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Christ's Crucifixion is one of the most recognized images in Western culture, and it has come to stand as a universal symbol of both suffering and salvation. But often overlooked is the fact that ultimately the Crucifixion is a scene of capital punishment. Mitchell Merback reconstructs the religious, legal, and historical context of the Crucifixion and of other images of public torture. The result is a fascinating account of a time when criminal justice and religion were entirely interrelated and punishment was a visual spectacle devoured by a popular audience. Merback compares the images of Christ's Crucifixion with those of the two thieves who met their fate beside Jesus. In paintings by well-known Northern European masters and provincial painters alike, Merback finds the two thieves subjected to incredible cruelty, cruelty that artists could not depict in their scenes of Christ's Crucifixion because of theological requirements. Through these representations Merback explores the ways audiences in early modern Europe understood images of physical suffering and execution. The frequently shocking works also provide a perspective from which Merback examines the live spectacle of public torture and execution and how audiences were encouraged by the Church and the State to react to the experience. Throughout, Merback traces the intricate and extraordinary connections among religious art, devotional practice, bodily pain, punishment, and judicial spectatorship. Keenly aware of the difficulties involved in discussing images of atrocious violence but determined to make them historically comprehensible, Merback has written an informed and provocative study that reveals the rituals of medieval criminal justice and the visual experiences they engendered.
When spectators in the Middle Ages examined images of Christ's crucifixion on Mount Calvary, did they ever consider them as representations of capital punishment? This work argues that they did, and traces connections between religious devotion, physical pain, criminal justice and judicial spectatorship, to explain why.
Christ's Crucifixion is one of the most recognized images in Western visual culture, and it has come to stand as a universal symbol of both suffering and salvation. But often overlooked in this symbolic language is the fact that ultimately the Crucifixion is a scene of capital punishment. In The Thief, the Cross and the Wheel, Mitchell Merback reconstructs the religious, legal, and historical context of the Crucifixion and of other images of public torture. The result is an account of a time when criminal justice and religion were entirely interrelated and punishment was a visual spectacle devoured by a popular audience.
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DIVInvestigates the popular canonization of a saint in Tijuana, asking what triggered the devotion and considering local, national, international, geographical, environmental, cultural, and psychological aspects of the event./div
A new look at the way in which medieval European literature depicts torture and brutality.
Old Friends is a collection of experiences with people, places, and things; some real, some imaginary? These poems, short stories, and essays were years in the making and experiencing, yet can apply from adolescence to the deep wisdom of great age and all betwixt the two. Between the covers youll find contrasts between light and dark, kind and cruel, and insightful and blind as the author delves into the challenges, changes, and acceptances of life. May you find insight and memories within your old friends in these words.
Set against the framework of modern political concerns, Treason: Medieval and Early Modern Adultery, Betrayal, and Shame considers the various forms of treachery in a variety of sources, including literature, historical chronicles, and material culture creating a complex portrait of the development of this high crime.
The practice and the representation of flaying in the middle ages and after are considered in this provocative collection.
A fascinating theological study of how early Christianity’s message of love and community has evolved into one of punishment and empire During their first millennium, Christians filled their sanctuaries with images of Christ as a living presence—as a shepherd, teacher, healer, or an enthroned god. He is serene and surrounded by lush scenes, depictions of this world as paradise. Yet once he appeared as crucified, dying was virtually all Jesus seemed able to do, and paradise disappeared from the earth. Saving Paradise turns a fascinating new lens on Christianity, from its first centuries to the present day, asking how its early vision of beauty evolved into a vision of torture, and what changes in society and theology marked that evolution. It also retrieves, for today, a life-affirming Christianity that the world sorely needs.