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This book articulates a new approach to medieval aesthetic values, emphasizing the sensory and emotional basis of all medieval arts, their love of play and fine craftsmanship, of puzzles, and of strong contrasts. Written for a general educated audience as well as students and scholars in the field, it offers an understanding of medieval literature and art that is rooted in the perceptions and feelings of ordinary life, made up of play and laughter as well as serious work. Medievalstylistic values of variety, sweetness, good taste, and ordinary beauty are grounded in classical and medieval biol
Aesthetics, Medieval --- Esthétique médiévale --- Esthétique médiévale. --- Thèmes, motifs. --- Esthétique médiévale --- Aesthetics --- anno 500-1499 --- Art, Medieval --- Esthétique --- Art médiéval --- Aesthetics. --- History --- Themes, motives. --- Histoire. --- To 1500. --- Art médiéval --- Thèmes, motifs --- Aesthetics, Medieval. --- Medieval aesthetics
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Art, Medieval --- Christian art and symbolism --- Rites and ceremonies, Medieval --- Medieval rites and ceremonies --- Civilization, Medieval --- Medieval art --- Europe. --- History. --- Art médiéval --- Art et symbolisme chrétiens --- Rites et cérémonies médiévaux --- History --- Histoire
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Art in England fills a void in the scholarship of both English and medieval art by offering the first single volume overview of artistic movements in Medieval and Early Renaissance England. Grounded in history and using the chronology of the reign of monarchs as a structure, it is contextual and comprehensive, revealing unobserved threads of continuity, patterns of intention and unique qualities that run through English art of the medieval millennium. By placing the English movement in a European context, this book brings to light many ingenious innovations that focused studies tend not to recognize and offers a fresh look at the movement as a whole. The media studied include architecture and related sculpture, both ecclesiastical and secular; tomb monuments; murals, panel paintings, altarpieces, and portraits; manuscript illuminations; textiles; and art by English artists and by foreign artists commissioned by English patrons
illuminated manuscripts --- Gothic [Medieval] --- propaganda --- sculpture [visual work] --- British Isles Medieval styles --- architecture [object genre] --- Art --- easel paintings [paintings by form] --- anno 1200-1499 --- anno 700-799 --- anno 600-699 --- anno 800-1199 --- anno 1500-1599 --- Great Britain --- Art, Medieval --- Art, Renaissance --- Art médiéval --- Art de la Renaissance --- sculpture [visual works] --- Art médiéval --- Renaissance art --- Medieval art
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Ce volume réunit les 31 contributions des Actes du colloque du CUER MA (2004). Étudier la digression dans la littérature médiévale constituait une sorte de défi. Il ne s'agissait ni de condamner ces excursus ni d'en faire l'éloge. Qui, de l'auteur ou du lecteur, est le plus apte à borner l'espace digressif et à l'apprécier ? Dans les précautions que les auteurs prennent à commenter ou à justifier leur écart, se prononcent les fonctions différentes, mais non exclusives l'une de l'autre, qu'il est censé remplir. La digression se présente comme utile ; qu'elle cherche à amuser, à séduire, à conseiller, à renseigner, à engager à l'action, ou à faire participer le lecteur à l'acte d'écriture, elle relève toujours d'une stratégie. Du XIIe au XVe siècle, son emploi témoigne d'une volonté sommative, avouée, voire revendiquée, dans les encyclopédies, les traités didactiques, les récits de voyages, les chroniques, plus masquée dans les œuvres de fiction, où son usage permet paradoxalement à nombre d'auteurs de renforcer la cohésion d'une matière narrative sujette aux égarements du plaisir de raconter. Lecteurs en quête de sens, nous montrons comme nous sommes portés à découvrir sous l'abondance des mots et le déplacement des points de vue un ordre de la pensée. Quant à l'usage médiéval de la digression, il témoigne d'une littérature qui cherche à définir sa fonction dans la société, son utilité, son pouvoir, qui laisse voir comment elle s'enracine dans une tradition qu'elle ne cesse de renouveler. (www.fabula.org)
