Accademia Dei Lincei
art
byzantine
Byzantine Chant
Caisse Nationale Des Monuments Historiques
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Category=DSRC
Category=NH
Corpus Vitrearum
Corpus Vitrearum Medii Aevi
Der Nersessian
egon
Egon Wellesz
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eq_history
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Frankish Kingdom
gegenwart
George Foot Moore
geschichte
grabmann
Ivory Carvings
Jacques Handschin
Le Saulchoir
Le Vitrail
martin
Martin Grabmann
Medieval Art History
Monophonic Music
Monumenta Monodica Medii Aevi
Monumenta Musicae Byzantinae
music
National Library
Romanesque Sculpture
Sirarpie Der Nersessian
Thomas Von Aquin
und
Uppermiddle Class
Venerable Inceptor
wellesz
Young Man
Product details
- ISBN 9781138980792
- Weight: 453g
- Dimensions: 138 x 216mm
- Publication Date: 27 Apr 2016
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Paperback
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This is the third of a three-volume set on medieval scholarship that presents original biographical essays on scholars whose work has shaped medieval studies for the past four hundred years. A companion to Volume 1: History and Volume 2: Literature and Philology, Volume 3: Philosophy and the Arts covers the lives of twenty eminent individuals-from Victor Cousin (1792-1867) to Georges Chehata Anawati (1905-1994) in Philosophy; from H.J.W. Tillyard (1881-1968) to Gustave Reese (1899-1977) in Music; and from Alois Riegl (1858-1905) to Louis Grodecki (1910-1982) in Art History-whose subjects were the art, music, and philosophical thought of Europe between 500-1500. The scholars of medieval philosophy strove to identify the nexus of philosophical truth, whether they were engaged in the clash of the Christian church and secular republicanism as reflected in the tension between theology and philosophy, in addressing the conflicting perceptions of Muslim identity, or in defining Jewish philosophical theology in non-Jewish culture. Medieval musicologists, who are included as the subjects of the essays, pioneered or recontextualized traditional views on the definition of music as subject matter, on the relationship between music and philosophical concepts, on interpretative distinctions between secular and sacred music, monophony and polyphony, and concepts of form and compositional style. The art historians treated in this volume not only overturn the view of medieval art as an aesthetic decline from classical art, but they demonstrate the continual development of form and style inclusive of minor and major arts, in textiles, architecture and architectural sculpture, manuscripts, ivory carvings, and stained glass. The philosophers, musicologists, and art historians who appear in Volume 3 worked in three newly-emerging disciplines largely of nineteenth-century origin. In their distinguished and extraordinary output of energy in scholarly and academic arenas, they contributed significantly to the emergence and formation of medieval studies as the prime discipline of historical inquiry into and hence the key to understanding of the human experience.
Helen Damico, Donald Fennema, Karmen Lenz
