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Western theology is frequently criticized for not having a fully developed pneumatology. According to these critics, preoccupation with Christology and an excessive focus on the nature and unity of God have come at the expense of a full theology of the three persons. While admitting that there is some truth to these criticisms, Elizabeth Dreyer maintains that those who level them base their conclusions on a narrow range of texts and thus fail to establish a true neglect of the Holy Spirit. Medieval authors offer a wealth of creative language and insight that speaks to the role of the Holy Spirit in contemporary spirituality and contributes to a renewed pneumatology for the twenty-first century. Book jacket.
The "Liber secretorum alchimie" is an attempt to introduce alchemy into Aristotle's science: manipulating metals, astronomy, astrology, geography and even theology are combined in these lecture notes taken by a 13th century medical student to make a fascinating review of themes which were hotly debated in medieval Italian university circles.
There was no sharp break between classical and medieval map making. Contributions by thirteen scholars offer fresh insight that demonstrates continuity and adaptation over the long term. This work reflects current thinking in the history of cartography and opens new directions for the future.
The thirteenth century saw such a proliferation of new encyclopedic texts that more than one scholar has called it the “century of the encyclopedias.” Variously referred to as a speculum, thesaurus, or imago mundi—the term encyclopedia was not commonly applied to such books until the eighteenth century—these texts were organized in such a way that a reader could easily locate a collection of authoritative statements on any given topic. Because they reproduced, rather than simply summarized, parts of prior texts, these compilations became libraries in miniature. In this groundbreaking study, Mary Franklin-Brown examines writings in Latin, Catalan, and French that are connected to the encyclopedic movement: Vincent of Beauvais’s Speculum maius; Ramon Llull’s Libre de meravelles, Arbor scientiae, and Arbre de filosofia d’amor; and Jean de Meun’s continuation of the Roman de la Rose. Franklin-Brown analyzes the order of knowledge in these challenging texts, describing the wide-ranging interests, the textual practices—including commentary, compilation, and organization—and the diverse discourses that they absorb from preexisting classical, patristic, and medieval writing. She also demonstrates how these encyclopedias, like libraries, became “heterotopias” of knowledge—spaces where many possible ways of knowing are juxtaposed. But Franklin-Brown’s study will not appeal only to historians: she argues that a revised understanding of late medievalism makes it possible to discern a close connection between scholasticism and contemporary imaginative literature. She shows how encyclopedists employed the same practices of figuration, narrative, and citation as poets and romanciers, while much of the difficulty of the imaginative writing of this period derives from a juxtaposition of heterogeneous discourses inspired by encyclopedias. With rich and innovative readings of texts both familiar and neglected, Reading the World reveals how the study of encyclopedism can illuminate both the intellectual work and the imaginative writing of the scholastic age.
Structured around in-depth and interconnected case studies and driven by a methodology of material, contextual, and iconographic analysis, this book argues that early European single-sheet prints, in both the north and south, are best understood as highly accessible objects shaped and framed by individual viewers. Author David Areford offers a synthetic historical narrative of early prints that stresses their unusual material nature, as well as their accessibility to a variety of viewers, both lay and monastic. This volume represents a shift in the study of the early printed image, one that mirrors the widespread movement in art history away from issues of production, style, and the artist toward issues of reception, function, and the viewer. Areford's approach is intensely grounded in the object, especially the unacknowledged material complexity of the print as a portable, malleable, and accessible image that depended on a response that was not only visual but often physical, emotional, and psychological. Recognizing that early prints were not primarily designed for aesthetic appreciation, the author analyzes how their meanings stemmed from specific functions involving private devotion, protection, indulgences, the cult of saints, pilgrimage, exorcism, the art of memory, and anti-Semitic propaganda. Although the medium's first century was clearly transitional and experimental, Areford explores how its potential to impact viewers in new ways?both positive and negative?was quickly realized.
This volume assesses how current approaches to iconology and iconography break new ground in understanding the signification and reception of medieval images, both in their own time and in the modern world. Framed by critical essays that apply explicitly historiographical and sociopolitical perspectives to key moments in the evolution of the field, the volume’s case studies focus on how iconographic meaning is shaped by factors such as medieval modes of dialectical thought, the problem of representing time, the movement of the viewer in space, the fragmentation and injury of both image and subject, and the complex strategy of comparing distant cultural paradigms. The contributions are linked by a commitment to understanding how medieval images made meaning; to highlighting the heuristic value of new perspectives and methods in exploring the work of the image in both the Middle Ages and our own time; and to recognizing how subtle entanglements between scholarship and society can provoke mutual and unexpected transformations in both. Collectively, the essays demonstrate the expansiveness, flexibility, and dynamism of iconographic studies as a scholarly field that is still heartily engaged in the challenge of its own remaking. Along with the volume editors, the contributors include Madeline H. Caviness, Beatrice Kitzinger, Aden Kumler, Christopher R. Lakey, Glenn Peers, Jennifer Purtle, and Elizabeth Sears.