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Author:
Are there shadows in medieval art? Studies on the role of shadows in art history have either glanced over or ignored the medieval period, yet people of the Middle Ages certainly saw and thought about shadows and recorded their ideas about these phenomena in texts and images.
This book examines references to shadows in science, religion, and folklore of the Middle Ages. Through the lens of fifteenth-century manuscript painting, it investigates visual, metaphorical, and supernatural shadows in art to discover what shadows meant to the medieval viewer.
This book examines references to shadows in science, religion, and folklore of the Middle Ages. Through the lens of fifteenth-century manuscript painting, it investigates visual, metaphorical, and supernatural shadows in art to discover what shadows meant to the medieval viewer.
Author:
Are there shadows in medieval art? Studies on the role of shadows in art history have either glanced over or ignored the medieval period, yet people of the Middle Ages certainly saw and thought about shadows and recorded their ideas about these phenomena in texts and images.
This book examines references to shadows in science, religion, and folklore of the Middle Ages. Through the lens of fifteenth-century manuscript painting, it investigates visual, metaphorical, and supernatural shadows in art to discover what shadows meant to the medieval viewer.
This book examines references to shadows in science, religion, and folklore of the Middle Ages. Through the lens of fifteenth-century manuscript painting, it investigates visual, metaphorical, and supernatural shadows in art to discover what shadows meant to the medieval viewer.
This volume examines the ‘phenomenon’ of translation from Greek into Latin from the eleventh century to the thirteenth. These translated texts prompted Western scholars to rediscover the works of classical Greek and Byzantine authors and reshape the medieval intellectual landscape. Though our agenda focuses on translations of scientific texts, the collection of essays here also offers the reader insights into the broader cultural, social, and political functions and implications of individual translations and translation more broadly as a practice.
Contributors are Dimiter Angelov, Péter Bara, Pieter Beullens, Alessandra Bucossi, Luigi d’Amelia, Paola Degni, Michael Dunne, Elisabeth Fisher, Brad Hostetler, Estelle Ingrand-Varenne, Marc Lauxtermann, Tamás Mészáros, James Morton, Theresa Shawcross, and Anna Maria Urso.
Contributors are Dimiter Angelov, Péter Bara, Pieter Beullens, Alessandra Bucossi, Luigi d’Amelia, Paola Degni, Michael Dunne, Elisabeth Fisher, Brad Hostetler, Estelle Ingrand-Varenne, Marc Lauxtermann, Tamás Mészáros, James Morton, Theresa Shawcross, and Anna Maria Urso.
This volume examines the ‘phenomenon’ of translation from Greek into Latin from the eleventh century to the thirteenth. These translated texts prompted Western scholars to rediscover the works of classical Greek and Byzantine authors and reshape the medieval intellectual landscape. Though our agenda focuses on translations of scientific texts, the collection of essays here also offers the reader insights into the broader cultural, social, and political functions and implications of individual translations and translation more broadly as a practice.
Contributors are Dimiter Angelov, Péter Bara, Pieter Beullens, Alessandra Bucossi, Luigi d’Amelia, Paola Degni, Michael Dunne, Elisabeth Fisher, Brad Hostetler, Estelle Ingrand-Varenne, Marc Lauxtermann, Tamás Mészáros, James Morton, Theresa Shawcross, and Anna Maria Urso.
Contributors are Dimiter Angelov, Péter Bara, Pieter Beullens, Alessandra Bucossi, Luigi d’Amelia, Paola Degni, Michael Dunne, Elisabeth Fisher, Brad Hostetler, Estelle Ingrand-Varenne, Marc Lauxtermann, Tamás Mészáros, James Morton, Theresa Shawcross, and Anna Maria Urso.
