000			03102cam a2200385 i 4500
001			on1059450752
003			OCoLC
005			20240726104758.0
008			181029s2019 nyu ob 001 0 eng d
040			_aNT _beng _erda _epn _cNT _dNT _dJSTOR _dOCLCF _dP@U _dAU@ _dOCL _dESU _dUHL _dVT2 _dDGITA _dOCLCO _dOCLCQ
020			_a9780823282104 _q((electronic)l(electronic)ctronic)
020			_a9780823282081
050	0	4	_aN8080 _b.S256 2019
049			_aMAIN
100	1		_aGoldberg, Jonathan, _e1
245	1	0	_aSaint Marks : _bwords, images, and what persists / _cJonathan Goldberg.
260			_aNew York : _bFordham University Press, _c(c)2019.
300			_a1 online resource
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
504			_a2
505	0	0	_aPainting Marks -- _tAtmospherics (Bellini) -- _tGravity (Tintoretto) -- _tWriting Marks. Stones (of Venice) -- _tSecrets.
520	0		_aSaint Marks invokes and pluralizes the figure of Mark in order to explore relations between painting and writing. Emphasizing that the saint is not a singular biographical individual in the various biblical and hagiographic texts that involve someone so named, the book takes as its ultimate concern the kinds of material life that outlive the human subject. From the incommensurate, anachronic instances in which Saint Mark can be located--among them, as Evangelist or as patron saint of Venice--the book traces Mark's afterlives within art, sacred texts, and literature in conversation with such art historians and philosophers as Aby Warburg, Giorgio Agamben, Georges Didi-Huberman, T.J. Clark, Adrian Stokes, and Jean-Luc Nancy. Goldberg begins in sixteenth-century Venice, with a series of paintings by Gentile and Giovanni Bellini, Tintoretto, and others, that have virtually nothing to do with biblical texts. He turns then to the legacy of John Ruskin's Stones of Venice and through it to questions about what painting does as painting. A final chapter turns to ancient texts, considering the Gospel of St. Mark together with its double, the so-called Secret Gospel that has occasioned controversy for its homoerotic implications. The posthumous persistence of a life is what the gospel named Mark calls the Kingdom of God. Saints have posthumous lives; but so too do paintings and texts. This major interdisciplinary study by one of our most astute cultural critics extends what might have been a purely theological subject to embrace questions central to cultural practice from the ancient world to the present.
530			_a2 _ub
600	0	0	_aMark, _cSaint _vArt.
600	0	1	_aMark, _cSaint _vArt.
650		0	_aArt _xPsychology.
655		1	_aElectronic Books.
856	4	0	_zClick to access digital title | log in using your CIU ID number and my.ciu.edu password. _uhttpss://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=1735892&site=eds-live&custid=s3260518
942			_cOB _D _eEB _hN. _m2019 _QOL _R _x _8NFIC _2LOC
994			_a92 _bNT
999			_c77966 _d77966
902			_a1 _bCynthia Snell _c1 _dCynthia Snell