The Book of Hours and the Body
Somaesthetics, Posthumanism, and the Uncanny
Seiten
2024
Routledge (Verlag)
978-0-367-50452-6 (ISBN)
Routledge (Verlag)
978-0-367-50452-6 (ISBN)
This book explores our corporeal connections to the past by considering what three theoretical approaches—somaesthetics, posthumanism, and the uncanny—may reveal about both premodern and postmodern terms of embodiment.
This book explores our corporeal connections to the past by considering what three theoretical approaches - somaesthetics, posthumanism, and the uncanny - may reveal about both premodern and postmodern terms of embodiment.
It takes as its point of departure a selection of fifteenth-century northern European Books of Hours - evocative objects designed at once to inscribe social status, to strengthen religious commitment, to entertain, to stimulate emotions, and to encourage discomfiting self-scrutiny. Studying their kaleidoscopically strange, moving, humorous, disturbing, and imaginative pages not only enables a window into relationships among bodies, images, and things in the past but also in our own internet era, where surprisingly popular memes drawn from such manuscripts constitute a part of our own visual culture.
In negotiating theoretical, post-theoretical, and historical concerns, this book aims to contribute to an emerging and much-needed intersectional social history of art. It will be of interest to scholars working in art history, medieval studies, Renaissance/early modern studies, gender studies, the history of the book, posthumanism, aesthetics, and the body.
This book explores our corporeal connections to the past by considering what three theoretical approaches - somaesthetics, posthumanism, and the uncanny - may reveal about both premodern and postmodern terms of embodiment.
It takes as its point of departure a selection of fifteenth-century northern European Books of Hours - evocative objects designed at once to inscribe social status, to strengthen religious commitment, to entertain, to stimulate emotions, and to encourage discomfiting self-scrutiny. Studying their kaleidoscopically strange, moving, humorous, disturbing, and imaginative pages not only enables a window into relationships among bodies, images, and things in the past but also in our own internet era, where surprisingly popular memes drawn from such manuscripts constitute a part of our own visual culture.
In negotiating theoretical, post-theoretical, and historical concerns, this book aims to contribute to an emerging and much-needed intersectional social history of art. It will be of interest to scholars working in art history, medieval studies, Renaissance/early modern studies, gender studies, the history of the book, posthumanism, aesthetics, and the body.
Sherry C. M. Lindquist is Professor of Art History at Western Illinois University. Her publications include Agency, Visuality and Society at the Chartreuse de Champmol (Routledge); The Meanings of Nudity in Medieval Art (Routledge); and Medieval Monsters: Terrors, Aliens, Wonders (co-authored with Asa Mittman).
1. THE BOOK OF HOURS AND THE BODY: INTRODUCTION 2. SOMAESTHETICS: THE BOOK OF HOURS AS ELITE SELF-FASHIONING 3. POSTHUMANISM: TECHNOLOGIZING THE BOOK OF HOURS 4. THE UNCANNY: IMMATERIAL MATTERS IN BOOKS OF HOURS
| Erscheinungsdatum | 02.03.2024 |
|---|---|
| Reihe/Serie | Routledge Research in Art History |
| Zusatzinfo | 13 Halftones, color; 71 Halftones, black and white; 13 Illustrations, color; 71 Illustrations, black and white |
| Verlagsort | London |
| Sprache | englisch |
| Maße | 174 x 246 mm |
| Gewicht | 662 g |
| Themenwelt | Kunst / Musik / Theater ► Allgemeines / Lexika |
| Kunst / Musik / Theater ► Kunstgeschichte / Kunststile | |
| Geschichte ► Teilgebiete der Geschichte ► Kulturgeschichte | |
| Sozialwissenschaften ► Soziologie ► Makrosoziologie | |
| Sozialwissenschaften ► Soziologie ► Spezielle Soziologien | |
| ISBN-10 | 0-367-50452-9 / 0367504529 |
| ISBN-13 | 978-0-367-50452-6 / 9780367504526 |
| Zustand | Neuware |
| Informationen gemäß Produktsicherheitsverordnung (GPSR) | |
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