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Author: Jeremy Dimmick Publisher: OUP Oxford ISBN: 0191541966 Category : Literary Criticism Languages : en Pages : 264
Book Description
This book capitalizes on brilliant recent work on sixteenth-century iconoclasm to extend the study of images, both their making and their breaking, into an earlier period and wider discursive territories. Pressures towards iconoclasm are powerfully registered in fourteenth and fifteenth-century writings, both heterodox and orthodox, just as the use of images is central to the practice of both politics and religion. The governance of images turns out, indeed, to be central to governance itself. It is also of critical concern in any moment of historical change, when new cultural forms must incorporate or destroy the images of the old order. The iconoclast redescribes images as pure matter, objects of idolatry worthy only of the hammer. Issues of historical memory, no less than of social ethics, are, then, inherent to the making, love, and destruction of images. These issues are the consistent concern of the essays of this volume, essays commissioned from a range of outstanding late medievalists in a variety of disciplines: literature, art history, Biblical studies, and intellectual history.
Author: Jeremy Dimmick Publisher: OUP Oxford ISBN: 0191541966 Category : Literary Criticism Languages : en Pages : 264
Book Description
This book capitalizes on brilliant recent work on sixteenth-century iconoclasm to extend the study of images, both their making and their breaking, into an earlier period and wider discursive territories. Pressures towards iconoclasm are powerfully registered in fourteenth and fifteenth-century writings, both heterodox and orthodox, just as the use of images is central to the practice of both politics and religion. The governance of images turns out, indeed, to be central to governance itself. It is also of critical concern in any moment of historical change, when new cultural forms must incorporate or destroy the images of the old order. The iconoclast redescribes images as pure matter, objects of idolatry worthy only of the hammer. Issues of historical memory, no less than of social ethics, are, then, inherent to the making, love, and destruction of images. These issues are the consistent concern of the essays of this volume, essays commissioned from a range of outstanding late medievalists in a variety of disciplines: literature, art history, Biblical studies, and intellectual history.
Author: Kathleen Kamerick Publisher: Palgrave Macmillan ISBN: 9780312293123 Category : History Languages : en Pages : 304
Book Description
Medieval churchmen typically defended religious art as a form of "book" to teach the unlettered laity their faith, but in late medieval England, Lollard accusations of idolatry stimulated renewed debate over image worship. Popular Piety and Art in the Late Middle Ages places this dispute within the context of the religious beliefs and devotional practices of lay people, showing how they used and responded to holy images in their parish churches, at shrines, and in prayer books. Far more than substitutes for texts, holy images presented a junction of the material and spiritual, offering an increasingly literate laity access to the supernatural through the visual power of "beholding."
Author: Michael O'Connell Publisher: Oxford University Press ISBN: 0195344022 Category : Literary Criticism Languages : en Pages : 209
Book Description
This study argues that the century after the Reformation saw a crisis in the way that Europeans expressed their religious experience. Focusing specifically on how this crisis affected the drama of England, O'Connell shows that Reformation culture was preoccupied with idolatry and that the theater was frequently attacked as idolatrous. This anti-theatricalism notably targeted the traditional cycles of mystery plays--a type of vernacular, popular biblical theater that from a modern perspective would seem ideally suited to advance the Reformation project. The Idolatrous Eye provides a wide perspective on iconoclasm in the sixteenth century, and in so doing, helps us to understand why this biblical theater was found transgressive and what this meant for the secular theater that followed.
Author: Sarah Stanbury Publisher: University of Pennsylvania Press ISBN: 1512808296 Category : Literary Criticism Languages : en Pages : 300
Book Description
Little remains of the rich visual culture of late medieval English piety. The century and a half leading up to the Reformation had seen an unparalleled growth of devotional arts, as chapels, parish churches, and cathedrals came to be filled with images in stone, wood, alabaster, glass, embroidery, and paint of newly personalized saints, angels, and the Holy Family. But much of this fell victim to the Royal Injunctions of September 1538, when parish officials were ordered to remove images from their churches. In this highly insightful book Sarah Stanbury explores the lost traffic in images in late medieval England and its impact on contemporary authors and artists. For Chaucer, Nicholas Love, and Margery Kempe, the image debate provides an urgent language for exploring the demands of a material devotional culture—though these writers by no means agree on the ethics of those demands. The chronicler Henry Knighton invoked a statue of St. Katherine to illustrate a lurid story about image-breaking Lollards. Later John Capgrave wrote a long Katherine legend that comments, through the drama of a saint in action, on the powers and uses of religious images. As Stanbury contends, England in the late Middle Ages was keenly attuned to and troubled by its "culture of the spectacle," whether this spectacle took the form of a newly made queen in Chaucer's Clerk's Tale or of the animate Christ in Norwich Cathedral's Despenser Retable. In picturing images and icons, these texts were responding to reformist controversies as well as to the social and economic demands of things themselves, the provocative objects that made up the fabric of ritual life.
