Freeman jennifer awes (44 risultati)

hardcover. Condizione: Good. Connecting readers with great books since 1972! Used textbooks may not include companion materials such as access codes, etc. May have some wear or writing/highlighting. We ship orders daily and Customer Service is our top priority.

hardcover. Condizione: Acceptable. HARDCOVER Acceptable - This is a significantly damaged book. It should be considered a reading copy only. Please order this book only if you are interested in the content and not the condition. May be ex-library. Standard-sized.

Hardcover with dust jacket. Like new 205 pp.

Condizione: New. Brand New.

Hardcover. Condizione: New.

Condizione: As New. Unread book in perfect condition.

Condizione: New.

Hardcover. Condizione: Very Good. Condizione sovraccoperta: Very Good. First Edition. Freeman, Jennifer Awes: The Good Shepherd: Image, Meaning, and Power. Waco (TX) : Baylor University Press, 2021. First printing. Size is royal octavo (8vo), 9.25"/24cm H. Bound in publisher's black cloth, gilt lettering imprinted to spine. Matte color DJ features reproduction of the Good Shepherd mosaic from the Mausoleum of Galla Placidia in Ravenna. Plain white endpapers. xviii pp prelim material, 187 numbered pp, plus three blank following, plus eight pp color plates inserted to middle of textblock. Numerous figures in both color and b&w, bibliography, index. Condition notes: Signed by Jennifer Awes Freeman on title page. Not quite 'as new' due to tail corners being bumped. But otherwise flawless, no notes or highlighting, tight and square. Light wear to dj. We personally inspect every book we offer. Signed by Author.…

Hardcover. Condizione: new. Hardcover. A statuette of Egyptian King Pepi formidably wielding a shepherd's crook stands in stark contrast to a fresco of an unassuming Orpheus-like youth gently hoisting a sheep around his shoulders. Both images, however, occupy an extensive tradition of shepherding motifs. In the transition from ancient Near Eastern depictions of the keeper of flocks as one holding great power to the more "pastoral" scenes of early Christian art, it might appear that connotations of rulership were divested from the image of the shepherd. The reality, however, presents a much more complex tapestry. The Good Shepherd: Image, Meaning, and Power traces the visual and textual depictions of the Good Shepherd motif from its early iterations as a potent symbol of kingship, through its reimagining in biblical figures, such as the shepherd-king David, and onward to the shepherds of Greco-Roman literature. Jennifer Awes Freeman reveals that the figure of the Good Shepherd never became humble or docile but always carried connotations of empire, divinity, and defensive violence even within varied sociopolitical contexts. The early Christian invocation of the Good Shepherd was not simply anti-imperial but relied on a complex set of associations that included king, priest, pastor, and sacrificial victimeven as it subverted those meanings in the figure of Jesus, both shepherd and sacrificial lamb. The concept of the Good Shepherd continued to prove useful for early medieval rulers, such as Charlemagne, but its imperial references waned in the later Middle Ages as it became more exclusively applied to church leaders. Drawing on a range of sources including literature, theological treatises, and political texts, as well as sculpture, mosaics, and manuscript illuminations, The Good Shepherd offers a significant contribution as the first comprehensive study of the long history of the Good Shepherd motif. It also engages the flexible and multivalent abilities of visual and textual symbols to convey multiple meanings in religious and political contexts. Traces the visual and textual depictions of the Good Shepherd motif from its early iterations as a potent symbol of kingship, through its reimagining in biblical figures, such as the shepherd-king David, and onward to the shepherds of Greco-Roman literature. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Condizione: New.

Condizione: As New. Unread book in perfect condition.

Hardcover. Condizione: Brand New. 206 pages. 9.00x6.00x0.90 inches. In Stock.

Paperback. Condizione: Brand New. 360 pages. 9.00x6.00x0.79 inches. In Stock.

Einband - fest (Hardcover). Condizione: New. Traces the visual and textual depictions of the Good Shepherd motif from its early iterations as a potent symbol of kingship, through its reimagining in biblical figures, such as the shepherd-king David, and onward to the shepherds of Greco-Roman literature.…

Buch. Condizione: Neu. Neuware.

Condizione: New.

Condizione: As New. Unread book in perfect condition.

Condizione: New.

Condizione: As New. Unread book in perfect condition.

hardcover. Condizione: New. **HARDBACK**.

Condizione: New.

Condizione: new.

HRD. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

Condizione: As New. Unread book in perfect condition.

Condizione: New.

Condizione: New. 2022. Bilingual. Hardback. . . . . .

Condizione: As New. Unread book in perfect condition.

Condizione: New. In Latin.

Hardback. Condizione: New. A fresh interpretation of an enigmatic illumination and its contexts.The Ashburnham Pentateuch is an early medieval manuscript of uncertain provenance, which has puzzled and intrigued scholars since the nineteenth century. Its first image, which depicts the Genesis creation narrative, is itself a site of mystery; originally, it presented the Trinity as three men in various vignettes, but in the early ninth century, by which time the manuscript had come to the monastery at Tours, most of the figures were obscured by paint, leaving behind a single creator. In this sense, the manuscript serves as a kind of hinge between the late antique and early medieval periods. Why was the Ashburnham Pentateuch's anthropomorphic image of the Trinity acceptable in the sixth century, but not in the ninth?This study examines the theological, political, and iconographic contexts of the production and later modification of the Ashburnham Pentateuch's creation image. The discussion focuses on materiality, the oft-contested relationship between image and word, and iconoclastic acts as "embodied responses". Ultimately, this book argues that the Carolingian-era reception and modification of the creation image is consistent with contemporaneous iconography, a concern for maintaining the absolute unity of the Trinity, as well as Carolingian image theory following the Byzantine iconoclastic controversy. Tracing the changes in Trinitarian theology and theories of the image offers us a better understanding of the mutual influences between art, theology, and politics during Late Antiquity and the early Middle Ages.…