richly illustrated study, Henry Maguire shows how the Byzantines embraced terrestrial creation in the decoration of their churches during the fifth to seventh centuries but then adopted a much more cautious attitude toward the depiction of animals and plants in the middle ages, after the iconoclastic dispute of the eighth and ninth centuries. In the medieval period, the art of Byzantine churches became more anthropocentric and less accepting of natural images. The danger that the latter might be put to idolatrous use created a constant state of tension between worldliness, represented by nature, and otherworldliness, represented by the portrait icons of the saints. The book discusses the role of iconoclasm in affecting this fundamental change in Byzantine art, as both sides in the controversy accused the other of "worshipping the creature rather than the Creator." An important theme is the asymmetrical relationship between Byzantine art and literature with respect to the portrayal of nature. A series of vivid texts described seasons, landscapes, gardens, and animals, but these were more sparingly illustrated in medieval art. Maguire concludes by discussing the abstraction of nature in the form of marble floors and revetments and with a consideration of the role of architectural backgrounds in medieval Byzantine art. Throughout Nature and Illusion, medieval Byzantine art is compared with that of Western Europe, where different conceptions of religious imagery allowed a closer engagement with nature.

The artistic and literary maze of Latin-occupied Greece cannot be analysed by a conventional approach. Follow the author and the historical protagonists of his tales in a journey through a fragmentary shape-shifting corpus, from the medieval translations of Aristotle to pornographic animal tales carved on church columns. The book explains how art and literature were intertwined, how they evolved from the times of Nicetas Choniates to those of Isabella of Lusignan, and under what influences. It is based on the assumption that history is a form of literature, as they both share an "arbitrary distribution of emphasis" (Isaiah Berlin).

Robert Couzin's Right and Left in Early Christian and Medieval Art is the first in-depth study of handedness, position, and direction in the visual culture of Europe and Byzantium from the fourth to the fourteenth century. Heretofore largely unnoticed or ignored, the pre-eminence of the right and lapses or intentional departures from that norm in medieval imagery are relevant to such major themes as iconography, visuality, reception, narrative, form, gender, production, and patronage. The author's investigation of right and left in visual culture is informed by modern experimental research on laterality and contextualized within prevailing theological doctrines and socio-cultural practices. Illustrations in the text are complemented by hundreds more made available on Brill's Arkyves platform here. See inside the book.

In Material Culture and Queenship in 14th-century France: The Testament of Blanche of Navarre (1331-1398) Marguerite Keane considers the object collection of the long-lived fourteenth-century French queen Blanche of Navarre, the wife of Philip VI (d. 1350). This queen's ownership of works of art (books, jewelry, reliquaries, and textiles, among others) and her perceptions of these objects is well -documented because she wrote detailed testaments in 1396 and 1398 in which she described her possessions and who she wished to receive them. Keane connects the patronage of Blanche of Navarre to her interest in her status and reputation as a dowager queen, as well as bringing to life the material, adornment, and devotional interests of a medieval queen and her household.

Assembled on the occasion of Gary Dickson's retirement from the University of Edinburgh following a distinguished career as an internationally acclaimed scholar of medieval social and religious history, this volume contains contributions by both established and newer scholars inspired by Dickson's particular interests in medieval popular religion, including 'religious enthusiasm'. Together, the essays comprise a comprehensive and rich investigation of the idea of sanctity and its many medieval manifestations across time (fifth through fifteenth centuries) and in different geographical locations (England, Scotland, France, Italy, the Low Countries). By approaching the theme of sanctity from multiple disciplinary perspectives, this highly original collection pushes forward current academic thinking about medieval hagiography, iconography, social history, women's studies, and architectural history.

Over the centuries, European debate about the nature and status of images of God and sacred figures has often upset the established order and shaken societies to their core. Out of this debate, an identifiable doctrine has emerged of the image in general and of the divine image in particular. This fascinating work concentrates on these historical arguments, from the period of Late Antiquity up to the great and classic defenses of images by St. John of Damascus and Theodore of Studion. Icon extends beyond the immediate concerns of religion, philosophy, aesthetics, history, and art, to engage them all.

This collection examines gender and Otherness as tools to understand medieval and early modern art as products of their social environments. The essays, uniting up-and-coming and established scholars, explore both iconographic and stylistic similarities deployed to construct gender identity. The text analyzes a vast array of medieval artworks, including Dieric Bouts's Justice of Otto III, Albrecht Durer's Feast of the Rose Garland, Rembrandt van Rijn's Naked Woman Seated on a Mound, and Renaissance-era transi tombs of French women to illuminate medieval and early modern ideas about gender identity, poverty, religion, honor, virtue, sexuality, and motherhood, among others.

Mudejarismo and Moorish Revival in Europe examines key aspects related to the reception of Ibero-Islamic architecture in medieval Iberia and 19th-century Europe. It challenges prevalent readings of architecture and interiors whose creation was the result of cultural encounters. As Mudejar and neo-Moorish architecture are closely connected to the Islamic world, concepts of identity, nationalism, religious and ethnic belonging, as well as Orientalism and Islamoscepticism significantly shaped the way in which they have been perceived over time. This volume offers art historical and socio-cultural analysis of selected case studies from Spain to Russia and opens the door to a better understanding of interconnected cultural and artistic phenomena. Contributors are (in order of appearance) Francine Giese, Ariane Varela Braga, Michael A. Conrad, Katrin Kaufmann, Sarah Keller, Elena Paulino Montero, Luis Araus Ballesteros, Ekaterina Savinova, Christian Schweizer, Alejandro Jimenez Hernandez and Laura Alvarez Acosta.

