000			03573cam a2200361Mi 4500
001			on1236267102
003			OCoLC
005			20240726105151.0
008			210206s2021 ne o 000 0 eng d
040			_aEBLCP _beng _epn _erda _cEBLCP _dNT _dOCLCO _dOCLCF _dJSTOR _dUKAHL _dDEGRU _dP@U _dOCLCO _dYDX
020			_a9048542677
020			_a9789048542673 _q((electronic)l(electronic)ctronic)
050	0	4	_aN5970 _b.A278 2021
049			_aMAIN
100	1		_aGertsman, Elina. _e1
245	1	0	_aAbstraction in Medieval Art : _bBeyond the Ornament. _c
300			_a1 online resource (386 pages)
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
504			_a2
505	0	0	_tFrontmatter -- _tTable of Contents -- _tAcknowledgments -- _tIllustrations -- _tPreface: Withdrawal and Presence -- _tPart I Abstraction / _rAporia / _rUnknowability -- _t1. Colour as Subject -- _t2. Abstraction's Gothic Grounds -- _t3. Abstraction in the Kennicott Bible -- _t4. Back-to-Front: Abstraction and Figuration in Bosch's Visions of the Hereafter -- _tPart II Abstraction / _rFiguration / _rSignification -- _t5. The Painted Logos: Abstraction as Exegesis in the Ashburnham Pentateuch -- _t6. The Sign within the Form, the Form without the Sign: Monograms and Pseudo- Monograms as Abstractions in Mozarabic Antiphonaries -- _t7. Ornament and Abstraction: A New Approach to Understanding Ornamented Writing in the Making of Illuminated Manuscripts around 1000 -- _t8. The Double-Sided Image: Abstraction and Figuration in Early Medieval Painting -- _tPart III Abstraction / _rEpistemology / _rPerception -- _t9. Birds of Defiance: Jewelled Resistance to Modern Abstractions -- _t10. Early Romanesque Abstraction and the 'Unconditionally Two-dimensional Surface' -- _t11. Functional Abstraction in Medieval Anatomical Diagrams -- _t12. Imaging Perfection(s) in Hebrew Illuminated Manuscripts -- _t13. Response: Astral Abstraction -- _t14. Coda: Carolingian Art As Conceptual Art -- _tIndex
520	0		_aAbstraction haunts medieval art, both withdrawing figuration and suggesting elusive presence. How does it make or destroy meaning in the process? Does it suggest the failure of figuration, the faltering of iconography? Does medieval abstraction function because it is imperfect, incomplete, and uncorrected-and therefore cognitively, visually demanding? Is it, conversely, precisely about perfection? To what extent is the abstract predicated on theorization of the unrepresentable and imperceptible? Does medieval abstraction pit aesthetics against metaphysics, or does it enrich it, or frame it, or both? Essays in this collection explore these and other questions that coalesce around three broad themes: medieval abstraction as the untethering of image from what it purports to represent, abstraction as a vehicle for signification, and abstraction as a form of figuration. Contributors approach the concept of medieval abstraction from a multitude of perspectives-formal, semiotic, iconographic, material, phenomenological, epistemological.
530			_a2 _ub
650		0	_aArt, Medieval.
650		0	_aAbstraction.
655		1	_aElectronic Books.
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=2739606&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hN _m2021 _QOL _R _x _8NFIC _2LOC
994			_a92 _bNT
999			_c91232 _d91232
902			_a1 _bCynthia Snell _c1 _dCynthia Snell