The Fullness of Time: Temporalities of the Fifteenth-Century Low Countries

University of Chicago Press
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The Low Countries were at the heart of innovation in Europe in the fifteenth century. Throughout this period, the flourishing cultures of the Low Countries were also wrestling with time itself. The Fullness of Time explores that struggle, and the changing conceptions of temporality that it represented and embodied showing how they continue to influence historical narratives about the emergence of modernity today.

The Fullness of Time asks how the passage of time in the Low Countries was ordered by the rhythms of human action, from the musical life of a cathedral to the measurement of time by clocks and calendars, the work habits of a guildsman to the devotional practices of the laity and religious orders. Through a series of transdisciplinary case studies, it explores the multiple ways that objects, texts and music might themselves be said to engage with, imply, and unsettle time, shaping and forming the lives of the inhabitants of the fifteenth-century Low Countries. Champion reframes the ways historians have traditionally told the history of time, allowing us for the first time to understand the rich and varied interplay of temporalities in the period.
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About the author

Matthew Champion is a lecturer in medieval history at Birkbeck, University of London.
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Additional Information

Publisher
University of Chicago Press
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Published on
Nov 13, 2017
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Pages
304
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ISBN
9780226514826
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Language
English
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Genres
Art / History / Medieval
History / Europe / General
History / Europe / Medieval
History / General
Music / History & Criticism
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Content Protection
This content is DRM protected.
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Read Aloud
Available on Android devices
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Eligible for Family Library

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 The Dutch artist Hieronymus Bosch is considered one of the most notable representatives of the Early Netherlandish painting school. His work is renowned for its fantastic imagery, ethereal landscapes, original religious concepts and, most famously, his macabre, nightmarish depictions of Hell. Though almost forgotten for centuries, today he is held as an innovative visionary, whose works offer a rare insight into humanity’s desires and deepest fears. Delphi’s Masters of Art Series presents the world’s first digital e-Art books, allowing readers to explore the works of great artists in comprehensive detail. This volume presents Bosch’s complete works in beautiful detail, with concise introductions, hundreds of high quality images and the usual Delphi bonus material. (Version 1)


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CONTENTS:


The Highlights

ECCE HOMO

SAINT JEROME AT PRAYER

CHRIST CARRYING THE CROSS

ADORATION OF THE MAGI

SAINT JOHN THE BAPTIST IN THE WILDERNESS

CUTTING THE STONE

THE GARDEN OF EARTHLY DELIGHTS

THE HAYWAIN

HERMIT SAINTS

THE CONJURER

THE LAST JUDGMENT

THE TEMPTATION OF SAINT ANTHONY

DEATH AND THE MISER

ASCENT OF THE BLESSED

THE MARRIAGE FEAST AT CANA

THE WAYFARER


The Paintings

THE COMPLETE PAINTINGS

ALPHABETICAL LIST OF PAINTINGS


The Drawings

LIST OF DRAWINGS


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Paramount in the shaping of early Byzantine identity was the construction of the church of Hagia Sophia in Constantinople (532-537 CE). This book examines the edifice from the perspective of aesthetics to define the concept of beauty and the meaning of art in early Byzantium. Byzantine aesthetic thought is re-evaluated against late antique Neoplatonism and the writings of Pseudo-Dionysius that offer fundamental paradigms for the late antique attitude towards art and beauty. These metaphysical concepts of aesthetics are ultimately grounded in experiences of sensation and perception, and reflect the ways in which the world and reality were perceived and grasped, signifying the cultural identity of early Byzantium. There are different types of aesthetic data, those present in the aesthetic object and those found in aesthetic responses to the object. This study looks at the aesthetic data embodied in the sixth-century architectural structure and interior decoration of Hagia Sophia as well as in literary responses (ekphrasis) to the building. The purpose of the Byzantine ekphrasis was to convey by verbal means the same effects that the artefact itself would have caused. A literary analysis of these rhetorical descriptions recaptures the Byzantine perception and expectations, and at the same time reveals the cognitive processes triggered by the Great Church. The central aesthetic feature that emerges from sixth-century ekphraseis of Hagia Sophia is that of light. Light is described as the decisive element in the experience of the sacred space and light is simultaneously associated with the notion of wisdom. It is argued that the concepts of light and wisdom are interwoven programmatic elements that underlie the unique architecture and non-figurative decoration of Hagia Sophia. A similar concern for the phenomenon of light and its epistemological dimension is reflected in other contemporary monuments, testifying to the pervasiveness of these aesthetic values in early Byzantium.
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