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Block (emerita, City University of New York), following 30 years of patient research, presents an impressive catalogue of 3287 examples of historiated misericords in France. The catalogue documents the carvings under these small mobile choir seats, which are hinged so they can be raised to provide standing space, revealing the carving beneath. Block's introduction describes the history of the misericord and its study. The entries provide details about the church's choir and other choir stalls then discusses the misericord's appearance, provenance, and condition. For churches that still have a substantial number, Block discusses the sculptural program of the misericords. Each misericord is reproduced in a b&w plate of excellent quality. Distributed by the David Brown Book Company. Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com).
Block (emerita, City University of New York), following 30 years of patient research, presents an impressive catalogue of 3287 examples of historiated misericords in France. The catalogue documents the carvings under these small mobile choir seats, which are hinged so they can be raised to provide standing space, revealing the carving beneath. Block's introduction describes the history of the misericord and its study. The entries provide details about the church's choir and other choir stalls then discusses the misericord's appearance, provenance, and condition. For churches that still have a substantial number, Block discusses the sculptural program of the misericords. Each misericord is reproduced in a b&w plate of excellent quality. Distributed by the David Brown Book Company. Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com).
Misericord carvings present a fascinating corpus of medieval art which, in turn, complements our knowledge of life and belief in the late middle ages. Subjects range from the sacred to the profane and from the fantastic to the everyday, seemingly giving equal weight to the scatological and the spiritual alike. Focusing specifically on England - though with cognisance of broader European contexts - this volume offers an analysis of misericords in relation to other cultural artefacts of the period. Through a series of themed "case studies", the book places misericords firmly within the doctrinal and devotional milieu in which they were created and sited, arguing that even the apparently coarse images to be found beneath choir stalls are intimately linked to the devotional life of the medieval English Church. The analysis is complemented by a gazetteer of the most notable instances. Dr Paul Hardwick is Professor in English, Leeds Trinity University College.
English Gothic Misericord Carvings: History from the Bottom Up by Betsy Chunko-Dominguez is the first book to move beyond textual dependence and traditional iconographic analysis when examining misericords. It likewise builds the most thorough discussion to date of the relationship between the misericord’s several potential audiences – including patron, craftsman, occupant of the seat, and modern viewer. Beyond the bounds of misericord studies, there are implications here for study of the relationship between center and margin in late medieval art; and, indeed, what constitutes ‘center’ and ‘margin’ as conceptual realms. Ultimately, this book attempts both to re-integrate the study of misericords into the study of Gothic art in general, and to re-center them in relation to our understanding of late medieval culture.
Medical Texts and Cultures of Northern Europe is a series which opens up a dedicated forum for comparative work on northern European medieval literature, history, and society and their significance in the modern world. It promotes dialogue between anglophone and continental medievalists and addresses the need for transcultural perspectives on Europe's medical origins in a way that is distinctive both in scope and in academic orientation. The focus is on the medical texts and cultures of the British Isles, northern and central mainland Europe, and Scandinavia. The chronological range of the series is from c. 800 AD to c. 1600 Each volume makes available to an international readership excellent new work, offering ways of readings texts, cultures, and institutions that speak to the contemporary world.
Major interdisciplnary study of medieval church porches, bringing out their importance and significance.
This collection of specially commissioned articles aims to shed light on the Early Modern printer's mark, a very productive Early Modern word-image so far only occasionally noted outside the domain of book history. This collection of 17 specially commissioned articles aims to shed light on the European printer’s mark, a very productive Early Modern word-image genre so far only occasionally noted outside the domain of book history. It does so from the perspectives of book history, literary history, especially emblem scholarship, and art history. The various contributions to the volume address issues such as those of the adoption of printer's devices in the place of the older heraldic printer's marks as a symptom of the changing self-image of the representatives of the Early Modern printing profession, of the mutual influence of emblems and printer's marks, of the place of Classical learning in the design of Humanist printer's marks, of the economic factors involved in the evolution of Early Modern printer's marks, the pictorial topics of the Early Modern printer's mark, and the printer's mark as a result of the 'Verbürgerlichung' of the device of Early Modern nobility. Special care was taken to account for the similarities and differences of the printer's marks produced and used in different regional and cultural contexts. The printer’s mark thus becomes visible as a European phenomenon that invites studying some of the most significant shared aspects of Early Modern culture. Preface/ Beginnings and Provenances: A. Wolkenhauer: Sisters, or Mother and Daughter? The Relationship between Printer’s Marks and Emblems during the First Hundred Years/ A. Bässler: Ekphrasis and Printer’s Signets/ L. Houwen: Beastly Devices: Early