Before his death in 2002 Michael Camille was Professor of Art History at the University of Chicago. His books include Mirror in Parchment (Reaktion, 1998) and The Gothic Idol: Ideology and Image-Making in Medieval Art (1989).
What do they all mean - the lascivious ape, autophagic dragons, pot-bellied heads, harp-playing asses, arse-kissing priests and somersaulting jongleurs to be found protuding from the edges of medieval buildings and in the margins of illuminated manuscripts? Michael Camille explores that riotous realm of marginal art, so often explained away as mere decoration or zany doodles, where resistance to social constraints flourished. Medieval image-makers focused attention on the underside of society, the excluded and the ejected. Peasants, servants, prostitutes and beggars all found their place, along with knights and clerics, engaged in impudent antics in the margins of prayer-books or, as gargoyles, on the outsides of churches. Camille brings us to an understanding of how marginality functioned in medieval culture and shows us just how scandalous, subversive and amazing the art of the time could be.
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Camille先生好像蠻高興的。
评分super inspiring!!!! on the order of the world, relationship between center and peripheral, transformation thru boundaries, of the power and autonomy of the edge
评分super inspiring!!!! on the order of the world, relationship between center and peripheral, transformation thru boundaries, of the power and autonomy of the edge
评分很不錯的對中世紀各類藝術的研究,把margin從人類學的概念裏麵帶進更具體的藝術作品和社會現象中去,邊界不僅持續地評判、諧擬、顛覆著中心的圖像,同時也不可避免地重申著中心的位置和權力。邊界不僅被用來分析手抄本文字四周的圖案、教堂角落裏的各種動物/怪物浮雕,也定義這社會的不同階層、藝術傢本身、甚至中心的自我矛盾。Camille從後現代自身的很多身份和社會建構的定義齣發,將中世紀的社會和藝術看成是對眾多社會矛盾和意識形態的衝突摺射入錶現形式的過程,這些我們所謂的“grotesque”在中世紀具有流動性的含義,所謂的“other”和中心的關係也絕非二元對立這麼簡單。讀完消除很多對中世紀的社會essentialist的定義。Camille的語言也詼諧得很。
评分Camille先生好像蠻高興的。
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