Gotowe bibliografie tematyczne / Civilzation, Medieval, in art

Spis treści

  1. Artykuły w czasopismach
  2. Rozprawy doktorskie
  3. Książki
  4. Części książek
  5. Streszczenia konferencji
  6. Raporty organizacyjne

Gotowa bibliografia na temat „Civilzation, Medieval, in art”

Autor: Grafiati
Data publikacji: 29 lipca 2024
Data aktualizacji: 30 lipca 2024

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Artykuły w czasopismach na temat "Civilzation, Medieval, in art"

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Wood, Charles T. "Dictionary of the Middle Ages. Joseph R. StrayerDictionary of Medieval Civilzation. Joseph Dahmus". Speculum 60, nr 4 (październik 1985): 967–71. http://dx.doi.org/10.2307/2853748.

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Woodacre, Elena. "Medieval Art in Motion". Medieval Feminist Forum 56, nr 2 (25.03.2021): 218–20. http://dx.doi.org/10.17077/1536-8742.2263.

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Hofmann, Richie. "Looking at Medieval Art". Yale Review 108, nr 2 (2020): 168. http://dx.doi.org/10.1353/tyr.2020.0056.

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Foster, Paul. "Medieval Manichaean Book Art". Expository Times 121, nr 1 (11.09.2009): 26. http://dx.doi.org/10.1177/00145246091210010302.

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Hofmann, Richie. "Looking at Medieval Art". Yale Review 108, nr 2 (lipiec 2020): 168. http://dx.doi.org/10.1111/yrev.13641.

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Pestell, Richard. "Medieval art and the performance of Medieval music". Early Music XV, nr 1 (luty 1987): 57–70. http://dx.doi.org/10.1093/earlyj/xv.1.57.

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Clifton, Nicole. "Medieval Romance, Medieval Contexts (review)". Arthuriana 22, nr 2 (2012): 110–11. http://dx.doi.org/10.1353/art.2012.0023.

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PETRAKIS, N. "Earmarks of art history: Cerumen and medieval art". American Journal of Otolaryngology 21, nr 1 (styczeń 2000): 5–8. http://dx.doi.org/10.1016/s0196-0709(00)80067-8.

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PETRAKIS, N. "Earmarks of art history: Cerumen and medieval art". American Journal of Otolaryngology 21, nr 1 (styczeń 2000): 5–8. http://dx.doi.org/10.1016/s0196-0709(00)80104-0.

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Frazer, Margaret E., Jane Hayward, Timothy Husband i Katharine R. Brown. "Medieval Art and the Cloisters". Recent Acquisitions, nr 1985/1986 (1985): 14. http://dx.doi.org/10.2307/1513683.

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Rozprawy doktorskie na temat "Civilzation, Medieval, in art"

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Kirkham, Deborah Anne. "Medieval art writing and the study of art history". Thesis, University of Manchester, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529796.

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Snape, Julia. "Medieval art on display, 1750-2010". Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/medieval-art-on-display-17502010(9e0b3b30-1d52-412d-862a-b655757307b1).html.

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This thesis asks how the curatorial framing of medieval objects - the processes of selection, classification, display and interpretation - affect how medieval objects are made legible within the museum. It investigates how different collectors and curators have deployed medieval objects over a period of two hundred and fifty years of museological practice. Throughout this history, medieval objects have been appropriated within a range of museological narratives that have positioned them variously as objects of curiosity, utility, scientific analysis, nationalistic interest and as sites of scholarly and popular attention. My purpose is to inquire how the epistemological re-positioning of objects is articulated through their presentation within the framework of the collection, museum or temporary exhibition and to question how the mechanics of display facilitate particular readings of medieval objects. I then consider how certain curatorial approaches may produce unintended effects that render the medieval object illegible or problematic in unexpected ways. I also acknowledge that unforeseen exhibitionary outcomes may not be solely due to the effects of curatorial intervention but may be wrought by the agency of objects themselves. This thesis therefore examines medieval objects as active participants that play a crucial role in influencing the communication of curatorial objectives and in affecting how they may be apprehended through exhibitionary practice. The thesis examines sixteen chronologically presented case studies, beginning in the mid eighteenth century and concluding in the early twenty-first century, that represent important or influential episodes in the history of the display of medieval art. It traces a selective history of the various ways medieval objects have been culturally positioned at particular points in time to reveal how curatorial techniques have worked to reinforce or undermine the perception of medieval objects as carriers of specific meanings. Through the examination of historical approaches to the display of medieval objects I reveal how familiar tropes of display, such as the use of specific lighting techniques and stained glass have characterized the museological staging of medieval objects and how these have endured into the twenty-first century. Drawing on performance theory, material culture theory and sensory theory I identify how the biographical histories, material characteristics and sensory properties of medieval objects have been re-activated or suppressed by curators to encourage audiences to engage with them in specific ways. This theoretical approach reveals a previously unacknowledged sensory cultural history of engagement with the medieval object and highlights how historical approaches that have privileged embodied engagement with objects continue to inform contemporary museological practice. I also draw on Actor-Network theory to illuminate how medieval objects may be understood as active agents within the chain of correspondences that links people, objects and exhibitions at particular points throughout this history. In this way I delineate an exhibitionary landscape through which we can understand medieval objects as multi-authored and polysemic entities but principally as the products of exhibitionary practice.
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Clatworthy, Janine. "The art of magical narrative". Master's thesis, University of Cape Town, 2001. http://hdl.handle.net/11427/10196.

