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Embodying Meaning and Emotion


Edited by Walter Melion and Bart Ramakers

Personification, or prosopopeia, the rhetorical figure by which something not human is given a human identity or ‘face’, is readily discernible in early modern texts and images, but the figure’s cognitive form and function, its rhetorical and pictorial effects, have rarely elicited sustained scholarly attention. The aim of this volume is to formulate an alternative account of personification, to demonstrate the ingenuity with which this multifaceted device was utilized by late medieval and early modern authors and artists in Italy, France, England, Scotland, and the Low Countries. Personification is susceptible to an approach that balances semiotic analysis, focusing on meaning effects, and phenomenological analysis, focusing on presence effects produced through bodily performance. This dual approach foregrounds the full scope of prosopopoeic discourse—not just the what, but also the how, not only the signified, but also the signifier.

Engaging with the Bible in Visual Culture

Hermeneutics between Word and Image, with Broomberg and Chanarin’s Holy Bible

Sheona Beaumont

generally, and Broomberg and Chanarin specifically, to claim that an indeterminate hermeneutics has only this cerebral balancing act in mind. In my opinion, the cultural freight of the Bible-object, together with the expressed intentional reading by Broomberg and Chanarin, results in the texts’ repeated


Marinella Arena and Paola Raffa

compendium of constructive and formal packaging. A sort of Vitruvian treaty is passed on orally, visible on the palimpsest of physical territory and structured by elements, methods and timing of construction. These constructions (fortified granaries or tighremt ) hang in the balance between conservation and

Elizabeth Coatsworth and Gale R. Owen-Crocker

far as possible in each section a balance between secular and ecclesiastical (so that similarities and divergences can more clearly be seen), male and female (bearing in mind that most surviving ecclesiastical dress is male; and that some categories of garments, such as shoes, can be gendered only by

Elizabeth Coatsworth and Gale R. Owen-Crocker

costruction) facing facing postures, showing an overall unity of conception; while at the same time noting the more graceful rhythmic stance of most (though not all) of the figures on the stole (details, Plate top), which balance alternately on right and left feet, with a drapery fold fluttering outside the

Benjamin L. Fischer

of the Torah had developed incrementally from purposive constructions and appropriations of the Torah from the Babylonian and Persian Periods. Scholars familiar with Collins’s work will find his typical probing style, whereby he raises critical questions and explores the balance of current

Heather L. Braun

moment is that they seek to make literature more relevant and inclusive rather than intimidating and specialized. Few of these studies, understandably, achieve a balance between close literary, religious, and historical analyses. Rarer still are scholarly works that achieve this balance while also

Thomas R. Simons

. Gutting’s attempt “to represent a wide range of views on religion, both positive and negative” is successful. He does an admirable job of balancing an unbiased discussion of specific religious orientations with posing challenging questions. Gutting’s own viewpoint never obtrudes on the exchanges, and this

Megan Hartman Lease

nation. When describing his approach to the material, Stutz states that he attempts to “strike a balance between extended analyses of representative texts and broad syntheses based on multiple sources,” a strategy that works well for the reader looking to understand both the overarching shifts in thought

Aleksandra Koutny-Jones Renard

-called “Enlightenment” period by a preoccupation with secular art, Art and Religion in Eighteenth-Century Europe seeks to redress the balance by emphasising the continued popularity of religious subjects at this time. Investigating both Catholic and Protestant patron- age of the visual arts across Europe in the