History of art Books

Book SynopsisThe Fine Feats of the Five Cockerels Gang is a Marxist-Surrealist Yugoslav epic poem for children, written by Aleksandar Vučo and accompanied by Dušan Matić’s photocollage illustrations and captions. The poem tracks the adventures of five scrappy, resourceful working-class boys who endeavor to free an equally plucky girl from the evil clutches of a convent school (and its fearsome nuns). While weighing in on various contemporary political issues, the story is unpredictable, action-packed and relayed in richly colloquial language. Matić’s photocollages show “what happened in the meantime” between the “songs” (episodes) of the poem, providing clever twists to the linear plot as well as an illustration of the surrealist concepts of time, space and the transformative capabilities of art.

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Book SynopsisWith this analysis of Sol images, Steven E. Hijmans paints a new picture of the solar cult in ancient Rome. The paucity of literary evidence led Hijmans to prioritize visual sources, and he opens this study with a thorough discussion of the theoretical and methodological issues involved. Emphasizing the danger of facile equivalencies between visual and verbal meanings, his primary focus is Roman praxis, manifest in, for instance, the strict patterning of Sol imagery. These patterns encode core concepts that Sol imagery evoked when deployed, and in those concepts we recognize the bedrock of Rome’s understandings of the sun and his cult. Case studies illustrate these concepts in action and the final chapter analyzes the historical context in which previous, now discredited views on Sol could arise. This is volume II of a two-volume set.

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Book SynopsisJao Tsung-i was China’s last great traditional man of letters, polymath, and pioneer of comparative humanistic inquiry during Hong Kong’s global heyday. Dunhuang is China’s traditional northwest frontier and overland conduit of exchange with the Old World. In this volume, Jao proposes an entirely new school of Chinese landscape painting, reconsiders Dunhuang’s oldest manuscripts as its newest research field, and explores topics ranging from comparative religion to medieval multimedia.Table of ContentsSeries Introduction: Collected Works of Jao Tsung-i Translator’s Preface Acknowledgements List of Illustrations Abbreviations Conventions Part 1: Jao and Dunhuang Studies “Next Time Round, I Wish to Lead a Sutra Scribe’s Life”: Jao Tsung-i and Dunhuang Studies 他生願作寫經生:饒宗頤教授與敦煌學研究 Dunhuang Studies and Me 我和敦煌學 Part 2: Dunhuang as Inspiration and Source Turfan—the Bodhisattva Whose Head Came Off 吐魯番—丟了頭顱的艹艹（菩薩） Preface to The Xiang’er Laozi, Annotated, Collated and Substantiated Laozi Xiang’er zhu jiaozheng “Zixu” 老子想爾注校證·自序 On the Northwest School of Chinese Landscape Painting Xibeizong shanshuihua shuo 中國西北宗山水畫說 Part 3: Medieval Multimedia On the Relationship between Bianwen 變文 and Illustration, from the Perspective of the Shanbian 睒變 (Śyāma Transformation) 從「睒變」論變文與圖繪之關係 Postface to the Two Dunhuang Manuscript Fragments of the Baize jingguai tu 白澤精怪圖 (White Marsh’s Diagrams of Spectral Prodigies; P.2682, S.6261) 跋敦煌本《白澤精怪圖》兩殘卷 (P.2682, S.6261) Part 4: Dunhuang Poetry Did Men of Song Belt Out “Tang Ci”? An Explanation of the Poem “I Only Fear the Spring Breeze Will Chop Me Apart” 「唐詞是宋人喊出來」的嗎？ 說「只怕春風斬斷我」 Notes on the Yunyao ji 雲謠集 (Cloud Ballad Collection) Manuscripts P.2838 and S.1441 Another Look at the Dunhuang Manuscript of “Deng lou fu” 登樓賦 (Rhapsody on Climbing the Tower) 敦煌寫本登樓賦重研 Part 5: Reorienting Dunhuang Studies Dunhuang Research Should Be Broader in Its Scope “Dunhuang yinggai kuoda yanjiu fanwei” 敦煌應擴大研究範圍 Works Cited Index

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Book SynopsisAre artistic engagements evolving, or attracting more attention? The range of artistic protest actions shows how the globalisation of art is also the globalisation of art politics. Here, based on multi-site field research, we follow artists from the MENA countries, Latin America, and Africa along their committed transnational trajectories, whether these are voluntary or the result of exile. With this global and decentred approach, the different repertoires of engagement appear, in all their dimensions, including professional ones. In the face of political disillusionment, these aesthetic interventions take on new meanings, as artivists seek alternative modes of social transformation and production of shared values. Contributors are: Alice Aterianus-Owanga, Sébastien Boulay, Sarah Dornhof, Simon Dubois, Shyam Iskander, Sabrina Melenotte, Franck Mermier, Rayane Al Rammal, Kirsten Scheid, Pinar Selek, and Marion Slitine.Table of ContentsList of Illustrations Notes on Contributors Introduction: Repertoires of Engagement in Motion  Pénélope Larzillière Part 1: Moving Repertoires of Engagement 1 Creating a Syrian Culture in Exile: The Reconfigurations of Engagement  Franck Mermier 2 The “Metamorphoses of the Political” in the Contemporary Art of Palestinian Post-Oslo Generation  Marion Slitine 3 Transnationalizing the Repertoires of Action: A Comparative View of African Rappers’ Engagements in Motion  Alice Aterianus-Owanga 4 Digital Artivism in Movement: The 2019 Lebanese Uprising’s Art on Instagram  Rayane al-Rammal Part 2: Artistic Visibilities and Political Circulations, in Diaspora 5 Presence and International Journeys of Engaged West Saharan Singers  Sébastien Boulay 6 Young Documentary Theatre on Syrian Stages: An Aesthetic of Circulation, Exile, and Engagement  Simon Dubois 7 Anatolian Musicians in Europe: Creation, Political Engagement, Transformation  Pinar Selek Part 3: Contest and Critique, in a Globalizing World 8 Palestinian Art Talk: A Local Lexicon for Global Art Production  Kirsten Scheid 9 Fictions of the Contemporary: The Shifting Spaces of the Marrakech Biennale  Sarah Dornhof 10 Focus on the Bahraini Art Scene: Centralization Processes and Social Engagement  Shyam Iskander 11 Embodying Absence: Remembering Mexico’s Missing Persons through Art  Sabrina Melenotte Index

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Book SynopsisIn Spaces of Connoisseurship, Alison Clarke explores the ‘who’, ‘where’ and ‘how’ of judging Old Master paintings in the nineteenth-century British art trade. She describes how the staff at family art dealers Thomas Agnew & Sons (“Agnew’s”) and London’s National Gallery took advantage of emerging technologies such as the railways and photography. Through encounters with pictures in a range of locations, both private and public, these art market actors could build up the visual memory and necessary expertise to compare artworks and judge them in terms of attribution, condition and beauty. Also explored are the display tactics adopted by both commercial outfit and art museum to showcase pictures once acquired. In a time of ever-spiralling art prices, this book tackles the question of why some paintings are preferred over others, and exactly how art experts reach their judgements.Table of ContentsList of Illustrations Introduction  1 On Institutions, Subjects and Dates  2 On Sources and a Spatial Methodology Section I: Connoisseurship and Acquisition: The What, Where and How 1 What? The Criteria of Connoisseurship  1 Avoiding the ‘Limbo of Mistaken Acquisitions’: Attribution  2 ‘Much Painted on & Spoilt by Some Vandal’: Condition and Restoration  3 A ‘Very Dull’ Velázquez: Beauty and Aesthetics  4 Selecting Typical Specimens: Representativeness and Importance  5 ‘Should Think Unsaleable’: Negotiating Customer Appeal 2 Where? Examining Paintings at Home and Abroad  1 Beyond Texts: Moving on from Dematerialised Connoisseurship  2 Mobility: Artworks and Connoisseurs  3 The Spaces of Connoisseurship  4 Spatial Factors Affecting Connoisseurship  5 The Chronology of Connoisseurship 3 How? The Supremacy of Visual Connoisseurship  1 Categorisation and Comparison: Viewing Artworks in Person  2 ‘My Treacherous Memory’: Comparison from Reproductions  3 Visual Experience and the ‘Mental Canon’  4 Provenance: Archives and Libraries as Alternative Spaces of Connoisseurship?  5 A Lack of Evidence for Technical Testing  6 Connoisseurship and a Model for Perceptual Expertise Section II: Connoisseurship and Display: Exhibiting Expertise 4 The National Gallery and Display  1 Public Ownership, Public Criticism  2 The Trafalgar Square Building and its Extensions  3 Walking through Art History: Rooms, Schools, Chronology and Hang  4 The Aesthetics of Display: Décor and Lighting  5 ‘Where Can These Pictures Be Hung?’ Disruptions to Display 5 Agnew’s and Display  1 Private Ownership, Public Reputation  2 ‘Lent from Various Great Houses’: Special Exhibitions Conclusion and Final Thoughts  1 A Cautionary Tale Appendix Bibliography  Primary Sources  Secondary Sources Index

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Book SynopsisThis book is an investigation of the widely overlooked photographic style of pictorialism in the American West between 1900 and 1950 and argues that western pictorialist photographers were regionalists that had their roots in the formidable photographic heritage of the nineteenth-century West. Driven by a wealth of textual and visual primary sources, the book addresses the West’s relationship with the eastern centers of art in the early century, the diversity of practitioners such as women, Japanese Americans, Indigenous Americans, western rural workers, etc., and the style’s final demise as it related to the modernism of Group F.64. Couched in the rhetoric of regionalism; it is a refreshing and innovative approach to an overlooked wealth of American cultural production.Table of ContentsAcknowledgments List of Figures Introduction  1 A Brief Introduction to American Pictorialism  2 Stieglitz Abandons Pictorialism  3 Pictorialism in the America West  4 The Broad Movement  5 A Note on the Images  6 Possibilities and Unalloyed Pleasures 1 The Broad Movement  1 The New Woman and the Origins of the Broad Movement  2 Rise of the Hobbyist-Amateur  3 The Photographic/Pictorialist Industry  3.1 Kodak  3.2 Photographic Journals and Publications  3.3 Photographic Technologies, Materials, and Techniques  3.4 National Organizations and Local Camera Clubs  3.5 Salons, Exhibitions, and Conventions and Postal Clubs, Interchanges, and Circulating Societies  4 Pictorialism and the Picturesque 2 Regional Pictorialism in the West  1 Cultural Regionalism  2 Artistic Regionalism  3 Western Pictorialist Photography  3.1 California Pictorialism  3.2 The West beyond California  3.3 Mythic West/“Provincial” West  3.4 Western Women’s Regionalism  3.5 Japonisme and West-Coast Japanese Pictorialists  3.6 Indigenous America 3 The End of Pictorialism  1 The Protracted Decline of Pictorialism  1.1 Embattled Pictorialism: Photography as Fine Art  1.2 Embattled Photography: Pictorialism versus Painting  1.3 Embattled Abroad: American versus European Pictorialism  1.4 Embattled Subject Matter  1.5 Embattled from Within: Internal Pictorialist Rhetoric  2 The Beginning of the End: Group f.64  2.1 Regional Modern  2.2 Attack and Counterattack  2.3 Expanded Photographic Practice: fsa and Social Documentary  2.4 Modernist Regionalism Epilogue  1 Erasing Pictorialism  2 From the Regional to the Global References Index

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Book SynopsisA Cultural History of the Avant-Garde in the Nordic Countries 1925-1950 is the first publication to deal with the avant-garde in the Nordic countries in this period. The essays cover a wide range of avant-garde manifestations: literature, visual arts, theatre, architecture and design, film, radio, body culture and magazines. It is the first major historical work to consider the Nordic avant-garde in a transnational perspective that includes all the arts and to discuss the role of the avant-garde not only within the aesthetic field but in a broader cultural and political context: the pre-war and wartime responses to international developments, the new cultural institutions, sexual politics, the impact of refugees and the new start after the war.

