Some traces of the continuity of the aesthetic consciousness throughout the Middle Ages.

2005 ◽  
pp. 120-150
Author(s):  
Bernard Bosanquet
Keyword(s):  
Middle Ages ◽  
Aesthetic Consciousness ◽  
The Aesthetic ◽  
The Middle Ages

The Medieval Image, I

2019 ◽  
pp. 196-223
Author(s):  
Thomas Nail
Keyword(s):  
Middle Ages ◽  
Work Of Art ◽  
Works Of Art ◽  
Aesthetic Field ◽  
The Aesthetic ◽  
The Church ◽  
The Middle Ages

Chapter 10 presents a realist aesthetics (versus constructivist) and a kinetic materialism (versus formal idealism) that focuses on the material kinetic structure of the work of art itself, inclusive of milieu and viewer. What the author calls “kinesthetics” is a return to the works of art themselves as fields of images, affects, and sensations. The chapter more specifically offers a focused study of the material kinetic conditions of the dominant aesthetic field of relation during the Middle Ages. The argument here and in the next chapter is that during the Middle Ages, the aesthetic field is defined by a tensional and relational regime of motion. This idea is supported by looking closely at three major arts of the Middle Ages: glassworks, the church, and distillation. The next chapter likewise considers perspective, the keyboard, and epistolography.

scholarly journals Perception Of The Spiritual Symbol In Armenian Medieval Philosophy And Theology

wisdom ◽  
2019 ◽  
Vol 13 (2) ◽  
pp. 136-145
Author(s):  
Haykazun Alvrtsyan
Keyword(s):  
Middle Ages ◽  
Medieval Literature ◽  
Medieval Philosophy ◽  
Methodological Basis ◽  
World Outlook ◽  
Spiritual Culture ◽  
Different Types ◽  
History Of ◽  
The Aesthetic ◽  
The Middle Ages

The article presents the perceptions and viewpoints of the Armenian medieval literary men concerning the spiritual symbol. Being anchored in the pan-Christian perception of the symbol, it laid the basis of the symbolic-allegorical thinking of the Armenian spiritual culture. In the history of the Armenian medieval literature and art studies, the analysis of symbols, in essence, the discovery of the epiphany in them, which is the fundamental meaning of the culture, have often been neglected. Today there is a necessity to analyse the spiritual culture in a new way to dig out its ideological – world outlook basis conditioned by the artistic and the festival and ritual functions of the different types of art. Such a research also enables us to comprehend the aesthetic, artistic and doctrinal - philosophical merits of the spiritual culture (literature, miniature, architecture, etc.) created throughout the centuries and still unknown to us in a new way, to review the system of criteria and ideological-methodological basis of the evaluation, which bears a great significance for the complete and precise perception and evaluation of the Armenian art and literature of the Middle Ages.

Western Aesthetics

2020 ◽  
pp. 1-25
Keyword(s):  
19Th Century ◽  
Middle Ages ◽  
Significant Contribution ◽  
Ancient Greece ◽  
History Of ◽  
Basic Ideas ◽  
The Aesthetic ◽  
The 19Th Century ◽  
The Middle Ages

This chapter studies the development and basic ideas of Western aesthetic thoughts by reviewing the aesthetic history of ancient Greece and the Middle Ages and by investigating the modern and contemporary aesthetics. It initially discusses the dominant classical Greek aesthetics, the medieval aesthetics, the 19th century aesthetics, and finally the modern aesthetics. The chapter finds that while the history of aesthetics is marked by countless schools of thoughts, only a few people of rare talent have made significant contribution to the entire human civilization through their aesthetic theories and ideas.