Printers’ Marks and Their Medieval Origins/ H. Meeus: From Nameplate to Emblem. The Evolution of the Printer’s Device in the Southern Low Countries up to 1600/ Regions and Places: K. Sp. Staikos: Heraldic and Symbolic Printer’s Devices of Greek Printers in Italy (15th-16th century)/ A. Jakimyszyn-Gadocha: Jewish Printers’ Marks from Poland (16th-17th centuries)/ J. A. Tomicka: Fama typographica. In Search of the Emblem Form of Printer’s Devices. The Iconography and Emblem Form of Printer’s Devices in 16th- and 17th-Century Poland/ P. Hoftijzer: Pallas Nostra Salus. Early-Modern Printer’s Marks in Leiden as Expressions of Professional and Personal Identity/ D. Peil: Early Modern Munich Printer’s Marks (and Related Issues)/ K. Lundblad: The Printer’s Mark in Early Modern Sweden/ S. Hufnagel: Iceland’s Lack of Printer’s Devices: Filling a Functional and Spatial Void in Printed Books during the Sixteenth Century/ Concepts, Historical and Systematic: B.F. Scholz: The Truth of Printer’s Marks: Andrea Alciato On ‘Aldo’s Anchor’, ‘Froben’s Dove’ and ‘Calvo’s Elephant’. A Closer Look at Alciato’s Concept of the Printer’s Mark./ V. Hayaert: The Legal Significance and Humanist Ethos of Printers’ Insignia/ J. Kiliańczyk-Zięba: The Transition of the Printer’s Device from a Sign of Identification to a Symbol of Aspirations and Beliefs/ Judit Vizkelety-Ecsedy: Mottos in Printers’ Devices – Thoughts about the Hungarian Usage/ M. Simon: European Printers’ and Publishers’ Marks in the 18th Century. The Three C’s: Conformity, Continuity and Change/ B.F. Scholz: In Place of an Afterword: Notes on Ordering the Corpus of the Early Modern Printer’s Mark/ Research Bibliography: The Early Modern Printer’s Mark in its Cultural Contexts/ Index (Names, Places, Motti).
Sexuality is one of the most influential factors in human life. The responses to and reflections upon the manifestations of sexuality provide fascinating insights into fundamental aspects of medieval and early-modern culture. This interdisciplinary volume with articles written by social historians, literary historians, musicologists, art historians, and historians of religion and mental-ity demonstrates how fruitful collaborative efforts can be in the exploration of essential features of human society. Practically every aspect of culture both in the Middle Ages and the early modern age was influenced and determined by sexuality, which hardly ever surfaces simply characterized by prurient interests. The treatment of sexuality in literature, chronicles, music, art, legal documents, and in scientific texts illuminates central concerns, anxieties, tensions, needs, fears, and problems in human society throughout times.
"Medieval Obscenities examines the complex and contentious role of the obscene - what is offensive, indecent or morally repugnant - in medieval culture from late antiquity through to the end of the middle ages in western Europe. Its approach is multidisciplinary, its methodologies divergent and it seeks to formulate questions and stimulate debate." "The essays examine topics as diverse as Norse defecation taboos, the Anglo-Saxon sexual idiom, sheela-na-gigs, impotence in the church courts, bare ecclesiastical bottoms, rude sounds and dirty words, as well as the modern reception and representation of the medieval obscene. The volume demonstrates not only the vitality of medieval obscenity, but its centrality to our understanding of medieval life."--Jacket.
More than any other secular story of the Middle Ages, the tale of Tristan and Isolde fascinated its audience. Adaptations in poetry, prose, and drama were widespread in western European vernacular languages. Visual portrayals of the story appear not only in manuscripts and printed books but in individual pictures and pictorial narratives, and on an amazing array of objects including stained glass, wall paintings, tiles, tapestries, ivory boxes, combs, mirrors, shoes, and misericords. The pan-European and cross-media nature of the surviving medieval evidence is not adequately reflected in current Tristan scholarship, which largely follows disciplinary and linguistic lines. The contributors to Visuality and Materiality in the Story of Tristan and Isolde seek to address this problem by opening a cross-disciplinary dialogue and by proposing a new set of intellectual coordinates--the concepts of materiality and visuality--without losing sight of the historical specificity or the aesthetic character of individual works of art and literature. Their theoretical paradigm allows them to survey the richness of the surviving evidence from a variety of disciplinary approaches, while offering new perspectives on the nature of representation in medieval culture. Enriched by numerous illustrations, this volume is an important examination of the story of Tristan and Isolde in the European context of its visual and textual transmission. "Comprehensive and cutting edge, Visuality and Materiality in the Story of Tristan and Isolde defines the moment in the history of Tristan scholarship. The essays, gathered from both sides of the Atlantic, enrich and expand the key concepts of materiality and visuality to account for the proliferation of the Tristan story in an astonishing range of media. The collection gives scholars in several disciplines the tools to explore the productive connections between the verbal and the visual in medieval culture." --Sarah Westphal-Wihl, Washington University in St. Louis "This is a major collection of essays that gives new direction to the study of one of the most important poets of the Middle Ages and one of the most fascinating works of literature from the period." --C. Stephen Jaeger, University of Illinois "Visuality and Materiality in the Story of Tristan and Isolde successfully opens up the conversation between literary historians and art historians on its intended subject, and as such is an original contribution to the field. The editors are well-versed in past and current medieval, and specifically Tristan, scholarship, and their substantial introduction lays out the methodology behind the investigation as well as the structure of the book." --Denise Della Rossa, University of Notre Dame