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Book SynopsisFeaturing new archival research and previously unpublished photographs and architectural plans, this volume fundamentally revises our understanding of the development of modern New York, focusing on elite domestic architecture within the contexts of social history, urban planning, architecture, interior design, and adaptive re-use. Contributions from emerging and established scholars, art historians, and practitioners offer a multi-faceted analysis of major figures such as Horace Trumbauer, Julian Francis Abele, Robert Venturi, and Richard Kelly. Taking the James B. Duke House, now home to NYU’s Institute of Fine Arts, as its point of departure, this collection provides fresh perspectives on domestic spaces, urban forms, and social reforms that shaped early-twentieth century New York into the modern city we know today.Table of ContentsAcknowledgments Contributors Introduction  Jean-Louis Cohen, Daniella Berman, and Jon Ritter Portfolio: Duke House Maps: Mansions on the Upper East Side 1 The City Beautiful, Zoning, and Preservation on New York’s Upper East Side  Jon Ritter 2 A “Gilded Stall” for the Progressive Era: Fabricating Aristocracy on Fifth Avenue  Matthew Worsnick 3 Building in “Splendid Style”: Duke House and the Development of the Cook Block  Alisa Chiles 4 Beaux-Arts Architects and Their Mansions  Isabelle Gournay 5 Mr. Duke Builds His Dream House  Mosette Broderick 6 “Good Taste” and the Making of Duke House: Francophilia, Architecture, and Adaptation  Daniella Berman 7 Commissioning Interiors: Carlhian and Duveen at Duke House  Grace Chuang 8 Dukes to Profs: Robert Venturi’s primum opus on 78th Street  Jean-Louis Cohen 9 Renovation and Illumination: Richard Kelly at the Institute  Christie Mitchell 10 Preservation on the Cook Block: An Architect’s Perspective  Theodore Prudon Select Bibliography List of Illustrations Index of Persons and Organizations Index of Buildings and Places

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Book SynopsisThe professional career and success of Wilhelm Bode (1845-1929) relied on the business of connoisseurship. Like other contemporary art historians involved in the commerce of art, he was entangled in the reciprocal dynamics and interdependencies of the nascent discipline of art history, connoisseurship and the art trade. The volume introduces new material and a fresh perspective on Bode’s strategic participation in the Western art market, exposing the particular consequences of these entanglements on the birth of the art historical canon and showcasing his complex agency within the art marketplace of the late nineteenth and the early twentieth centuries.Table of ContentsList of Illustrations Notes on Contributors Introduction: The Entanglement of Art Historical Scholarship, Connoisseurship and the Art Trade in the Late Nineteenth Century Part 1: Deploying Connoisseurship to Affect the Market 1 Wilhelm Bode and His Loyal Lieutenants: The Trade in Dutch Pictures, 1879–1914  Michael J. Ripps 2 Wilhelm Bode and Charles Sedelmeyer in 1882–83: The Start of a Fateful Relationship  Catherine B. Scallen 3 Wilhelm Bode and Johannes Vermeer: Creating a Taste and a Market  Esmée Quodbach Part 2: Navigating the Italian Marketplace through Networks of Dealers and Intermediaries 4 Wilhelm Bode and the Italian Art Trade in Renaissance Sculpture: The Case of Genoa  Michela Zurla 5 Bardini and Beyond: Wilhelm Bode and the Art Dealers in Florence  Patrizia Cappellini Part 3: Art Advisory and Strategic Relationships with Collectors 6 Some Remarks on Wilhelm Bode and the Art Market in Italy, 1880s–1909: The Cases of Pietro Foresti (1854–1926) and A. Chiesa  Fulvia Zaninelli 7 Wilhelm Bode and the Collector Adalbert von Lanna  Michaela Watrelot Part 4: Bode’s Double Game 8 The Spy of Venice: Gustav Ludwig and Wilhelm Bode between Art Market and Art Research  Martin Gaier 9 Wilhelm Bode and the Rise and Fall of the Grand-ducal Gallery of Oldenburg  Sebastian Dohe and Malve Anna Falk Index

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Book SynopsisThe artistic and literary maze of Latin-occupied Greece cannot be analysed by a conventional approach. Follow the author and the historical protagonists of his tales in a journey through a fragmentary shape-shifting corpus, from the medieval translations of Aristotle to pornographic animal tales carved on church columns. The book explains how art and literature were intertwined, how they evolved from the times of Nicetas Choniates to those of Isabella of Lusignan, and under what influences. It is based on the assumption that history is a form of literature, as they both share an “arbitrary distribution of emphasis” (Isaiah Berlin).

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Book SynopsisTypically carved in stone, the cylinder seal is perhaps the most distinctive art form to emerge in ancient Mesopotamia. It spread across the Near East from ca. 3300 BCE onwards, and remained in use for millennia. What was the role of this intricate object in the making of a person's social identity? As the first comprehensive study dedicated to this question, Selves Engraved on Stone explores the ways in which different but often intersecting aspects of identity, such as religion, gender, community and profession, were constructed through the material, visual, and textual characteristics of seals from Mesopotamia and Syria.Table of ContentsAuthor’s Note Acknowledgements List of Figures 1 Introduction  1 Historical Background: The Ancient Near East in the Late Bronze Age 2 Identity as a Theoretical Framework in the Study of Ancient Art  1 Is Identity a Valid Tool for Studying Ancient Art?  2 Gender, Community, and Others: Prominent Identities in the Ancient Near East  3 Constructing Ancient Identities through Material and Visual Culture 3 People Praying on Stone: Identity in Kassite Babylonian Seals, ca. 1415–1155 BCE  1 Historical Introduction  2 Babylonian Glyptic during the Kassite Period  3 Seals and Religious Identity in Kassite Babylonia  4 Family and Community Relations in Kassite Babylonian Seals  5 Gender and Seals in Kassite Babylonia  6 Profession and Institutional Affiliations in Kassite Babylonian Seals  7 Synopsis 4 Men of the State: Seals as Markers of Distinction in Assyria, ca. 1353–1050 BCE  1 Historical Introduction  2 Middle Assyrian Glyptic Tradition from the 14th to the 11th Centuries BCE  3 Religious Identity in Middle Assyrian Seals  4 Family and Community Relations in Middle Assyrian Seals  5 Gender and Representation in Middle Assyrian Seals  6 Professional and Institutional Affiliations in Middle Assyrian Seals  7 Synopsis 5 Under the Shadow of the Great Kings: Seals and Identity in Hittite Syria, ca. 1340–1180 BCE  1 Historical Introduction  2 Scholarship on the Glyptics of Late Bronze Age Syria  3 Religious Identity in the Seals from Hittite Syria  4 Family and Community Relations in the Seals from Hittite Syria  5 Gender and Representation in the Seals from Hittite Syria  6 Professional and Institutional Affiliations in the Seals from Hittite Syria  7 Synopsis 6 Conclusion Appendix 1: List of Seals and Seal Impressions Discussed in the Text Bibliography Index

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Book SynopsisThis book, the first of three, offers an anthology of Western descriptions of Islamic religious buildings of Spain, Turkey, India and Persia, mostly from the seventeenth to early twentieth centuries, taken from books and ambassadorial reports. As travel became easier and cheaper, thanks to viable roads, steamships, hotels and railways, tourist numbers increased, museums accumulated eastern treasures, illustrated journals proliferated, and photography provided accurate data. The second volume covers some of the religious architecture of Syria, Egypt and North Africa, while the third deals with Islamic palaces around the Mediterranean. All three deal with the impact of Western trade, taste and imports on the East, and examine the encroachment of westernised modernism, judged responsible for the degradation of Islamic styles.Table of ContentsContents Preface for the Three Volumes List of Illustrations 1 Introduction  1 Overview  2 Crusades in East and West  3 Contacts through Trade Trigger Westernised Modernisation  4 Constantinople  5 Arrangement of the Book 2 Churches, Mosques and Travellers  1 Westerners Travel around the East  2 Ambassadors Study the Empire  3 Viewing Mosque Architecture  4 Drawing Mosque Exteriors and Interiors  5 A Conflicting Mix of Ideas and Beliefs  6 Forgotten? Westerners and the Eastern Crusades  7 Dress and Doctors  8 Western Habits and Actions Offend Muslims: Footwear and Spitting  9 The End of Islam? The Empire in Decline?  10 The Various Inhabitants of the Empire  11 Architecture in the Empire: Wood, Maintenance and Competence  12 Advice to Western Travellers from Western Authors  13 East Is East: The Development of Curiosity Travel 3 Spain  1 Christians versus Muslims  2 The Alhambra, Granada (Reconquered 1492)  3 Charles V and Architecture  4 Córdoba: the Great Mosque (Mezquita)  5 Seville (Recaptured in 1248)  6 Girault de Prangey and Arab Architecture 4 Constantinople and Adrianople with a Note on Greece  1 The Imperial Firman  2 The Ottoman Building Programme  3 Collecting Manuscripts in Constantinople  4 Adrianople  5 Constantinople  6 Cityscape: “‘Tis Distance Lends Enchantment to the View”  7 Cityscape: Strolling the Streets  8 Seeing Hagia Sophias Everywhere They Look: Royal Mosques  9 Domes, Minarets, and Dimensions  10 Some Constantinople Mosques Visited by Travellers  11 Topkapi / Seraglio  12 Greece: Athens  13 Tripolitza 5 Asia Minor  1 On and Off the Beaten Track  2 Aleppo  3 Alexandria Troas  4 Ankara  5 Ayasoluk – Selçuk – Ephesus  6 Bursa  7 Cyzicus  8 The Dardanelles and Its Cannon  9 Erzerum  10 Karaman, Mut and Nigde  11 Konya  12 Lampsacus  13 Magnesia / Manisa  14 Miletus  15 Mylasa  16 Nicaea  17 Pergamum  18 Smyrna 6 India and Persia  1 India  2 Persia  3 Collecting Persian Tiles  4 A Miscellany of Mosques 7 Coda: Mecca and Medina Bibliography – Sources Bibliography – Modern Scholars Index Illustrations

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Book SynopsisIn Intoxicating Shanghai, Paul Bevan explores the work of a number of Chinese modernist figures in the fields of literature and the visual arts, with an emphasis on the literary group the New-sensationists and its equivalents in the Shanghai art world, examining the work of these figures as it appeared in pictorial magazines. It undertakes a detailed examination into the significance of the pictorial magazine as a medium for the dissemination of literature and art during the 1930s. The research locates the work of these artists and writers within the context of wider literary and art production in Shanghai, focusing on art, literature, cinema, music, and dance hall culture, with a specific emphasis on 1934 – ‘The Year of the Magazine’.Trade Review"Bevan structures his book around the years 1934 and 1935 to highlight a Chinese art and literature scene that is often absent from English-language books that focus on a largely expat Shanghai based in and around the foreign presence [...] This brief stretch of the 1930s brings to mind the short bursts of world-class art and literature in post-2000 China. They sprouted up almost as quickly as they now seem to be disappearing. These examples can give us hope that literature and art, like hope, spring eternal." - Susan Blumberg-Kason, in: Asian Review of Books, 25 July 2020Table of ContentsAcknowledgements Note on the Illustrations Note on Copyright Illustrations Notes on Romanization and References Abbreviations Part 1: Introductory Chapters So This Is Shanghai! 1 Literature and the Pictorial Magazine 2 Art and the Pictorial Magazine Story One: ‘Huilixian’ 回力線 Hai Alai Scenes by Hei Ying Part 2: Lu Xun: Art Aficionado and Critic 3 Politics, Art and the Pictorial Magazine Story Two: ‘Luotuo Nicaizhuyizhe yu nüren’ 駱駝尼采主義者與女人 (Camel, Nietzscheanist and Woman) by Mu Shiying 4 Two Critiques by Lu Xun Story Three: ‘Molü shan de xiaojie’ 墨綠衫的小姐 (The Lady in the Inky-Green Cheongsam) by Mu Shiying Part 3: The Rise and Rise of the Pictorial Magazine 5 ‘The Year of the Magazine’, 1934 6 Manhua Artists and the Pictorial Magazine – Guo Jianying, Huang Miaozi and Ye Qianyu Story Four: ‘Sharen weisui’ 殺人未遂 (Attempted Murder) by Liu Na’ou Part 4: The Shanghai Jazz Age 7 Cinema, Literature and the Pictorial Magazine, 1934 8 Jazz and Popular Music in Shanghai’s Dancehalls Such is Shanghai! Appendix: Notes on Source Material Bibliography Index

