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Pas d'armes and Late Medieval Chivalry
An Open Access edition will be available on publication thanks to generous funding from the Arts and Humanities Research Council; the University of Leeds; Drury University; Northwestern University; the University of Neuchâtel; and the Fondation pour la Protection du Patrimoine Culturel, Historique et Artisanal (Switzerland). This Casebook features the work of an international, interdisciplinary research group entitled ‘The Joust as Performance: Pas d’armes and Late Medieval Chivalry’ and funded by the UK’s Arts and Humanities Research Council. Its focus is on the pas d’armes (English: ‘passage of arms’), a highly ritualised form of tournament and elite entertainment that was p...
Ritterliche Taten der Gewalt
Florian Dörschel deals with the martial side of German chivalry towards the end of the Middle Ages. Knightly violence was at the center of social, military and political life as an instrument of power, representation and communication. Florian Dörschel befasst sich mit der kriegerischen Seite des deutschen Rittertums im ausgehenden Mittelalter. Diese ritterliche Gewalt stand als Machtinstrument, Repräsentations- und Kommunikationsmittel im Mittelpunkt des sozialen, militärischen und politischen Lebens.
The Thun-Hohenstein Album
The first extensive study of the depiction of the armour in the Thun-Hohenstein Album against the vibrant artistic and cultural contexts that created it. In late medieval and early modern Europe, armour was more than a defensive technology for war or knightly sport. Its diverse types formed a complex visual language. Luxury armour was fitted precisely to a wearer's body, and its memorable details declared his status. Empty armour could evoke an owner's physical presence, prompting recollection of knightly personae, glittering pageantry, and impressive feats of arms. Its mnemonic power persisted long after the battle had ended, the trumpets had gone silent, and the dust had settled in the tou...
Sigrún Olafsdóttir
"Drawings in space, volume on the surface - Sigrun Olafsdottir's sculptures and drawings to date could be summed up under this motto. The artist works with two media that seem to differ entirely in essence and appearance: sculpture and drawing. Sculpture signifies volume, space, matter, weight. Drawing signifies surface, linearity, lightness. Sigrun Olafsdottir's combination of these aspects is groundbreaking: her sculptures are frequently light and transparent, her drawings heavy and compact." "Be it in her sculptures or her drawings, Sigrun Olafsdottir's artistic systems always deal with the balance of movement, with the equalisation of opposing principles, with the synthesis of motionlessness and dynamism. Just as a number of her sculptures maintain an apparently impossible equilibrium, so the individual elements in her pictures support one another."--BOOK JACKET.
Museums of the World
None
2009
Up-to-date information on some 2,000 institutions and approx. 4,000 persons in public life in Saarland: authorities and departments of local, state and federal administration; jurisdiction; syndicates and other organizations from politics, business, academic life, the arts etc.; notaries, church offices, schools, universities, museums, libraries, hospitals, banks and mayors, District Administrators, chairpersons, presidents, directors, managing directors and other executives.
