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Over the last two decades the historiography of medieval art has been defined by two seemingly contradictory trends: a focus on questions of visuality, and more recently an emphasis on materiality. The latter, which has encouraged multi-sensorial approaches to medieval art, has come to be perceived as a counterpoint to the study of visuality as defined in ocularcentric terms. Bringing together specialists from different areas of art history, this book grapples with this dialectic and poses new avenues for reconciling these two opposing tendencies. The essays in this volume demonstrate the necessity of returning to questions of visuality, taking into account the insights gained from the 'material turn'. They highlight conceptions of vision that attribute a haptic quality to the act of seeing and draw on bodily perception to shed new light on visuality in the Middle Ages.
Sumptuously illustrated with dazzling objects, this publication explores the ways art and science worked hand in hand in the Middle Ages and Renaissance. Through the manipulation of materials, such as gold, crystal, and glass, medieval artists created dazzling light-filled environments, evoking, in the everyday world, the layered realms of the divine. While contemporary society separates science and spirituality, the medieval world harnessed the science of light to better perceive and understand the sacred. From 800 to 1600, the study of astronomy, geometry, and optics emerged as a framework that was utilized by theologians and artists to comprehend both the sacred realm and the natural world. Through essays written by contributors from the fields of art history, the history of science, and neuroscience, and with more than two hundred illustrations, including glimmering golden reliquaries, illuminated manuscripts, rock crystal vessels, astronomical instruments, and more, Lumen cuts across religious, political, and geographic boundaries to reveal the ways medieval Christian, Jewish, and Islamic artists, theologians, and thinkers studied light. To convey the sense of wonder created by moving light on precious materials, a number of contemporary artworks are placed in dialogue with historic objects. This volume is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center from September 10 to December 8, 2024.
Inside Christian churches, natural light has been harnessed to underscore theological, symbolic, and ideological statements. This volume explores how the study of sunlight can reveal aspects of the design, decoration, and function of sacred spaces in the Middle Ages.
This book breaks new ground by bringing postmodern writings on vision and embodiment into dialogue with medieval texts and images: an interdisciplinary strategy that illuminates and complicates both cultures. This is an invaluable reference work for anyone interested in the history and theory of visuality, and it is essential reading for scholars of art, science or spirituality in the medieval period.
The term 'feminized counsel' denotes the advice associated with and spoken by women characters. This book demonstrates that rather than classify women's voices as an opposite against which to define masculine authority, late medieval vernacular poets embraced the feminine as a representation of their subordination to kings, patrons, and authorities. The works studied include Gower's Confessio Amantis, Chaucer's Legend of Good Women and Melibee, and English translations of Christine de Pizan's Epistre Othea. To advise readers, these texts draw on the politicized genre of mirrors for princes. Whereas Latin mirrors such as the Secretum secretorum and Giles of Rome's De regimine principum represented women as inferior, weak, and detrimental to masculine authority, these vernacular texts break traditional expectations and portray women as essential and authoritative political counsellors. By considering Latin and French sources, historical models of queens' intercessions, and literary models of authoritative female personifications, this study explores the woman counsellor as a literary topos that enabled poets to criticize, advise, and influence powerful readers. Feminized Counsel elucidates the manner in which vernacular poets concerned with issues of counsel, mercy, and power identified with fictional women's struggles to develop authority in the political sphere. These women counsellors become enabling models that paradoxically generate authority for poets who also lack access to traditionally recognized forms of intellectual or literary authority.
Popular and Visual Culture: Design, Circulation and Consumption is a transnational project that fosters a dialogue with multiple origins, both in geographical and academic terms. From the onset, this book questions the concepts of visual and popular culture, terms which are currently applied both to describe scientific fields, as operative concepts in theoretical discourse, and to characterize specific cultural contexts. The book’s analysis and categorization of visual and popular culture pursues discourses and practices which mark different historical eras and shape social orders. Because popular iconic and written productions are the outcome of a network of political, economic, ideological and social circumstances that are often hardly detectable and too taken for granted to be critically recognized, even by those who draw, paint or write (and live) under their influence. That is why visual figurations of popular culture should be studied as the support of a deeply motivated symbolic discourse on the values shared by a community. This book deals, in a way or another, with how popular and visual artefacts and sceneries are socially built, preserved and/or contested. The volume brings together, not only different disciplinary perspectives, but also diverse empirical phenomena, while approaching the wide subject of visuality and popular culture.
Ancient Manuscripts in Digital Culture presents an overview of the digital turn in Ancient Jewish and Christian manuscripts visualisation, data mining and communication. Edited by David Hamidović, Claire Clivaz and Sarah Bowen Savant, it gathers together the contributions of seventeen scholars involved in Biblical, Early Jewish and Christian studies. The volume attests to the spreading of digital humanities in these fields and presents fundamental analysis of the rise of visual culture as well as specific test-cases concerning ancient manuscripts. Sophisticated visualisation tools, stylometric analysis, teaching and visual data, epigraphy and visualisation belong notably to the varied overview presented in the volume.
This volume draws on emerging scholarship at the intersection of two already vibrant fields: medieval material culture and medieval sensory experience. The rich potential of medieval matter (most obviously manuscripts and visual imagery, but also liturgical objects, coins, textiles, architecture, graves, etc.) to complement and even transcend purely textual sources is by now well established in medieval scholarship across the disciplines. So, too, attention to medieval sensory experiences—most prominently emotion—has transformed our understanding of medieval religious life and spirituality, violence, power, and authority, friendship, and constructions of both the self and the other. Our purpose in this volume is to draw the two approaches together, plumbing medieval material sources for traces of sensory experience - above all ephemeral and physical experiences that, unlike emotion, are rarely fully described or articulated in texts.
Tolomeo Fiadoni (1236-1327) was one of the most important political theorists and historians of the Middle Ages. He was central to developing a theory for the practices of Northern Italian republicanism and was hostile to kingship, portraying it as despotic and inappropriate for virtuous and freedom-loving people. He was the first writer to compare Aristotle's examples of Greek mixed constitutions - Sparta, Crete, and Carthage - with the Roman Republic, the ancient Hebrew polity, the Church, and medieval communes, yet he remained a staunch defender of the absolute secular and spiritual monarchy of the pope. Blythe explores various tensions in Tolomeo's work that are often overlooked in scholarly treatments of him, and which derive from cultural preconceptions and the diverse influences on him: Aristotle, Augustine, apologists for papal power, his life in the Dominican Order, his educational experience with Thomas Aquinas, and his social position as a member of Northern Italy's ruling class. These factors exerted contradictory influences on Tolomeo and led him to a sometimes unsuccessful intellectual struggle for consistency. This book is the first full-length study of Tolomeo's thought and it gives full consideration not only to the political writings for which he is most known, but also to his historical and exegetical works. It is the companion to The Life and Works of Tolomeo Fiadoni (Ptolemy of Lucca).
"Brings together the disciplines of art, music, and history to explore the importance of the past to conceptions of the present in the central Middle Ages"--Provided by publisher.