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Book SynopsisThis rich, in-depth exploration of Dada’s roots in East-Central Europe is a vital addition to existing research on Dada and the avant-garde. Through deeply researched case studies and employing novel theoretical approaches, the volume rewrites the history of Dada as a story of cultural and political hybridity, border-crossings, transitions, and transgressions, across political, class and gender lines. Dismantling prevailing notions of Dada as a “Western” movement, the contributors to this volume present East-Central Europe as the locus of Dada activity and techniques. The articles explore how artists from the region pre-figured Dada as well as actively “cannibalized”, that is, reabsorbed and further hybridized, a range of avant-garde techniques, thus challenging “Western” cultural hegemony.Trade Review“Avant-Garde Critical Studies (AGCS) is not only since decades one of the leading academic platforms devoted to research in and reflection on the twentieth-century artistic avant-garde but also the oldest scholarly forum specifically devoted to artistic avant-gardism in the widest sense. […] The first eleven volumes [of AGCS] could for long only be found on bookshelves in libraries. These volumes have now been made available in digital form. They offer a monumental panorama of early avant-garde studies and may still serve today as major resource with fundamental contributions by eminent avant-garde scholars. […] The goal of the series, as set out in issue zero in 1987 by Fernand Drijkoningen, was – and still is today – to serve as a platform to transcend ‘traditional boundaries between disciplines and nationalities’ with ‘an “open” character’. In line with this ambition, the single volumes from the early years of the series all have a profound multifaceted character. Each volume combines essays on different artistic disciplines, be it literature, painting, sculpture, architecture, design, music, performance and film.” - Hubert van den Berg, Palacký University Olomouc, Czech RepublicTable of ContentsList of Illustrations Notes on Contributors Introduction: “Dada Is more than Dada”  Oliver A. I. Botar, Irina Denischenko, Gábor Dobó and Merse Pál Szeredi Part 1:Topographies 1 An Exchange Point in a Network: Prague and Dada, 1918–1922  Jindrich Toman 2 Becoming Avant-Garde: Romanian Appropriations of Dada Techniques through East-Central European Networking  Emanuel Modoc 3 Polish Responses to Dadaism: The Voices on Dada, Contacts and Interpretations  Przemyslaw Strozek 4 The Dada Entr’acte of Dragan Aleksic  Jasna Jovanov 5 Hungarian Dada: the Missing Link  András Kappanyos Part 2: In/Exclusions 6 Céline Arnauld, the “Nomadic” Avant-Garde Writer: a Transnational Approach to Her Life and Work  Iulia Dondorici 7 Two Mysterious “Mademoiselles”: Jeanne Rigaud and Maria Cantarelli  A Multilingual Multi-Layered Dada Pun Unravelled?  Hubert van den Berg 8 Dada as an Avant-Garde Movement and as Invective  Károly Kókai 9 “Dada Is the Best Paying Concern of the Day”: Consumer Culture, Performativity, and the Avant-Garde in Romania  Alexandra Chiriac Part 3: Performativities 10 Marcel Breuer and Dada Performance: Remade Readymade Self and Furniture  Edit Tóth 11 Míra Holzbachová: Embodying the Avant-Garde  Meghan Forbes 12 To Write with Dots or Not to Write at All? Dada Ideas in Polish Interwar Literature  Michalina Kmiecik 13 Green Donkey Theatre: a Case Study on Theatrical Innovations in the Name of Dadaism  Sára Bagdi and Judit Galácz Part 4: Trans(pos)itions 14 The Genesis of Dada: Futurist Influences in Germany, Romania and at the Cabaret Voltaire  Günter Berghaus 15 Revolt and Authority: From Kassák to Erdély  Dada in the Hungarian Avant-Garde and Neo-Avant-Garde  Éva Forgács 16 Dadá, not Dáda: Moholy-Nagy in Berlin, 1920–1921  Oliver A. I. Botar 17 Words, Sounds, Images, Theories: the Authors of the Magazine IS in the Context of Dadaism  Imre József Balázs 18 Self-Positioning in the International Avant-Garde: Kassák’s Strategic Use of Dada and Constructivism in the Book of New Artists  Krisztina Zsófia Csaba Part 5: Hybridentities 19 Raoul Hausmann and the Welteislehre: Science and Identity  Arndt Niebisch 20 Dada Lingua Franca: The Linguistic Fate of Tristan Tzara and Raoul Hausmann  Alexandru Bar and Michael White 21 Crossovers and Transgressions: Dada as a Life Strategy in Emil Szittya’s Works  Magdolna Gucsa 22 Android, Cyborg, Dandy and Woman  Representations of the Body in the Decadent and Dada Imaginations: The Hungarian and International Contexts  Györgyi Földes 23 The New Man, According to Sándor Bortnyik  Merse Pál Szeredi Index

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Book SynopsisMartin Luther was the architect and engineer of the Protestant Reformation, which transformed Germany five hundred years ago. In Martin Luther and the Arts, Andreas Loewe and Katherine Firth elucidate Luther’s theory and practice, demonstrating the breadth, flexibility and rigour of Luther’s use of the arts to reach audiences and convince them of his Reformation message using a range of strategies, including music, images and drama alongside sermons, polemical tracts, and his new translation of the Bible into German. Extensively based on German and English sources, including often neglected aspects of Luther’s own writings, Loewe and Firth offer a valuable survey for theologians, historians, art historians, musicologists and literary studies scholars interested in interdisciplinary comparisons of Luther’s work across the arts.Table of ContentsAcknowledgements List of Illustrations Abbreviations Introduction  1 Structure and Scope of This Book 1 Luther’s Theory of Music  1 Music among the Seven Liberal Arts  2 Sources for Luther’s Theory of Music  3 Luther’s Theory of Music  4 The Origins of Music  5 Music as a ‘Habitus’ and Model of Goodness and Praise 2 Hymns and Sacred Songs  1 Singing, Preaching, and Praising God through Music  2 Lutherans, Music, and the Reformation  3 Lutheran Music in the Second Half of the Sixteenth Century  4 Lutheran ‘Kantoreien’ as Instruments of Reform 3 Martin Luther’s ‘Mighty Fortress’  1 Genesis and Dissemination  2 Reception from 1600 to 1945  3 A Hymn of Confidence in God’s Eternal Salvation 4 Martin Luther on Images  1 Radical Reforms in Wittenberg  2 Luther’s Understanding of Images  3 Reading ‘Law and Grace’: A Composite ‘Merkbild’ (Image of Remembrance) 5 Teaching the Reformation to Read Images of Hate  1 Luther’s Adversarial Images  2 Later Reception of Luther’s Anti-Semitic Polemic 6 Luther and Drama  1 Martin Luther and Popular Pre-Reformation Drama  2 Luther’s Objections to Popular Drama and Ceremonies  3 Lutheran Biblical Drama  4 Joachim Greff and Popular Drama  5 Dramatising the Bible  6 Towards a Protestant Dramatisation of the Passion  7 Performing the Passion and Resurrection  8 In Defence of Passion Drama  9 A Matter of Church Polity Conclusion Appendix 1: Luther’s Prefaces to the ‘Symphoniae Iucundae’ Appendix 2: Comparing ‘Law and Grace’ (1529–1550) Bibliography Index

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Book SynopsisInside Christian churches, natural light has long been harnessed to underscore theological, symbolic, and ideological statements. In this volume, twenty-four international scholars with various specialties explore how the study of sunlight can reveal essential aspects of the design, decoration, and function of medieval sacred spaces. Themes covered include the interaction between patrons, advisors, architects, and artists, as well as local negotiations among competing traditions that yielded new visual and spatial constructs for which natural light served as a defining and unifying factor. The study of natural light in medieval churches reveals cultural relations, knowledge transfer patterns, processes of translation and adaptation, as well as experiential aspects of sacred spaces in the Middle Ages. Contributors are: Anna Adashinskaya, Jelena Bogdanović, Debanjana Chatterjee, Ljiljana Čavić, Aleksandar Čučaković, Dušan Danilović, Magdalena Dragović, Natalia Figueiras Pimentel, Leslie Forehand, Jacob Gasper, Vera Henkelmann, Gabriel-Dinu Herea, Vladimir Ivanovici, Charles Kerton, Jorge López Quiroga, Anastasija Martinenko, Andrea Mattiello, Rubén G. Mendoza, Dimitris Minasidis, Maria Paschali, Marko Pejić, Iakovos Potamianos, Maria Shevelkina, Alice Isabella Sullivan, Travis Yeager, and Olga Yunak.Table of ContentsAcknowledgements List of Figures Notes on Contributors Introduction  Vladimir Ivanovici and Alice Isabella Sullivan Part 1: Light, Theology, and Aesthetics 1 Illuminated by Divine Presence: Natural Light in the Katholikon at Dečani Monastery  Anna Adashinskaya 2 Natural Darkness and the Transfiguration Church on Il’ina Street in Novgorod (1378)  Olga Yunak 3 Transparency, Color, and Light at Ferapontov Monastery’s Nativity of the Mother of God Church  Maria Shevelkina 4 The Blessed Sacrament Shining in Light: Windowed Niches in Medieval Livonian Churches  Vera Henkelmann 5 Seeing beyond Seeing: Light and Theophanic Contemplation at the Enkleistra of Neophytos, Cyprus  Maria Paschali and Dimitris Minasidis 6 Space and Light: Aesthetics of Light in the Byzantine Church  Iakovos Potamianos Part 2: Lighting Sacred Spaces 7 Light of the East in the West: Natural Light in the Monastic Rupestrian Complex of San Pedro de Rocas (Galicia)  Natalia Figueiras Pimentel and Jorge López Quiroga 8 Sun, Stones, and Saints: On the Orientation of the Church of Sant’Ambrogio alla Rienna (SA)  Andrea Mattiello 9 Natural Light in the Church of the Holy Cross at Pătrăuți Monastery  Vladimir Ivanovici, Alice Isabella Sullivan and Gabriel-Dinu Herea 10 Modeling the Sunlight Illumination of the Church at Studenica Monastery  Travis Yeager, Jelena Bogdanović, Leslie Forehand, Dušan Danilović, Magdalena Dragović, Debanjana Chatterjee, Jacob Gasper, Marko Pejić, Aleksandar Čučaković, Anastasija Martinenko and Charles Kerton 11 Architectural Emptiness and Natural Light: The Church of the Virgin at Studenica Monastery  Ljiljana Čavić 12 Canticle of the Sun: Archaeoastronomy and Solar Eucharistic Worship in the Millennial New World  Rubén G. Mendoza Indexes

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Book SynopsisMedieval Moldavia – which was located within present-day northeastern Romania and the Republic of Moldova – developed a bold and eclectic visual culture beginning in the 15th century. Within this networked Carpathian Mountain region, art and architecture reflect the creativity and diversity of the cultural landscapes of Eastern Europe. Moldavian objects and monuments – ranging from fortified monasteries and churches enveloped in fresco cycles to silk embroideries, delicately carved woodwork and metalwork, as well as manuscripts gifted to Mount Athos and other Christian centers – negotiate the complex issues of patronage and community in the region. The works attest to processes of cultural contact and translation, revealing how Western medieval, Byzantine, and Slavic traditions were mediated in Moldavian contexts in the post-Byzantine period.Table of ContentsAcknowledgments List of Figures Notes on Sources, Dates, Translations, and Transliterations Table of Key Monuments Introduction 1 Changing Landscapes  1 Moldavia and the Ottoman Empire  2 Defensive Landscape  3 Sacred Landscape  4 Fortified Monasteries  5 Projects beyond Moldavia 2 Ideologies and Temporalities  1 Shifting Identities  2 Votive Images, Intercessors, and Rituals  3 Alter Constantinus  4 New Struggles and Ambitions 3 Patterns of Patronage  1 Patronage of Mount Athos  2 Reasons for Patronage  3 Counter-gifts and Holy Relics  4 Workshops and Scriptoria 4 Sacred Spaces  1 Transitions and Transformations  2 Peter’s Ecclesiastical Projects  3 Byzantine-Slavic Forms  4 Gothic Elements  5 Stylistic Pluralism 5 Images and Rituals  1 Mural Cycles in the Naos and Altar  2 The Visual and Spatial Orchestration of the Divine Liturgy  3 Preparatory Spaces and the Path to Salvation  4 Exterior Images and Ambulatory Processions 6 Burials and Memory  1 The Moldavian Gropniță  2 Burials apud ecclesiam  3 The Graves and Their Props  4 Social and Symbolic Explanations  5 Spiritual and Eschatological Dimensions 7 Traditions and Transformations  1 The Patronage of the Movilă Brothers  2 Transformations in the Local Visual Culture Conclusion Bibliography Index

