Justin Kroesen – författare

Periods of transition are often symbolically associated with death, making the latter the paradigm of liminality. Yet, many volumes on death in the social sciences and humanities do not specifically address liminality. This book investigates these “ultimate ambiguities,” assuming they can pose a threat to social relationships because of the disintegrating forces of death, but they are also crucial periods of creativity, change, and emergent aspects of social and religious life. Contributors explore death and liminality from an interdisciplinary perspective and present a global range of historical and contemporary case studies outlining emotional, cognitive, artistic, social, and political implications.

Periods of transition are often symbolically associated with death, making the latter the paradigm of liminality. Yet, many volumes on death in the social sciences and humanities do not specifically address liminality. This book investigates these “ultimate ambiguities,” assuming they can pose a threat to social relationships because of the disintegrating forces of death, but they are also crucial periods of creativity, change, and emergent aspects of social and religious life. Contributors explore death and liminality from an interdisciplinary perspective and present a global range of historical and contemporary case studies outlining emotional, cognitive, artistic, social, and political implications.

The collection of medieval church art at the University Museum of Bergen is among the finest of its kind in Europe. Most of the objects came from churches along Norway’s west coast, but their style, techniques and iconography reflect the many cultural connections that tied these lands to other areas surrounding the North Sea, to the Mediterranean and the Near East.Most outstanding are high medieval altar decorations of painted wood: twenty altar frontals, various polychromed Madonnas and a vaulted altar canopy. The collection also includes several Romanesque baptismal fonts, late Gothic winged altarpieces, metal vessels, and liturgical vestments. Introductory chapters on the museum’s history and on Western Norway’s medieval church landscape are followed by a presentation of one hundred selected art works.