Art And Beauty In The Middle Ages 1v3x4f

Art and Beauty in the Middle Ages by Umberto Eco

››› Get audio book for free. ‹‹‹ Original Title: Art and Beauty in the Middle Ages ISBN: 0300093047 ISBN13: 9780300093049 Autor: Umberto Eco/Hugh Bredin (Translator) Rating: 4.9 of 5 stars (112) counts Original Format: Paperback, 144 pages Format: PDF, RTF, ePub, CHM, MP3. Published: February 8th 2002 / by Yale University Press / (first published 1986) Language: English Genre(s): Art- 69 s History- 64 s

Nonfiction- 38 s Philosophy- 25 s Historical Fiction >Medieval- 25 s Art >Art History- 14 s Historical >Middle Ages- 10 s

Description: In this authoritative, lively book, the celebrated Italian novelist and philosopher Umberto Eco presents a learned summary of medieval aesthetic ideas. Juxtaposing theology and science, poetry and mysticism, Eco explores the relationship that existed between the aesthetic theories and the artistic experience and practice of medieval culture. [A] delightful study. . . . [Eco s] remarkably lucid and readable essay is full of contemporary relevance and informed by the energies of a man in love with his subject. Robert Taylor, Boston Globe The book lays out so many exciting ideas and interesting facts that readers will find it gripping. Washington Post Book World A lively introduction to the subject. Michael Camille, The Burlington Magazine If you want to become acquainted with medieval aesthetics, you will not find a more scrupulously researched, better written (or better translated), intelligent and illuminating introduction than Eco s short volume. D. C. Barrett, Art Monthly"

About Author:

Umberto Eco was an Italian writer of fiction, essays, academic texts, and children's books, and certainly one of the finest authors of the twentieth century. A professor of semiotics at the University of Bologna, Eco’s brilliant fiction is known for its playful use of language and symbols, its astonishing array of allusions and references, and clever use of puzzles and narrative inventions. His perceptive essays on modern culture are filled with a delightful sense of humor and

irony, and his ideas on semiotics, interpretation, and aesthetics have established his reputation as one of academia’s foremost thinkers.

Other Editions:

- Art and Beauty in the Middle Ages (Paperback)

- Arte y belleza en la estética medieval (Paperback)

- Arte e bellezza nell\'estetica medievale (Paperback)

- Kunst und Schönheit im Mittelalter (Paperback)

- Art et beauté dans l\'esthétique médiévale (Mass Market Paperback)

Books By Author:

- The Name of the Rose

- Foucault's Pendulum

- History of Beauty

- Baudolino

- On Ugliness

Books In The Series: Related Books On Our Site:

- Image on the Edge: The Margins of Medieval Art

- Gothic Architecture and Scholasticism

- The Age of the Cathedrals: Art and Society, 980-1420

- Magic in the Middle Ages

- The Evolution Of Medieval Thought

- Dante: Poet of the Secular World

- The Discarded Image: An Introduction to Medieval and Renaissance Literature

- The Age of Reform, 1250-1550: An Intellectual and Religious History of Late Medieval and Reformation Europe

- Fragmentation and Redemption: Essays on Gender and the Human Body in Medieval Religion

- From Memory to Written Record: England 1066 - 1307

- Marking the Hours: English People and Their Prayers, 1240-1570

- The Book of Memory: A Study of Memory in Medieval Culture

- The Making of the Middle Ages

- The Gothic Image: Religious Art in of the Thirteenth Century

- Idols of Perversity: Fantasies of Feminine Evil in Fin-de-Siècle Culture

- Letters on Cézanne

- Mont-Saint-Michel and Chartres

- A History of Illuminated Manuscripts

Rewiews:

Sep 30, 2013 Sara Rated it: really liked it Shelves: medieval-history, art-history, umberto-eco Umberto Eco wrote this short treatise 50-some years ago. It was re-released in the 80s (after the success of Name of the Rose, I hazard the guess?) in a new translation with a new, humble introduction by the author. It is still an engaging read for anyone interested in medieval art or the development, in general, of western aesthetics. Like most medievalists, Eco writes of medieval thought as though he were defending its intelligence, complexity and dignity from virulent detractors. It has been a Umberto Eco wrote this short treatise 50-some years ago. It was re-released in the 80s (after the success of Name of the Rose, I hazard the guess?) in a new translation with a new, humble introduction by the author. It is still an engaging read for anyone interested in medieval art or the development, in general, of western aesthetics. Like most medievalists, Eco writes of medieval thought as though he were defending its intelligence, complexity and dignity from virulent detractors. It has been a rarely-taught and poorly (or prejudicially) understood historical whipping boy for centuries. I'm not convinced this de rigueur combative stance is any less necessary these days. Every other period after the fall of Rome and before the industrial revolution seems to have ed the lonely Middle Ages in of representing (to the ill-informed modern imagination) all things backward, superstitious and hopelessly ignorant. In any event, the Middle Ages still gets wildly inaccurate and fanciful treatment in film and literature, and academics who do not explicitly study the Middle Ages tend to look at it as niche, useless to broader inquiries, or otherwise irrelevant to anything but the study of itself. In this interesting brief volume, Eco traces the development of theories of aesthetics and art from the late Classical period through the high Middle Ages. In doing so, he depicts a people dwelling in an integrated world where "beautiful" and "useful" are synonymous and where man's creation is wan mimicry of God's creation which is, in turn, only a veil of seeming over God's even more perfect ideal. But he also depicts an intellectual world that, far from stagnant or over-determined by dogma, was capable of growth, of subtlety and of pure joy at contemplating physical (natural or artistic) beauty. In fact, he finds in the Middle Ages the seeds of artistic individualism, in art's move from the monastery or workshop to the autocrat's court, that would famously sprout into the effective cult status of Renaissance and later artists. Medieval thought, on art and beauty as on everything else, was in answer to highly specific and Judeo-Christo-centric theological problems. For the most part, we are asking different kinds of ontological questions these days. But this fact does not make medieval answers to medieval questions any less reasoned or any more fallacious. In fact, their questions and answers might even prove enlightening to us if we, for a moment, imagine our own period as one that suffers from a lack of an idea taken quite for granted by medieval European culture - the integrative quality of

art, life, creation and morality. In any event, if we cultivate a modicum of knowledge about our medieval ancestors, it might be easier to realize when our own ignorance - not their illogicality or irrelevance - is the thing precluding us from a deeper understanding of them. 4 likes View 1 comment