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Cohen book manuscript8/27/2023 ![]() Contents: Katrin Kogman-Appel, Jewish Art and Cultural Exchange: Theoretical Perspectives Cynthia Robinson, Towers, Birds and Divine Light: The Contested Territory of Nasrid and "Mudéjar" Ornament Jill Caskey, Stuccoes from the Early Norman Period in Sicily: Figuration, Fabrication and Integration Ethel Sara Wolper, Khidr and the Changing Frontiers of the Medieval World Christina Maranci, Locating Armenia Jennifer Purtle, The Far Side: Expatriate Medieval Art and Its Languages in Sino-Mongol China Nancy L. An introduction by the editors places the essays within historiographic and pedagogical frameworks. What is contested is both medieval (the material evidence itself) and modern (the scholarly traditionsin which the evidence has or has not been embedded). While not displaying a unified methodology or privileging specific theoretical constructs, the essays emphasize how strategies of representation articulated ownership and identity within contested arenas. Seven contributors engage three distinct yet related problems: margins, frontiers, and cross-cultural encounters. Summary: This volume approaches the problem of the canonical “center” by looking at art and architecture on the borders of the medieval world, from China to Armenia, Sweden, and Spain. I am currently working on several different projects: an investigation of double-page spreads in manuscript illumination, a study of miscellanies in twelfth- and thirteenth-century Germany, and a work on illustrated Haggadot (the book used at the Passover seder service).ĭescription: Leiden: Brill, 2011. As a teacher, I encourage my students to find their own voices but always to listen to the messages being communicated by their materials. ![]() I find illuminated manuscripts a particularly fruitful area for such investigations, especially for monastic communities and audiences, and I confess that I still get a remarkable charge whenever I have the privilege of holding a medieval book much as its original users did. In my research and teaching, I try to uncover how and why people in the Middle Ages invested considerable resources in the production of art, and how that art provided a unique means of linking abstract theory (theological or philosophical) and daily practice (religious or secular). I am fascinated by the tension medieval art presents as something that is both alien and yet deeply connected to the motives and concerns of people today.
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