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Bibliography: leaf 61.
What is a magical narrative? How can the inconsistencies and strange repetitions in the plots of Malory's Arthurian cycle be explained? What are their purposes and why are they essential to the plot? In this dissertation, I have attempted to answer these questions by applying Anne Wilson's theory of magical narrative (The magical quest) to a selection of tales from the beginning of Malory's Arthurian cycle (The tale of King Arthur) and from the latter half (The book of Sir Launcelot and Queen Quinevere).
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Hansen, Kelli Bruce. "The Cross of Oviedo in medieval Spanish art /". free to MU campus, to others for purchase, 2003. http://wwwlib.umi.com/cr/mo/fullcit?p1418028.

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Woollam, Angela M. "The rhetorical art of some Vernon refrain lyrics". Thesis, University of Ottawa (Canada), 2001. http://hdl.handle.net/10393/6051.

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The dissertation considers how the anonymous authors of six moral and religious pseudo-ballade refrain poems first attested in the late fourteenth-century Vernon manuscript (Oxford, Bodleian Library, MS. Eng. poet.a.1) manipulate devices such as speaking persona, word-play, and allegory in ways that support rhetorical strategies hitherto unrecognized in Middle English lyric. The study begins with stemmatic analyses that identify, as far as is possible from the physical record, the archetypal text, or "work," of each poem. Chapter One then provides an overview of scholarship that has focussed on two important technical devices used in the Vernon refrain lyrics-the speaking voice and the refrain---and articulates how the lyrics use those devices in hitherto unrecognized ways. Chapter One concludes by considering the kinds of word-play found in other Middle English literature, in order to define that found in the Vernon lyrics. In the next six chapters, each of the six "works" is considered as a communicative event. Using mainly historicist, formalist, and reader-response methodologies, I explore, for each poem in turn, how the poet moulds language to signify indirectly so that the message is communicated figuratively, and how the implied audience is cast into a specific role vis-a-vis the communicative action in a way that inflects the message. I also explore how the rhetorical strategies of the poems are informed by various theories of signification, which are defined in relation to the socio-linguistic circumstances and philosophical currents of the time, and consider the poems in relation to other medieval, mostly earlier Middle English, lyrics. In the Conclusion, findings are assembled to indicate how the recovery of the Vernon refrain lyrics' rhetorical art expands the parameters that currently define Middle English lyric. I also turn from considering the implied audience of the "works" to considering the historical audience of the Vernon manuscript, and suggest that the recovery of the Vernon refrain lyrics' rhetorical art bolsters theories that maintain the Vernon manuscript was intended, at least in part, for an upper gentry or aristocratic audience, and that its thorough Englishness is more of a polemic assertion of the strength of the English language than a reflection of socio-linguistic conditions.
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Berenbeim, Jessica. "Art of Documentation: The Sherborne Missal and the Role of Documents in English Medieval Art". Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10082.

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This dissertation considers an unfamiliar but fundamental aspect of late-medieval art: the role of documentation. Documents played as critical a part in that society as they do in our own. In late-medieval consciousness, the charter loomed as large as the sacred image, and documentation mattered no less than devotion—while the two also had a profound and inextricable connection. Discussion begins with three principal arguments, explained in detail in the first chapter: 1. The materials of documentation are part of the history of art; and accordingly, art-historical methods render an important contribution to diplomatics. 2. Documents are an important subject of representation; and accordingly, works of art are important sources for the cultural reception of documentary practices. 3. Documents are an important model for representation; and, consequently, an understanding of the paradigmatic role of the document suggests an alternative dimension to the interpretation of late-medieval art. The chapters that follow pursue these arguments through the analysis of individual works of art—charters, seals, archival manuscripts, liturgical manuscripts, architecture, and sculpture. These chapters also include a study of one of the great monuments of English gothic art: the Sherborne Missal, produced c.1400 for the Benedictine abbey of Sherborne. Ideas of documentation constitute critical aspects both of the Missal’s subject matter and its modes of representation, and these “documentary” elements also relate closely to the larger ideological project of the Missal’s creators. As details of the manuscript’s patronage, illumination, liturgy, inscriptions, and codicology all demonstrate, its creators associated documentation with central religious ideas about devotional images and the eucharist—essentially, the nature of valid representation and effective action. In keeping with the regional and institutional context of this principal study, the other objects discussed come primarily from English religious institutions. That context, however, by no means implies that the importance of documentation is limited either to England or to the conventual sphere, although it manifests itself differently from place to place and from one estate to another. The studies in this thesis represent only one example of where its arguments might lead, and what its approach might reveal in other works of art.
History of Art and Architecture
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Swarbrick, Elizabeth Joy. "The medieval art and architecture of Scottish collegiate churches". Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/12210.