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Book SynopsisWhile we sometimes think about the past as distant and dusty, portals that can shoot through centuries exist. The estate inventory of Chicart Bailly is one of those gateways, and through its many pages we are transported back into an entirely different material culture – Paris at the turn of the 16th century. Chicart, whose death in June 1533 led to the creation of the document, was part of a legacy of working with ivory, bone, and precious woods as a tabletier. This transcription and annotated translation of the inventory provides a key for new insights into this previously understudied profession -- the objects made, the varied media used, and the world of the Paris’ tabletiers.Table of ContentsContents Acknowledgements List of Illustrations Introduction Part 1: Text and Context  1.1 The Document: Notaries and Legacies  1.2 The Family: Many Sons and Daughters  1.3 The House: At the Sign of the Elephant Part 2: A Staggering Supply  2.1 The Objects: From the Opulent to the Ordinary  2.2 Global Goods: Incomplete Items: Raw and Half-Made in the Inventory  2.3 The Means of Making: Tools in the Estate Inventory  2.4 Playtime: Games and Toys  2.5 Holy and Hewn: Religious Objects in the Inventory  2.6 A Beginning at the End Part 3: Marchandise de TabletterieTranscription — Translation  3.1 The Process Related to the Transcription — Translation  3.2 The Inventory of 1533  3.3 Index of Inventory Merchandise  Appendix 1 — Material Culture in the Professional Spaces  Appendix 2 — Letters and Debts  Appendix 3 — Documents Related to the Inheritance of Chicart Bailly Bibliography Index

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Book SynopsisThe stone monuments of Mongolia’s Altai Mountains trace the web of ancient cultures across that remote land. This study breaks new ground by seeking their cultural significance from within their physical locations and viewsheds. It is the first study to join the mute stone monuments to the vivid petroglyphic rock art of that region. In that and in the examination of a monument’s individualizing details, I seek to recover the impulse of original intention, the way in which monument and location fix cultural memory, and the way in which memory finally gives way to the cultural development of myth.

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Book SynopsisDesign permeates every dimension of our lifeworld, from the products we consume and the built environments in which we live to the adorned and stylized beings that we are and the natural preserves where we seek relief from the stressful bustle of urban life. Design is where contrasting values of functionality and aesthetic pleasure converge. At the core of design is the human soma, an active, perceptive subjectivity that creates and evaluates design but is also its cultivated product. This collection of ten essays explores the somaesthetics of design in multiple fields: from ritual, craft, and healthcare to architecture, urbanism, and the new media of extended realities.Table of ContentsAcknowledgments List of Figures Notes on Contributors Introduction: Somaesthetics and Design Culture   Richard Shusterman and Bálint Veres Part 1 Studies on Limitations 1 A World Is Born: Craftsmanship, Mediality, and the Somatic Implications of Plato’s Timaeus   Bálint Veres 2 From Making to Lighting a Candle: On Functions, Meanings, and Bodies in Ritual Design   Mădălina Diaconu 3 Can That Be Taught? Lessons in Embodied Knowledge from Memoir Writing for Craft and Design Education   Jessica Hemmings 4 Soma and Symbol: The Bridging Function of Style in Design History and Culture   Steven Leuthold Part 2 Bodies, Senses, and Power 5 Sensing Kalasatama: Design Culture and Neoliberal Bodyhood   Guy Julier 6 Bodies Under the Weather: Selective Permeability, Political Affordances, and Architectural Hostility   Matthew Crippen with Illustrations by Mareike Joleen Timm 7 Across the Threshold: A Somaesthetic Approach to the Design of Extended Realities   Tom McGuirk and Alan Summers Part 3 Transformative Experiences 8 Bespoke Healthcare Design   Dina Shahar and Jonathan Ventura 9 Sensory Activation in Design, Art, and Architecture – a Somaesthetic Perspective   Else Marie Bukdahl 10 Designing for Somaesthetic Transformation   Richard Shusterman and Dag Svanæs Index

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Book SynopsisHieronymus Bosch's Garden of Earthly Delights is one of the most enigmatic paintings in the history of western art. Apart from a brief description by an eyewitness in 1517, there are no contemporary records that tell us anything about the original commission of the painting, its placement, function or audience. Reindert Falkenburg now offers a detailed analysis of Bosch's eye- and mind boggling play with pictorial traditions. He argues that the painting was created towards the end of the fifteenth century as a conversation piece for an audience of Burgundian nobles. He suggests that the Garden of Earthly Delights served as a multifaceted mirror for viewers to reflect on how humanity, while created in the image and likeness of God, in the course of history has lost its original identity and tends towards becoming one with a world that is susceptible to an all-perverting force of evil origin. This debatable nature of Bosch's imagery is central to any engaged viewership, historical or modern.

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Book SynopsisRafał Quirini-Popławski offers here the first panorama of the artistic phenomena of the Genoese outposts scattered around the Black Sea, an area whose cultural history is little known. The artistic creativity of the region emerges as extraordinarily rich and colorful, with a variety of heterogeneous, hybrid and intermingled characteristics. The book questions the extent to which the descriptor "Genoese" can be applied to the settlements’ artistic production; Quirini-Popławski demonstrates that, despite entrenched views of these colonies as centres of Italian and Latin culture, it was in fact Greek and Armenian art that was of greater importance.Table of ContentsContents Acknowledgements List of Illustrations Introduction  1 The Aims of the Book  2 State of Research – Literature Review  3 Sources and Approaches 1 Historical Introduction  1 History of the Genoese Colonies in the Context of the History of the Black Sea Basin in the Late Medieval Period  2 The Legal and Organisational Frameworks of Construction Activity and Crafts in the Colonies. Origin of Builders and Craftsmen 2 The Topography of the Colonies and Secular Buildings  1 The Topography of the Colonies  2 Secular Buildings 3 Sacral Buildings  1 Introduction  2 The Churches of Caffa  3 The Churches of Pera  4 Churches and Other Religious Buildings in Soldaia, Cembalo, Trebizond, Samastri, and Vosporo 4 Bas-Relief Decoration  1 Review of Monuments  2 Analysis 5 Painting and Applied Arts  1 Monumental Painting  2 Panel and Miniature Painting  3 Applied Arts  4 Numismatics and Sphragistics Conclusion Catalogue Bibliography Index

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Book SynopsisThis is the first thorough investigation of the Brummer brothers’ remarkable career as dealers in antiques, curiosities and modernism in Paris and New York over six decades (1906-1964). A dozen specialists aggregate their expertise to explore extant dealer records and museum archives, parse the wide-ranging Brummer stock, and assess how objects were sourced, marketed, labelled, restored, and displayed. The research provides insights into emerging collecting fields as they crystallised, at the crossroads between market and museum. It questions the trope of the tastemaker; the translocation of material culture, and the dealers’ prolific relationships with illustrious collectors, curators, scholars, artists, and fellow dealers.Table of ContentsList of Figures and Tables Contributors Introduction  Christel H. Force, Yaëlle Biro and Christine E. Brennan 1 The Brummer Galleries: A Chronology  Christel H. Force Part 1: A Family Affair—The Brummers and Art Dealing in Paris, 1906–1914 2 Innate Taste or Construction of the Gaze: Joseph Brummer and the Promotion of the African Object as Art  Yaëlle Biro 3 Picassos at ‘Brummer Frères—Curiosités’ and Beyond: From Frank Burty Haviland’s Collection to John Quinn’s  Christel H. Force Part 2: From Paris to New York—A Gallery in Transition, 1914– 4 Joseph Brummer and the Flourishing of Byzantine Art History  Elizabeth Dospěl Williams 5 Pioneers or Followers? The Brummer Brothers and Egyptian Art, 1910–1922  Tom Hardwick 6 Curiosités at Brummers  Julie Jones Part 3: New York—The Triumphant Years 7 The Brummer Gallery and Medieval Art in America, 1914–1947  Christine E. Brennan 8 The Brummer Gallery and the Conservation of Medieval Sculptures in the Early Decades of the Twentieth Century  Lucretia Kargère 9 Joseph Brummer, the Met, and Classical Antiquities in the United States  Maya Muratov 10 The Brummer Gallery and the Making of Iranian and Islamic Arts  Anne Dunn-Vaturi and Martina Rugiadi Part 4: Direct Witnesses Appendix A Interview with John Laszlo Appendix B Interview with Richard S. Brummer (1924–2022) Appendix C Curatorial Reflections on the Brummer Gallery, Joseph, Ernest, and Ella Baché Brummer  William D. Wixom Index

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Book SynopsisThis volume, the second of three, offers an anthology of Western descriptions of Islamic religious buildings in Syria, Egypt and North Africa, mostly from the seventeenth to early twentieth centuries, taken from travel books and ambassadorial reports. (The third volume will deal with Islamic palaces around the Mediterranean.) As travel became easier and cheaper, thanks to better roads, steamships, hotels and railways, tourist numbers increased, museums accumulated eastern treasures, illustrated journals proliferated, and photography provided accurate data. All three deal with the impact of Western trade, taste and imports on the East, and examine the encroachment of westernised modernism.Table of ContentsContents Preface to the Three Volumes ix List of Illustrations xi 1 Introduction  1 The Crusades and Their Impact  2 Contacts Through Trade  3 Manuscripts Throughout the Empire  4 Nineteenth-century Travel and Tourism  5 Jerusalem and Cairo  6 The survival of Islam  7 Muslims, Christians and Jews  8 Dress and Stability: Two Disparities between West and East  9 Arrangement of the Book 2 Syria and the Holy Land  1 Mosques and How to Enter Them  2 Sketching Islamic Antiquities: Paper and Panoramas  3 Acre: Djezzar’s Mosque  4 Baalbek  5 Damascus  6 Gaza and Nablus  7 Hebron  8 Baghdad (Present-day Iraq)  9 Jerusalem  10 The Haram al Sharif and Its Monuments  11 Ramla/Rama  12 Sidon 3 Alexandria and Cairo  1 Alexandria’s Mosques  2 Alexandria’s and Cairo’s Reuse of Antiquities  3 The Pyramids  4 Cairo  5 Boulaq  6 The Delights of the Citadel  7 Northern and Southern Cemeteries  8 Cairo, Odernism and Islamic Survivals 4 North Africa  1 Setting the Scene  2 Algeria  3 Could Arabic Architecture Survive in (French) Algeria?  4 Algiers (Occupied 1830)  5 Bougie (Occupied 1833)  6 Constantine (Occupied 1837)  7 Tlemcen Environs and Its Monuments  8 Tlemcen City (Occupied 1836)  9 The Oasis of Sidi Okba  10 Morocco  11 Fez  12 Photography in Fez and Elsewhere  13 Marrakesh/Morocco  14 Mequinez/Meknès  15 Salee, Rabat and Shellah  16 Tangier  17 Tetuan  18 Tunisia (French Protectorate 1881–1956)  19 Gafsa and Béja  20 Kairouan  21 Sousse and Environs  22 Testour  23 Tunis  24 Libya  25 Tripoli in Barbary 5 Exhibiting Islamic Lands: Trade, Travel and Empire  1 Overview  2 Easier and Cheaper Travel  3 Artists, Exhibitions and Moving Images  4 Dancing in the Cairo Street  5 Paris 1867 and Dancing Girls Bibliography – Sources Bibliography – Modern Scholars Index Illustrations

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Book SynopsisThe study of medieval chronicles is firmly established as a focus of research in the whole range of disciplines comprising Medieval Studies: literature, history, art history, linguistics, book history, digital humanities, and so forth. Each article in this volume dedicated to Erik Kooper presents a case study, balancing the particulars of the chosen materials with more generalized conclusions about their significance. The resulting collection is an anthology of different approaches in Medieval Chronicle Studies, presenting a rich overview of the geographical, linguistic, chronological and methodological diversity of chronicle research as it has developed in no small part thanks to Erik’s rallying. Contributors are Marie Bláhová, Cristian Bratu, Beth Bryan, Godfried Croenen, Peter Damian-Grint, Kelly DeVries, Isabel Barros Dias, Graeme Dunphy, Márta Font, Chris Given-Wilson, Ryszard Grzesik, Isabelle Guyot-Bachy, Letty Ten Harkel, Michael Hicks, David Hook, Sjoerd Levelt, Julia Marvin, Charles Melville, Firuza Abdullaeva, Martine Meuwese, Sarah Peverley, Jaclyn Rajsic, Lisa Ruch, Françoise Le Saux, Carol Sweetenham, Grischa Vercamer, Alison Williams Lewin, and Jürgen Wolf.

