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In 'Solus Vol. I', Pieter Hugo reflects on the values that constitute the fashion industry?s shifting aesthetic through a series of straight forward portraits of street-cast models. Hugo found himself captivated by sitters with unconventional and atypical looks, particularly before they underwent fashion?s machinations of wardrobe, makeup and hair. Drawn to this uniqueness and recalling the sense of not-belonging that is part of the intense experience of youth, Hugo?s invitation to the models was ?Simply present yourself?. The resulting photographs embrace vulnerability and frailty as much as they do the agency and idealism of their subjects.
Many myths surround the Hyena Men who haunt the peripheries of Nigeria's cities. Accompanied by hyenas, rock pythons and baboons, these men earn a living by performing before crowds and selling traditional medicines. Pieter Hugo's extraordinary portraits of their liminal existence reveal an uncanny world of complex, codependent relationships, where familiar distinctions between dominance and submission, wildness and domesticity, tradition and modernity are constantly subverted.
Examining a wide array of ancient writings, Brent Nongbri dispels the commonly held idea that there is such a thing as ancient religion. Nongbri shows how misleading it is to speak as though religion was a concept native to pre-modern cultures.
Barbara Kaminska’s Pieter Bruegel the Elder: Religious Art for the Urban Community is the first book-length study focusing on religious paintings by one of the most captivating Netherlandish artists, long celebrated for his secular imagery. In a period marked by a profound religious, economic, and cultural transformation, Bruegel offered his sophisticated urban audience complex biblical images that required an engaged, active viewing, not only sparking learned dinner conversations, but facilitating the negotiation of values seen as critical to maintaining a harmonious society. By considering the novelty of Bruegel’s panels used in convivia alongside his small, intimate grisaille compositions, this study ultimately shows that Bruegel renewed the idiom of religious painting, successfully preserving its ritualistic and meditative functions.
Plainchant is the oldest substantial body of music that has been preserved in any shape or form. It was first written down in Western Europe in the eighth to ninth centuries. Many thousands of chants have been sung at different times or places in a multitude of forms and styles, responding to the differing needs of the church through the ages. This book provides a clear and concise introduction, designed both for those to whom the subject is new and those who require a reference work for advanced study. It begins with an explanation of the liturgies that plainchant was designed to serve. It describes all the chief genres of chant, different types of liturgical book, and plainchant notations. After an exposition of early medieval theoretical writing on plainchant, Hiley provides a historical survey that traces the constantly changing nature of the repertory. He also discusses important musicians and centers of composition. Copiously illustrated with over 200 musical examples, this book highlights the diversity of practice and richness of the chant repertory in the Middle Ages. It will be an indispensable introduction and reference source on this important music for many years to come.
The essays selected here for translation derive largely from Thomasius's work on Staatskirchenrecht, or the political jurisprudence of church law. These works, originating as disputations, theses, and pamphlets, were direct interventions in the unresolved issue of the political role of religion in Brandenburg-Prussia, a state in which a Calvinist dynasty ruled over a largely Lutheran population and nobility as well as a significant Catholic minority. In mandating limited religious toleration within the German states, the provisions of the Peace of Westphalia (1648) also provided the rulers of Brandenburg-Prussia with a way of keeping the powerful Lutheran church in check by guaranteeing a degree of religious freedom to non-Lutherans and thereby detaching the state from the most powerful territorial church. Thomasius's writings on church-state relations, many of them critical of the civil claims made by Lutheran theologians, are a direct response to this state of affairs. At the same time, owing to the depth of intellectual resources at his disposal, these works constitute a major contribution to the broader discussion of the relation between the religious and political spheres.
Through forty-five creative and concise essays by an international team of authors, this Cambridge History brings the fifteenth century to life for both specialists and general readers. Combining the best qualities of survey texts and scholarly literature, the book offers authoritative overviews of central composers, genres, and musical institutions as well as new and provocative reassessments of the work concept, the boundaries between improvisation and composition, the practice of listening, humanism, musical borrowing, and other topics. Multidisciplinary studies of music and architecture, feasting, poetry, politics, liturgy, and religious devotion rub shoulders with studies of compositional techniques, musical notation, music manuscripts, and reception history. Generously illustrated with figures and examples, this volume paints a vibrant picture of musical life in a period characterized by extraordinary innovation and artistic achievement.
This is the first edition since its original publication of Daniel Heinsius’ Latin tragedy Auriacus, sive Libertas saucia (Orange, or Liberty Wounded, 1602), with an introduction, a parallel English translation, and a commentary. Centering on the assassination of William of Orange, one of the leaders of the Dutch Revolt against King Philip II of Spain, Auriacus was Heinsius’ history drama, with which he aimed to raise Dutch drama to the level of classical drama. Highly influential, the tragedy contributed to the construction of a national identity in the Low Countries and launched Heinsius’ long career as an internationally celebrated poet and professor at Leiden University.
Based on consilia and decisiones, Wouter Druwé studies the multinormative framework on loans and credit in the Golden Ages of Antwerp and Amsterdam (c. 1500-1680). He analyzes the use of a wide variety of legal financial techniques in the Low Countries, such as money lending and the taking of interest, the constitution of annuities, cession and delegation, bearer bonds, bills of exchange, partnerships, and representation in financial affairs, as well as the consequences of monetary fluctuations. Special attention is paid to how the transregional European system of learned Roman and canon law (ius commune) was applied in daily ‘learned legal practice’. The study also deals with the prohibition against usury and with the impact of moral theology on legal debates.