Living Image in the Middle Ages and Beyond

Introduction Part I: Principles of Animation 1. Four Fundamental Concepts of Animation: Mechanical and Organic, Supernatural and Phenomenological 2. Screen, Window, Door: Three Devices to Understand Animation in the Middle Ages 3. 'To Which the Crucifix Replied': The Phenomenology of The Animate Image 4. Mary, Matter, Mother: Re-Thinking the Living Image Through Animism and Materiality in Moments of Crisis, Ritual, and Devotion Part II: Medieval and Early Modern Animation 5. Blood, Peace, and Cinnabar: Animated Crucifixes and the Bianchi Devotions of 1399 6. Guillaume de Lorris and the Speaking Image: Ekphrasis, Prospopoeia, and Poetic Creation 7. Ealy Prints in Motion 8. "I Carve My Figures Fine and Make Them Come to Life": The Animation of Late Medieval Kleinplastik 9. Clothes as Animation Devices: Miracle-Working Images, Enshrinement, and the Production of Matter in Early Modern Portugal Part III: Animated Tradition(s) 10. Motion and Emotion: Flying Baptismal Angels in Scandinavia 11. Playing (with) Puppets: Jigging Puppets from the Middle Ages to the 20th Century 12. Thinking with a Figure: Different ways of Animating Sculptures of Saints in Polish Puppet Theatre at the End of the 20th Century

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• História da religião
• Teoria da arqueologia
• Historia da arte / estilos de arte e design
• História Medieval
• Estudos teatrais
• Antropologia
• Teatro de marionetes, de miniatura e de brinquedo
• Artes: temas gerais

visual culture;art history;medieval;animation;altarpiece;theory;somaesthetic;viewer;space;religion;motion;moving;movement;objects;emotion;interactive;artwork;modern;anthropology;Europe;Italy;Norway;Germany;sculpture;church;Christianity;puppet;theater;theatre;alive;history of images;screen;window;door;phenomenology;philosophy;animism;materiality;crucifix;Scandinavia;Portugal;prints;saints