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Littérature chrétienne primitive --- Christian literature, Early --- Edition --- History and criticism. --- Publishing. --- Histoire et critique --- History and criticism --- Publishing --- -Christian literature, Early --- -276 --- 091 "01/06" --- 095 --- 7.033.1 --- Early Christian literature --- Patristic literature --- Patrologie. Patristiek --- Handschriftenkunde. Handschriftencatalogi--2e/7e eeuw. Periode 100-699 --- Merkwaardige boekbanden --- Vroegchristelijke kunst --- 7.033.1 Vroegchristelijke kunst --- 095 Merkwaardige boekbanden --- 091 "01/06" Handschriftenkunde. Handschriftencatalogi--2e/7e eeuw. Periode 100-699 --- Littérature chrétienne primitive --- 276 --- Publication and distribution --- Histoire et critique. --- Christian literature, Early - History and criticism --- Christian literature, Early - Publishing --- Bible --- Critique et exégèse --- 30-600 (Église primitive) --- Critique et exégèse --- 30-600 (Église primitive)
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This volume approaches the problem of the canonical “center” by looking at art and architecture on the borders of the medieval world, from China to Armenia, Sweden, and Spain. Seven contributors engage three distinct yet related problems: margins, frontiers, and cross-cultural encounters. While not displaying a unified methodology or privileging specific theoretical constructs, the essays emphasize how strategies of representation articulated ownership and identity within contested arenas. What is contested is both medieval (the material evidence itself) and modern (the scholarly traditions in which the evidence has or has not been embedded). An introduction by the editors places the essays within historiographic and pedagogical frameworks. Contributors: J. Caskey, K. Kogman-Appel, C. Maranci, J. Purtle, C. Robinson, N. Wicker and E.S.Wolper.
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Abstraction haunts medieval art, both withdrawing figuration and suggesting elusive presence. How does it make or destroy meaning in the process? Does it suggest the failure of figuration, the faltering of iconography? Does medieval abstraction function because it is imperfect, incomplete, and uncorrected-and therefore cognitively, visually demanding? Is it, conversely, precisely about perfection? To what extent is the abstract predicated on theorization of the unrepresentable and imperceptible? Does medieval abstraction pit aesthetics against metaphysics, or does it enrich it, or frame it, or both? Essays in this collection explore these and other questions that coalesce around three broad themes: medieval abstraction as the untethering of image from what it purports to represent, abstraction as a vehicle for signification, and abstraction as a form of figuration. Contributors approach the concept of medieval abstraction from a multitude of perspectives-formal, semiotic, iconographic, material, phenomenological, epistemological.
Art --- abstraction --- ornaments [object genre] --- Medieval [European] --- anno 500-1499 --- Art, Medieval --- Art, Abstract --- Symbolism in art --- Abstract art --- Art, Non-objective --- Non-objective art --- Art, Modern --- Modernism (Art) --- Medieval art --- Allegory (Art) --- Signs and symbols in art --- Abstract, medieval, art, ornament, meaning.
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