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"Sacred and profane, public and private, emotive and ritualistic, internal and embodied, medieval weeping served as a culturally charged prism for a host of social, visual, cognitive, and linguistic performances. Crying in the Middle Ages addresses the place of tears in Jewish, Christian, and Islamic cultural discourses, providing a key resource for scholars interested in exploring medieval notions of emotion, gesture, and sensory experience in a variety of cultural contexts. Gertsman brings together essays that establish a series of conversations with one another, foregrounding essential questions about the different ways that crying was seen, heard, perceived, expressed, and transmitted throughout the Middle Ages. In acknowledging the porous nature of visual and verbal evidence, this collection foregrounds the necessity to read language, image, and experience together in order to envision the complex notions of medieval crying."--
Crying --- Emotions (Philosophy) --- Middle Ages --- Medievalists --- Philosophy --- Weeping --- Emotions --- Nonverbal communication --- History --- Historiography --- Art --- Crying. --- Emotions (philosophy) --- Emotions (philosophy). --- Gesellschaft. --- Kultur. --- Kulturvergleich. --- Künste. --- Literary criticism --- Middle ages --- Mittelalter. --- Weinen (motiv). --- Weinen. --- Medieval. --- Historiography. --- Geschichte 500-1500. --- crying [weeping] --- History of civilization --- art history --- anno 500-1499 --- Pleurs --- Emotions (Philosophie) --- Moyen Age --- Histoire --- Historiographie --- History. --- crying --- cultuurgeschiedenis
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Hugo van der Goes (c. 1440-1482) was the most important Netherlandish artist of the second half of the 15th century. His innovative pictorial compositions are characterised by monumental figures and realistic narrative moments. They paved the way for the development of Netherlandish painting during the following centuries. The artist worked in Ghent and in the Roode Monastery near Brussels. His works were admired by his contemporaries and were copied countless times until well into the 17th century. This modern monograph pays tribute to the character and importance of his numerically modest works. It juxtapose his great altarpieces with more intimate panels, drawings and miniatures as well as works from his immediate circle. Lavishly illustrated and competently explained, the publication creates a comprehensive overview of the creative oeuvre of a magnificent artist.
Drawing --- Painting --- drawing [image-making] --- painting [image-making] --- artistic change --- Early Netherlandish --- Goes, van der, Hugo --- kunst --- België --- vijftiende eeuw --- van der Goes Hugo --- Vlaamse Primitieven --- middeleeuwen --- schilderkunst --- 75.071 --- van der Goes, Hugo --- Van der Goes, Hugo --- Goes, Hugo van der --- (Produktform)Hardback --- Malerei/Mittelalter --- Malerei/Renaissance --- Sakrale Kunst --- Malerei --- 14./15. Jahrhundert --- Painting/Middle Age --- Painting/Renaissance --- Sacral Art --- Arts --- 14th/15th Century --- (VLB-WN)1583: Hardcover, Softcover / Kunst/Bildende Kunst --- Vlaamse primitieven. --- oude meesters. --- van der Goes, Hugo. --- van der Weyden, Rogier. --- 15de eeuw. --- van der Goes, Hugo - approximately 1435-1482 - Flemish painter --- Vlaamse primitieven --- oude meesters --- van der Weyden, Rogier --- 15de eeuw
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At least since the publication of Burckhardt’s seminal study, the Renaissance has commonly been understood in terms of discontinuities. Seen as a radical departure from the intellectual and cultural norms of the ‘Middle Ages’, it has often been associated with the revival of classical Antiquity and the transformation of the arts, and has been viewed primarily as an Italian phenomenon. In keeping with recent revisionist trends, however, the essays in this volume explore moments of profound intellectual, artistic, and geographical continuity which challenge preconceptions of the Renaissance. Examining themes such as Shakespearian tragedy, Michelangelo’s mythologies, Johannes Tinctoris’ view of music, the advent of printing, Burgundian book collections, and Bohemian ‘renovatio’, this volume casts a revealing new light on the Renaissance. Contributors include Klára Benešovská, Robert Black, Stephen Bowd, Matteo Burioni, Ingrid Ciulisová, Johannes Grave, Luke Houghton, Robin Kirkpatrick, Alexander Lee, Diotima Liantini, Andrew Pettegree, Rhys W. Roark, Maria Ruvoldt, Jeffrey Chipps Smith, Robin Sowerby, George Steiris, Rob C. Wegman, and Hanno Wijsman.
Arts, Renaissance. --- Continuity --- Continuïteit. --- Discontinuïteit. --- Geistesleben. --- Kontinuität. --- Kunst. --- Mittelalter. --- Perception --- Renaissance. --- Art --- Continuité --- Vie intellectuelle --- Übergangszeit. --- Social aspects --- History --- Idées --- Mentalité --- Rupture --- Europa (geografie). --- Europa. --- Europe --- Civilization --- Classical influences. --- Geography. --- Intellectual life. --- Social conditions. --- History. --- Civilisation --- Influence classique --- Classical influences --- Renaissance --- art [fine art] --- art theory --- History of Europe --- anno 1400-1499 --- anno 1300-1399 --- anno 1600-1699 --- anno 1500-1599 --- Continuité --- Arts de la Renaissance --- Aspect social --- Histoire --- Influence ancienne --- Géographie --- Conditions sociales --- Arts, Renaissance --- Revival of letters --- History, Modern --- Civilization, Medieval --- Civilization, Modern --- Humanism --- Middle Ages --- Supraliminal perception --- Cognition --- Apperception --- Senses and sensation --- Thought and thinking --- Continuum --- Mathematics --- Indivisibles (Philosophy) --- Renaissance arts --- Social aspects&delete& --- Philosophy --- Council of Europe countries --- Eastern Hemisphere --- Eurasia --- Influence classique. --- art [discipline] --- invloed van Byzantijnse school --- invloed van antieke kunst
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