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Book SynopsisThis book offers an integrated study of the texts and images of illustrated Malay manuscripts on magic and divination from private and public collections in Malaysia, the UK and Indonesia. Containing some of the rare examples of Malay painting, these manuscripts provide direct evidence for the intercultural connections between the Malay region, other parts of Southeast Asia and the rest of the world. In this richly illustrated volume many images and texts are gathered for the first time, making this book essential reading for all those interested in the practice of magic and divination, and the history of Malay, Southeast Asian and Islamic manuscript art.Trade Review"Magic and Divination in Malay Illustrated Manuscripts is a pioneering study in the field of Malay manuscripts and deserves to be appreciated as an invaluable contribution to scholarship in Islamic art history. It will function as a fundamental resource for future research and teaching on the singular visual and material culture of the Malay lands." - Yuka Kadoi, in: Orientations, January/February (2018) "This is an important book. It makes a significant and original contribution to a little-known aspect of Malay manuscripture – illustrated Malay manuscripts on magic and divination – previously either ignored, or sampled very selectively, or approached tangentially through ethnographic studies… With its exceptionally wide-ranging references and thorough investigation, this book delivers much more than the sum of its parts, and constitutes a landmark in Malay manuscript studies." - Annabel Teh Gallop, in: Aseasuk News no. 61, Autumn (2017) "This comprehensive book resembles a well written encyclopaedia in targeting every aspect of Southeast Asian notes on divination and magic .." - Majid Daneshgar, in: Southeast Asian Studies, Vol. 5, No. 3 (2016)Table of ContentsPREFACE ACKNOWLEDGEMENTS NOTES TO THE READER Abbreviations Translations and Transliterations MAPS PART I: INTRODUCTION AND BACKGROUND CHAPTER 1: Introduction: Malay Magic and Divination Manuscripts Malay Magic and Divination Manuscripts Importance of the Art Contained CHAPTER 2: Malay Magic And Divination The Malay Spirit World Magic and Divination Magicians and Shamans Tools of the Magician PART II: THE MANUSCRIPTS CHAPTER 3: Early Manuscripts and European Collecting Activities Manuscripts during the Srivijaya Period Magic and Divination Manuscripts from the Sixteenth and Seventeenth Centuries Later European Collecting Activities and Scholarship CHAPTER 4: Material and Format European Paper and Watermarks The Folding-book Format Binding and Covers Colophons, Seals and Other Documentary Evidence Inks and Colours CHAPTER 5: The Contents: Texts and Images Relationship between Text and Image Some Issues Regarding the Sources of the Contents Titles, Opening Statements and Arrangement of the Texts Magical Rites Divinatory Techniques CHAPTER 6: The Art: Iconography, Style and Illumination General Remarks on the Illustrations and Diagrams Anthropomorphic Beings Animals Buildings Talismanic Designs Illumination and Decorative Elements Chinese and Western Influences and the Impact of Printing and Photography CHAPTER 7: Production, Patronage and Consumption Professional Magicians Female Magicians The Religious Milieu and Pondok Schools Patronage of the Royal Courts and the State Magicians Commissions by European Colonial Collectors Printed Books on Magic and Divination during the Nineteenth and Early Twentieth Centuries Magic And Divination Manuscripts and Books during the Late Twentieth and Early Twenty-first Centuries CHAPTER 8: Conclusion APPENDIX: Catalogue BIBLIOGRAPHY INDEX

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Book SynopsisSacred Precincts examines non-Muslim religious sites in the Islamic world, revealing how architecture responds to contextual issues and traditions. It explores urban contexts; issues of identity; design; construction; transformation and the history of sacred sites in the Middle East and Africa from the advent of Islam to the 20th century. The book includes case studies on churches, synagogues and sacred sites in Iran; Turkey; Cyprus; Egypt; Iraq; Tunisia; Morocco; Malta; Nigeria; Mali, and the Gambia.Trade Review"... a timely and sorely needed compilation of essays that accounts for the long-standing history and complexity of pluralism within many Muslim-majority cities and contexts throughout the world... Without question, texts from this vitally important volume should not only be read by specialists, but assigned in every introductory art historical, theological, historical, or anthropological course that even touches on Islam, for these essays are the interlocutors that can simultaneously dismantle the logic of both Islamophobia and radicalism through innumerable historical exemplars of coexistence. Within the existing body of scholarship in architectural history and urban studies, this volume expands our knowledge of the vibrant pluralism and religious and ethnic diversity of cities throughout the Islamic world, while productively obliterating the Orientalist, monolithic conception of the "Islamic city." - Nancy Demerdash-Fatemi, in: H-AMCA, H-Net Reviews, April (2017) "... a volume beautiful enough to adorn my coffee table, yet useful enough to merit a place on my office book-shelf... [...] a fascinating volume for potential courses on World-Christianity, Christian-Muslim relations, or anthropology of religion, among other possibilities." - Lucina Allen Mosher, in: Anglican Theological Review 99/1Table of ContentsCONTENTS List of Figures Acknowledgements Preface: Non-Muslim Sacred Sites in the Muslim World Mohammad Gharipour Introduction PART 1: IDENTITY 1. Churches Attracting Mosques: The Architecture of Mosques in Early Islamic Syria Mattia Guidetti 2. To Condone or To Contest? Ethnic Identity and Religious Architecture in The Gambia Steven Thomson 3. Jigo: The Essence of the Non-Tangible Architecture of Hausa Traditional Religion A.A. Muhammad-Oumar 4. Muslims Viewed as ‘Non-Muslims’: The Alevi Precincts of Anatolia Angela Andersen 5. Identity and Style: Armenian-Ottoman Churches in the Nineteenth Century Alyson Wharton 6. Apportioning Sacred Space in a Moroccan City: The Case of Tangier, 1860–1912 Susan Gilson Miller 7. Politics of Place in the Middle East and World Heritage Status for Jerusalem Elvan Cobb PART 2: DESIGN 8. Devotional and Artistic Responses to Contested Space in Old Cairo: The Case of Al-Mu‘allaqah Erin Maglaque 9. Sacred Geometries: The Dynamics of ‘Islamic’ Ornament in Jewish and Coptic Old Cairo Ann Shafer 10. Synagogues of Isfahan: The Architecture of Resignation and Integration Mohammad Gharipour and Rafael Sedighpour 11. Gothic Portability: The Crimean Memorial Church, Istanbul, and the Threshold of Empire Ayla Lepine 12. A Catholic Church in an Islamic Capital: Historicism and Modernity in the St Antoine Church Ebru Özeke Tökmeci 13. Cultural Horizontality: Auguste Perret in the Middle East Karla Britton PART 3: CONSTRUCTION 14. Through a Glass Brightly: Christian Communities in Palestine and Arabia During the Early Islamic Period Karen C. Britt 15. The Miracle of Muqattam: Moving a Mountain to Build a Church in Fatimid Egypt Jennifer Pruitt 16. The Catholic Consecration of an Islamic House: The St John de Matha Trinitarian Hospital in Tunis Clara Ilham Álvarez Dopico 17. Armenian Merchant Patronage of New Julfa’s Sacred Spaces Amy Landau and Theo Maarten van Lint 18. The Tofre Begadim Synagogue and the Non-Muslim Policy of the Late Ottoman Empire Meltem Özkan Altınöz 19. (Re)Creating a Christian Image Abroad: The Catholic Cathedrals of Protectorate-Era Tunis Daniel Coslett PART 4: RE-USE 20. Khidr and the Politics of Translation in Mosul: Mar Behnam, St George and Khidr Ilyas Ethel Sara Wolper 21. Muslim Influences in Post-Muslim Malta: The Hal Millieri Church David Mallia 22. St Sophia in Nicosia, Cyprus: From a Lusignan Cathedral to an Ottoman Mosque Suna Güven 23. Maribayasa: Negotiating Gold, Spirits, and Islamic Renewal in a Malian Islamic Borderland Esther Kühn 24. Building as Propaganda: A Palimpsest of Faith and Power in the Maghreb Jorge Correia 25. The Cathedral of Ani, Turkey: From Church to Monument Heghnar Watenpaugh APPENDICES Appendix 1: Glossary Appendix 2: Bibliographies Appendix 3: About the Contributors Index

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Book SynopsisTeresa of Ávila's cult was dramatically disseminated in previously unknown celebrations honoring her beatification (1614) and canonization (1622) in Italy and Portuguese Asia, the purview of her Discalced Carmelite Order's Italian Congregation. Reconstructions and analyses of the festivities in Genoa, Rome, Naples, Hormuz, and Goa center on the presentation of Teresa's gender, deeds, virtues, and miracles. The geopolitical roles played by religious, secular, and family networks in particularizing and propagating Teresa's universal cult are emphasized. The desired goal of converting Muslims and Hindus is addressed in light of attitudes toward ethnic and religious diversity shared by lay and ecclesiastical authorities.Table of ContentsAcknowledgments List of Illustrations Introduction PART 1: Teresa’s Beatification Celebrations in Italy, 1614 1 A Triumphal Procession for Cloistered Nuns in Genoa 2 Matriarch of A Global Missionary Order in Papal Rome 3 ”Founder and Doctor and Virgin”: Spanish Holy Woman in Viceregal Naples PART 2: Teresa’s Italian Canonization Celebrations, 1622 4 Canonizing Five New Saints in St. Peter’s Basilica 5 Honoring St. Teresa in S. Maria Della Scala, Rome 6 A Triumphal Procession for Philip Iv’s New Saint in Viceregal Naples PART 3: The Mission to Persia and the East Indies: Conversionary Aspirations and Festivities 7 New Challenges: Confronting Ethnic and Religious Diversity 8 Celebrating Teresa’s Beatification in Hormuz in Portugal’s Estado Da Índia 9 Teresa’s Canonization Festivities in Goa, Rome of the East Conclusion Bibliography Index

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Book SynopsisBy clothing the Word with her flesh, the Virgin Mary made God visible, manifesting Christ as a perfect “image” of the Father. By virtue of this archetypal “artistry” of Incarnation, Mary mediates the tradition of Christian image-making. This volume explores images of the Mother of God in early modern devotion, piety, and power. The book is divided into four sections, the first three of which link the subjects thematically and geographically in Europe, while the last one follows Mary’s legacy. Contributors include: Elliott D. Wise, Anna Dlabačová, James Clifton, Kim Butler Wingfield, Barbara Baert, Steven Ostrow, Barbara Haeger, Shelley Perlove, Cristina Cruz González, and Mehreen Chida-Razvi.Table of ContentsContents Acknowledgments List of Figures Notes on Contributors Introduction 1 Our Lady of Grace: Holy Wars and Artisanal Competitions  Elliott D. Wise 2 Marian Devotions from a Printer’s Perspective   The Rosary, the Seven Sorrows, and Gerard Leeu (d. 1492)  Anna Dlabačová 3 “Lectulus noster floridus”: The Flower-Strewn Bed and the Virgin’s Womb  James Clifton 4 Matters of the Flesh: Michelangelo’s Madonnas  Kim Butler Wingfield 5 Revisiting the Annunciation in the Quattrocento: Wind, Kairos, Snail  Barbara Baert 6 Duplex Intercessio: The Centrality of the Virgin in Giovanni Battista Gaulli’s Dome Fresco in the Gesù  Steven F. Ostrow 7 Van Dyck’s Lamentation for the Church of the Recollects in Antwerp: Making Visible the Virgin Mary as Co-redemptrix  Barbara Haeger 8 Navigating Theological Differences: Rembrandt and the Grieving Mother of Christ  Shelley Perlove 9 Gemma Mexicanus: Our Lady of Tepepan in New Spain  Cristina Cruz González 10 Picturing the Mughal Madonna: The Virgin Mary as a Symbol of Legitimacy and Royal Authority in Jahangir’s Architecture  Mehreen Chida-Razvi Index Nominum