Bent Legs on Strange Grounds, 1982–2023
Author:
In Butoh and Suzuki Performance in Australia: Bent Legs on Strange Grounds, 1982-2023, Marshall considers how the originally Japanese forms of butoh dance and Suzuki’s theatre reconfigure historical lineages to find ancient yet transcultural ancestors within Australia and beyond. Marshall argues that artists working in Australia with butoh and Suzuki techniques develop conflicted yet compelling diasporic, multicultural, spiritually and corporeally compelling interpretations of theatrical practice. Marshall puts at the centre of butoh historiography the work of Tess de Quincey, Yumi Umiumare, Tony Yap, Lynne Bradley, Simon Woods, Frances Barbe, and Australian Suzuki practitioners Jacqui Carroll and John Nobbs.
Jonathan W. Marshall’s Bent Legs on Strange Grounds is an important contribution to the body of literature on butoh, as well as to studies of dance in Australia that will be valuable to practitioners and scholars alike. Detailed discussions of Australian butoh artists open up consideration of how global and local histories, migrations, and landscapes not only were key to butoh’s formation in Japan, but also to its continued development around the world. Attention to butoh’s emplacement in Australia, Marshall convincingly argues, reveals insights about national identity, race, power, and more that are relevant well beyond the Australian performance context.
— Rosemary Candelario, Texas Woman’s University, co-editor, Routledge Companion to Butoh Performance (2018)
Marshall’s Bent Legs on Strange Grounds explores the remarkable transformative era of Australia’s reconsideration of its place in the region. A definitive study of Australian experiments in butoh and the theatrical vision of Suzuki Tadashi, the book shows how new corporeal and spatial dramaturgies of the Japanese avant-garde fundamentally changed Australian performance. Expansively researched and annotated, this impressive study connects Australian performance after the New Wave with globalization, postmodern dance, Indigeneity, and subcultures, and it details the work of leading Australian/Asian artists. Bent Legs on Strange Grounds speaks about the development of embodied knowledge and the consequential refiguration of Australia’s sense of being in the world. It is also a study of butoh and Suzuki’s legacy in global terms, wherein Australian experimental performance also becomes something larger than itself.
— Peter Eckersall, The Graduate Center, CUNY, author of Performativity and Event in 1960s Japan (2013).
Jonathan W. Marshall’s Bent Legs on Strange Grounds is an important contribution to the body of literature on butoh, as well as to studies of dance in Australia that will be valuable to practitioners and scholars alike. Detailed discussions of Australian butoh artists open up consideration of how global and local histories, migrations, and landscapes not only were key to butoh’s formation in Japan, but also to its continued development around the world. Attention to butoh’s emplacement in Australia, Marshall convincingly argues, reveals insights about national identity, race, power, and more that are relevant well beyond the Australian performance context.
— Rosemary Candelario, Texas Woman’s University, co-editor, Routledge Companion to Butoh Performance (2018)
Marshall’s Bent Legs on Strange Grounds explores the remarkable transformative era of Australia’s reconsideration of its place in the region. A definitive study of Australian experiments in butoh and the theatrical vision of Suzuki Tadashi, the book shows how new corporeal and spatial dramaturgies of the Japanese avant-garde fundamentally changed Australian performance. Expansively researched and annotated, this impressive study connects Australian performance after the New Wave with globalization, postmodern dance, Indigeneity, and subcultures, and it details the work of leading Australian/Asian artists. Bent Legs on Strange Grounds speaks about the development of embodied knowledge and the consequential refiguration of Australia’s sense of being in the world. It is also a study of butoh and Suzuki’s legacy in global terms, wherein Australian experimental performance also becomes something larger than itself.
— Peter Eckersall, The Graduate Center, CUNY, author of Performativity and Event in 1960s Japan (2013).
Bent Legs on Strange Grounds, 1982–2023
Author:
In Butoh and Suzuki Performance in Australia: Bent Legs on Strange Grounds, 1982-2023, Marshall considers how the originally Japanese forms of butoh dance and Suzuki’s theatre reconfigure historical lineages to find ancient yet transcultural ancestors within Australia and beyond. Marshall argues that artists working in Australia with butoh and Suzuki techniques develop conflicted yet compelling diasporic, multicultural, spiritually and corporeally compelling interpretations of theatrical practice. Marshall puts at the centre of butoh historiography the work of Tess de Quincey, Yumi Umiumare, Tony Yap, Lynne Bradley, Simon Woods, Frances Barbe, and Australian Suzuki practitioners Jacqui Carroll and John Nobbs.
