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Autor:
Simon Mittman, Asa
Few studies in medieval and Renaissance cartography focus on race, in part owing to the genealogical issues discussed above, and in part owing to the racist origins and practices of the disciple of art history that normalizes seeing whiteness as both
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Autor:
Simon Mittman, Asa
I want to touch the Middle Ages. I want to hold all of the works of art in all the museums. I want to turn the pages, not by touching a screen or mouse in the Brit- ish Library’s Turning The PagesTM app, but by touching vellum in the British Li- br
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https://explore.openaire.eu/search/publication?articleId=doi_________::e1faabb0af7150fbfe9103d3d0b4d650
Autor:
Simon Mittman, Asa
The Vercelli Map, one of the largest maps to survive from the Middle Ages, has not received the attention it merits (Plate IV). This is likely the result of its very poor state of preservation, which has been a constant theme in what little has been
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Autor:
Simon Mittman, Asa
The Vercelli map, bluntly put, is in very poor shape (Tav. VIII). The map was found by Carlo Errera in 1908, while he was «putting in order the archive of the Chapter of Vercelli: Nobody before had paid attention to it, because it was inventoried by
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https://explore.openaire.eu/search/publication?articleId=doi_________::63474d68c3303b775852fdd53d460bb5
The line “Enge anpaðas uncuð gelad” [narrow path, unknown way] appears twice in the Old English corpus: once in the Old English Exodus (a tale from Old Testament narrative poetry that tells us a story of the Israelites fleeing the Egyptians) an
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Autor:
Simon Mittman, Asa
In Order to understand what a "global Middle Ages" might be, we need to define "global" in and in relation to the "Middle Ages." To do so, I turn to medieval (Christian) maps. Their construction of the world-the most, maybe all, others-was founded on
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"Here there be Dragons"
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https://explore.openaire.eu/search/publication?articleId=doi_________::0b2eaa51f1e88da1196a64043c328754
The fine details of this map are worth close attention. The design, layout, judicious employment of spot colour, inscriptions, inclusions and exclusions are carefully modulated to provide rich material for ruminative viewing. This folio does, after a
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https://explore.openaire.eu/search/publication?articleId=doi_________::97d5af4ec3221f7b606008e3828f8898
Autor:
M. Kim, Susan, Simon Mittman, Asa
Monstrous iconography was a major, even central, element of the visual arts throughout the entire medieval period, Early Christian through late Gothic, east and west, north and south. There are few—if any—medieval cultural traditions that do not
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https://explore.openaire.eu/search/publication?articleId=doi_________::5e367156b73f85e9ee64b7b46522076f
Autor:
Simon Mittman, Asa
A short introduction to an artist book on history and ecology and loss.
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https://explore.openaire.eu/search/publication?articleId=doi_________::34055f92f04094e01f2588c58e6ac956