000 03625nam a22004575i 4500
001 187546
003 IT-RoAPU
005 20221214232327.0
006 m|||||o||d||||||||
007 cr || ||||||||
008 210824t20212019pau fo d z eng d
020 _a9780271085203
_qPDF
024 7 _a10.1515/9780271085203
_2doi
035 _a(DE-B1597)9780271085203
035 _a(DE-B1597)584011
035 _a(OCoLC)1262307682
040 _aDE-B1597
_beng
_cDE-B1597
_erda
072 7 _aART015070
_2bisacsh
084 _aonline - DeGruyter
100 1 _aDale, Thomas E. A.
_eautore
245 1 0 _aPygmalion’s Power :
_bRomanesque Sculpture, the Senses, and Religious Experience /
_cThomas E. A. Dale.
264 1 _aUniversity Park, PA :
_bPenn State University Press,
_c[2021]
264 4 _c©2019
300 _a1 online resource (304 p.) :
_b21 color/113 b&w illustrations
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tContents --
_tList of Illustrations --
_tPreface --
_tIntroduction --
_t1 Living Statues: The Crucifix and Throne of Wisdom --
_t2 The Naked and the Nude: From Theological Ideal to Sexual Fantasy --
_t3 Sculpted Portraits: Convention and Real Presence --
_t4 Beautiful Deformity and Deformed Beauty: The Monstrous and Deformed --
_t5 Renewing the Temple: Living Stones and Embodied Theophanies --
_tConclusion --
_tNotes --
_tBibliography --
_tIndex
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aPushed to the height of its illusionistic powers during the first centuries of the Roman Empire, sculpture was largely abandoned with the ascendancy of Christianity, as the apparent animation of the material image and practices associated with sculpture were considered both superstitious and idolatrous. In Pygmalion’s Power, Thomas E. A. Dale argues that the reintroduction of architectural sculpture after a hiatus of some seven hundred years arose with the particular goal of engaging the senses in a Christian religious experience. Since the term “Romanesque” was coined in the nineteenth century, the reintroduction of stone sculpture around the mid-eleventh century has been explained as a revivalist phenomenon, one predicated on the desire to claim the authority of ancient Rome. In this study, Dale proposes an alternative theory. Covering a broad range of sculpture types—including autonomous cult statuary in wood and metal, funerary sculpture, architectural sculpture, and portraiture—Dale shows how the revitalized art form was part of a broader shift in emphasis toward spiritual embodiment and affective piety during the late eleventh and twelfth centuries.Adding fresh insight to scholarship on the Romanesque, Pygmalion’s Power borrows from trends in cultural anthropology to demonstrate the power and potential of these sculptures to produce emotional effects that made them an important sensory part of the religious culture of the era.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 24. Aug 2021)
650 7 _aART / History / Medieval.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.1515/9780271085203
856 4 0 _uhttps://www.degruyter.com/isbn/9780271085203
856 4 2 _3Cover
_uhttps://www.degruyter.com/cover/covers/9780271085203.jpg
942 _cEB
999 _c187546
_d187546