Jonathan W. Marshall’s Bent Legs on Strange Grounds is an important contribution to the body of literature on butoh, as well as to studies of dance in Australia that will be valuable to practitioners and scholars alike. Detailed discussions of Australian butoh artists open up consideration of how global and local histories, migrations, and landscapes not only were key to butoh’s formation in Japan, but also to its continued development around the world. Attention to butoh’s emplacement in Australia, Marshall convincingly argues, reveals insights about national identity, race, power, and more that are relevant well beyond the Australian performance context.
— Rosemary Candelario, Texas Woman’s University, co-editor, Routledge Companion to Butoh Performance (2018)
Marshall’s Bent Legs on Strange Grounds explores the remarkable transformative era of Australia’s reconsideration of its place in the region. A definitive study of Australian experiments in butoh and the theatrical vision of Suzuki Tadashi, the book shows how new corporeal and spatial dramaturgies of the Japanese avant-garde fundamentally changed Australian performance. Expansively researched and annotated, this impressive study connects Australian performance after the New Wave with globalization, postmodern dance, Indigeneity, and subcultures, and it details the work of leading Australian/Asian artists. Bent Legs on Strange Grounds speaks about the development of embodied knowledge and the consequential refiguration of Australia’s sense of being in the world. It is also a study of butoh and Suzuki’s legacy in global terms, wherein Australian experimental performance also becomes something larger than itself.
— Peter Eckersall, The Graduate Center, CUNY, author of Performativity and Event in 1960s Japan (2013).
Jonathan W. Marshall’s Bent Legs on Strange Grounds is an important contribution to the body of literature on butoh, as well as to studies of dance in Australia that will be valuable to practitioners and scholars alike. Detailed discussions of Australian butoh artists open up consideration of how global and local histories, migrations, and landscapes not only were key to butoh’s formation in Japan, but also to its continued development around the world. Attention to butoh’s emplacement in Australia, Marshall convincingly argues, reveals insights about national identity, race, power, and more that are relevant well beyond the Australian performance context.
— Rosemary Candelario, Texas Woman’s University, co-editor, Routledge Companion to Butoh Performance (2018)
Marshall’s Bent Legs on Strange Grounds explores the remarkable transformative era of Australia’s reconsideration of its place in the region. A definitive study of Australian experiments in butoh and the theatrical vision of Suzuki Tadashi, the book shows how new corporeal and spatial dramaturgies of the Japanese avant-garde fundamentally changed Australian performance. Expansively researched and annotated, this impressive study connects Australian performance after the New Wave with globalization, postmodern dance, Indigeneity, and subcultures, and it details the work of leading Australian/Asian artists. Bent Legs on Strange Grounds speaks about the development of embodied knowledge and the consequential refiguration of Australia’s sense of being in the world. It is also a study of butoh and Suzuki’s legacy in global terms, wherein Australian experimental performance also becomes something larger than itself.
— Peter Eckersall, The Graduate Center, CUNY, author of Performativity and Event in 1960s Japan (2013).
International Cooperation in Art at the Postwar Moment, 1945-1948
Volume Editor:
This volume, edited by Éva Forgács, with contributions from art historians from across Europe and the Americas, analyzes the artistic initiatives of the short time span between the end of World War II and the onset of the Cold War. In this moment, a new internationalism was anticipated by retrieving pre-war modernism, as well as creating the new era's new artistic lingua franca.
The chapters include in-depth case studies that analyze the complex, often interconnected, projects throughout the world—South America and Eastern and Western Europe—that were soon ended by the Cold War.
The chapters include in-depth case studies that analyze the complex, often interconnected, projects throughout the world—South America and Eastern and Western Europe—that were soon ended by the Cold War.
