Isbn: 9780691055824 - history as a visual art in the twelfth-century renaissance (princeton legacy library) (7 Ergebnisse)

Hardcover. Zustand: Used-Very Good. dj. Cloth, dj. Minor shelf wear; light sunning to jacket spine, edges of panels. Else a bright, clean copy.

Hardcover. Zustand: Fine. No Jacket. 2nd Edition. Fine in Red Cloth.

Zustand: Good. First edition. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Zustand: Good. First edition. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.…

First US Edition: Hardback, red bds., gold titles on black spinal label, 160 x 240 mm., 700 g., 262 pp., with Index, illustrated with 15 figures in the text, original dw., Fine/Fine copy.

Zustand: Very Good.

orig. cloth. 24x16cm, xxvi,262 pp., Name on half-title. Minor wear. Contents: Interpreters of the feast, or a dialogue between ancients and moderns -- History as an art of the imagination -- Cognition and cult -- From one renaissance to the other -- The kingdom of God : a silence of intuition -- The hermeneutic role of women : a silence of comprehension -- Text and time at the court of Eugenius III : a silence of multiplication --Conclusions : a word on "medieval humanism". [" Karl Morrison discusses historical writing at a turning point in European culture: the so-called Renaissance of the twelfth century. Why do texts considered at that time to be masterpieces seem now to be fragmentary and full of contradictions? Morrison maintains that the answer comes from ideas about art. Viewing histories as artifacts made according to the same aesthetic principles as paintings and theater, he shows that twelfth-century authors and audiences found unity not in what the reason read in a text but in what the imagination read into it: they prized visual over verbal imagination and employed a circular, or nuclear, spectator-centered perspective cast aside in the Renaissance of the fourteenth and fifteenth centuries. Twelfth- century writers assimilated and transformed a tradition of the conceptual unity of all the arts and attributed that unity to the fact that art both conceals and discloses. Recovering that tradition, especially the methods and motives of concealment, provides extraordinary insights into twelfth- century ideas about the kingdom of God, the status of women, and the nature of time itself.." - publisher's description]. Several pages bear lightly-pencilled underlinings. VG., dustwrapper. Textual illustrations. (illustrator).…