Old French literature --- Thematology --- Aesthetics of art --- Digression (Rhetoric) --- Literature, Medieval --- Art, Medieval --- Digression (Rhétorique) --- Littérature médiévale --- Art médiéval --- Fiction --- French literature --- Technique. --- History and criticism. --- Languages & Literatures --- Literature - General --- Digression (Rhétorique) --- Littérature médiévale --- Art médiéval --- Mediaeval literature and art --- Criticism --- Fiction - Technique. --- French literature - To 1500 - History and criticism. --- littérature médiévale --- digression --- excursus
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Die Erinnerung an das Reich der mittelalterlichen Könige und Kaiser nahm in der nationalsozialistischen Geschichts- und Kulturpolitik eine herausragende Stellung ein. Das Reich Karls des Großen und die Jahrhunderte der "deutschen Kaiserzeit", die Zeit der Ottonen, Salier und Staufer, galten als erste Phase "deutscher Größe" und als Vorwegnahme und historische Rechtfertigung des von den Nationalsozialisten angestrebten "großgermanischen Reiches". Von dieser völkisch-nationalistischen Deutung des Mittelalters, deren Wurzeln bis ins 19. Jahrhundert zurückreichen, blieb auch die Sicht auf die mittelalterliche Kunst nicht unbeeinflusst. Im Mittelalter wurde der Anfang "deutscher Kunst" gesucht, in der mittelalterlichen Kunst sah man einen frühen Ausdruck des deutschen Nationalcharakters, und entsprechend konnte sie sowohl als Vorbild für eine neu zu schaffende, nationale und "volksverbundene" Kunst in Anspruch genommen als auch gegen die "Entartungen" der modernen Kunst ins Feld geführt werden. Im Zentrum der Publikation steht die Praxis der Mittelalter-Kunstgeschichte im Nationalsozialismus, ihre Vorgeschichte und unmittelbare Folge. Es geht um eine Analyse der Gegenstände, Begriffe, Methoden und Deutungsmuster, mit denen mediävistische Kunstgeschichte im Nationalsozialismus operierte. Ein zweiter Themenschwerpunkt liegt auf der Popularisierung des Mittelalterbildes in Schrifttum, Film und Veranstaltungen.
National socialism and intellectuals. --- National socialism and science. --- National socialism and art --- Art, Medieval --- Middle Ages in popular culture --- Political Science --- Visual Arts --- Art, Architecture & Applied Arts --- Law, Politics & Government --- Socialism, Communism & Anarchism --- Visual Arts - General --- Socialism and art. --- Art, Medieval. --- Nazisme et art --- Art médiéval --- Moyen Age dans la culture populaire --- Congresses --- Congrès --- Medieval art --- Art and socialism --- Art
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Covers the topics, symbols, themes, and stories most frequently found in early Christian, western medieval, and Byzantine art.
Art, Medieval --- Christian art and symbolism --- Art médiéval --- Art et symbolisme chrétiens --- Dictionaries --- Dictionnaires anglais --- Dictionaries. --- Art, Christian --- Art, Ecclesiastical --- Arts in the church --- Christian symbolism --- Ecclesiastical art --- Symbolism and Christian art --- Religious art --- Symbolism --- Symbolism in art --- Church decoration and ornament --- Medieval art --- Art, Byzantine
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"Explores Theophilus' On Diverse Arts, a twelfth-century treatise on artistic techniques. Examines the system of values according to which medieval artists operated and created art objects"--Provided by publisher
Art --- Art, Medieval. --- Medieval art --- Art, Occidental --- Art, Primitive --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Technique --- Theophilus, --- Art. --- Künstlerische Technik. --- Traktat. --- Early works to 1800. --- Technique. --- De diversis artibus (Theophilus, Presbyter). --- Art médiéval. --- Théophile (10..-11.. ; moine).
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Assembled on the occasion of Gary Dickson's retirement from the University of Edinburgh following a distinguished career as an internationally acclaimed scholar of medieval social and religious history, this volume contains contributions by both established and newer scholars inspired by Dickson’s particular interests in medieval popular religion, including ‘religious enthusiasm’. Together, the essays comprise a comprehensive and rich investigation of the idea of sanctity and its many medieval manifestations across time (fifth through fifteenth centuries) and in different geographical locations (England, Scotland, France, Italy, the Low Countries). By approaching the theme of sanctity from multiple disciplinary perspectives, this highly original collection pushes forward current academic thinking about medieval hagiography, iconography, social history, women's studies, and architectural history.