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Book SynopsisIn the late nineteenth and early twentieth centuries, Italian Renaissance art, objects, and even the idea of Italy itself figured heavily both in the dynamic international art market and in the eyes of the general public. The alternative objects that were actively dispersed and collected -- authentic works, pastiches, Renaissance-inspired counterfeits, and reproductions -- in the diverse media of paint, plaster, terracotta, and photography, had a tremendous impact on visual culture across social strata. These essays examine less studied aspects of this market through the lens of just a few of the countless successful sales of objects out of Italy.Table of ContentsContents List of Illustrations Notes on Contributors Introduction Part 1: Possession by Replica 1 Export/Import: Italian Plaster Casts Come to the United States  Martha Dunkelman 2 Art Cannot Delight the Multitude It Cannot Reach: The Western Gallery of Art and the Pisani Gallery  MacKenzie Mallon 3 The Torrigiani Affair  Denise M. Budd and Lynn Catterson Part 2 : Possession via Various Afterlives 4 Carrying Home Renaissance Florence in Extra-Illustrated Copies of George Eliot’s Romola  Jacqueline Marie Musacchio 5 Mary Blair as Collector of Medieval and Renaissance, Old and Reborn  Kerri A. Pfister 6 Staging Italian Artworks at the 1900 Paris Universal Exposition for the Benefit of a Transnational Art Market  Paola Cordera Part 3 : Art and Its Removal 7 Protecting Patrimony in Late 19th-Century Ferrara: Garofalo’s Frescoes in Palazzo Costabili and the Attempted Purchase by Stefano Bardini  Lorenzo Orsini 8 State Confiscation of Illegally Commodified Former Ecclesiastical Art Objects and the Waning of the Post-Unification Art Market in Italy  Joanna Smalcerz Part 4 : Italy for America 9 ‘Here, There, and Everywhere:’ Harold Parsons, the Italian Art Market and a Letter of 1948  Eliot W. Rowlands 10 Ugo Bardini: Artist and Dealer of Botticelli’s Cincinnati Judith  Maria Eletta Benedetti Bibliographic Note Index

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Book SynopsisThis book examines the art markets of the Global South while questioning, based on the heterogeneity of the selected contributions, the very idea of its existence in the context of the global art market. Gathering new research by recognized scholars, you will discover different markets from the so-called Global South, their structure, the external determinants affecting their behavior, their role in the art system’s development, and how they articulate with other agents at the local, regional, and international level. In this publication, an important wealth of research on various African countries stands out, providing an unprecedented overview of the markets in that region.Table of ContentsList of Figures, Maps and Tables Notes on Contributors Introducing the Art Market and the Global South  Adelaide Duarte and Marta Pérez-Ibáñez Part 1: Diversity: Southern Art Markets 1 New Markets for Indian Art: the Growth of an Ecosystem in the New Millennium  Filip Vermeylen and Shambhavi Bhat 2 Is There Such a Thing as a « Global South »? Contemporary Visual Arts, the Art Market and Institutions in “Southern Countries”  Alain Quemin 3 Hub Cities and Regional Framing in a Globalising Art Market: The Construction of a Southeast Asian Art Scene in Singapore  Jeremie Molho 4 Analyzing the International Art Trade from the Global South Perspective  Joanna Bialynicka-Birula 5 Latin American Contemporary Art Market Narratives in a Creative Economy Context  Jimena Peña Bennett (Ph.d.) Part 2: New Markets: Focus Africa 6 Toward Global Transmodernity: Contemporary Visual Art Games in Twelve African Cities  Michael Hutter 7 Oasis in the Desert: Evolution of the Market for Contemporary Art in Nigeria  Jonathan Adeyemi 8 Tracing the Impact of Western-Centric Validation on Curatorial Practices and the Development of the Art-Ecosystems on the African Continent  Mary Corrigall 9 Okwui Enwezor’s Impact – (Southern) African Contemporary Art in the International Art Market from 2015 to 2020  Ginevra Addis Part 3: Fluidity: Agents in the Art System 10 Strategies of Collectivization: Art Market Alternatives from the Global South  John Zarobell 11 Artists’ Initiatives in the Global South and Their New Economy  Raffaella Frascarelli and Valerio Rocco Orlando 12 Global [South] Positioning: the Role of Auctions and Policy in the Strategic Locating of Singapore and “Southeast Asian Art” in a Global Market  Anita Archer 13 The Contemporary Istanbul Art Fair and the Internationalization of Art Market in Turkey  Burhan Fındıklı and Busra Hasboyaci 14 No Compass. Neither South nor North: Between Parintins and Phnom Penh  Alexandre Melo Final Considerations  Ana Letícia Fialho

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Book SynopsisThis collective study focuses on a unique anonymous medieval document on ornamental geometry featuring geometrical constructions and textual instructions in Persian. Selections from the unpublished work of Alpay Özdural (d. 2003) on this subject have been updated with original contributions by Jan P. Hogendijk, Elaheh Kheirandish, Gülru Necipoğlu, and Wheeler M. Thackston. The chapters interpreting this fascinating document are followed, for the first time, by a facsimile, transcription, and translation, as well as drawings of incised construction lines invisible in the photographed facsimile. This publication intersects with the current interest in Islamic geometrical patterning as an inspiration for tessellation and parametrically derived forms in contemporary architecture and the arts. It aims to make this celebrated source more accessible, given its multifaceted relevance to historians of art, architecture, and science, as well as mathematicians, physicists, artists, and architects. For those who wish to obtain a copy of the full, unedited original book manuscript of Alpay Özdural, where he discusses the mathematical properties of all geometrical constructions in the Anonymous Compendium as well as the step-by-step method for drawing each one, his work is available online at https://doi.org/10.6084/m9.figshare.5255416Trade ReviewWinner of 26th World Award for Book of the Year in Iran 2019. "The scholarly value of the edited volume lies in bringing diverse perspectives to bear on its interpretation. The resulting work is amajor contribution to scholarship and worthy of close and careful reading, despite its complex organizational structure and layout. Overall, it is a welcome tribute to the published and unpublished work of Alpay Özdural, extending his legacy and broadening its impact. It is hoped that this multi-disciplinary volume can now serve as a solid basis for future research, yielding advances in our understanding of just exactly why and when the histories of art, mathematics and science intersected, and how individuals interacted in the production of knowledge that yielded architectural monuments of cultural significance to this day." - Carol Bier, Center for Islamic Studies, Graduate Theological Union , in: Journal of Mathematics and the Arts 13:3 (2019) "In the medieval era, Persia stood at the crossroads of great empires, a place where ancient learning, and new, coalesced to create new forms and perspectives. Although we may never fully grasp it firmly, Necipoğlu offers the most detailed description of its contours and the most compelling explanation of how one of the world’s great geometric traditions took shape. Fascinating and well researched, The Arts of Ornamental Geometry is full of previously unknown details and would be a great pedagogical introduction to this topic. It stands as a thorough work that will definitely be useful for historians of Persian architecture and mathematics." - Abdullah Drury, University of Waikato, New Zealand, in The Muslim World Book Review (2018)Table of ContentsINTRODUCTION GÜLRU NECİPOĞLU, In Memory of Alpay Özdural and His Unrealized Book Project CHAPTER 1 GÜLRU NECİPOĞLU, Ornamental Geometries: A Persian Compendium at the Intersection of the Visual Arts and Mathematical Sciences CHAPTER 2 ELAHEH KHEIRANDISH, An Early Tradition in Practical Geometry: The Telling Lines of Unique Arabic and Persian Sources CHAPTER 3 JAN P. HOGENDIJK, A Mathematical Classification of the Contents of an Anonymous Persian Compendium on Decorative Patterns CHAPTER 4 ALPAY ÖZDURAL, Preliminaries (first chapter of Alpay Özdural’s unpublished book) TRANSLATION, TRANSCRIPTION, AND DRAWINGS An English translation by Alpay Özdural of Fī tadākhul al-ashkāl al-mutashābiha aw al-mutawāfiqa(On Similar and Complementary Interlocking Figures), edited and revised by Wheeler M. Thackston, with contributions by the other authors Accompanied by Wheeler M. Thackston’s transcription of the Persian text and Alpay Özdural’s drawings, with commentaries by Gülru Necipoğlu (based on “Analyses,” the second chapter in Alpay Özdural’s unpublished book) FACSIMILE A reduced-scale reproduction of Fī tadākhul al-ashkāl al-mutashābiha aw al-mutawāfiqa (Bibliothèque nationale de France, Ms. Persan 169, fols. 180r–199r)

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Book SynopsisWith its reconversion to a mosque in August 2020, the former monastic church of Saint Saviour in Chora entered yet another phase of its long history. The present book examines the Chora/Kariye Camii site from a transcultural perspective, tracing its continuous transformations in form and function from Late Antiquity to the present day. Whereas previous literature has almost exclusively placed emphasis on the Byzantine phase of the building’s history, including the status of its mosaics and paintings as major works of Palaiologan culture, this study is the first to investigate the shifting meanings with which the Chora/Kariye Camii site has been invested over time and across uninterrupted alterations, interventions, and transformations. Bringing together contributions from archaeologists, art historians, philologists, anthroplogists and historians, the volume provides a new framework for understanding not only this building but, more generally, edifices that have undergone interventions and transformations within multicultural societies.

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Book SynopsisIchthyology in Context (1500–1880) provides a broad spectre of early modern manifestations of human fascination with fish – “fish” understood in the early modern sense of the term, as aquatilia: all aquatic animals, including sea mammals and crustaceans. It addresses the period’s quickly growing knowledge about fish in its multiple, varied and rapidly changing interaction with culture. This topic is approached from various disciplines: history of science, cultural history, history of collections, historical ecology, art history, literary studies, and lexicology. Attention is given to the problematic questions of visual and textual representation of fish, and pre- and post-Linnean classification and taxonomy. This book also explores the transnational exchange of ichthyological knowledge and items in and outside Europe. Contributors: Cristina Brito, Tobias Bulang, João Paulo S. Cabral, Florike Egmond, Dorothee Fischer, Holger Funk, Dirk Geirnaert, Philippe Glardon, Justin R. Hanisch, Bernardo Jerosch Herold, Rob Lenders, Alan Moss, Doreen Mueller, Johannes Müller, Martien J.P. van Oijen, Pietro Daniel Omodeo, Anne M. Overduin-de Vries, Theodore W. Pietsch, Cynthia Pyle, Marlise Rijks, Paul J. Smith, Ronny Spaans, Robbert Striekwold, Melinda Susanto, Didi van Trijp, Sabina Tsapaeva, and Ching-Ling Wang.Trade Review“Intersections is an eminently useful […] series that collects recent scholarly essays on topics of interest to nearly every subfield in early modern studies.” Anne Good, Reinhardt University. In: Itinerario, Vol. 35, No. 2 (August 2011), p. 106.Table of ContentsAcknowledgments List of Figures Notes on the Editors Notes on the Contributors 1 Introduction: Towards a Cultural History of Early Modern Ichthyology (1500–1880)  Paul J. Smith Part 1: Beginnings 2 Fish Images True to Life and a 16th-Century Controversy between Rondelet and Salviani. Essay and Documentation of the Sources  Holger Funk 3 Beginnings of Ichthyological Natural History: Formal and Structural Questions  Philippe Glardon 4 The Many Names of Fish: Scientific and Poetic Fish Nomenclature in the Writings of Johann Fischart and Conrad Gessner  Tobias Bulang 5 Aquatilia of Portugal in 1555–1556 According to Leonhardt Thurneysser zum Thurn  Bernardo Jerosch Herold and João Paulo S. Cabral Part 2: Depicting 6 Looking beyond the Margins of Print: Depicting Water Creatures in Europe, c.1500–1620  Florike Egmond 7 Ichthyology and Related Topics in MS Urb. lat. 276 (13th–17th Centuries)  Cynthia M. Pyle 8 A Taste for Fish: Paintings of Aquatic Animals in the Low Countries (1560–1729)  Marlise Rijks 9 Fishing in the Past: Biodiversity, Art History, and Citizen Science – Preliminary Results  Anne M. Overduin-de Vries and Paul J. Smith Part 3: Fish and Society in Europe 10 Piscatorial Elements in 16th-Century Literature in Bruges: Fantasy Scenes and Compassionate Eulogies  Dirk Geirnaert 11 What Are the Fish Silent about? Selected Historical Facts on the Use of Fish in Medieval Medicine  A Qualitative Study Based on Sources from The Middle Low German Dictionary Archive  Sabina Tsapaeva 12 The Invisible Fisherman: The Economy of Water Knowledge in Early Modern Venice  Pietro Daniel Omodeo 13 ‘Um Grande Peixe, Dona Baleia da Costa’: The Whale in Portuguese Early Modern Natural History  Cristina Brito 14 ‘My Eyes Have Never Yet Beheld Him.’ Demythologising Arctic Sea Monsters in the Poetry of the Norwegian Priest and Fish Merchant Petter Dass (1647–1707)  Ronny Spaans 15 The Historical Truth behind the “Salmon-Servant” Myth  Rob Lenders 16 Public Opinion on Seals in Dutch Newspapers 1725–1900  Paul J. Smith Part 4: Ichthyological Knowledge from Afar 17 The Travelling Nautilus: Spaces of Circulation from the Indian Ocean to Britain  Melinda Susanto 18 François de Meyer’s Fish Travelogue (1698)  Paul J. Smith, Didi van Trijp and Alan Moss 19 The Afterlives of Fish Far from Home: (Mis)Representations in the Iconography of Preserved and Printed Pufferfish in 18th-Century Germany  Dorothee Fischer 20 Louis Renard (1678/1679–1746) and His Poissons, ecrevisses et crabes (1719): 300 Years of One of Natural History’s most Curious Colour Plate Books  Theodore W. Pietsch and Justin R. Hanisch 21 Distance, Geography, and Anecdote in M.E. Bloch’s Natural History of Fishes  Johannes Müller 22 Between Science and Art: On Painted Natural Illustrations of Fish in China  Ching-Ling Wang 23 Early “Dutch” Contributions to Japanese Ichthyology  Martien J.P. van Oijen 24 Packaging Knowledge about Whales in Early Modern Japan  Doreen Mueller 25 Images, Specimens, and Species: Hermann Schlegel on the Various Ways of Depicting a Fish  Robbert Striekwold Index Nominum Index of Aquatic Animals

