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An examination of written and other responses to conflict in a
variety of forms and genres, from the thirteenth to the seventeenth
century. War and violence took many forms in medieval and early
modern Europe, from political and territorial conflict to judicial
and social spectacle; from religious persecution and crusade to
self-mortification and martyrdom; from comedic brutality to civil
and domestic aggression. Various cultural frameworks conditioned
both the acceptance of these forms of violence, and the protest
that they met with: the elusive concept of chivalry, Christianity
and just wartheory, political ambition and the machinery of
propaganda, literary genres and the expectations they generated and
challenged. The essays here, from the disciplines of history, art
history and literature, explore how violence and conflict were
documented, depicted, narrated and debated during this period. They
consider manuals created for and addressed directly to kings and
aristocratic patrons; romances whose affective treatments of
violence invitedprofoundly empathetic, even troublingly
pleasurable, responses; diaries and "autobiographies" compiled on
the field and redacted for publication and self-promotion. The
ethics and aesthetics of representation, as much as the violence
being represented, emerge as a profound and constant theme for
writers and artists grappling with this most fundamental and
difficult topic of human experience. JOANNA BELLIS is the Fitzjames
Research Fellow in Oldand Middle English at Merton College, Oxford;
LAURA SLATER holds a Postdoctoral Fellowship from The Paul Mellon
Centre for Studies in British Art in London. Contributors: Anne
Baden-Daintree, Anne Curry, David Grummitt, Richard W. Kaeuper,
Andrew Lynch, Christina Normore, Laura Slater, Sara V. Torres,
Matthew Woodcock,
To read accounts of late medieval banquets is to enter a fantastic
world where live lions guard nude statues, gilded stags burst into
song, and musicians play from within pies. Such vivid works of art
and performance required collaboration among artists in many
fields, as well as the participation of the audience. A Feast for
the Eyes is the first book - length study of the court banquets of
northwestern Europe in the fourteenth and fifteenth centuries.
Christina Normore draws on an array of artworks, archival
documents, chroniclers' accounts, and cookbooks to re-create these
events and reassess the late medieval visual culture in which
banquets were staged. Feast participants, she shows, developed
sophisticated ways of appreciating artistic skill and attending to
their own processes of perception, thereby forging a court culture
that delighted in the exercise of fine aesthetic judgment.
Challenging modern assumptions about the nature of artistic
production and reception, A Feast for the Eyes yields fresh insight
into the long history of multimedia work and the complex
relationships between spectacle and spectators.
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