|
Showing 1 - 25 of
85 matches in All Departments
First exploration of Jarman's engagement with the medieval,
revealing its importance to his work. FINALIST IN THE HISTORIANS OF
BRITISH ART BOOK AWARDS 2020 The artist and filmmaker Derek Jarman
(1942-1994) had a lifelong appreciation of medieval culture. But
with the possible exception of Edward II, Jarman's films have not
been identified to date as making a major contribution to the
depiction of the Middle Ages in cinema. This book is the first to
uncover a rich seam of medievalism in Jarman's art. Taking in major
features such as Caravaggio, The Garden and The Last of England, as
well as some of the unrealised screenplays and short experimental
films, the book proposes an expanded definition of medieval film
that includes not just worksset in or about the Middle Ages, but
also projects inspired more broadly by the period. It considers
Jarman's engagement with Anglo-Saxon poetry (notably The Wanderer);
with works by fourteenth-century poets such as Chaucer, Dante and
Langland; with saints and mystics from Joan of Arc to Julian of
Norwich; and with numerous paintings, buildings and objects from
this so-called "middle" time. Organised around several key themes -
periodisation,anachronism, ruins and wandering - the book also asks
what happens when (with Jarman, but also more broadly) we think the
categories "medieval" and "modern" together. As such, it will be of
interest to film scholars, art historians and medievalists of all
stripes who wish to rattle the temporal cages of their fields.
ROBERT MILLS is Professor of Medieval Studies at University College
London.
Essays examining both the theory and practice of medieval
translation. Engaging and informative to read, challenging in its
assertions, and provocative in the best way, inviting the reader to
sift, correlate and reflect on the broader applicability of points
made in reference to a specific text orexchange. Professor Carolyne
P. Collette, Mount Holyoke College. Medieval notions of translatio
raise issues that have since been debated in contemporary
translation studies concerning the translator's role asinterpreter
or author; the ability of translation to reinforce or unsettle
linguistic or political dominance; and translation's capacity for
establishing cultural contact, or participating in cultural
appropriation or effacement.This collection puts these ethical and
political issues centre stage, asking whether questions currently
being posed by theorists of translation need rethinking or revising
when brought into dialogue with medieval examples. Contributors
explore translation - as a practice, a necessity, an impossibility
and a multi-media form - through multiple perspectives on language,
theory, dissemination and cultural transmission. Exploring texts,
authors, languages and genres not often brought together in a
single volume, individual essays focus on topics such as the
politics of multilingualism, the role of translation in conflict
situations, the translator's invisibility, hospitality,
untranslatability and the limits of translation as a category. EMMA
CAMPBELL is Associate Professor in French at the University of
Warwick; ROBERT MILLS is Lecturer in History of Art at University
College London. Contributors: William Burgwinkle, Ardis
Butterfield, Emma Campbell, Marilynn Desmond, Simon Gaunt, Jane
Gilbert, Miranda Griffin, Noah D. Guynn, Catherine Leglu, Robert
Mills, Zrinka Stahuljak, Luke Sunderland
During the Middle Ages in Europe, some sexual and gendered
behaviors were labeled "sodomitical" or evoked the use of ambiguous
phrases such as the "unmentionable vice" or the "sin against
nature." How, though, did these categories enter the field of
vision? How do you know a sodomite when you see one? In Seeing
Sodomy in the Middle Ages, Robert Mills explores the relationship
between sodomy and motifs of vision and visibility in medieval
culture, on the one hand, and those categories we today call gender
and sexuality, on the other. Challenging the view that ideas about
sexual and gender dissidence were too confused to congeal into a
coherent form in the Middle Ages, Mills demonstrates that sodomy
had a rich, multimedia presence in the period - and that a flexible
approach to questions of terminology sheds new light on the many
forms this presence took. Among the topics that Mills covers are
depictions of the practices of sodomites in illuminated Bibles;
motifs of gender transformation and sex change as envisioned by
medieval artists and commentators on Ovid; sexual relations in
religious houses and other enclosed spaces; and the applicability
of modern categories such as "transgender," "butch" and "femme," or
"sexual orientation" to medieval culture. Taking in a multitude of
images, texts, and methodologies, this book will be of interest to
all scholars, regardless of discipline, who engage with gender and
sexuality in their work.
This scarce antiquarian book is included in our special Legacy
Reprint Series. In the interest of creating a more extensive
selection of rare historical book reprints, we have chosen to
reproduce this title even though it may possibly have occasional
imperfections such as missing and blurred pages, missing text, poor
pictures, markings, dark backgrounds and other reproduction issues
beyond our control. Because this work is culturally important, we
have made it available as a part of our commitment to protecting,
preserving and promoting the world's literature.
Abstraction haunts medieval art, both withdrawing figuration and
suggesting elusive presence. How does it make or destroy meaning in
the process? Does it suggest the failure of figuration, the
faltering of iconography? Does medieval abstraction function
because it is imperfect, incomplete, and uncorrected-and therefore
cognitively, visually demanding? Is it, conversely, precisely about
perfection? To what extent is the abstract predicated on
theorization of the unrepresentable and imperceptible? Does
medieval abstraction pit aesthetics against metaphysics, or does it
enrich it, or frame it, or both? Essays in this collection explore
these and other questions that coalesce around three broad themes:
medieval abstraction as the untethering of the image from what it
purports to represent; abstraction as a vehicle for signification;
and abstraction as a form of figuration. Contributors approach the
concept of medieval abstraction from a multitude of
perspectives-formal, semiotic, iconographic, material,
phenomenological, epistemological.
|
|