Antony Eastmond
Autore di Courtauld Institute Gallery: Masterpieces
Sull'Autore
Antony Eastmond is Reader in the History of Byzantine Art at the Courtauld Institute of Art, University of London, UK.
Opere di Antony Eastmond
Tamta's World: The Life and Encounters of a Medieval Noblewoman from the Middle East to Mongolia (2017) 14 copie
Eastern Approaches to Byzantium (Publication for Society for the Promotion of Byzantine Studies) (2001) — A cura di — 8 copie
Art and Identity in Thirteenth-Century Byzantium: Hagia Sophia and the Empire of Trebizond (Birmingham Byzantine and… (2004) 7 copie
Opere correlate
Eat, Drink, and Be Merry (Luke 12:19) Food and Wine in Byzantium (Society for the Promotion of Byzantine Studies) (2007) — Collaboratore — 16 copie
Images of the Byzantine World: Visions, Messages and Meanings. Studies presented to Leslie Brubaker (2011) — Collaboratore — 4 copie
Power and subversion in Byzantium : papers from the 43rd Spring Symposium of Byzantine Studies, Birmingham, March 2010 (2013) — Collaboratore — 3 copie
Languages and Cultures of Eastern Christianity: Georgian (The Worlds of Eastern Christianity, 300-1500) (2012) — Collaboratore — 2 copie
Etichette
Informazioni generali
- Sesso
- male
- Nazione (per mappa)
- United Kingdom
Utenti
Recensioni
Liste
Premi e riconoscimenti
Potrebbero anche piacerti
Autori correlati
Statistiche
- Opere
- 10
- Opere correlate
- 7
- Utenti
- 149
- Popolarità
- #139,413
- Voto
- 4.4
- Recensioni
- 1
- ISBN
- 27
- Lingue
- 2
In the absence of much source material about her, Eastmond opts instead to use Tamta's career as a lens through which to explore the dynamic and multicultural world in which she lived. His analysis of the architectural and art historical evidence is the most interesting, though I don't know enough about the area to know how convincing it would be to an expert in the field.
However, there are times that Eastmond drifts perhaps a little too far afield from his topic: Tamta and the specific context of her life. Too, he writes explicitly in the hopes of reaching those with an interest in medieval women's history who aren't experts in western Asian history, but I have to confess that at times I found the torrent of dynasties, rulers, and relatives hard to follow—some family trees to accompany the lavish illustrations would have been very welcome. As someone who does work on medieval women's history, moreover, I would have liked to see more evidence of real engagement on Eastmond's part with the burgeoning body of work about women and power in the Middle Ages that's developed over the past several decades. He tends to position Tamta as both passive and exceptional, when the historiography would suggest we see her as anything but.… (altro)