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The Medieval Life of Language: Grammar and Pragmatics from Bacon to Kempe explores the complex history of medieval pragmatic theory and ideas and metapragmatic awareness across social discourses. Pragmatic thinking about language and communication are revealed in grammar, semiotics, philosophy, and literature. Part historical reconstruction, part social history, part language theory, Amsler supplements the usual materials for the history of medieval linguistics and discusses the pragmatic implications of grammatical treatises on the interjection, Bacon's sign theory, logic texts, Chaucer's poetry, inquisitors' accounts of heretic speech, and life writing by William Thorpe and Margery Kempe. Medieval and contemporary pragmatic theory are contrasted in terms of their philosophical and linguistic orientations. Aspects of medieval pragmatic theory and practice, especially polysemy, equivocation, affective speech, and recontextualization, show how pragmatic discourse informed social controversies and attitudes toward sincere, vague, and heretical speech. Relying on Bakhtinian dialogism, critical discourse analysis, and conversation analysis, Amsler situates a key period in the history of linguistics within broader social and discursive fields of practice.

HISTORY / Medieval. --- Philosophy. --- Medieval Studies. --- Linguistics. --- Language Studies. --- History, Art History, and Archaeology. --- High Middle Ages. --- Early Modern Studies. --- Linguistic science --- Science of language --- Language and languages --- Mental philosophy --- Humanities --- Dark Ages --- History, Medieval --- Medieval history --- Medieval period --- Middle Ages --- World history, Medieval --- World history --- Civilization, Medieval --- Medievalism --- Renaissance --- History --- Linguistics --- Pragmatics --- Pragmalinguistics --- General semantics --- Logic, Symbolic and mathematical --- Semantics (Philosophy) --- Philosophy --- (History of) Pragmatics, Medieval linguistics, Literary pragmatics, Religious and social dissent.

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How did objects move between places and people, and how did they reshape the Republic’s arts, cultures and sciences? ‘Objects’ were vitally significant for the early modern Dutch Republic, which is known as an early consumer society, a place famous for its exhaustive production of books, visual arts and scientific instruments. What happens when we push these objects and their materiality to the centre of our research? How do they invite us to develop new perspectives on the early modern Dutch Republic? And how do they contest the boundaries of the academic disciplines that have traditionally organized our scholarship? In Objects, Commodities and Material Cultures, the interdisciplinary community of specialists around the Amsterdam Centre for the Study of Early Modernity innovatively explores the diverse early modern world of objects. Its contributors take a single object or commodity as a point of departure to study and discuss various aspects of early modern art, culture and history: from natural objects to consumer goods, from knowledge instruments to artistic materials. The volume aims to unravel how objects have moved through regions, cultures and ages, and how objects impacted people who lived and worked in the Dutch Republic.

Amsterdam University Press --- AUP --- History, Art History, and Archaeology --- HIS --- Art and Material Culture --- ART & MAT --- Early Modern Studies --- EARLY MOD --- AUP Wetenschappelijk --- AUP WETENSCH --- Material Turn, Early Modernity, History, Art, Culture, Netherlands --- Renaissance art. --- Early modern history: c 1450/1500 to c 1700. --- Social and cultural history. --- ART / European. --- ART / History / Renaissance. --- HISTORY / Renaissance. --- Cultural studies. --- Material culture. --- Art --- History of civilization --- History of the Netherlands --- material culture [discipline] --- material culture [genre] --- objects --- anno 1500-1799 --- Material culture --- History.

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In 1454 the Sienese painter Francesco di Bartolomeo Alfei faced litigation from the Mercanzia in Siena for defaulting on a contract from one of the leading Franciscan confraternities in the city. Two fellow Sienese artists, Giovanni di Paolo and Sano di Pietro, had recently completed a new altarpiece for the same entity. Anabel Thomas considers how the two commissions were linked and questions why Francesco di Bartolomeo Alfei's brief to fresco the confraternity chapel remained unfinished. In a wide ranging analysis of mainly unpublished records, focussing on the artist's association with key members of Sienese society, fellow artisans and government officials, Thomas concludes that Francesco di Bartolomeo Alfei might have honoured his contract had he not become immersed in the military strategy, diplomacy and visual propaganda of the Republic of Siena.

