Pentcheva (143 resultados)

paperback. Condición: Good. Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD Oversized. PAPERBACK.

Black Printed Wrappers. Condición: Good-. First Edition. Binding has wear, including scratches and chips; the first page has small bit of soil and a stamp indicating that this book was not retained by a Harvard University library (never accessioned, no other library marks); tight, text clean. 219 p., illustrated [otob: 61] Size: Oversize.…

Condición: New.

Condición: As New. Unread book in perfect condition.

Pictorial Wrappers. Condición: New. Still in publisher's shrink wrap. 284 p., well illustrated. Contents summary: adorno -- ritual objects of qiang shamans -- human-animal imagery -- flower mountain, classic maya -- izapan-style stela-altar cult -- chichen itza, mayapan architecture -- codes of codex azcatitlan -- manuel gamio, diego rivera -- asseblage, danhome -- kosmos, temple imagery -- logos -- brunelleschi -- curiosities in amsterdam -- george maciunas. [otob: lt grn spn] Size: Oversize.…

Paperback. Condición: NEW. Reprint.

Hardcover. Condición: Very Good. Estado de la sobrecubierta: Very Good. 1st Edition.

Black Trade Paperback Original. Condición: Very Good-. First Edition. Volume has some wear; tight, text clean. 407 p., well illustrated. Large, heavy volume [otob: 10L] Size: Oversize.

Condición: New.

Condición: As New. Unread book in perfect condition.

Condición: Very Good. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

PAP. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Soft cover. Condición: Near Fine. A Near Fine softcover. Two pages have very minor dings on their bottom edges. There are two faded markings on the fore edge of the textblock near the top. There's some blemishing in the margin of page 41 (see photo). There's some ink transfer on the title page from the adjacent photo page, causing some darkening to the title page. The text and photos are bright, clean and unmarked, with a tight binding. The cover is bumped at it's bottom corners and bottom of spine, and there's some wear along the bottom edges from rubbing. Otherwise, there's only light wear to cover extremities.…

Condición: New.

Paperback. Condición: New.

Paperback. Condición: New.

Condición: new.

Paperback. Condición: Good. 1. Good condition. Text block is unmarked. Spine has some damage (pictures available upon request) on the top but all pages are well bound. Includes shelf wear.

Paperback. Condición: new. Paperback. The Monastery of Sainte-Foy (Holy Faith) at Conques in Occitania, Southern France, presents a unique case of survival: its golden effigy of Santa Fides is the earliest extant sculpture in the round in the Latin west, while the local eleventh-century architecture, music, and texts offer rich contextual evidence. Even though Sainte-Foy's statue and the narrative prose feature widely in art historical studies, the music composed at the site has fallen into a thousand-year oblivion. Bissera Pentcheva's AudioVision in the Middle Ages assembles in a highly innovative way, a wide variety of materials that help us reconstruct the visual and auditory experience of the medieval ritual at Conques. The eleventh-century Office of Sainte-Foy is here brought to life and successfully deployed as a new analytical tool to shed light on the staging and experience of the golden statue of Santa Fides and the narrative reliefs displayed in the abbey's church. Medieval art is silent in modern times. Often displayed in sterile museum galleries, it is most often presented without any analysis of the intended envelope of sound, chant, prayer, and recitation. Stripped of this aural atmosphere, these objects have lost the power to signify and to elicit affect. This exhibition restores aspects of the original soundscape to explore the inherent connections between chant and image in medieval times. It is the first to engage medieval art from the perspective of AudioVisionthe simultaneous flow of visual and auditory stimuli. The focus is on the ninth-century golden statue and reliquary of Sainte-Foy at Conques and the traditions of its eleventh-century public worship. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Condición: New.

Condición: New.

Condición: New. Brand New.

Condición: New. Brand New.

Condición: As New. Unread book in perfect condition.

Condición: As New. Unread book in perfect condition.

Condición: New. In English.

Paper Back. Condición: New.

Paperback. Condición: new. Paperback. Experiencing the resonant acoustics of the church of Hagia Sophia allowed the Byzantine participants in its liturgical rituals to be filled with the Spirit of God, and even to become his image on earth. Bissera Pentchevas vibrant analysis examines how these sung rites combined with the churchs architectural space to make Hagia Sophia a performative place of worship representative of Byzantine religious culture in all its sensory richness.Coupling digital acoustic models and video with a close examination of liturgical texts and melodic structures, Pentcheva applies art-historical, philosophical, archeoacoustical, and anthropological methodologies to provide insight into the complementary ways liturgy and location worked to animate worshippers in Byzantium. Rather than focus on the architectural form of the building, the technology of its construction, or the political ideology of its decoration, Pentcheva delves into the performativity of Hagia Sophia and explains how the icons of sound created by the sung liturgy and architectural reverberation formed an aural experience that led to mystical transcendence for worshippers, opening access to the imagined celestial sound of the angelic choirs.Immersive, deeply researched, and beautifully illustrated, this exploration of Hagia Sophia sheds new light on sacred space, iconicity, and religious devotion in Byzantium. Scholars of art and architectural history, religious studies, music and acoustics, and the medieval period will especially appreciate Pentchevas field-advancing work. Examines the aesthetic principles and spiritual operations at work in Hagia Sophia. Drawing on art and architectural history, liturgy, musicology, and acoustics, explores the Byzantine paradigm of animation. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Paperback. Condición: New. Today we take the word "icon" to mean "a sign," or we equate it with portraits of Christ and the saints. In The Sensual Icon, Bissera Pentcheva demonstrates how icons originally manifested the presence of the Holy Spirit in matter. Christ was the ideal icon, emerging through the Incarnation; so, too, were the bodies of the stylites (column-saints) penetrated by the divine pneuma (breath or spirit), or the Eucharist, or the Justinianic space of Hagia Sophia filled with the reverberations of chants and the smoke of incense. Iconoclasm (726-843) challenged these Spirit-centered definitions of the icon, eventually restricting the word to mean only the lifeless imprint (typos) of Christ's visual characteristics on matter. By the tenth century, mixed-media relief icons in gold, repoussé, enamel, and filigree offered a new paradigm. The sun's rays or flickering candlelight, stirred by drafts of air and human breath, animated the rich surfaces of these objects; changing shadows endowed their eyes with life. The Byzantines called this spectacle of polymorphous appearance poikilia, that is, presence effects sensually experienced. These icons enabled viewers in Constantinople to detect animation in phenomenal changes rather than in pictorial or sculptural naturalism. "Liveliness," as the goal of the Byzantine mixed-media relief icon, thus challenges the Renaissance ideal of "lifelikeness," which dominated the Western artistic tradition before the arrival of the modern. Through a close examination of works of art and primary texts and language associated with these objects, and through her new photographs and film capturing their changing appearances, Pentcheva uncovers the icons' power to transform the viewer from observer to participant, communing with the divine.…

Condición: New.