Antwerp royal museum annual

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Antwerp royal museum annual

Auteur--

Editor--

Jaar2011

PublicatietypeAflevering

SerieJaarboek Koninklijk Museum voor Schone Kunsten Antwerpen

Volume2009

Subtitel--

Pagina’s269

UitgeverKoninklijk Museum voor Schone Kunsten

PlaatsAntwerpen

ISBN--

Citation key--

Trefwoorden--

Plaatsgegevens

Exemplaar82332 ReknummerT-12-5-b

Inhoud

Who touched me and my clothes : the healing of the woman with the Haemorrhage (Mark 5:24b-34parr in Early Mediaeval Visual Culture 10-51
Baert B.

Text and Intertext , pp. 12-17
Crowd and Hem: narrative and Iconic space , pp. 17-23
Healing and Magic , pp. 23-30
Blood, Touch and Space , pp. 30-36
Statue, Hem and Stone , pp. 36-42
Conclusion: Eruption - interruption - rupture , pp. 42-45

Uterus Cordis: speerbildchen featuring the Christ Child in the wounded heart 52-97
De Greef L.

The heart of the Father-Mother: cor primum movens , pp. 58-63
The heart of Christ: cor ultimatum moriens , pp. 63-79
The heart of the devote , pp. 79-94

Who is she : on the identity of the haemorrhaging woman and her Wirkungsgeschichte 98-133
Kusters L.

Text and image transposition , pp. 100-107
The Wirkungsgeschichte of the Haemorrhoissa in patristics and apocrypha . The statue of Paneas, Conflations with other women , pp. 108-122
Conflations in the iconography: outlining the problem , pp. 123-129
Conclusions , pp. 129-130

Tactility and potentiality in the motif of the Haemorrhoissa (Mark 5:24-34parr): a cultural anthropological exploration 134-161
Sidgwick E.

Starting point , p. 135
A character and a motif , pp. 136-139
The substrate of culture , pp. 139-142
The touch: condensation and disentanglement , pp. 142-155
Potentiality as a domain and tactility as a medium , pp. 155-159

Genre painting as a collective process of inversive self-definition, c1400-c1800 : the beggar and the outcast 162-211
Vandenbroeck P.

Beggars and outsiders . A reversal in the perception of the poor, beggars and vagrants : from mediaeval acceptance to early-modern rejection, Beggar scenes: Hieronymus Bosch and the 16th century, or the early-bourgeois against social marginality,... , pp. 163-183
...The Northern Netherlands in the 17th century: the beggar as the negation of social aspects of middle-class life, Some topoi, Monumental beggar scenes: La Tour, Murillo, Ceruti and others
On the common origin and interrelatedness of the four (pictorial) types ; The contribution of etymology to a better understanding ofthe emergence of historical types, From mythical character (spirit, savage) to grotesque type (peasant, shepherd,... , pp. 184-199
...jester), From mythical character (trickster, Wild Hunter) to comical type (jester, harlequin), The wild man: a multifaceted mythical figure and its relationship with other types, The merger of the four types in the iconography
Inversive self-definition as an unconscious and collective function of pictorial genres: the concurrence of a binary thought pattern, a process of symbolic reversal and a shift in the sensorium and decorum . A binary thought pattern,... , pp. 199-211
...Symbolic inversion: the ritual and exceptional reversal of values and norms as a form of inversive self-definition, A shift in the sensorium and decorum: a Europe-wide process starting in the 15th century

Meaningful Caprices : folk culture, middle-class ideology (ca 1480-1510) and aristocratic recuperation (ca 1530-1570): a series of Brussels tapestries after Hieronymus Bosch 212-269
Vandenbroeck P.

The iconography of the tapestries . St Martin and the Beggars, The attire and posture of the saint, The wine of St Martin, St Martins's bonfires, Pig clubbing, The eating of a pig's head, Beggars and the fringes of society: the fake poor and the... , pp. 214-254
...middle -class rejection of social marginality, The Temptation of St Anthony, The Haywain, The so-called Garden of Earthly Delights, The archetypical marriage and its perversion, The centre panel, Irrational and animal-like urges, in a natural...
...existence, Paradisiacal Nature and its art, at the beginning and the end of time, The false love paradise, Bosch 's many sources of inspiration, A folk myth about the sexual paradise: the Grail, Bosch's tryptych and Heinrich Bebel's Triumphus...
...Veneris, Nature, impulse and self-control
The Elephant . The system of values and norms underlying the oeuvre of Bosch , pp. 254-261
The origin and history of the tapestries , pp. 262-268

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