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Animacja podwieszana: Ból, przyjemność i kara w kulturze średniowiecznej–
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- Kup terazAnimacja podwieszana: Ból, przyjemność i kara w kulturze średniowiecznej
Wysyłka:
Znajduje się w: Carlstadt, New Jersey, Stany Zjednoczone
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Szacowana między Pt, 10 maj a Pn, 13 maj do 43230
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- 98,9% opinii pozytywnych
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Nr przedmiotu eBay: 126253622539
Ostatnia aktualizacja: 07-05-2024 17:40:37 CEST Wyświetl wszystkie poprawkiWyświetl wszystkie poprawki
Parametry przedmiotu
- Stan
- Release Year
- 2006
- ISBN
- 9781861892607
- Book Title
- Suspended Animation : Pain, Pleasure and Punishment in Medieval Culture
- Item Length
- 9in
- Publisher
- Reaktion Books, The Limited
- Publication Year
- 2006
- Format
- Hardcover
- Language
- English
- Item Height
- 1in
- Genre
- Art, History
- Topic
- Techniques / Painting, Europe / Medieval, History / General
- Item Width
- 6in
- Item Weight
- 24.9 Oz
- Number of Pages
- 248 Pages
O tym produkcie
Product Information
When Marsellus in the film Pulp Fiction asserts, I'm gonna git medieval on your ass, we know that he is about to bring down a fierce and exacting punishment. Yet is the violence of the Middle Ages that far removed from our modern society? Suspended Animation argues that not only is the stereotype of uncontrolled violence in the Middle Ages historically misleading, the gulf between modern society and the medieval era is not as immense as we might think. In fact, both medievals and moderns live within a social tension of suspended animation engendered by images and acts of violence. Just as in medieval times, Robert Mills argues, it is the threat of violence--not the reality--that continues to structure our lives. To illustrate this aesthetics of suspense, Mills draws on extensive and disturbing examples from medieval iconography, contemporary philosophy, and even pornography, ranging from the vivid depictions of Hell in Tuscan frescoes to Billie Holiday's famously wrenching song Strange Fruit. Mills reveals how these uncomfortable images and texts expose a modern self-deception, and he further explores how medieval images evoked a pleasure revealingly close to that found in modern depictions of sexuality. Suspended Animation also makes a fresh contribution to theoretical debates on pre-modern gender and sexuality. Mills's comprehensive analysis demonstrates that--as wartime prisoner abuse incidents at Abu Ghraib and Guant namo Bay have recently indicated--our notions of ourselves as not-medieval (that is, civilized) not only fail to prepare us for modern torture and warfare but also lead us into complicity with self-proclaimed moral and civic leaders. Whether considering a medieval painting of a Christian martyr or the immense popularity of grotesque historical tourist attractions such as the London Dungeons, Suspended Animation argues that images of death and violence are as pervasive today as they were in the Middle Ages, serving as potent reminders of the link between the modern and the medieval era.
Product Identifiers
Publisher
Reaktion Books, The Limited
ISBN-10
1861892608
ISBN-13
9781861892607
eBay Product ID (ePID)
47043302
Product Key Features
Book Title
Suspended Animation : Pain, Pleasure and Punishment in Medieval Culture
Format
Hardcover
Language
English
Topic
Techniques / Painting, Europe / Medieval, History / General
Publication Year
2006
Genre
Art, History
Number of Pages
248 Pages
Dimensions
Item Length
9in
Item Height
1in
Item Width
6in
Item Weight
24.9 Oz
Additional Product Features
Lc Classification Number
Hm1116
Reviews
"Mills' book takes us into disturbing territory, but territory that needs investigation."-- Group Analysis , with its interdisciplinary and lively approach to an array of sensational images and texts, Suspended Animation will provide provocative material for scholars, students and even nonacademic readers interested in the history of sexuality., "With "Suspended Animation", Robert Mills is out to rattle the discursive cages of medieval studies, drawing upon a dazzling array of primary sources both visual and textual and synthesizing the best recent research and theory."--Mitchell B. Merback, author of "The Thief, the Cross, and the Wheel", "Mills'' book takes us into disturbing territory, but territory that needs investigation."--"Group Analysis", "Mills'' book takes us into disturbing territory, but territory that needs investigation."-- Group Analysis, A provocative and insightful meditation on human pain as a shared obsession in medieval and modern culture. . . . Mills writes as clearly as he thinks (the prose descriptions of the images that he examines are a special delight to read) and the one hundred color and halftone plates are finely reproduced. . . . A fascinating and utterly credible protrayal of medieval culture., "Provocative. . . . His very attempts at new interpretations are what make this book a useful addition to scholars who study the cultural construct of pain. . . . This book make extraordinary use of a wide range of primary sources, while competently synthesizing an extensive number of theoretical approaches. . . . The book reads as a cohesive whole, returning to and reevaluating the theme of temporal and visual suspense in an engaging manner that questions traditional assumptions about the medieval and modern understanding of pain. Indeed, it is Mills'' very attempts at pushing the discursive limits of pain that makes this volume a valuable tool for medieval and modern literary critics, art historians, and historians alike."