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According to medieval theologians, faith is a deadly serious business.Humour and virtue are irreconcilable, because laughter is uncontrollable and escapes the control of reason. A modest smile is permitted. But laughing loudly, grinning and grimacing: these are the playing field of the devil - just as pernicious as other uncontrollable urges, such as physical love or the addiction of the gambler. That is the domain of the peasant or fool. In the late Middle Ages, every right-thinking town-dweller knew the difference between the peasant and the fool. Peasants are innocently gullible, primitive, throwing themselves into feasting, gorging, drinking and sex. The peasant is the antithesis of the cultivated urbanite, who fastidiously controls his urges - and who therefore above all must not laugh too loudly. Only during Innocents Day parties or Shrove Tuesday celebrations is it permitted for urban partygoers to play the fool and to show their 'underbelly'. In contrast to the peasant, the fool escapes the existing order.He holds up a mirror to the self-declared wise citizens, because 'the fool reveals the truth through laughter', even though it may be hidden between piss and shit, sex and snot.It is for precisely this reason that Erasmus, in his In Praise of Folly writes not as himself but through the persona of Folly, a broad back behind which the wise person can hide when he denounces social problems. Laughter thus alters the world. In this context, the fool and irony became important motifs in medieval art, especially in the Low Countries. This original art book is illustrated with dozens of top-quality works by Flemish masters from worldwide collections.

Folly in art --- Art, Flemish --- Art, Medieval --- Fools and jesters in art --- History --- Medieval art --- Flemish art --- Moyen Âge --- Folie --- Sociology of culture --- Iconography --- Painting --- Graphic arts --- humor --- genre pictures --- Vlaamse school --- genre, Nederlanden --- jesters --- folly --- anno 1400-1499 --- anno 1500-1599 --- anno 1600-1699 --- Flanders

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A new history of twentieth-century North Africa, that gives voice to the musicians who defined an era and the vibrant recording industry that carried their popular sounds from the colonial period through decolonization. If twentieth-century stories of Jews and Muslims in North Africa are usually told separately, Recording History demonstrates that we have not been listening to what brought these communities together: Arab music. For decades, thousands of phonograph records flowed across North African borders. The sounds embedded in their grooves were shaped in large part by Jewish musicians, who gave voice to a changing world around them. Their popular songs broadcast on radio, performed in concert, and circulated on disc carried with them the power to delight audiences, stir national sentiments, and frustrate French colonial authorities. With this book, Christopher Silver provides the first history of the music scene and recording industry across Morocco, Algeria, and Tunisia, and offers striking insights into Jewish-Muslim relations through the rhythms that animated them. He traces the path of hit-makers and their hit records, illuminating regional and transnational connections. In asking what North Africa once sounded like, Silver recovers a world of many voices—of pioneering impresarios, daring female stars, cantors turned composers, witnesses and survivors of war, and national and nationalist icons—whose music still resonates well into our present.

Arabs --- Jews --- Popular music --- Sound recording industry --- Music --- History and criticism. --- History --- Africa, North --- Ethnic relations --- Algeria. --- Jews. --- Memory. --- Morocco. --- Music. --- Muslims. --- Nationalism. --- Popular Culture. --- Records. --- Tunisia.

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"Europe Views the World examines the wide diversity of images that Europeans produced to represent the wide variety of peoples and places around the globe during and after the so-called 'Age of Exploration.' Beginning with the medieval imagery of Europe's imagined alien races, and with an emphasis on the artists of Northern Europe, Larry Silver takes the reader on a tour across continents, from the Americas to Africa and Asia. Encompassing works such as prints, paintings, maps, tapestries, and sculptural objects, this book addresses the overall question of an emerging European self-definition through the evidence of visual culture, however biased, about the wider world in its component parts. Unique to this book, each chapter concludes with an 'in response,' analysing representations of Europeans by indigenous peoples of each continent to give a deeper and more multi-faceted account of the impact of Europe's view of the world."--Publisher's description.

Iconography --- World history --- History of civilization --- exoticism --- anno 1500-1599 --- anno 1600-1699 --- Europe --- Art and globalization --- Art, European --- Exoticism in art --- Art, Medieval --- Art, Renaissance --- Renaissance art --- Medieval art --- Art, Exotic --- Art --- Globalization and art --- Globalization --- Themes, motives