Christian special devotions --- anno 500-1499 --- France --- Scotland --- Belgium --- Netherlands --- Italy --- England --- 75.046.3 --- 246 "04/14" --- 75.046.3 Religie in de schilderkunst. Heiligenbeelden --- Religie in de schilderkunst. Heiligenbeelden --- Christelijke kunst en symbolisme--Middeleeuwen --- Christian art and symbolism --- Holiness --- Civilization, Medieval --- Art, Medieval --- Art et symbolisme chrétiens --- Sainteté --- Civilisation médiévale --- Art médiéval --- Congresses. --- Congrès --- Europe --- Church history --- Religious life and customs --- Histoire religieuse --- Vie religieuse --- Council of Europe countries --- Eastern Hemisphere --- Eurasia --- Dickson, Gary
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In the fourth century the idea arose that the Cross on which Christ was crucified had been found by Helena, mother of Emperor Constantine. Thus began a legend that would grow and flourish throughout the Middle Ages and cause the diffusion of countless splinters of holy wood. And where there is wood, there was once a tree. Could it be that the Cross was made from that most noble species, the Tree of Life? So, gathering characters along the way, the legend evolved into a tale that stretches from the Creation to the End of Time. A Heritage of Holy Wood is the first reconstruction of the iconographic and literary tradition of the Legend of the True Cross. Its broad scope encompasses relic cults, pilgrimages, travellers' tales and the Tree of Life and involves Church Fathers, crusader kings, Teutonic Knights and mendicant orders, all of which influenced the legend's depiction from its earliest representation in manuscripts, reliquaries and altarpieces, to the great monumental cycles of the high Middle Ages. If the holy wood was the medium of medieval memory, A Heritage of Holy Wood reveals the growth rings of fifteen centuries of imagery.
Holy Cross --- Art, Byzantine. --- Art, Medieval. --- Legends --- Art [Byzantine ] --- Art [Medieval ] --- Art byzantin --- Art médiéval --- Byzantijnse kunst --- Byzantine art --- Kunst [Byzantijnse ] --- Kunst [Middeleeuwse ] --- Medieval art --- Middeleeuwse kunst --- Iconography --- Christian church history --- Christian special devotions --- anno 500-1499 --- 091.31:7.04 --- 246 --- Academic collection --- 091.31:7.04 Verluchte handschriften: iconografie --- Verluchte handschriften: iconografie --- Christelijke kunst en symbolisme --- Religion Art in Christianity --- Art, Byzantine --- Art, Medieval --- Sainte Croix --- Art médiéval --- Art --- Légendes --- Christian art and symbolism --- Cross --- Feast of the Cross --- Art. --- Holy Cross - Legends - Art.
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These volumes propose a renewed way of framing the debate around the history of medieval art and architecture to highlight the multiple roles played by women. Today’s standard division of artist from patron is not seen in medieval inscriptions—on paintings, metalwork, embroideries, or buildings—where the most common verb is 'made' ( fecit ). At times this denotes the individual whose hands produced the work, but it can equally refer to the person whose donation made the undertaking possible. Here twenty-four scholars examine secular and religious art from across medieval Europe to demonstrate that a range of studies is of interest not just for a particular time and place but because, from this range, overall conclusions can be drawn for the question of medieval art history as a whole. Contributors are Mickey Abel, Glaire D. Anderson, Jane L. Carroll, Nicola Coldstream, María Elena Díez Jorge, Jaroslav Folda, Alexandra Gajewski, Loveday Lewes Gee, Melissa R. Katz, Katrin Kogman-Appel, Pierre Alain Mariaux, Therese Martin, Eileen McKiernan González, Rachel Moss, Jenifer Ní Ghrádaigh, Felipe Pereda, Annie Renoux, Ana Maria S. A. Rodrigues, Jane Tibbetts Schulenburg, Stefanie Seeberg, Miriam Shadis, Ellen Shortell, Loretta Vandi, and Nancy L. Wicker.
Art --- Sociology of the family. Sociology of sexuality --- anno 500-1499 --- Art, Medieval. --- Architecture, Medieval. --- Women artists --- Women art patrons --- Art and society --- Architecture and society --- Architecture --- Architecture and sociology --- Society and architecture --- Sociology and architecture --- Art and sociology --- Society and art --- Sociology and art --- Art patrons --- Women benefactors --- Artists, Women --- Women as artists --- Artists --- Middle Ages --- Medieval art --- History --- Social aspects --- Human factors --- Art médiéval --- Architecture médiévale --- Femmes artistes --- Femmes mécènes --- Art et société --- Architecture et société --- Histoire --- Architecture, Medieval --- Art, Medieval
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