--Medieval Review, "A provocative and insightful meditation on human pain as a shared obsession in medieval and modern culture. . . . Mills writes as clearly as he thinks (the prose descriptions of the images that he examines are a special delight to read) and the one hundred color and halftone plates are finely reproduced. . . . A fascinating and utterly credible protrayal of medieval culture."-- Comitatus: A Journal of Medieval and Renaissance Studies, "Provocative. . . . His very attempts at new interpretations are what make this book a useful addition to scholars who study the cultural construct of pain. . . . This book make extraordinary use of a wide range of primary sources, while competently synthesizing an extensive number of theoretical approaches. . . . The book reads as a cohesive whole, returning to and reevaluating the theme of temporal and visual suspense in an engaging manner that questions traditional assumptions about the medieval and modern understanding of pain. Indeed, it is Mills' very attempts at pushing the discursive limits of pain that makes this volume a valuable tool for medieval and modern literary critics, art historians, and historians alike."-- Medieval Review, Provocative. . . . His very attempts at new interpretations are what make this book a useful addition to scholars who study the cultural construct of pain. . . . This book make extraordinary use of a wide range of primary sources, while competently synthesizing an extensive number of theoretical approaches. . . . The book reads as a cohesive whole, returning to and reevaluating the theme of temporal and visual suspense in an engaging manner that questions traditional assumptions about the medieval and modern understanding of pain. Indeed, it is Mills' very attempts at pushing the discursive limits of pain that makes this volume a valuable tool for medieval and modern literary critics, art historians, and historians alike., The study is fluid, open, generous and expansive . . . all medievalists will benefit from his approach and methodology and find his contributions an important addition to understanding history., "With Suspended Animation , Robert Mills is out to rattle the discursive cages of medieval studies, drawing upon a dazzling array of primary sources both visual and textual and synthesizing the best recent research and theory."-- Mitchell B. Merback , author of The Thief, the Cross, and the Wheel, "WithSuspended Animation, Robert Mills is out to rattle the discursive cages of medieval studies, drawing upon a dazzling array of primary sources both visual and textual and synthesizing the best recent research and theory."--Mitchell B. Merback, author ofThe Thief, the Cross, and the Wheel, Surveys an impressive range of visual, literary and theoretical material. Perhaps, because of its sensitive subject matter, this is, nevertheless, an exceptionally careful, tentative and nuanced book. . . . This gorgeous and learned book leaves the reader both stimulated and animated., "A provocative and insightful meditation on human pain as a shared obsession in medieval and modern culture. . . . Mills writes as clearly as he thinks (the prose descriptions of the images that he examines are a special delight to read) and the one hundred color and halftone plates are finely reproduced. . . . A fascinating and utterly credible protrayal of medieval culture."-- Comitatus: A Journal of Medieval and Renaissance Studies , "With Suspended Animation, Robert Mills is out to rattle the discursive cages of medieval studies, drawing upon a dazzling array of primary sources both visual and textual and synthesizing the best recent research and theory."--Mitchell B. Merback, author of The Thief, the Cross, and the Wheel, "Mills'' book takes us into disturbing territory, but territory that needs investigation."--Group Analysis, "A provocative and insightful meditation on human pain as a shared obsession in medieval and modern culture. . . . Mills writes as clearly as he thinks (the prose descriptions of the images that he examines are a special delight to read) and the one hundred color and halftone plates are finely reproduced. . . . A fascinating and utterly credible protrayal of medieval culture."--Comitatus: A Journal of Medieval and Renaissance Studies , "Surveys an impressive range of visual, literary and theoretical material. Perhaps, because of its sensitive subject matter, this is, nevertheless, an exceptionally careful, tentative and nuanced book. . . . This gorgeous and learned book leaves the reader both stimulated and animated."- Times Literary Supplement, With suspended animation Robert Mills is out to rattle the discursive cages of medieval studies . . . drawing upon a dazzling array of primary sources, visual and textual, and sythesizing the best recent research and theory, "Surveys an impressive range of visual, literary and theoretical material. Perhaps, because of its sensitive subject matter, this is, nevertheless, an exceptionally careful, tentative and nuanced book. . . . This gorgeous and learned book leaves the reader both stimulated and animated."