Karl Morrison discusses historical writing at a turning point in
European culture: the so-called Renaissance of the twelfth century.
Why do texts considered at that time to be masterpieces seem now to
be fragmentary and full of contradictions? Morrison maintains that
the answer comes from ideas about art. Viewing histories as
artifacts made according to the same aesthetic principles as
paintings and theater, he shows that twelfth-century authors and
audiences found unity not in what the reason read in a text but in
what the imagination read into it: they prized visual over verbal
imagination and employed a circular, or nuclear, spectator-centered
perspective cast aside in the Renaissance of the fourteenth and
fifteenth centuries. Twelfth-century writers assimilated and
transformed a tradition of the conceptual unity of all the arts and
attributed that unity to the fact that art both conceals and
discloses. Recovering that tradition, especially the methods and
motives of concealment, provides extraordinary insights into
twelfth-century ideas about the kingdom of God, the status of
women, and the nature of time itself. It also identifies a strain
in European thought that had striking affinities to methods of
perception familiar in Oriental religions and that proved to be
antithetic to later humanist traditions in the West. Originally
published in 1990. The Princeton Legacy Library uses the latest
print-on-demand technology to again make available previously
out-of-print books from the distinguished backlist of Princeton
University Press. These editions preserve the original texts of
these important books while presenting them in durable paperback
and hardcover editions. The goal of the Princeton Legacy Library is
to vastly increase access to the rich scholarly heritage found in
the thousands of books published by Princeton University Press
since its founding in 1905.
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