Catherine Karkov è professoressa di Storia dell'Arte e direttrice della School of Fine Art, History of Art and Cultural Studies presso l'Università di Leeds. La sua ricerca si concentra sull'arte altomedievale, in particolare sull'arte anglosassone, e ha pubblicato due monografie. Esplora la relazione tra testo e immagine nella letteratura anglosassone, sostenendo che le edizioni critiche che omettono le illustrazioni lo fanno a proprio rischio. Queste illustrazioni, che appaiono in momenti drammatici, aiutano a chiarire il significato allegorico di molti passaggi.
The book offers a novel perspective on the creation and representation of Anglo-Saxon England, exploring how this historical period is portrayed through various artistic and literary forms. It delves into the cultural and societal influences that shaped the era, providing insights into its unique artistic expressions and written works. The analysis encourages readers to reconsider established narratives and appreciate the complexity of Anglo-Saxon identity and heritage.
This Element covers the art produced in early medieval England from the departure of the Romans to the early twelfth century, an art that shows the input of multi-ethnic artists, patrons, and influences as it develops over the centuries.
From Kehinde Wiley to W.E.B. Du Bois, from Nubia to Cuba, Willie Doherty's terror in ancient landscapes to the violence of institutional Neo-Gothic, Reagan's AIDS policies to Beowulf fanfiction, this richly diverse volume brings together art historians and literature scholars to articulate a more inclusive, intersectional medieval studies. It will be of interest to students working on the diaspora and migration, white settler colonialism and pogroms, Indigenous studies and decolonial methodology, slavery, genocide, and culturecide. The authors confront the often disturbing legacies of medieval studies and its current failures to own up to those, and also analyze fascist, nationalist, colonialist, anti-Semitic, and other ideologies to which the medieval has been and is yoked, collectively formulating concrete ethical choices and aims for future research and teaching.In the face of rising global fascism and related ideological mobilizations, contemporary and past, and of cultural heritage and history as weapons of symbolic and physical oppression, this volume's chapters on Byzantium, Medieval Nubia, Old English, Hebrew, Old French, Occitan, and American and European medievalisms examine how educational institutions, museums, universities, and individuals are shaped by ethics and various ideologies in research, collecting, and teaching.
A fresh appraisal of the art of Anglo-Saxon England, focusing on art as an aesthetic vehicle and art as an active political force.