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Book SynopsisThis volume contains twenty-four essays, which, in their subjects and methodology, pay tribute to the scholarship of Walter S. Melion. The contributions are grouped under three categories: “Devotion,” “Art and Image Theory,” and “Vision and Contemplation.” The Devotion section addresses votive practices, theological theory and polemic literature. The Art and Image Theory section focuses on Jesuit image theory, the reflexive dimension of works, and artists’ reflections on the function of images. Finally, the Vision and Contemplation section discusses the ‘early modern eye’ as a tool for thoughtful, prolonged looking to ascertain visual wit, deception, self-assessment and friendship, sacred and profane allegories.Trade Review“Intersections is an eminently useful […] series that collects recent scholarly essays on topics of interest to nearly every subfield in early modern studies.” Anne Good, Reinhardt University. In: Itinerario, Vol. 35, No. 2 (August 2011), p. 106.Table of ContentsList of Figures Notes on the Editors Notes on the Contributors Introduction  Stijn P.M. Bussels, Karl A.E. Enenkel, Michel Weemans, and Elliott D. Wise Part 1: Devotion 1 Expecting Efficacy  John Decker 2 Deus ex machina – Remarks on Early-Netherlandish Art of Devotion  Reindert L. Falkenburg 3 Mediating the Holy: A Living Saint and the Status of the Image in Pre-Modern Augsburg  Ashley D. West 4 Panis Angelicus: The Christ Child among Angels in Early Sixteenth-Century Northern Art  Larry Silver 5 Private Devotion within the Imperial Network  Nicolas de Granvelle and Nicole Bonvalot as Followers of the Cult of The Seven Sorrows of the Virgin  Dagmar Eichberger 6 The Stained Glass Windows of the Great Cloister of the Leuven Charterhouse: Between Memoria and Spiritual Edification?  Ingrid Falque 7 Catechizing the Cross  Lee Palmer Wandel 8 Temple Priests and Pharisees on Calvary: Anti-Judaism and Humanism in Maarten van Heemskerck’s Crucifixion (c.1549)  Shelley Perlove 9 Rubens and the Virgin Mary  Colette Nativel 10 ‘Vulnera Christi Medicina animarum’: The Pentalpha and the Five Wounds in Willem de Wael a Vronesteyn’s Corona sacratissimorum Iesu Christi vulnerum (1649)  James Clifton 11 God’s Kiss to Humanity: Seeing the Incarnation through the Eyes of Francis de Sales  Joseph F. Chorpenning Part 2: Art and Image Theory 12 Exemplum: Model Books, Memory, and Traces of Marian Devotion Circa 1400  C. Jean Campbell 13 Silver and Gold I Do Not Have: Lambert Suavius’s Saint Peter Healing the Paralytic Man (1553) and the Poor Beauty of Engraving  Edward H. Wouk 14 All Cretans Lie: Pieter Bruegel’s ‘Misanthrope’ in a New Interpretation  Jürgen Müller 15 Image and Honour: Nicholas Sander and the Council of Trent  Wietse de Boer 16 Go from Fiction to the Truth!: Mennonitism and Humanism in Van Mander’s Theory of Painting  Boudewijn Bakker 17 Homo in Imagine [Impressa] Ambulat, the Proof of the (Engraved) Image  Ralph Dekoninck 18 The Problem of Ultraviolence in Modern Martyrology Narratives and Images, a Research Proposal  Pierre-Antoine Fabre Part 3: Vision and Contemplation 19 Quinten Massys’s Deceptions in Plain Sight  Bret L. Rothstein 20 Animal Fables of Contemplation  Paul J. Smith 21 Self-reflection in a Troubled Age: Gillis Anselmo’s album amicorum and an Astrolabe Made by Michiel Coignet  Christine Göttler 22 ‘As Did Bruegel’: David Vinckboons’ Agony in the Garden as Proleptic Sacred Landscape  Art DiFuria 23 Notes on Galileo’s Moon  Barbara Baert 24 Hermeneutics and Allegory in Desmarets de Saint-Sorlin’s Les Délices de l’esprit (1658): from Visual to Figural Exegesis  Agnès Guiderdoni Bibliography Walter Melion Index Nominum

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Book SynopsisIn this book, Doris Behrens-Abouseif responds to the Mamluk chroniclers whose loquacity regarding clothing matters demands our attention. Using a multiplicity of sources including chronicles, European and Muslim travel narratives, popular storytelling, legal treatises, literature, and poetry, Behrens-Abouseif delves into the details of Mamluk dress. Whether as a vehicle for the sultanate’s self-representation both internationally and domestically or as an expression of religious and social identities, status and wealth, female assertion, urban culture, and artistic creativity, clothing personified the broad Mamluk social spectrum. Replete with colorful anecdotes and copious illustrations, Dress and Dress Code in Medieval Cairo offers a lively and comprehensive study of this fascinating topic.Table of ContentsAcknowledgement List of Figures Note to the Reader 1 Introduction: Subject, Sources, and Terminology  1 Studies  2 Material Evidence  3 Archival Sources  4 Narrative Sources  5 Visual Sources  6 Terminology 2 Religion, Traditions, and Customs  1 Religion  2 Sufism  3 Dreams  4 Urban Customs  5 Manners and Rituals 3 The Sultanate and Its Historians  1 The Sultans’ Perspective  2 The Historians’ Perspective 4 The Designer Sultans (1250–1380s)  1 Al-Ẓāhir Baybars (r. 1260–77)  2 Al-Manṣūr Qalāwūn (r. 1278–90)  3 Al-Ashraf Khalīl (1290–3)  4 Al-Nāṣir Muḥammad (1293–4, 1299–1309, 1310–41)  5 Al-Ashraf Shaʿbān (r. 1363–77)  6 Al-Ṣāliḥ Hājjī (r. 1389–90) 5 The Circassian Revision (1380s–1517) and the Ottoman Termination of the Mamluk Dress Code  1 Al-Ẓāhir Barqūq (r. 1382–9, 1390–99)  2 Al-Nāṣir Faraj (r. 1399–1405)  3 Al-Ashraf Barsbāy (r. 1422–38)  4 Al-Ẓāhir Jaqmaq (r. 1438–53)  5 Al-Ẓāhir Khushqadam (r. 1461–7)  6 Al-Ashraf Qāyṭbāy (r. 1468–96)  7 Al-Ashraf Qānṣuh Al-Ghawrī (r. 1501–16)  8 The End of the Mamluk Dress Code 6 The Khilʿa: Institution and Ritual 7 The Khilʿa as a Garment  1 The Caliph and the Sultan  2 The Military Establishment in the Bahri Period  3 The Military Establishment in the Circassian Period  4 The Civilian Dignitaries  5 The Kāmiliyya: A Circassian Innovation 8 The Dār al-Ṭirāz and Mamluk Art  1 Production  2 Administration  3 Tirāz and Mamluk Art 9 Dress and Dress Code of the Mamluk Aristocracy  1 The Sultan (Fig. 16)  2 The Mamlūks  3 The Headdress 10 The Dress Code of the Civilian Elite and the Commoners  1 The Civilian Elite  2 The Sufis  3 The Commoners 11 Women’s Clothing  1 The Palace  2 The Street  3 Wardrobe Miscellenia  4 Fashions  5 Regulation and Transgression  6 European Eyewitnesses 12 Mamluk Dress between Text and Image  1 Artefacts 13 Social Order and Mobility 14 Industry, Trade, and Assets  1 The Markets of Cairo  2 Hoards, Assets, and Security 15 Epilogue Bibliography Index

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Book SynopsisThe title of this book, The European Avant-Garde – A Hundred Years Later, implies the European avant-garde took place a century ago, that it is a thing of the past. However, it does not aim to consolidate this position, but to question it. It addresses temporality as the central dimension related to the notion of the avant-garde. The book brings forth original revisions of the theories of the avant-garde, the works of the avant-garde, the idea of the avant-garde as being the vanguard, the leading force of change. It addresses the returning of the avant-garde during the twentieth century and today.Table of ContentsList of Figures and Tables Notes on Contributors Introduction: the Turning and Returning of the Avant-Garde  Polona Tratnik PART 1: The Avant-Garde Is Back 1 Revolution Reconsidered: the Three Avant-Garde Traditions  Sascha Bru 2 Anaphorizing Histories: on the Entanglements of Paleo-, Neo-, and Tardo-Avant-Gardes  Tyrus Miller 3 A Quest for Avant-Garde: Doing Avant-Garde, Inheriting Avant-Garde  Polona Tratnik PART 2: Avant-Garde and Geo-Politics 4 European Avant-Gardes between International and Global  Miško Šuvakovic 5 Trieste–Ljubljana–Zagreb–Belgrade–Cernigoj–Delak–Micic. Trieste, Ljubljana, Zagreb, Belgrade  Cernigoj, Delak, Micic. Linking Slovene, Italian and Serbian Avant-Garde  Tomaž Toporišic PART 3: The Neglected Avant-Garde Genres and Media 6 Avant-Garde Manifesto  Lev Kreft 7 An Exercise in Categorization: Avant-Garde Cinema of the 1920s  Ernest Ženko PART 4: Expressionism Reconsidered 8 Expressionism and Weimar Cinema  Darko Štrajn 9 Franz Marc’s Avant-Garde Animal Painting  Valentina Hribar Sorcan PART 5: Post-Gravity Art 10 The Avant-Garde Politics of Time: the Case of Post-Gravity Art  Mojca Puncer 11 Bodies-In-Freedom: from Futurist Aerial Theatre to Space Art  Maja Murnik Index

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Book SynopsisNuminous Fields has its roots in a phenomenological understanding of perception. It seeks to understand what, beyond the mere sensory data they provide, landscape, nature, and art, both separately and jointly, may mean when we experience them. It focuses on actual or potential experiences of the numinous, or sacred, that such encounters may give rise to.