--Times Literary Supplement , a highly evocative and fascinating read that will appeal to scolars from divergent fields . . . will undoubtedly open many more lines of inquiry into the visual culture of violence in the middle ages., "Surveys an impressive range of visual, literary and theoretical material. Perhaps, because of its sensitive subject matter, this is, nevertheless, an exceptionally careful, tentative and nuanced book. . . . This gorgeous and learned book leaves the reader both stimulated and animated."-- Times Literary Supplement , "Surveys an impressive range of visual, literary and theoretical material. Perhaps, because of its sensitive subject matter, this is, nevertheless, an exceptionally careful, tentative and nuanced book. . . . This gorgeous and learned book leaves the reader both stimulated and animated."-Times Literary Supplement, "With "Suspended Animation," Robert Mills is out to rattle the discursive cages of medieval studies, drawing upon a dazzling array of primary sources both visual and textual and synthesizing the best recent research and theory."--Mitchell B. Merback, author of "The Thief, the Cross, and the Wheel", "A provocative and insightful meditation on human pain as a shared obsession in medieval and modern culture. . . . Mills writes as clearly as he thinks (the prose descriptions of the images that he examines are a special delight to read) and the one hundred color and halftone plates are finely reproduced. . . . A fascinating and utterly credible protrayal of medieval culture."--Comitatus: A Journal of Medieval and Renaissance Studies , "A provocative and insightful meditation on human pain as a shared obsession in medieval and modern culture. . . . Mills writes as clearly as he thinks (the prose descriptions of the images that he examines are a special delight to read) and the one hundred color and halftone plates are finely reproduced. . . . A fascinating and utterly credible protrayal of medieval culture."--Comitatus: A Journal of Medieval and Renaissance Studies, "Surveys an impressive range of visual, literary and theoretical material. Perhaps, because of its sensitive subject matter, this is, nevertheless, an exceptionally careful, tentative and nuanced book. . . . This gorgeous and learned book leaves the reader both stimulated and animated."--Times Literary Supplement , "Mills' book takes us into disturbing territory, but territory that needs investigation."--Group Analysis , The book reads as a cohesive whole, returning to and reevaluating the theme of temporal and visual suspense in an engaging manner that questions traditional assumptions about the medieval and modern understanding of pain. Indeed, it is Mills's very attempts at pushing the discursive limits of pain that makes this volume a valuable tool for medieval and modern literary critics, art historians, and historians alike., Provocative. . . . His very attempts at new interpretations are what make this book a useful addition to scholars who study the cultural construct of pain. . . . This book makes extraordinary use of a wide range of primary sources, while competently synthesizing an extensive number of theoretical approaches. . . . The book reads as a cohesive whole, returning to and reevaluating the theme of temporal and visual suspense in an engaging manner that questions traditional assumptions about the medieval and modern understanding of pain. Indeed, it is Mills' very attempts at pushing the discursive limits of pain that makes this volume a valuable tool for medieval and modern literary critics, art historians, and historians alike., "Provocative. . . . His very attempts at new interpretations are what make this book a useful addition to scholars who study the cultural construct of pain. . . . This book makes extraordinary use of a wide range of primary sources, while competently synthesizing an extensive number of theoretical approaches. . . . The book reads as a cohesive whole, returning to and reevaluating the theme of temporal and visual suspense in an engaging manner that questions traditional assumptions about the medieval and modern understanding of pain. Indeed, it is Mills'' very attempts at pushing the discursive limits of pain that makes this volume a valuable tool for medieval and modern literary critics, art historians, and historians alike."-Scott E. Pincilowski, Medieval Review, a provocative and insightful meditation on human pain as a shared obsession in medieval and modern culture . . . Mills writes as clearly as he thinks (the prose descriptions of the images that he examines are a special delight to read) and the one hundred color and halftone plates are finely reproduced . . . a fascinating and utterly credible protrayal of medieval culture . . ., "Mills'' book takes us into disturbing territory, but territory that needs investigation."--Group Analysis
Table of Content
Introduction: Speculum of the other Middle Ages 1. Betwixt Heaven and Earth 2. Skin Show 3. Eliminating Sodom 4. Invincible Virgins 5. Of Martyrs and men 6. Hanging with Christ Afterword: Heaven Bent References Select Bibliography Acknowledgements Photographic Acknowledgements Index
Copyright Date
2005
Target Audience
Trade
Dewey Decimal
303.36
Dewey Edition
22
Illustrated
Yes
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