International Cooperation in Art at the Postwar Moment, 1945-1948
Volume Editor:
This volume, edited by Éva Forgács, with contributions from art historians from across Europe and the Americas, analyzes the artistic initiatives of the short time span between the end of World War II and the onset of the Cold War. In this moment, a new internationalism was anticipated by retrieving pre-war modernism, as well as creating the new era's new artistic lingua franca.
The chapters include in-depth case studies that analyze the complex, often interconnected, projects throughout the world—South America and Eastern and Western Europe—that were soon ended by the Cold War.
The chapters include in-depth case studies that analyze the complex, often interconnected, projects throughout the world—South America and Eastern and Western Europe—that were soon ended by the Cold War.
Interdisciplinary Perspectives: Earth
The fourteen chapters and poem of this volume reflect the centrality of the element Earth in medieval thought and life, a centrality inherited from classical antiquity, and fundamental too in Judaeo-Christian and Islamic traditions. The chapters also reflect the multifarious nature of the ways that Earth was experienced and understood in the Middle Ages.
Contributors are Sophie E.D. Abrahams, Daniel Anlezark, Marilina Cesario, Catherine Clarke, James Davis, Stephen J. Davis, Virginia Iommi Echeverría, Andrew Fear, Danielle B. Joyner, Hugh Magennis, Francesco Marzella, Tom C.B. McLeish, Patrick Naeve, Bernard O’Donoghue, Sinéad O’Sullivan, Alexandra Paddock, Elisa Ramazzina, Hannah E. Smithson, Sigbjørn O. Sønnesyn, Sinéad O’Sullivan, and Margaret Tedford.
Contributors are Sophie E.D. Abrahams, Daniel Anlezark, Marilina Cesario, Catherine Clarke, James Davis, Stephen J. Davis, Virginia Iommi Echeverría, Andrew Fear, Danielle B. Joyner, Hugh Magennis, Francesco Marzella, Tom C.B. McLeish, Patrick Naeve, Bernard O’Donoghue, Sinéad O’Sullivan, Alexandra Paddock, Elisa Ramazzina, Hannah E. Smithson, Sigbjørn O. Sønnesyn, Sinéad O’Sullivan, and Margaret Tedford.
Interdisciplinary Perspectives: Earth
The fourteen chapters and poem of this volume reflect the centrality of the element Earth in medieval thought and life, a centrality inherited from classical antiquity, and fundamental too in Judaeo-Christian and Islamic traditions. The chapters also reflect the multifarious nature of the ways that Earth was experienced and understood in the Middle Ages.
Contributors are Sophie E.D. Abrahams, Daniel Anlezark, Marilina Cesario, Catherine Clarke, James Davis, Stephen J. Davis, Virginia Iommi Echeverría, Andrew Fear, Danielle B. Joyner, Hugh Magennis, Francesco Marzella, Tom C.B. McLeish, Patrick Naeve, Bernard O’Donoghue, Sinéad O’Sullivan, Alexandra Paddock, Elisa Ramazzina, Hannah E. Smithson, Sigbjørn O. Sønnesyn, Sinéad O’Sullivan, and Margaret Tedford.
Contributors are Sophie E.D. Abrahams, Daniel Anlezark, Marilina Cesario, Catherine Clarke, James Davis, Stephen J. Davis, Virginia Iommi Echeverría, Andrew Fear, Danielle B. Joyner, Hugh Magennis, Francesco Marzella, Tom C.B. McLeish, Patrick Naeve, Bernard O’Donoghue, Sinéad O’Sullivan, Alexandra Paddock, Elisa Ramazzina, Hannah E. Smithson, Sigbjørn O. Sønnesyn, Sinéad O’Sullivan, and Margaret Tedford.
Space, Time, and Experience (1300–1800)
Series:
Intersections, Volume: 96
How did the early-modern Christian West conceive of the spaces and times of the afterlife? The answer to this question is not obvious for a period that saw profound changes in theology, when the telescope revealed the heavens to be as changeable and imperfect as the earth, and when archaeological and geological investigations made the earth and what lies beneath it another privileged site for the acquisition of new knowledge.
