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598 kr
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Experiencing the Last Judgement opens up new ways of understanding a Byzantine image type that has hitherto been considered largely uniform in its manifestations and to a great extent frightening, coercive and paralysing. It moves beyond a purely didactic understanding of the Byzantine image of the Last Judgement, as a visual eschatological text to be ‘read’ and learned from, and proposes instead an appreciation of each unique image as a dynamic site to be experienced. Paintings, icons and mosaics from the tenth to the fourteenth century, from inside and outside of the Byzantine Empire, are placed within their specific socio-historical milieus, their immediate decorative programmes and their architectural contexts to demonstrate that each unique image constituted a carefully orchestrated and immersive experience of judgement. Each case study outlines the differences that exist in reality between these images that are often subsumed under one iconographic label, making a case against condensing dynamic, lived images into apparently static pictorial ‘types’. Images of the Last Judgement needed the body, mind and memory of the viewer for the creation of meaning, and so the experience of these images was unavoidably spatial, gendered, corporeal, mnemonic, emotional, rhetorical and most often liturgical. Unpacking Byzantine images of judgement in light of these various facets of experience for the first time helps to elucidate the interaction of past individuals with the image, and the ways in which such encounters were intended to benefit the communities that made and lived alongside them.
2 188 kr
Skickas inom 10-15 vardagar
Experiencing the Last Judgement opens up new ways of understanding a Byzantine image type that has hitherto been considered largely uniform in its manifestations and to a great extent frightening, coercive and paralysing. It moves beyond a purely didactic understanding of the Byzantine image of the Last Judgement, as a visual eschatological text to be ‘read’ and learned from, and proposes instead an appreciation of each unique image as a dynamic site to be experienced. Paintings, icons and mosaics from the tenth to the fourteenth century, from inside and outside of the Byzantine Empire, are placed within their specific socio-historical milieus, their immediate decorative programmes and their architectural contexts to demonstrate that each unique image constituted a carefully orchestrated and immersive experience of judgement. Each case study outlines the differences that exist in reality between these images that are often subsumed under one iconographic label, making a case against condensing dynamic, lived images into apparently static pictorial ‘types’. Images of the Last Judgement needed the body, mind and memory of the viewer for the creation of meaning, and so the experience of these images was unavoidably spatial, gendered, corporeal, mnemonic, emotional, rhetorical and most often liturgical. Unpacking Byzantine images of judgement in light of these various facets of experience for the first time helps to elucidate the interaction of past individuals with the image, and the ways in which such encounters were intended to benefit the communities that made and lived alongside them.
4 076 kr
Kommande
The Routledge Handbook of the Modern Reception of Byzantium provides a systematic and comprehensive commentary on the various ways that Byzantium has been responded to in the modern world and introduces the reader to areas of Byzantine not covered to date through its international case studies.Most studies dealing with the modern reception of Byzantium focus on its role in the formation of national or European identities, or as an exotic ‘other,’ without covering the various spheres of culture, beyond history writing and literature, within which the reception of Byzantium may be discerned. This Handbook responds to the need perceived by scholars and students for a publication that brings definition and clarity to this growing field of Byzantine studies. The volume is structured around seven thematic sections – histories, politics, architecture, art, display, literature, and embodied and performative culture – each opened by a substantial conceptual essay from a leading scholar, and expanded through focused case studies that range geographically from China and Argentina to Ukraine, Ethiopia and the Greek diaspora in the United States. Together, forty-nine contributions from an internationally distinguished roster of scholars illuminate Byzantium as a polysemic signifier: from decadence and bureaucratic complexity to spiritual purity, creative reinvention and nationalist aspiration. Richly illustrated and expansive in scope, the volume gives particular attention to receptions long inaccessible to an English-speaking audience, correcting the field's historic privileging of Western European perspectives.An essential reference work for researchers, lecturers and students, the Handbook will be indispensable across Byzantine studies, art history, architecture, cultural history, political thought, literary studies, film, and heritage studies.