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The Master and Minerva
Can words do damage? For medieval culture, the answer was unambiguously yes. And as Helen Solterer contends, in French medieval culture the representation of women exemplified the use of injurious language. Solterer investigates the debates over women between masters and their disciples. Across a broad range of Old French literature to the early modern Querelle des femmes, she shows how the figure of the female respondent became an instrument for disputing the dominant models of representing women. The female respondent exploited the criterion of injurious language that so preoccupied medieval masters, and she charged master poets ethically and legally with libel. Solterer's work thus illuminates an early, decisive chapter in the history of defamation. Can words do damage? For medieval culture, the answer was unambiguously yes. And as Helen Solterer contends, in French medieval culture the representation of women exemplified the use of injurious language. Solterer investigates the debates ove
The Practice of Persuasion
This sequel to The Practice of Theory stresses the continued need for self-reflective awareness in art historical writing. Offering a series of meditations on the discipline of art history in the context of contemporary critical theory, Moxey addresses such central issues as the status of the canon, the nature of aesthetic value, and the character of historical knowledge. The chapters are linked by a common interest in, even fascination with, the paradoxical power of narrative and the identity of the authorial voice. Moxey maintains that art history is a rhetoric of persuasion rather than a discourse of truth. Each chapter in The Practice of Persuasion attempts to demonstrate the paradoxes i...
The Practice of Persuasion
This sequel to The Practice of Theory stresses the continued need for self-reflective awareness in art historical writing. Offering a series of meditations on the discipline of art history in the context of contemporary critical theory, Moxey addresses such central issues as the status of the canon, the nature of aesthetic value, and the character of historical knowledge. The chapters are linked by a common interest in, even fascination with, the paradoxical power of narrative and the identity of the authorial voice. Moxey maintains that art history is a rhetoric of persuasion rather than a discourse of truth. Each chapter in The Practice of Persuasion attempts to demonstrate the paradoxes i...
The Geographical Journal
Includes the Proceedings of the Royal geographical society, formerly pub. separately.
Man, Myth, and Sensual Pleasures
Issued in connection with an exhibition held Oct. 5, 2010-Jan. 17, 2011, Metropolitan Museum of Art, New York, and Feb. 23-May 30, 2011, National Gallery, London (selected paintings only).
“The” Athenaeum
None
European Post-medieval Tapestries and Related Hangings in the Metropolitan Museum of Art
Tapestry making flourished in the major centers of western Europe from the fourteenth through the nineteenth centuries. Thousands of tapestries were woven as special commissions for church, crown, and nobility. This publication is a comprehensive catalogue of the Museum's collection of tapestries and allied works made after the Middle Ages.-- Metropolitan Museum of Art website.
Medieval Tapestries in the Metropolitan Museum of Art
A study of the condition, subject, design, manufacture, ownership, and exhibitions for each tapestry or set of tapestries in the Museum's medieval tapestry collection. -- Metropolitan Museum of Art.
Medieval Healthcare and the Rise of Charitable Institutions
Medieval Healthcare and the Rise of Charitable Institutions: The History of the Municipal Hospital examines the development of medieval institutions of care, beginning with a survey of the earliest known hospitals in ancient times to the classical period, to the early Middle Ages, and finally to the explosion of hospitals in the twelfth and thirteenth centuries. For Western Christian medieval societies, institutional charity was a necessity set forth by the religion’s dictums—care for the needy and sick was a tenant of the faith, leading to a unique partnership between Christianity and institutional care that would expand into the fledging hospitals of the early Modern period. In this study, the hospital of Saint John in Brussels serves as an example of the developments. The institution followed the pattern of the establishment of medieval charitable institutions in the high Middle Ages, but diverged to become an archetype for later Christian hospitals.