Mural painting and decoration --- Church decoration and ornament --- Confraternities --- Art --- Espionage --- History of art and design styles: c 1400 to c 1600. --- Early modern history: c 1450/1500 to c 1700. --- ART / European. --- ART / History / Renaissance. --- HISTORY / Renaissance. --- Political participation --- Paintings and painting. --- History of art. --- European history: Renaissance. --- History --- Political aspects --- Alfei, Francesco di Bartolomeo. --- To 1500 --- Italy --- History, Art History, and Archaeology --- HIS --- Art and Material Culture --- ART & MAT --- Medieval Studies --- MEDIEVAL --- Politics and Government --- POL & GOV --- Fifteenth-century Siena, Visual Propaganda, Art, Politics and Diplomacy, Government Service and Undercover Agency --- Painting, Italian --- Art patronage --- Alfei, Francesco di Bartolomeo,

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The motif of the woman and the dragon has been prevalent in Western art since antiquity, yet has hitherto remained understudied, and artworks featuring this motif in Western Mediterranean cultures have been examined primarily in relation to the topos of the male dragon-slayer. This book analyzes artistic images of women and dragons over an extensive period, from Classical Greece and Rome (with forays to Egypt and Mesopotamia) to the early modern period in Western Europe. The unique methodology employed in the study of this motif reveals its sacred core, as well as its relationship to rituals of fertility and oracular knowledge, to the liminal realm between life and death, and to the symbolism of Great Mother goddesses. At the same time, the images explored throughout expose stereotypes and biases against women in unusual positions of power, which were embedded in the motif and persisted in Western European art.

Dragons in art --- Women in art --- History of art: ancient and classical art,BCE to c 500 CE. --- History of art: Byzantine and Medieval art c 500 CE to c 1400. --- ART / History / Ancient & Classical. --- ART / History / Medieval. --- HISTORY / Women * --- Paintings and painting. --- History of art. --- Gender studies: women and girls. --- History --- History, Art History, and Archaeology --- HIS --- Art and Material Culture --- ART & MAT --- Diachronic --- DIACHRONIC --- Gender and Sexuality Studies --- GEND & SEXU --- Women, Dragon, Art, Witch, Sacred --- Iconography --- History of civilization --- dragons --- women [female humans] --- iconography --- cultuurgeschiedenis --- Art and mythology --- Art, Ancient --- Art, Medieval --- Themes, motives. --- Themes, motives

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"At once collector, botanist, reader, artist, and patron, Agnes Block is best described as a cultural producer. A member of an influential network in her lifetime, today she remains a largely obscure figure. The socioeconomic and political barriers faced by early modern women, together with a male-dominated tradition in art history, have meant that too few stories of women's roles in the creation, production, and consumption of art have reached us. This book seeks to write Block and her contributions into the art and cultural history of the seventeenth-century Netherlands, highlighting the need for and advantages of a multifaceted approach to research on early modern women. Examining Block's achievements, relationships, and objects reveals a woman who was independent, knowledgeable, self-aware, and not above self-promotion. Though her gender brought few opportunities and many barriers, Agnes Block succeeded in fashioning herself as Flora Batava, a liefhebber at the intersection of art and science."--

Sociology of culture --- Sociology of the family. Sociology of sexuality --- Art --- art history --- Block, Agnes --- Netherlands --- Art, Dutch --- Art néerlandais --- History of art and design styles: c 1600 to c 1800. --- Individual artists, art monographs. --- ART / History / Renaissance. --- ART / Subjects & Themes / Plants & Animals. --- ART / Women Artists. --- History of art. --- Botanical art. --- Collectors and collecting --- Collectionneurs et collections --- Block, Agnes, --- Women and natural history; women participation in networks, women collectors, women cultural producers, women in knowledge communities --- Art néerlandais --- Collectors and collecting. --- Collectionneurs et collections. --- History, Art History, and Archaeology --- HIS --- Art and Material Culture --- ART & MAT --- Cultural Studies --- CULTURAL --- Dutch and The Netherlands --- DUTCH NL --- Early Modern Studies --- EARLY MOD --- Gender and Sexuality Studies --- GEND & SEXU --- Fashion and art. --- Feminism and art. --- Feminism and art --- History --- gender. --- wetenschappen. --- Block, Agnes. --- 17de eeuw. --- Nederlanden.