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Engaging with the imaginative, nonreligious response to Gothic
sculpture in German-speaking lands and tracing high and late
medieval notions of the 'living statue' and the simulacrum in
religious, lay, and travel literature, this study explores the
subjective and intuitive potential inherent in thirteenth- and
fourteenth-century sculpture. It addresses a range of works, from
the oeuvre of the so-called Naumburg Master through
Freiburg-im-Breisgau to the imperial art of Vienna and Prague. As
living simulacra, the sculptures offer themselves to the
imaginative horizons of their viewers as factual presences that
substitute for the real. In perceiving Gothic sculpture as a
conscious alternative to the sacred imago, the book offers a new
understanding of the function, production, and use of
three-dimensional images in late medieval Germany. By blurring the
boundaries between viewers and works of art, between the imaginary
and the real, the sculptures invite the speculations of their
viewers and in this way produce an unstable meaning, perpetually
mutable and alive. The book constitutes the first art-historical
attempt to theorize the idiosyncratic character of German Gothic
sculpture - much of which has never been fully documented - and
provides the first English-language survey of the historiography of
these works.
Engaging with the imaginative, nonreligious response to Gothic
sculpture in German-speaking lands and tracing high and late
medieval notions of the 'living statue' and the simulacrum in
religious, lay, and travel literature, this study explores the
subjective and intuitive potential inherent in thirteenth- and
fourteenth-century sculpture. It addresses a range of works, from
the oeuvre of the so-called Naumburg Master through
Freiburg-im-Breisgau to the imperial art of Vienna and Prague. As
living simulacra, the sculptures offer themselves to the
imaginative horizons of their viewers as factual presences that
substitute for the real. In perceiving Gothic sculpture as a
conscious alternative to the sacred imago, the book offers a new
understanding of the function, production, and use of
three-dimensional images in late medieval Germany. By blurring the
boundaries between viewers and works of art, between the imaginary
and the real, the sculptures invite the speculations of their
viewers and in this way produce an unstable meaning, perpetually
mutable and alive. The book constitutes the first art-historical
attempt to theorize the idiosyncratic character of German Gothic
sculpture - much of which has never been fully documented - and
provides the first English-language survey of the historiography of
these works.
Why does a society seek out images of violence? What can the
consumption of violent imagery teach us about the history of
violence and the ways in which it has been represented and
understood? Assaf Pinkus considers these questions within the
context of what he calls galleries of violence, the torment imagery
that flourished in German-speaking regions during the fourteenth
and fifteenth centuries. Exploring these images and the visceral
bodily responses that they produced in their viewers, Pinkus argues
that the new visual discourse on violence was a watershed in
premodern conceptualizations of selfhood. Images of martyrdom in
late medieval Germany reveal a strikingly brutal parade of passion:
severed heads, split skulls, mutilated organs, extracted
fingernails and teeth, and myriad other torments. Stripped from
their devotional context and presented simply as brutal acts, these
portrayals assailed viewers’ bodies and minds so violently that
they amounted to what Pinkus describes as “visual aggressions.”
Addressing contemporary discourses on violence and cruelty, the
aesthetics of violence, and the eroticism of the tortured body,
Pinkus ties these galleries of violence to larger cultural concerns
about the ethics of violence and bodily integrity in the
conceptualization of early modern personhood. Innovative and
convincing, this study heralds a fundamental shift in the scholarly
conversation about premodern violence, moving from a focus on the
imitatio Christi and the liturgy of punishment to the notion of
violence as a moral problem in an ethical system. Scholars of
medieval and early modern art, history, and literature will welcome
and engage with Pinkus’s research for years to come.
The Basilica of the Annunciation in Nazareth is among the most
celebrated loca sancta in the Holy Land, a sacred destination of
both Eastern and Western pilgrims for millennia. Celebrating the
50th anniversary of the modern edifice, this anthology is the first
to offer a comprehensive study of the church, comprising the
historical stages of its construction from the Byzantine era,
through Crusader and Franciscan campaigns, and into the present
day; the impact of the Second Vatican Council on the reception of
modern elements of its architecture; and studies of its decorative
elements including stained-glass windows, bronze doors, and votive
panels from all over the world. These various analyses take into
consideration the complex challenges facing Christian art in a
multicultural world.
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