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Collegiate churches were founded for two essential aims: the augmentation of divine worship, and the salvation of souls. This thesis brings to light just how important material and aesthetic enrichments were in regards to these functions. The vast majority of collegiate churches in Scotland were substantially augmented around the time of their foundation. Patrons undertook significant building programmes and provided a variety of furnishings and ornaments to facilitate and enrich the services their body of clergy performed. Precise statutes were laid down in order to ensure that clergy were skilled singers and organists. Many founders also made provision for their burial within their collegiate churches so that they could garner the maximum spiritual benefit from the organisations that they had founded. To the author's knowledge, this is the first in-depth account of the art and architecture of Scottish medieval colleges. This thesis looks closely at the architecture, furnishings, rituals, music, imagery, and commemorative functions of the forty-nine collegiate churches founded in Scotland. A close concentration on this institutional form has meant that buildings, artworks, and practices which have hitherto not received significant scholarly attention have been carefully scrutinised. Furthermore, by looking at so many aspects of collegiate churches, the present study enriches an understanding of these institutions by providing a more holistic picture of their functions and significance. Ultimately this thesis examines why physical and aesthetic enrichment went hand in hand with the founding of a college, and what role this material culture had in regards to how collegiate churches functioned.
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McKinley, Kathryn Hill. "Ciceronian rhetoric and the art of medieval French hagiography". College Park, Md.: University of Maryland, 2007. http://hdl.handle.net/1903/7737.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2007.
Thesis research directed by: Dept. of French and Italian. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Klemettilä, Hannele. "Epitomes of evil : representations of executioners in northern France and the Low Countries in the late middle ages /". Turnhout : Brepolis, 2006. http://www.gbv.de/dms/spk/sbb/recht/toc/519371763.pdf.

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Kouneni, Garyfallia. "Antiquity through medieval eyes : the appropriation of antique art in the Trecento". Thesis, St Andrews, 2009. http://hdl.handle.net/10023/727.

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Książki na temat "Civilzation, Medieval, in art"

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Stokstad, Marilyn. Medieval art. Boulder, CO: Westview Press, 1988.

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Museum, St Louis Art. Medieval art. St. Louis, Mo: Saint Louis Art Museum, 1992.

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Museum, British, red. Medieval decorative art. London: Published for the Trustees of the British Museum by British Museum Press, 1991.

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Phillip, Lindley, red. Making medieval art. Donington: Shaun Tyas, 2003.

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Snyder, James. Snyder's Medieval art. Wyd. 2. Upper Saddle River, NJ: Prentice Hall, 2006.

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Hollander, Hans. Early medieval. New York: Universe Books, 1990.

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Gertsman, Elina, red. Abstraction in Medieval Art. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789462989894.

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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 the 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.
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Kauffmann, C. M. Studies in medieval art. London: Pindar Press, 1992.

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Kumāra, Sahadeva, Sharma K. K. curator, Bihar (India). Directorate of Museum. i Patna Museum, red. Early-medieval Indian art. Patna: Patna Museum, Directorate of Museums, 2004.

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Chastel, André. French art. Paris, France: Flammarion, 1994.

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Części książek na temat "Civilzation, Medieval, in art"

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Friedman, John B., i Jessica M. Wegmann. "Art". W Medieval Iconography, 1–100. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003249610-2.

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Stokstad, Marilyn. "Romanesque Art". W Medieval Art, 191–226. Wyd. 2. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429037184-8.

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Stokstad, Marilyn. "Carolingian Art". W Medieval Art, 101–26. Wyd. 2. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429037184-5.

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Stokstad, Marilyn. "The Early Christian Period". W Medieval Art, 13–44. Wyd. 2. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429037184-2.

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Stokstad, Marilyn. "Late Gothic Art". W Medieval Art, 335–53. Wyd. 2. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429037184-12.

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Stokstad, Marilyn. "Art at the Millennium". W Medieval Art, 155–90. Wyd. 2. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429037184-7.

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Stokstad, Marilyn. "Mature Gothic Art". W Medieval Art, 259–302. Wyd. 2. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429037184-10.

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Stokstad, Marilyn. "Rivals from the East". W Medieval Art, 127–54. Wyd. 2. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429037184-6.

