Signs of Change: Transformations of Christian Traditions and Their Representation in the Arts, 1000-2000Nils Holger Petersen, Claus Clüver, Nicolas Bell Rodopi, 2004 - 490 pagine Signs of Change: Transformations of Christian Traditions and their Representation in the Arts, 1000-2000 focuses on the changing relationships between what gradually emerged as the Arts and Christianity, the latter term covering both a stream of ideas and its institutions. The book as a whole is addressed to a general academic audience concerned with issues of cultural history, while the individual essays are also intended as scholarly contributions within their own fields. A collaborative effort by twenty-five European and American scholars representing disciplines ranging from aesthetics to the history of art and architecture, from literature, music and the theatre to classics, church history, and theology, the volume is an interdisciplinary study of intermedial phenomena, generally in larger cultural and intellectual contexts. The focus of topics extends from single concrete objects to sets of abstract concepts and values, and from a single moment in time to an entire millennium. While Signs of Change acknowledges the importance of synthesizing efforts essential to hermeneutically informed scholarship, in order to counterbalance generalized historical narratives with detailed investigations, broad accounts are juxtaposed with specialized research projects. The deliberately unchronological grouping of contributions underlines the effort to further discussion about methodologies for writing cultural history. |
Sommario
25 | |
51 | |
69 | |
Section | 91 |
Section Three | 165 |
Observations on a Nineteenth | 191 |
Section Four | 235 |
Mythopoesis and Musical Genre in Bohuslav Martinůs Greek Passion | 293 |
Section Five | 313 |
Fictiones or figurata ornamenta? On the Concept of Poetry in | 341 |
Signs of Change from ars antiqua to ars nova | 363 |
Section | 395 |
Final Considerations | 475 |
Contributors | 489 |
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aesthetic Alcuin allegorical architecture Arnold Schoenberg artistic Augustine Augustine's autos sacramentales Baggesen beauty biblical Boethius Byzantine Byzantine art Calderón Cambridge Carolingian cathedral century Christ Christian church concept contemporary context Copenhagen cultural Die glückliche Hand discourse discussion divine drama early Eiffel Tower emblems English essay expression Florence Florentine function genre Gothic Greek Greek Passion Halleluja hermeneutics Hindemith Holy Holy Lance human Hymn icon iconoclasm idea interpretation Jonson Kandinsky Kunst lament lance Libri Carolini liturgical Manolios Maria del Fiore means medieval Middle Ages modern motet Musicology narrative Neoplatonic Nuremberg objects opera original painting palace chapel Paris Passion play performance pictorial planctus planctus Mariae poem poetry present Rachel religious Renaissance representation represented ritual role sacred Santa Maria Schoenberg secular significant soul spiritual stage symbols theological Torgau tradition trans transformation treatise trope understanding versions visual Vloten's words writing
Brani popolari
Pagina 58 - On My First Son Farewell, thou child of my right hand, and joy; My sin was too much hope of thee, loved boy: Seven years thou wert lent to me, and I thee pay, Exacted by thy fate, on the just day.
Pagina 129 - ... which they represent; so that by the images which we kiss, and before which we uncover our heads, or kneel, we adore Christ, and venerate his saints, whose likeness they represent,
Pagina 5 - Offer the Ram of Pride instead of him. But the old man would not so, but slew his son, And half the seed of Europe, one by one.
Pagina 13 - Then nothing more: silence, and night. But that tone which vibrates in the silence, which is no longer there, to which only the spirit hearkens, and which was the voice of mourning, is so no more. It changes its meaning; it abides as a light in the...
Pagina 61 - Language most shows a man: speak, that I may see thee. It springs out of the most retired and inmost parts of us, and is the image of the parent of it, the mind. No glass renders a man's form or likeness so true as his speech.
Pagina 320 - Then was fulfilled that which was spoken by Jeremias the prophet, saying: A voice in Rama was heard, lamentation, and great mourning: Rachel bewailing her children, and would not be comforted, because they are not.
Pagina 10 - The shocks of incomprehension, emitted by artistic technique in the age of its meaninglessness, undergo a sudden change. They illuminate the meaningless world. Modern music sacrifices itself to this effort. It has taken upon itself all the darkness and guilt of the world. Its fortune lies in the perception of misfortune; all of its beauty is in denying itself the illusion of beauty . . . modern music sees absolute oblivion as its goal.