Images, Improvisations, Sound, and Silence from 1000 to 1800 - Degree Zero
Images, Improvisations, Sound, and Silence from 1000 to 1800 - Degree Zero
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Ouverture: Degree Zero Between Past and Future Babette Hellemans IMAGES The Two Bodies of the Virgin: On the Festival of Cirio de Nazaré Jean-Claude Schmitt The Three Ages of Man and the Materialization of an Allegory: Inquiries on an Object at the Threshold of Modernity Andrea von Hülschen-Esch Lapsus figurae: Remarks on Iconographic Error Pierre-Olivier Dittmar IMPROVISATIONS Drawing a Line and Questioning Art Nicola Suthor Fall and Rise Again Irit Kleiman Improvisation as a Chief Pillar of the Poetic Art in Persian Literary Tradition Asghar Seyed-Gohrab SOUND Intending the Listener Rokus de Groot The Sovereign Ear: Handel's Water Music and Aural Historiography Sander van Maas Where Sound and Meaning Part: Language and Performance in Early Hebrew Poetry Irene Zwiep SILENCE Writing about Silence and the Secret in the Twelfth Century: Monastic Variations on a Biblical Theme Cédric Giraud An Arrangement of Silence: Shaping Monastic Identity in Anselm of Canterbury's Letter Collections Theo Lap Dimidia Hora: Liminal Silence in Bernard of Clairvaux, Anselm of Canterbury, and Barack Obama Burcht Pranger List of Contributors

Babette Hellemans, Alissa Jones Nelson (red.)

Images, Improvisations, Sound, and Silence from 1000 to 1800 - Degree Zero

De onderstaande tekst is niet beschikbaar in het Nederlands en wordt in het Engels weergegeven.
The act of drawing a line or uttering a word is often seen as integral to the process of making art. This is especially obvious in music and the visual arts, but applies to literature, performance, and other arts as well. These collected essays, written by scholars from diverse fields, take a historical view of the richness of creation out of nothing (creatio ex nihilo) in order to draw out debates, sometimes implicit and sometimes formally stated, about the production and reproduction of cultural meaning in a period of great change and novelty, between the beginnings of the medieval intellectual tradition and the imprint of the Enlightenment. The authors pose the following questions: Do tradition and creativity conflict with one another, or are they complementary? What are the tensions between composition and live performance? What is the role of the audience in perceiving the object of art? Are such objects fixed or flexible? What about the status of the event? Is the event part of creation, in the sense that it disturbs the still waters of historical continuity? These and other questions build on the foundation of Roland Barthes' concept of Degree Zero, offering new insights into what it means to create.
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Babette Hellemans

Babette Hellemans is universitair docent en wetenschappelijk onderzoeker aan de Rijksuniversiteit Groningen. Zij publiceerde diverse boeken en artikelen in het Nederlands, Engels en Frans over de geschiedenis van de Franse cultuur vanaf 1000 tot heden, met een focus op de interactie tussen religie en wetenschap en de relatie tussen woord en beeld.

Alissa Jones Nelson

Alissa Jones Nelson completed her PhD at the Centre for the Study of Religion and Politics, University of St. Andrews, in 2009. She has published a monograph and several articles focusing on the politics of biblical hermeneutics and postcolonial theory. From 2011-2016, she was the Acquisitions Editor for Religious Studies at De Gruyter. She now works as a freelance writer, editor, and translator. She is based in Berlin.