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Book SynopsisHalf a millennium of English and American fantasies of Venice: this collection of essays by leading critics in the field explores the continued and continuing fascination of travellers, writers, artists, theatre workers and film makers with the amphibious and ambiguous city in the lagoon. There is hardly another place in Europe that has become so much of a palimpsest, inscribed with the fantasies, the dreams and nightmares of generations of foreigners, and this turns Venetian Views, Venetian Blinds into a particularly pertinent case study of the ways cultural difference within Europe is experienced, enacted and constructed. The essays range across five centuries - from the Renaissance to our postmodern present, from Shakespeare and his contemporary Coryate to recent novels, detective fiction and films - and, in contrast to previous studies focussing on the Grand Tour, they emphasise more recent developments and how they continue or disrupt traditional ways of perceiving - or being blind to! - Venice.Table of ContentsManfred PFISTER and Barbara SCHAFF: Introduction. Manfred PFISTER: The Passion from Winterson to Coryate. Andreas MAHLER: Writing Venice: Paradoxical Signification as Connotational Feature. Tony TANNER: Which is the Merchant here? And which the Jew?: The Venice of Shakespeare's Merchant of Venice. Jürgen SCHLAEGER: Elective Affinities: Lady Mary Wortley Montagu in Venice. Elinor SHAFFER: William Beckford in Venice, Liminal City: The Pavilion and the Interminable Staircase. Barbara SCHAFF: Venetian Views and Voices in Radcliffe's The Mysteries of Udolpho and Braddon's The Venetians. Werner von KOPPENFELS: Sunset City - City of the Dead: Venice and the 19th Century Apocalyptic Imagination. Sergio PEROSA: Literary Deaths in Venice. Elisabeth BRONFEN: Venice - Site of Mutability, Transgression and Imagination. Michael GORRA: The Venetian Hours of Henry James. Ina SCHABERT: An Amazon in Venice: Vernon Lee's Lady Tal. Erika FISCHER-LICHTE: Theatre as Festive Play: Max Reinhardt's Production of The Merchant of Venice in Venice. Virginia RICHTER: Tourists Lost in Venice: Daphne du Maurier's Don't Look Now and Ian McEwan's The Comfort of Strangers. Sabine SCHÜLTING: 'Dream Factories': Hollywood and Venice in Nicolas Roeg's Don't Look Now. Indira GHOSE: Confidential Venice. Rosella MAMOLI ZORZI: Intertextual Venice: Blood and Crime and Death Renewed in Two Contemporary Novels. Judith SEABOYER: Robert Coover's Pinocchio in Venice: An Anatomy of a Talking Book.

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Book SynopsisThis literature-centered study offers an interdisciplinary approach to Romantic culture. If is pioneering in that it employs the complexity method of anthropology. Recent literary studies employ the complexity/chaos theory adapted from the natural sciences; however, here is presented for the first time a complexity method taken from the social/human sciences. This complexity method is useful in mediating not only contradictions within Romanticism, but the chaos of contemporary theories concerning it. One of the intensifying literary debates is that between the so-called “Greens” and “Reds,” naturalists and humanists. Mediating Order and Chaos not only traces the split between nature and man to Romantic Culture but finds there, too, a Spinozian vision of man and nature in unity – thereby denying any naturalist/humanist split. This volume is of interest for those who wish to see essays in the holistic approach to culture. Centering on hydraulics, hydrology, and meteorology, this study examines literature, painting, music, economics, and the rhetoric of science, philosophy, and politics, it therewith demonstrates how the water cycle was transformed into a cosmic metaphor that mediated, in the form of several complex adaptive systems, between the chaos of too much change and that of not enough.Table of ContentsIntroduction: Method, Model and Sub-models The Method: Complexity Theory Applied The Science Sub-Model from Hydrology and Meteorology The Humanities Sub-Model from Literature, Painting, and Music The Political Sub-Model: from Revolutions and Counterrevolutions Source: Fountains Springs How they fit into the water-cycle Flow: Brooks Rivers Waterfalls How they fit into the water-cyle Receptacle Lake Sea Ocean How they fit into the water-cycle Link Clouds and the processes of evaporation and condensation – rain and snow How they complete the cosmic vision of the water-cycle Conclusions: the three complex adaptive systems of the Romantics

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Book SynopsisCe volume présente vingt-trois essais consacrés à l'art français et francophone des vingt-cinq dernières années et propose des analyses critiques d'une cinquantaine d'artistes majeurs qui travaillent sur des modes richement variés. The volume offers 23 new critical essays on contemporary French and francophone art, dealing with some fifty major artists working in a wide range of mediums.Table of ContentsMichael BISHOP : Sept artistes : les differances d’ Annette Messager à Georges Rousse Dominique VIART : Envoilements de mémoire : Les Peintures de Gérard Titus-Carmel Arlette Bouloumié : Photographie et Jeux d’Illusion : Trassard, Clergue et Faucon Béatrice Bonhommer : Mémoire et métamorphose : l’œuvre Serge Popoff Peter DORRINGTON : «Trottoirs d’Afrique» D’Hervé Télémaque : Métaphore et métissage Joëlle CAUVILLE : Photographie et littérature : la relation privilegiée de Tournier avec Boubat Laure MICHEL : Le Réalisme abstrait d’Olivier Debré Nicolas GOYER : La Double Volte d’une écriture Laurence PERRIGAULT : Un art de l’intermédiaire : Guy Hersant et Bernard Noël Vittorio FRIGERIO : Felice Varini entre insignifiance et narration Michael BROPHY : Dans un lieu où la nuit descend : Alexandre Hollan et Yves Bonnefoy James PETTERSON : Information Fiction Publicité, Thomas, Parreno Roland BONNEL : L’Art sacré en France et l’icône Anja CHÁVEZ : Broodthaers, Boltanski, Huygue : Referential Strategies and the Absent Artist Shana MCGUIRE: L’art vidéo en France: Acte et lieu de polysémie Christopher ELSON : L’Entre-esthetique d’Hermenegilde Chiasson Annie GÉRIN : Writing on the Skin of the City : the Politics of Naming in Québec Melanie FARRIMOND: Order and Disorder in the Paintings of Danièle Perronne Suzanne HAYMAN: Niki de Saint-Phalle Ray ELLENWOOD : New Life in the Exquisite Corpse Béatrice VERNIER-LAROCHETTE: Écriture et représentation artistique chez Cazal, Gertz, Krauth et Mogarra Yannick COURTEL : L’insulte, remarques sur la peinture de Jean-Philippe Aubanel Adelaide RUSSO : The Disembodied Dancing Camera : Robert Cahen’s Audio-Vision

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Book SynopsisThis book will be of interest to all those who have engaged with hypertext either as creators or as users. They will discover that screen writing has a history going back to a number of avant-garde practices which already incorporated a screen imaginary into the creative work. Readers of this volume will be offered a privileged insight into a debate between detractors and advocates of the new modes of writing and reading and the new means of cultural transmission (CD-ROM, the Internet, digitisation); they will thus be able to weigh up for themselves the assets and illusions, the heuristic merits and politico-commercial issues at stake. May these reflections convert the globe-trotters of hyperspace into knowledgeable navigators! Cet ouvrage intéressera quiconque est confronté à l’hypertexte, que ce soit en tant que concepteur ou en tant qu’usager. Il découvrira ici que l’écrit d’écran a une histoire qui remonte à certaines pratiques avant-gardistes qui avaient déjà intégré un imaginaire de l’écran dans leurs créations. Il entrera de plain-pied dans un débat entre détracteurs et partisans des nouvelles modalités d’écriture/lecture et des nouveaux supports de transmission culturelle (cd-rom, Internet, digitalisation), afin qu’il puisse lui-même faire la part entre les atouts et les leurres, entre les mérites heuristiques et les enjeux politico-mercantiles. Que ces réflexions puissent convertir les globe-trotters de l’hypersphère en navigateurs avertis!Table of Contents1. Les Prémisses : L’imaginaire de l’écran avant l’ère cybernétique / Screen Imaginary before the Cybernetic Age Nathalie ROELENS: Introduction Pascal DURAND: Le livre machine. Une allégorie mallarméenne Wanda STRAUVEN: La poétique du montage selon Marinetti Eric ROBERTSON: « Variantes du pseudooriginal » : l’automatisme dada et le cyberart Alex GOODY : A Hypertextual Feminine ? Jan BAETENS: L’éventail de Larbaud Claire BUSTARRET: Découpage, collage et bricolage: la dynamique matérielle du brouillon moderne Dominique DUCARD: De mémoire d’hypertexte 2. L’imaginaire de l’écran à l’œuvre : Us et abus / Screen Imaginary in Process : Use and Abuse Yves JEANNERET: Introduction Yves JEANNERET: Economies de l’écran : discours, pratique et imaginaires entre visible et invisible Emmanuël SOUCHIER: Vers une écriture de réseaux : le ‘portail’ comme pratique éditoriale Licia CALVI: 253: A Case on the Ontology of Hypertext Isabelle DE RIDDER & Inge LANSLOTS: The Contemporary Agora: Learning on and over the Internet Philadelpho MENEZES (& Wilton AZEVEDO): Interactive Poems: Intersign Perspective for Experimental Poetry Annie GENTÈS: Renaissance Man, ‘honnête homme’ and Self-made Man: lectors in machina in the Electronic Culture Nathalie ROELENS: A-t-on le droit de ‘cédéromiser’ René Magritte? Anne-Marie CHRISTIN : Idéogramme et création visuelle : la revue-image Riga Figures Les auteurs

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Book SynopsisBen Vautier, Niki De Saint Phalle, François Morellet, Louise Bourgeois, Alexandre Hollan, Claude Viallat, Sophie Calle, Bernard Pagès, Jean-Pierre Pincemin, Annette Messager, Gérard Titus-Carmel: eleven major French artists of the last forty years or so, examined in the light of their uniqueness and their rootedness, the specificities of their differing and at times overlapping plastic practices and the swirling and often highly hybridised conceptions entertained in regard to such practices. Thus does analysis range from discussion of the feisty, Fluxus-inspired, free-spirited funkiness of Ben Vautier’s work to the various modes of transcendence of trauma and haunting fear generated by the exceptional gestures of Niki de Saint Phalle and Louise Bourgeois, to the alyrical formalism yet imbued with irony and ludicity of François Morellet, through to the serene intensities of Alexandre Hollan’s vies silencieuses, the infinite a-signatures of Claude Viallat’s adventure in the sheer joy of a poiein of self-reflexive coloration, the powerfully elegant and muscular disarticulations of Bernard Pagès’ sculpture, the great sweep through art’s history implied by Jean-Pierre Pincemin’s chameleon-like gestures, the vast swirling programme of socio-psychological analysis the arts of Annette Messager and Sophie Calle offer in their radically distinctive manners, the obsessively serialised oeuvre of Gérard Titus-Carmel allowing a burrowing deep into the opaque logic of a real though dubious ‘presence to the world’.Table of ContentsPreface Truth and Infinity: Ben Vautier Shooting for Transcendence: Niki de Saint Phalle Baroque Minimalist?: François Morellet Sublimation, the Irreducible and the Sacred: Louise Bourgeois Seeing Being: Alexandre Hollan Spiralling, Infinity, Tautology: Claude Viallat Ritual, Desire, Dys-Covering: Sophie Calle Raggedness, Fusion and Silence: Bernard Pagès Structure, Sensuality, Fable, Accompaniment: Jean-Pierre Pincemin Chimera, Caress, Sacred Implosion: Annette Messager Absence and Melancholia, Meaning and Beauty: Gérard Titus-Carmel Bibliography

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Book SynopsisThis innovative interdisciplinary study compares the uses of painting in literary texts and films. In developing a framework of four types of ekphrasis, the author argues for the expansion of the concept of ekphrasis by demonstrating its applicability as interpretive tool to films about the visual arts and artists. Analyzing selected works of art by Goya, Rembrandt, and Vermeer and their ekphrastic treatment in various texts and films, this book examines how the medium of ekphrasis affects the representation of the visual arts in order to show what the differences imply about issues such as gender roles and the function of art for the construction of a personal or social identity. Because of its highly cross-disciplinary nature, this book is of interest not only to scholars of literature and aesthetics, but also for scholars of film studies. By providing an innovative approach to discussing non-documentary films about artists, the author shows that ekphrasis is a useful tool for exploring both aesthetic concerns and ideological issues in film. This study also addresses art historians as it deals with the reception of major artists in European literature and film throughout the 20th century.Trade Review”Writing and Filming the Painting is a valuable addition to the exponentially growing area of ekphrastic studies” - Erik Martiny, in: English Studies, Vol. 94.6, October 2013 pp. 748-50Table of ContentsChapter 1: Toward a Definition of Ekphrasis in Literature and Film Chapter 2:Methodology Chapter 3: Goya’s Sleep of Reason in Poetry, Drama and Film: Dramatizing the Artist’s Battle with his Creatures Chapter 4: Goya’s Sleep of Reason in Lion Feuchtwanger’s Novel and Konrad Wolf’s Film Adaptation: Private or Social Demons? Chapter 5: From Screenplay to Film: Rembrandt’s Self-Portraits and Social Identity Construction through Ekphrasis Chapter 6: Vermeer’s Women in Film and Fiction: Ekphrasis and Gendered Structures of Vision Chapter 7: Conclusion: The Cerebral and the Affective Function of Ekphrasis Works Cited Filmography List of Illustrations/Image Credits

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