The Visual Object of Desire in Late Medieval England / / Sarah Stanbury.

• Superior document: Title is part of eBook package: De Gruyter University of Pennsylvania Backlist eBook-Package 2000-2013
• VerfasserIn: Stanbury, Sarah,
• Place / Publishing House: Philadelphia : : University of Pennsylvania Press, , [2015]; ©2008
• Year of Publication: 2015
• Idioma: English
• Series: The Middle Ages Series
• Descrición Física: 1 online resource (304 p.) :; 30 illus.
• Other title: Frontmatter --; Contents --; Introduction: Premodern Fetishes --; Fetish, Idol, Icon --; 1. Knighton's Lollards, Capgrave's Katherine, and Walter Hilton's "Merk Ymage" --; 2. The Despenser Retable and 1381 --; Chaucer's Sacramental Poetic --; 3. Chaucer and Images --; 4. Translating Griselda --; 5. The Clergeon's Tongue --; Moving Pictures --; 6. Nicholas Love's Mirror: Dead Images and the Life of Christ --; 7. Arts of Self-Patronage in The Book of Margery Kempe --; Notes --; Works Cited --; Index --; Acknowledgments
• Formato: Mode of access: Internet via World Wide Web.
• ISBN: 9781512808292; 9783110459548
• DOI: 10.9783/9781512808292
• Acceso: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Sarah Stanbury.

Little remains of the rich visual culture of late medieval English piety. The century and a half leading up to the Reformation had seen an unparalleled growth of devotional arts, as chapels, parish churches, and cathedrals came to be filled with images in stone, wood, alabaster, glass, embroidery, and paint of newly personalized saints, angels, and the Holy Family. But much of this fell victim to the Royal Injunctions of September 1538, when parish officials were ordered to remove images from their churches.In this highly insightful book Sarah Stanbury explores the lost traffic in images in late medieval England and its impact on contemporary authors and artists. For Chaucer, Nicholas Love, and Margery Kempe, the image debate provides an urgent language for exploring the demands of a material devotional culture-though these writers by no means agree on the ethics of those demands. The chronicler Henry Knighton invoked a statue of St. Katherine to illustrate a lurid story about image-breaking Lollards. Later John Capgrave wrote a long Katherine legend that comments, through the drama of a saint in action, on the powers and uses of religious images. As Stanbury contends, England in the late Middle Ages was keenly attuned to and troubled by its "culture of the spectacle," whether this spectacle took the form of a newly made queen in Chaucer's Clerk's Tale or of the animate Christ in Norwich Cathedral's Despenser Retable. In picturing images and icons, these texts were responding to reformist controversies as well as to the social and economic demands of things themselves, the provocative objects that made up the fabric of ritual life.