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Tác giả: Renana Bartal
NXB: Routledge
Chi tiết sản phẩm
Review"By interrogating difference rather than seeking similarities, this study offers a valuable new perspective on the later English Apocalypse tradition. It challenges perceptions of illuminators as rude craftsmen, highlights the cultural patronage and intellectual interests of a diverse range of fourteenth-century audiences, and explores the multiple textual, social, devotional and pastoral contexts in which fourteenth-century Apocalypse manuscripts can be sited with great insight and expertise."--Peregrinations: Journal of Medieval Art and Architecture"The result is an impressively scholarly and original work which offers invaluable insights into the dissemination and reception of pastoral material in the vernacular in the fourteenth century, especially amongst female readers, and significantly advances our understanding of the uses and importance of Apocalypse material in the period."--Medium Aevum
About the Author"By interrogating difference rather than seeking similarities, this study offers a valuable new perspective on the later English Apocalypse tradition. It challenges perceptions of illuminators as rude craftsmen, highlights the cultural patronage and intellectual interests of a diverse range of fourteenth-century audiences, and explores the multiple textual, social, devotional and pastoral contexts in which fourteenth-century Apocalypse manuscripts can be sited with great insight and expertise."
Thông tin sách: Gender, Piety, and Production in Fourteenth-Century English Apocalypse Manuscripts (Hardcover, 198 trang) – Routledge, 2016. Ngôn ngữ: Tiếng Anh.
Gender, Piety, and Production in Fourteenth-Century English Apocalypse Manuscripts is the first in-depth study of three textually and iconographically diverse Apocalypses illustrated in England in the first half of the fourteenth century by a single group of artists. It offers a close look at a group of illuminators previously on the fringe of art historical scholarship, challenging the commonly-held perception of them as mere craftsmen at a time when both audiences and methods of production were becoming increasingly varied. Analyzing the manuscripts’ codicological features, visual and textual programmes, and social contexts, it explores the mechanisms of a fourteenth-century commercial workshop and traces the customization of these books of the same genre to the needs and expectations of varied readers, revealing the crucial influence of their female audience. The book will be of interest to scholars and students of English medieval art, medieval manuscripts, and the medieval Apocalypse, as well as medievalists interested in late medieval spirituality and theology, medieval religious and intellectual culture, book patronage and ownership, and female patronage and ownership.Giá bán
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