02957    a2200301   4500001001100000005001700011008003900028020001800067037003600085040000700121041000800128072001400136072001600150072001600166072001200182072001400194072001400208072002100222072002100243072002400264100002300288245009800311250000600409260003200415300001000447520218300457999001502640113898079X20250317100407.0250312042016GB                   eng    a9781138980792  bTaylor & FranciscGBP 49.99fBB  a01  aeng7 aNH2thema7 aDSBB2thema7 aDSRC2thema7 aHB2bic7 aDSBB2bic7 aDSRC2bic7 aHIS0000002bisac7 aPHI0000002bisac7 a909.070720222bisac1 aHelen Helen Damico10aMedieval ScholarshipbBiographical Studies on the Formation of a Discipline: Religion and Art  a1  aOxfordbRoutledgec20160427  a368 p  bThis is the third of a three-volume set on medieval scholarship that presents original biographical essays on scholars whose work has shaped medieval studies for the past four hundred years. A companion to Volume 1:  History and Volume 2: Literature and Philology, Volume 3:  Philosophy and the Arts  covers the lives of twenty eminent individuals-from Victor Cousin (1792-1867) to Georges Chehata Anawati (1905-1994) in Philosophy; from H.J.W. Tillyard (1881-1968) to Gustave Reese (1899-1977) in Music; and from Alois Riegl (1858-1905) to Louis Grodecki (1910-1982) in Art History-whose subjects were the art, music, and philosophical thought of Europe between 500-1500. The scholars of medieval philosophy strove to identify the nexus of philosophical truth, whether they were engaged in the clash of the Christian church and secular republicanism as reflected in the tension between theology and philosophy, in addressing the conflicting perceptions of Muslim identity, or in defining Jewish philosophical theology in non-Jewish culture. Medieval musicologists, who are included as the subjects of the essays, pioneered or recontextualized traditional views on the definition of music as subject matter, on the relationship between music and philosophical concepts, on interpretative distinctions between secular and sacred music, monophony and polyphony, and concepts of form and compositional style. The art historians treated in this volume not only overturn the view of medieval art as an aesthetic decline from classical art, but they demonstrate the continual development of form and style inclusive of minor and major arts, in textiles, architecture and architectural sculpture, manuscripts, ivory carvings, and stained glass. The philosophers, musicologists, and art historians who appear in Volume 3 worked in three newly-emerging disciplines largely of nineteenth-century origin. In their distinguished and extraordinary output of energy in scholarly and academic arenas, they contributed significantly to the emergence and formation of medieval studies as the prime discipline of historical inquiry into and hence the key to understanding of the human experience.  c1905d1905