With its focus on the eschatological imagination at a time of transformation in cosmology, this volume opens up new ways of studying early-modern religious ideas, representations, and practices. The individual chapters explore a wealth of – at times little-known – visual and textual sources. Together they highlight how closely concepts and imaginaries of the hereafter were intertwined with the realities of the here and now.
Contributors include: Matteo Al Kalak, Monica Azzolini, Wietse de Boer, Christine Göttler, Luke Holloway, Martha McGill, Walter S. Melion, Mia M. Mochizuki, Laurent Paya, Raphaèle Preisinger, Aviva Rothman, Minou Schraven, Anna-Claire Stinebring, Jane Tylus, and Antoinina Bevan Zlatar
With its focus on the eschatological imagination at a time of transformation in cosmology, this volume opens up new ways of studying early-modern religious ideas, representations, and practices. The individual chapters explore a wealth of – at times little-known – visual and textual sources. Together they highlight how closely concepts and imaginaries of the hereafter were intertwined with the realities of the here and now.
Contributors include: Matteo Al Kalak, Monica Azzolini, Wietse de Boer, Christine Göttler, Luke Holloway, Martha McGill, Walter S. Melion, Mia M. Mochizuki, Laurent Paya, Raphaèle Preisinger, Aviva Rothman, Minou Schraven, Anna-Claire Stinebring, Jane Tylus, and Antoinina Bevan Zlatar
Space, Time, and Experience (1300–1800)
Series:
Intersections, Volume: 96
How did the early-modern Christian West conceive of the spaces and times of the afterlife? The answer to this question is not obvious for a period that saw profound changes in theology, when the telescope revealed the heavens to be as changeable and imperfect as the earth, and when archaeological and geological investigations made the earth and what lies beneath it another privileged site for the acquisition of new knowledge.
With its focus on the eschatological imagination at a time of transformation in cosmology, this volume opens up new ways of studying early-modern religious ideas, representations, and practices. The individual chapters explore a wealth of – at times little-known – visual and textual sources. Together they highlight how closely concepts and imaginaries of the hereafter were intertwined with the realities of the here and now.
Contributors include: Matteo Al Kalak, Monica Azzolini, Wietse de Boer, Christine Göttler, Luke Holloway, Martha McGill, Walter S. Melion, Mia M. Mochizuki, Laurent Paya, Raphaèle Preisinger, Aviva Rothman, Minou Schraven, Anna-Claire Stinebring, Jane Tylus, and Antoinina Bevan Zlatar
With its focus on the eschatological imagination at a time of transformation in cosmology, this volume opens up new ways of studying early-modern religious ideas, representations, and practices. The individual chapters explore a wealth of – at times little-known – visual and textual sources. Together they highlight how closely concepts and imaginaries of the hereafter were intertwined with the realities of the here and now.
Contributors include: Matteo Al Kalak, Monica Azzolini, Wietse de Boer, Christine Göttler, Luke Holloway, Martha McGill, Walter S. Melion, Mia M. Mochizuki, Laurent Paya, Raphaèle Preisinger, Aviva Rothman, Minou Schraven, Anna-Claire Stinebring, Jane Tylus, and Antoinina Bevan Zlatar
Engaging the Margins
Experimental Practices in Interdisciplinary Art presents the work of contemporary artists who are committed to experimenting in the marginal areas where artmaking, practice-based research, and scholarship intersect. Some work in laboratory settings, some in studios, and some in wild landscapes or abandoned buildings. But all are committed to interrogating the way that art is created and positioned in a culture that continues to marginalize artists working across disciplinary boundaries. Their projects range from inquiries into the way surveillance technologies are used to reinforce power structures to collaboratories that help us to re-envision our relationship with the natural world and with each other. In reflecting on their wide-ranging explorations and unusual methods, these unique artists provide fruitful insights for bringing creativity to bear on issues of public import.