A specialist in parallels in the image of Muslims and Jews in western Christian history, Kalmar (U. of Toronto) examines the early pedigree of Oriental despotism, a widely held belief even today in th
Emma Stibbon's drawings and prints depict volcanoes, tectonic plates and powerful glaciers. Includes commentary by the artist on the making and location of each image. The artist Emma Stibbon is fasc
In this book, Robert Maniura explores the role and importance of the miraculous image in the art and devotional practices of Renaissance Italy. Using the records of Giuliano Guizzelmi, a Tuscan lawyer, he focuses on his stories of miracles of local shrines, including Santa Maria delle Carceri, a painting of the Virgin Mary on a wall of the town prison, and the relic of her belt in the Prato Cathedral. Guizzelmi's stories build a powerful picture of the visual culture of the period, involving images that were kissed, worn and applied to sick bodies in rituals of healing. They also place his devotional activity in the context of his everyday life. Moreover, the paintings of Guizzelmi's burial chapel also engage with contemporary pictorial conventions and show how his concerns can inform our understanding of contemporary art, notably the works of his late fifteenth-century contemporaries, Ghirlandaio, Perugino and Filippino Lippi.
Carl Gustav Jung (1875-1961) was never more insightful and intriguing than when he discussed mythology. The key to understanding the Jungian approach to mythology lies in the concept of the image, whi
"An image is powerful not necessarily because of anything specific it offers the viewer, but because of everything it apparently also takes away from the viewer."--Trinh T. Minh-haVietnamese filmmaker
Throughout modern Iranian history, culture has served as a means of imposing unity and cohesion onto society. The Pahlavi monarchs used it to project an image of Iran as an ancient civilisation, re-em
Driven by the societal needs and improvement in sensor technology and image processing techniques, remote sensing has become an essential tool for understanding the Earth and managing human-Earth inte
Experimental Zone documents a remarkable experiment in spatial research at the interdisciplinary laboratory Image Knowledge Gestaltung at the Humboldt University of Berlin. Every two months, for four
Despite its monolingual self-image, Japan is multilingual and growing more so due to indigenous minority language revitalization and as an effect of migration. Besides Japan's autochthonous languages
A typical image of the making and administration of policy suggests that it takes place on an incremental basis, involving public servants, their ministers and, to a more limited extent, a variety of
Incidence of BED appears to be on the increase. Treating it, and overcoming it, is all the more difficult, especially for those living in a culture that has an intense body image focus. A Clinician’s
Incidence of BED appears to be on the increase. Treating it, and overcoming it, is all the more difficult, especially for those living in a culture that has an intense body image focus. A Clinician’s
‘No matter how long I may look at an image, I shall never find anything in it but what I put there. It is in this fact that we find the distinction between an image and a perception.' - Jean-Pau
In this book, Beatrice E. Kitzinger explores the power of representation in the Carolingian period, demonstrating how images were used to assert the value and efficacy of art works. She focuses on the cross, Christianity's central sign, which simultaneously commemorates sacred history, functions in the present, and prepares for the end of time. It is well recognized that the visual attributes of the cross were designed to communicate its theology relative to history and eschatology; Kitzinger argues that early medieval artists also developed a formal language to articulate its efficacious powers in the present day. Defined through form and text as the sign of the present, the image of the cross articulated the instrumentality of religious objects and built spaces. Whereas medieval and modern scholars have pondered the theological problems posed by representation, Kitzinger here proposes a visual argument that affirms the self-reflexive value of art works in the early medieval West. Int
Images and image cycles with genealogical content were everywhere in the high and later Middle Ages. They represent families related by blood as well as successive office holders and appear as family trees and lineages of single figures in manuscripts, on walls and in stained glass, and in sculpture and metalwork. Yet art historians have hardly remarked on the frequency of these images. Considering the physical contexts and functions of these works alongside the goals of their patrons, this volume examines groups of figural genealogies ranging across northern Europe and dating from the mid-twelfth to the mid-fourteenth century. Joan A. Holladay considers how they were used to legitimize rulers and support their political and territorial goals, to reinforce archbishops' rights to crown kings, to cement relationships between families of founders and their monastic foundations, and to commemorate the dead. The flexibility and legibility of this genre was key to its widespread use.
In this innovative study, Lukas Engelmann examines visual traditions in modern medical history through debates about the causes, impact and spread of AIDS. Utilising medical AIDS atlases produced between 1986 and 2008 for a global audience, Engelmann argues that these visual textbooks played a significant part in the establishment of AIDS as a medical phenomenon. However, the visualisations risked obscuring the social, cultural and political complexity of AIDS history. Photographs of patients were among the earliest responses to the mysterious syndrome, cropped and framed to deliver a visible characterisation of AIDS to a medical audience. Maps then offered an abstracted image of the regions invaded by the epidemic, while the icon of the virus aspired to capture the essence of AIDS. The epidemic's history is retold through clinical photographs, epidemiological maps and icons of HIV, asking how this devastating epidemic has come to be seen as a controllable chronic condition.
Our current image of the Christian population of al-Andalus after AD711 reflects the way history has been written. The Christians almost disappeared from the historical record as the historians of the
The Critical Dictionary of Film and Television Theory clearly and accessibly explains the major theoretical approaches now deployed in the study of the moving image, as well as defining key theoretica
