History as a Visual Art in the Twelfth-Century Renaissance
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A01=Karl F. Morrison
Aesthetics
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Anselm of Havelberg
Apocalypticism
Archetype
Asceticism
Augustine of Hippo
Author_Karl F. Morrison
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Bernard of Clairvaux
Calligraphy
Canonization
Category1=Non-Fiction
Category=HPN
Category=QDTN
Chronica Majora
Cistercians
Classicism
Cognition
Consecration
COP=United States
Counter-Reformation
Criticism
De spectaculis
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Ecclesiastical History of the English People
Ekkehard of Aura
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Exegesis
Geoffrey of Monmouth
God
Goliard
Gregorian Reform
Helmold
Hermeneutics
Hildegard of Bingen
Hortus deliciarum
Iconoclasm
Illustration
Isidore of Seville
Joachim of Fiore
John of Salisbury
Kingdom of Jerusalem
Language_English
Liturgical drama
Mathilda (novella)
Matthew Paris
Medieval art
Meyer Schapiro
Morality play
Narrative
Oracle
Otto of Freising
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Philosophy
Poetaster
Poetry
Policraticus
Presentism (literary and historical analysis)
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Prose
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Quintilian
Religious text
Renaissance art
Rhetoric
Roger of Wendover
Rolls Series
Rupert of Deutz
Sacred history
Scriptorium
Secularization
Sigebert of Gembloux
softlaunch
Summa Theologica
The Knight's Tale
The Prioress's Tale
Theology
Thomas Aquinas
Tristan and Iseult
Troilus and Criseyde
Wilhelm Dilthey
William of Tyre
Writing
Product details
- ISBN 9780691630793
- Weight: 709g
- Dimensions: 178 x 254mm
- Publication Date: 19 Apr 2016
- Publisher: Princeton University Press
- Publication City/Country: US
- Product Form: Hardback
- Language: English
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Karl Morrison discusses historical writing at a turning point in European culture: the so-called Renaissance of the twelfth century. Why do texts considered at that time to be masterpieces seem now to be fragmentary and full of contradictions? Morrison maintains that the answer comes from ideas about art. Viewing histories as artifacts made according to the same aesthetic principles as paintings and theater, he shows that twelfth-century authors and audiences found unity not in what the reason read in a text but in what the imagination read into it: they prized visual over verbal imagination and employed a circular, or nuclear, spectator-centered perspective cast aside in the Renaissance of the fourteenth and fifteenth centuries. Twelfth-century writers assimilated and transformed a tradition of the conceptual unity of all the arts and attributed that unity to the fact that art both conceals and discloses. Recovering that tradition, especially the methods and motives of concealment, provides extraordinary insights into twelfth-century ideas about the kingdom of God, the status of women, and the nature of time itself.
It also identifies a strain in European thought that had striking affinities to methods of perception familiar in Oriental religions and that proved to be antithetic to later humanist traditions in the West. Originally published in 1990. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