Corpus Christi College, Oxford, as an Emotional Community

2019 ◽  
pp. 81-102
Author(s):  
Miri Rubin
Keyword(s):  
Sixteenth Century ◽  
Built Environment ◽  
Middle Ages ◽  
Church And State ◽  
Actual Performance ◽  
Corpus Christi ◽  
The Aesthetic ◽  
The Middle Ages

This chapter focuses on the aesthetic of the cultural moment at which Corpus Christi College was founded: 1517 lies on the cusp between the Middle Ages and the Renaissance in England. If one accepts that cusp as fundamentally contested, it remains fruitful to explore how the main actors in affairs of Church and State manifest certain tastes and ideas, combining ‘medieval‘ and ‘Renaissance‘ themes, that are identifiable as elements of coterie-signalling. Two artefacts directly associated with Richard Fox, the College’s founder, stand as such signals, that is material testimonies to group-definition in the dominant sub-culture. The chapter then draws on the wider ecclesiastical and court milieu to explore how performative gestures in the patronage of the built environment have counterparts in actual performance, in the pageantry and plays of the end of the fifteenth and beginning of the sixteenth century.

Rædan, areccan smeagan: how the Anglo-Saxons read

1997 ◽  
Vol 26 ◽  
pp. 1-22 ◽  
Author(s):  
M. B. Parkes
Keyword(s):  
Middle Ages ◽  
Subject Matter ◽  
Literary Form ◽  
Manuscript Transmission ◽  
The Subject ◽  
The Aesthetic ◽  
The Middle Ages

The Middle Ages inherited from antiquity a tradition of reading which embraced the four functions of grammatical studies (grammaticae officia): lectio, emendatio, enarratio and iudicium. Lectio was the process whereby a reader had to identify elements of the text — letters, syllables, words and sentences (discretio) — in order to read it aloud according to the accentuation required by the sense (pronuntiatio). Emendatio, a process entailed by the realities of manuscript transmission, required a reader (or his teacher) to correct the text in his copy, and sometimes tempted him to ‘improve’ it. Enarratio was the process of examining features of vocabulary, rhetorical and literary form, and above all of interpreting the subject matter of the text (explanatio). ludicium was the process of exercising judgement of the aesthetic qualities or the moral and philosophical value of the text (bene dictorum conprobatio).

William Morris and Medievalism

2020 ◽  
pp. 506-522
Author(s):  
Jan Marsh
Keyword(s):  
Middle Ages ◽  
Fourteenth Century ◽  
Political Action ◽  
William Morris ◽  
The Past ◽  
The Aesthetic ◽  
Do So ◽  
The Middle Ages

Successively renowned as poet, designer, calligrapher, businessman, architectural conservationist, pioneer socialist, utopianist, and typographer-printer, William Morris (1834–96) based his life’s work on his passion for all things medieval. Almost every aspect of William Morris’s career, indeed his whole life, may be seen as an endeavour to valorize and revivify medieval culture in preference to that of the centuries from 1600 to 1900. His achievement was to do so without nostalgia or antiquarianism, despite his fervent love of old things for their own sake. His signature method was not to describe or copy the Middle Ages, but to imaginatively inhabit them—preferably his favoured fourteenth century—and then to make new things in the same spirit. He views of the past created practical pathways for future enterprises in literature, building, decoration, and, possibly, political action. No revivalist, he aimed to develop archaic forms to serve the aesthetic, material, and political needs of the present and future.

Pierres précieuses – signe contesté de l’Orient dans le Roman d’Eracle de Gautier d’Arras (XIIe siècle)

2021 ◽  
pp. 57-68
Author(s):  
Katarzyna Dybeł
Keyword(s):  
Middle Ages ◽  
French Literature ◽  
12Th Century ◽  
The Aesthetic ◽  
Precious Stones ◽  
The Middle Ages

The article analyses the motifs of precious stones present in the 12th century work of Gautier d’Arras, The Eracle Romance (ca. 1176-1184), often called “Byzantine romance”. This motif shows the influence of the Byzantine aesthetics on the French literature of the Middle Ages. Gautier d’Arras assimilates it, but at the same time modifies its sense. He re-defines the courtly ethos and diminishes the aesthetic character of the motif, typical of the oriental poetics. Precious stones are the contested sign of the East because their beauty is understood as the determinant of Virtue rather than outer beauty. This is a new face of the exotic – not only tamed but also moralised. This modification of the generally accepted hierarchy of values enriches the sapiential, moral and formative aspects of the work.

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