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Stokstad, Marilyn. "An Introduction to Medieval Art". W Medieval Art, 1–12. Wyd. 2. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429037184-1.

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Stokstad, Marilyn. "Rayonnant Gothic and its Reverberations". W Medieval Art, 303–34. Wyd. 2. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429037184-11.

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Streszczenia konferencji na temat "Civilzation, Medieval, in art"

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Liu, Yuxin. "French Romance in Late Medieval Poetry". W 2022 3rd International Conference on Language, Art and Cultural Exchange（ICLACE 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220706.083.

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Irwin, J. Kirk. "Within the Medieval Perspectival Image: New Methods Old Art". W Electronic Visualisation and the Arts (EVA 2017). BCS Learning & Development, 2017. http://dx.doi.org/10.14236/ewic/eva2017.70.

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Trentelman, Karen. "Art as Evidence: Uncovering the Past Through the Scientific Analysis of Works of Art". W Frontiers in Optics. Washington, D.C.: Optica Publishing Group, 2023. http://dx.doi.org/10.1364/fio.2023.jw3a.1.

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The scientific analysis of works of art is carried out to answer questions related to artist’s technique, provenance, historic technologies, and material properties. Utilizing primarily non-invasive imaging and spectroscopic techniques, studies on objects ranging from mummies to Medieval manuscripts to paintings by masters such as Rembrandt and van Gogh will be presented.
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Urbushev, A., i N. Konstantinov. "IMAGES OF MEDIEVAL DWELLINGS ON DYALBAK ROCK ART SITE (EASTERN ALTAI)". W Ancient cultures of Mongolia, Southern Siberia and Northern China: Transactions of the XIth International Conference (September 8–11, 2021, Abakan). Institute for the History of Material Culture of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.31600/978-5-907298-19-4.243-248.

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Useinov, T. B. "Display of love for a male object in a figurative system of medieval Crimean Tatar Ashyk poetry". W Scientific Trends: Philology, Culturology, Art history. ЦНК МОАН, 2019. http://dx.doi.org/10.18411/spc-26-11-2019-06.

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Shen, Yan. "The Habitat of the Heart. The Spirit of Art from the Medieval Paintings". W 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.54.

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Dangles, Philippe. "Armenian Medieval Architecture along Boundary Akhurian River. French Researches in Turkey and Armenia". W 2017 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-17.2018.29.

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Kazaryan, Armen. "Contemporary State of Research, Goals and Preliminary Conclusions Regarding the Architecture of Medieval Crimea". W 2017 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-17.2018.33.

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Aleksić, Jana. "UMETNIČKA EPOHA KRALjA MILUTINA U KULTURNOISTORIJSKOJ I ESTETIČKOJ OPTICI MILANA KAŠANINA". W Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.817a.

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Milan Kašanin (1895–1981) in his integral study of medieval Serbian culture pays significant attention to the works and authors who created in the time of King Stefan Uroš II Milutin Nemanjića (1282–1321). Kašanin’s analysis also includes medieval literary and artistic achievements whose central theme is the King's personality and symbols of rule, as well as the spiritual and socio-histor- ical characteristics of the era the era of this important founder and great artistic patron. The author of the monographs Serbian Literature in the Middle Ages (1975) and Stone Discoveries (1978) seeks to systematize knowledge of the cul- tural past, to explain the spiritual and historical forces of the time, to understand Byzantine influences on art forms and meanings, to find elements of original art within medieval Serbian culture and to establish the most reliable periodization of literary and artistic styles. Methodologically, in examining the key focuses of a historically limited period, such as the Middle Ages, Kašanin insists on mutual “illumination of art”. He also connects the poetic and spiritual-aesthetic features of specific literary achievements with medieval church and secular architecture, fresco painting or icon painting, but also with socio-political factors. Therefore, we tried to outline the analytical and methodological framework of Kašanin’s spiritual, historical, and aesthetic thought from the point of view of the history of literary criticism, concerning the way in which he had perceived and named the artistic forms of Milutin’s epoch, art forms in which Milutin’s age and literary achievements of monk Theodosius and archbishop Danilo II.
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Tabaldiev, Kubatbek, i Taalaibek Abdiev. "On works of art and monuments of written tradition in the medieval cities of Kyrgyzstan". W Antiquities of East Europe, South Asia and South Siberia in the context of connections and interactions within the Eurasian cultural space (new data and concepts). Institute for the History of Material Culture Russian Academy of Sciences, 2019. http://dx.doi.org/10.31600/978-5-907053-34-2-228-230.

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Raporty organizacyjne na temat "Civilzation, Medieval, in art"

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Kume, Junko. Medieval European Art History in Japan. Edicions de la Universitat de Lleida, 2023. http://dx.doi.org/10.21001/itma.2023.16.03.

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