This book addresses the status and relevance of iconography and iconology in the contemporary scholarly study of medieval art. There is a widespread tendency among art historians today to regard the study of iconography and iconology in the tradition of Erwin Panofsky as an outmoded and trivial pursuit. Nonetheless, Panofsky's three-level interpretative model sits firmly in the methodological toolkit of art history and remains a common point of reference among adherents and adversaries alike. Iconography and iconology demand to be taken seriously as a feature of continued praxis in the discipline. The book contains a collection of essays on the validity of various approaches toward the interpretation of meaning in medieval art today. These essays either demonstrate the continued usefulness of iconography and iconology as analytical strategies, or propose alternative approaches to the investigation of meaning in the art of the Middle Ages.

The willingness to betray one's country, one's people, one's family-to commit treason and foreswear loyalty to one entity by giving it to another-is a difficult concept for many people to comprehend. Yet, societies have grappled with treason for centuries; the motivations, implications, and consequences are rarely clear cut and are often subjective. Set against the framework of modern political concerns, Treason: Medieval and Early Modern Adultery, Betrayal, and Shame considers the various forms of treachery in a variety of sources, including literature, historical chronicles, and material culture creating a complex portrait of the development of this high crime. Larissa Tracy artfully brings together younger critics as well as seasoned scholars in a compelling and topical conversation on treason. Contributors are Frank Battaglia, Dianne Berg, Tina Marie Boyer, Albrecht Classen, Sam Claussen, Freddy C. Dominguez, Melissa Ridley Elmes, Ana Grinberg, Iain A. MacInnes, Inna Matyushina, Sally Shockro, Susan Small, Peter Sposato, Sarah J. Sprouse, Daniel Thomas, and Larissa Tracy.

In Kids Those Days, Lahney Preston-Matto and Mary Valante have organized a collection of interdisciplinary research into childhood throughout the Middle Ages. Contributors to the volume investigate childhood from Greece to the "Celtic-Fringe," looking at how children lived, suffered, thrived, or died young. Scholars from myriad disciplines, from art and archaeology to history and literature, offer essays on abandonment and abuse, fosterage and guardianship, criminal behavior and child-rearing, child bishops and sainthood, disabilities and miracles, and a wide variety of other subjects related to medieval children. The volume focuses especially on children in the realms of religion, law, and vulnerabilities. Contributors are Paul A. Broyles, Sarah Croix, Gavin Fort, Sophia Germanidou, Danielle Griego, Maire Johnson, Daniel T. Kline, Jenni Kuuliala, Lahney Preston-Matto, Melissa Raine, Eve Salisbury, Ruth Salter, Bridgette Slavin, and Mary A. Valante.

New insights into key texts and interpretive problems in the history of England and Europe between the eighth and thirteenth centuries. This volume of the Haskins Society Journal demonstrates the Society's continued interest in a broad range of geographical contexts and methodological approaches to medieval history. Chapters include a much-needed reassessment of AElfthryth and her place in the society and governance of tenth-century England, as well as a comprehensive survey of the conceptualization of excommunication in post-Carolingian Europe to c.1200. Further essays explore aspects of the Norman world of southern Italy, including the dynamics of political coalitions and kinship networks, ethnic identity, and material culture. The Journal continues to highlight close analyses of key primary sources,with a study of Angevin kingship in the writings of Hugh of Lincoln and Adam of Eynsham, and an examination of Ralph of Niger's Old Testament exegesis and criticism of crusading in the late twelfth century. A ground-breaking newstudy assesses the utility of colonialism as a valid model for understanding the extraction of sacred resources and relics from the crusader lands. The volume closes with a crucial reconsideration of the agency and power of medieval French peasants as attested in medieval cartularies, opening new approaches for further research into this critical and complex social group.

Between the 12th and 14th centuries images of the suffering Christ proliferated in England, appearing in sermons, drama, church decorations, and spiritual treatises. Some scholars see these as signs of a new emphasis on Jesus's humanity, while other see renewed emphasis on a terrifying God of vengeance. Ellen Ross argues that these images served as a vivid narrative of God's mercy made tangible in Jesus Christ.

Based on a fresh reading of primary sources, Lindy Grant's comprehensive biography of Abbot Suger (1081-1151) provides a reassessment of a key figure of the twelfth century. Active in secular and religious affairs alike - Suger was Regent of France and also abbot of one of the most important abbeys in Europe during the time of the Gregorian reforms. But he is primarily remembered as a great artistic patron whose commissions included buildings in the new Gothic style. Lindy Grant reviews him in all these roles - and offers a corrective to the current tendency to exaggerate his role as architect of both French royal power and the new gothic form.

Ross provides a broad survey of pictures and texts concerning saints, from the Early Christian through the late Gothic period. Both Western and Byzantine material is included. Beginning with the earliest pictures of and stories about saints, the book traces the evolution of hagiographic imagery primarily in manuscript contexts. Because of its cross-disciplinary nature, it will be of interest to audiences interested in Early Christian, Byzantine, and Western medieval culture: religion, society, politics, and art. No other book to date is organized similarly in providing detailed descriptions for the identification of medieval manuscripts with hagiographic texts and illustrations.