|
Showing 1 - 4 of
4 matches in All Departments
Whose Middle Ages? is an interdisciplinary collection of short,
accessible essays intended for the nonspecialist reader and ideal
for teaching at an undergraduate level. Each of twenty-two essays
takes up an area where digging for meaning in the medieval past has
brought something distorted back into the present: in our popular
entertainment; in our news, our politics, and our propaganda; and
in subtler ways that inform how we think about our histories, our
countries, and ourselves. Each author looks to a history that has
refused to remain past and uses the tools of the academy to read
and re-read familiar stories, objects, symbols, and myths. Whose
Middle Ages? gives nonspecialists access to the richness of our
historical knowledge while debunking damaging misconceptions about
the medieval past. Myths about the medieval period are especially
beloved among the globally resurgent far right, from crusading
emblems on the shields borne by alt-right demonstrators to the
on-screen image of a purely white European populace defended from
actors of color by Internet trolls. This collection attacks these
myths directly by insisting that readers encounter the relics of
the Middle Ages on their own terms. Each essay uses its author’s
academic research as a point of entry and takes care to explain how
the author knows what she or he knows and what kinds of tools,
bodies of evidence, and theoretical lenses allow scholars to write
with certainty about elements of the past to a level of detail that
might seem unattainable. By demystifying the methods of scholarly
inquiry, Whose Middle Ages? serves as an antidote not only to the
far right’s errors of fact and interpretation but also to its
assault on scholarship and expertise as valid means for the
acquisition of knowledge.
A look into an enchanting, underexplored genre of illustrated
manuscripts that reveals new insights into urban life in the Middle
Ages In this innovative study, Nina Rowe examines a curious genre
of illustrated book that gained popularity among the newly emergent
middle class of late medieval cities. These illuminated World
Chronicles, produced in the Bavarian and Austrian regions from
around 1330 to 1430, were the popular histories of their day,
telling tales from the Bible, ancient mythology, and the lives of
emperors in animated, vernacular verse, enhanced by dynamic images.
Rowe's appraisal of these understudied books presents a rich world
of storytelling modes, offering unprecedented insight into the
non-noble social strata in a transformative epoch. Through a
multidisciplinary approach, Rowe also shows how illuminated World
Chronicles challenge the commonly held view of the Middle Ages as
socially stagnant and homogeneously pious. Beautifully illustrated
and backed by abundant and accessible analyses of social, economic,
and political conditions, this book highlights the engaging
character of secular literature during the late medieval era and
the relationship of illustrated books to a socially diverse and
vibrant urban sphere.
Whose Middle Ages? is an interdisciplinary collection of short,
accessible essays intended for the nonspecialist reader and ideal
for teaching at an undergraduate level. Each of twenty-two essays
takes up an area where digging for meaning in the medieval past has
brought something distorted back into the present: in our popular
entertainment; in our news, our politics, and our propaganda; and
in subtler ways that inform how we think about our histories, our
countries, and ourselves. Each author looks to a history that has
refused to remain past and uses the tools of the academy to read
and re-read familiar stories, objects, symbols, and myths. Whose
Middle Ages? gives nonspecialists access to the richness of our
historical knowledge while debunking damaging misconceptions about
the medieval past. Myths about the medieval period are especially
beloved among the globally resurgent far right, from crusading
emblems on the shields borne by alt-right demonstrators to the
on-screen image of a purely white European populace defended from
actors of color by Internet trolls. This collection attacks these
myths directly by insisting that readers encounter the relics of
the Middle Ages on their own terms. Each essay uses its author's
academic research as a point of entry and takes care to explain how
the author knows what she or he knows and what kinds of tools,
bodies of evidence, and theoretical lenses allow scholars to write
with certainty about elements of the past to a level of detail that
might seem unattainable. By demystifying the methods of scholarly
inquiry, Whose Middle Ages? serves as an antidote not only to the
far right's errors of fact and interpretation but also to its
assault on scholarship and expertise as valid means for the
acquisition of knowledge.
In the thirteenth century, sculptures of Synagoga and Ecclesia
paired female personifications of the Synagogue defeated and the
Church triumphant became a favored motif on cathedral facades in
France and Germany. Throughout the centuries leading up to this
era, the Jews of northern Europe prospered financially and
intellectually, a trend that ran counter to the long-standing
Christian conception of Jews as relics of the pre-history of the
Church. In The Jew, the Cathedral and the Medieval City, Nina Rowe
examines the sculptures as defining elements in the urban
Jewish-Christian encounter. She locates the roots of the
Synagoga-Ecclesia motif in antiquity and explores the theme s
public manifestations at the cathedrals of Reims, Bamberg, and
Strasbourg, considering each example in relation to local politics
and culture. Ultimately, she demonstrates that royal and
ecclesiastical policies to restrain the religious, social, and
economic lives of Jews in the early thirteenth century found a
material analog in lovely renderings of a downtrodden Synagoga,
placed in the public arena of the city square."
|
|