Ingrid Ciulisová – författare
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2 produkter
2 produkter
Häftad, Engelska, 2024
441 kr
Skickas inom 5-8 vardagar
The first collection of essays in the English language dedicated to the cultural achievements and politics of one of the most important ruling houses of late medieval Europe. The house of Luxembourg between 1308 and 1437 is best known today for its principal royal and imperial representatives, Henry VII, John the Blind, Charles IV, and Charles's two sons, Wenceslas and Sigismund - a group of rulers who, for better or worse, shaped the political destiny of much of Europe during the fourteenth and early fifteenth centuries. While some of the Luxembourg cultural legacy can still be experienced directly today in and around Prague and southern Germany, and through the literary and musical works of Machaut, Froissart, and Wolkenstein, it reached much further across Europe: from England to present-day Romania, and from the Baltic Sea to the Italian peninsula, alongside the dynasty's homelands in what is now Luxembourg, Belgium and France. However, this culture has not always attracted the scholarly attention it deserves. This volume explores the pan-European impact and influence of the Luxembourgs in a variety of fields: art and architectural history, material culture, Czech, French, German and Latin text production, gender and intellectual history, and music. Embracing the subject matter from multi-disciplinary and transnational perspectives, the essays here offer new insights into the late medieval cultures of the Luxembourg court. Particular subjects treated include the making of the "Wenceslas Bible"; Machaut at the court of John of Luxembourg; and Charles IV's patronage of multilingual literature.On publication this book is available as an Open Access eBook under the Creative Commons license: CC BY-NC-ND.
Del 7 - Spectrum Slovakia
Artistic Innovations and Cultural Zones
Inbunden, Engelska, 2015
1 181 kr
Skickas inom 5-8 vardagar
In 1992, the Comité International d’Histoire de l’Art (CIHA) held its 28th Congress in re-unified Berlin under the theme Künstlerischer Austausch – Artistic Exchange. The subject fed a strain of idealism and optimism relating the history of art to the life of our times. Change was palpable to all the participants. A wall that had seemed everlasting had fallen, a cold war that had lasted a lifetime was now history. The shifting borders and a revised sense of periodization inspired new views of the past as well as the present, of art as well as nationhood and society. One generation later, the contributions to Artistic Innovations and Cultural Zones show how art history has responded to our newly broadened vision of the artistic heritage of Europe. In this volume, the previously unquestioned practice of labelling artists with a period and a place is challenged at an empirical as well as a fundamental level. Artistic Innovations and Cultural Zones revisits the constellation of questions posed at CIHA 1992 at a moment when European history is again being rewritten. It offers new art-historical insights for our time on what it means to be a European.