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Seller's Description:
Very Good in Very Good jacket. Text and images are unmarked; pages are bright. Binding is tight and square. Dust jacket is lightly edgeworn. Overseas/Priority shipping at cost. 352pp.
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Seller's Description:
New. 0472113232. *** FREE UPGRADE to Courier/Priority Shipping Upon Request ***-*** IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT-FLAWLESS COPY, AVOID WEEKS OF DELAY ELSEWHERE. --clean and crisp, tight and bright pages, with no writing or markings to the text. --with a bonus offer--
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Seller's Description:
Very Good in Very Good jacket. Q4-A first edition (numberline starts at "1") hardcover book in very good condition in very good dust jacket that is mylar protected. Dust jacket has wrinkling, chipping and some crease on the edges and corners, dust jacket and book have some bumped corners, light discoloration and shelf wear. 10.25"x7.25", 344 pages. Satisfaction Guaranteed. The material properties of late medieval manuscripts testify to the power of visual images to shape both the reading experience and the reader. Early-fifteenth-century Paris saw a proliferation of luxury manuscripts whose luminous illustrations situate the reader as spectator, and Christine de Pizan's Epistre Othea exemplifies the power of visual representation to shape the medieval reading experience. according to the rhetoric of the Othea, the body, character, and soul of the reader are formed as a result of simultaneously viewing the images and reading the text. In Myth, Montage, and Visuality in Late Medieval Manuscript Culture Marilynn Desmond and Pamela Sheingorn analyze the ways in which Othea manuscripts display classical myths for late medieval humanist, chivalric, and Christian readers. Desmond and Sheingorn's innovative study draws extensively on film theory and its notions of spectatorship to explore the ethnical implications of viewing illustrated manuscripts for the medieval reader. Focusing particularly on the twin manuscripts of the Othea in the Duke's manuscript and the Queen's manuscript, the authors suggest that premodern and postmodern cultures share a predilection for the cinematic arrangement of knowledge in a montage format in which meaning derives from unexpected juxtapositions. Desmond and Sheingorn's interdisciplinary endeavor sheds new light on the study of medieval women writers, the medieval reception of classical myth, manuscript studies and codicology, gender and sexuality, and theoretical approaches to visual cultures, particularly the value of film theory for the study of premodern cultures.