Author: James Simpson Publisher: OUP Oxford ISBN: 0191625108 Category : Literary Criticism Languages : en Pages : 240
Book Description
When we think of breaking images, we assume that it happens somewhere else. We also tend to think of iconoclasts as barbaric. Iconoclasts are people like the Taliban, who blew up Buddhist statues in 2001. We tend, that is, to look with horror on iconoclasm. This book argues instead that iconoclasm is a central strand of Anglo-American modernity. Our horror at the destruction of art derives in part from the fact that we too did, and still do, that. This is most obviously true of England's iconoclastic century between 1538 and 1643. That century of legislated early modern image breaking, exceptional in Europe for its jurisdictional extension and duration, stands at the core of this book. That's when written texts, especially poems, rather than visual images became our living monuments. Surely, though, the story of image breaking stops in the eighteenth century, with its enlightened cultivation of the visual arts and the art market. Not so, argues Under the Hammer: once started, iconoclasm is difficult to stop. It ripples through cultures, into the psyche, and it ripples through history. Museums may have protected images from the iconoclast's hammer, but also subject images to metaphorical iconoclasm. Aesthetics may have drawn a protective circle around the image, but as it did so, it also neutralised the image. The ripple effect also continues across the Atlantic, into puritan culture, into twentieth-century American Abstract Expressionism, and into the puritan temple of modern art. That, in fact, is where this book starts, with mid-twentieth-century abstract painting: the image has survived, just, but it bears the scars of a 500 year history.
Author: Matthew Milner Publisher: Routledge ISBN: 131701636X Category : History Languages : en Pages : 431
Book Description
It is a commonly held belief that medieval Catholics were focussed on the 'bells and whistles' of religious practices, the smoke, images, sights and sounds that dazzled pre-modern churchgoers. Protestantism, in contrast, has been cast as Catholicism's austere, intellective and less sensual rival sibling. With iis white-washed walls, lack of incense (and often music) Protestantism worship emphasised preaching and scripture, making the new religion a drab and disengaged sensual experience. In order to challenge such entrenched assumptions, this book examines Tudor views on the senses to create a new lens through which to explore the English Reformation. Divided into two sections, the book begins with an examination of pre-Reformation beliefs and practices, establishing intellectual views on the senses in fifteenth-century England, and situating them within their contemporary philosophical and cultural tensions. Having established the parameters for the role of sense before the Reformation, the second half of the book mirrors these concerns in the post-1520 world, looking at how, and to what degree, the relationship between religious practices and sensation changed as a result of the Reformation. By taking this long-term, binary approach, the study is able to tackle fundamental questions regarding the role of the senses in late-medieval and early modern English Christianity. By looking at what English men and women thought about sight, hearing, smell, taste and touch, the stereotype that Protestantism was not sensual, and that Catholicism was overly sensualised is wholly undermined. Through this examination of how worship was transformed in its textual and liturgical forms, the book illustrates how English religion sought to reflect changing ideas surrounding the senses and their place in religious life. Worship had to be 'sensible', and following how reformers and their opponents built liturgy around experience of the sacred through the physical allows us to tease out the tensions and pressures which shaped religious reform.
Author: Donna L. Sadler Publisher: BRILL ISBN: 9004293140 Category : History Languages : en Pages : 251
Book Description
Grief binds the worshipers together in an adagio of sorrow as they encounter the sculptural representation of the Entombment of Christ. Located in funerary chapels, parish churches, cemeteries, and hospitals, these works embody the piety of the later Middle Ages. In this book, Donna Sadler examines the sculptural Entombments from Burgundy and Champagne through a variety of lenses, including performance theory, embodied perception, and the invocation of the absent presence of the Holy Sepulcher. The author demonstrates how the action of Joseph of Arimathea and Nicodemus entombing Christ in the presence of the Marys and John operates in a commemorative and collective fashion: the worshiper enters the realm of the holy and becomes a participant in the biblical event.
Author: Ashby Kinch Publisher: BRILL ISBN: 9004243690 Category : History Languages : en Pages : 319
Book Description
Here, Ashby Kinch argues for the affirmative quality of late medieval death art and literature, providing a new, interdisciplinary approach to a well-known body of material.
Author: Jeremy Dimmick
Author: Jeremy Dimmick
Author: Guillaume de Deguileville
Author: Kathleen Kamerick
Author: Michael O'Connell
Author: Sarah Stanbury
Author: James Simpson
Author: Matthew Milner
Author: Donna L. Sadler
Author: Heesok Chang
Author: Ashby Kinch