"If the past is indeed a foreign country, then how can we make sense of its richness and difference, without approaching it on our terms alone? 'Pre-histories' and 'afterlives', methods that have emerged in recent work by Terence Cave, offer new ways of shaping the stories we tell of the past and the analyses we offer. In this volume, distinguished contributors engage in a dialogue with these two new critical methods, exploring their uses in a range of contexts, disciplines, languages and periods. The contributors are Terence Cave, Marian Hobson, Anna Holland, Neil Kenny, Mary McKinley, Richard Scholar, Kate E. Tunstall, and Wes Williams."

A strikingly original exploration of the profound impact of World War II on how we understand the art that survived it By the end of World War II an estimated one million artworks and 2.5 million books had been seized from their owners by Nazi forces; many were destroyed. The artworks and cultural artifacts that survived have traumatic, layered histories. This book traces the biographies of these objects--including paintings, sculpture, and Judaica--their rescue in the aftermath of the war, and their afterlives in museums and private collections and in our cultural understanding. In examining how this history affects the way we view these works, scholars discuss the moral and aesthetic implications of maintaining the association between the works and their place within the brutality of the Holocaust--or, conversely, the implications of ignoring this history. Afterlives offers a thought-provoking investigation of the unique ability of art and artifacts to bear witness to historical events. With rarely seen archival photographs and with contributions by the contemporary artists Maria Eichhorn, Hadar Gad, Dor Guez, and Lisa Oppenheim, this catalogue illuminates the study of a difficult and still-urgent subject, with many parallels to today's crises of art in war.

Simultaneously real and unreal, the dead are people, yet they are not. The society of medieval Europe developed a rich set of imaginative traditions about death and the afterlife, using the dead as a point of entry for thinking about the self, regeneration, and loss. These macabre preoccupations are evident in the widespread popularity of stories about the returned dead, who interacted with the living both as disembodied spirits and as living corpses or revenants. In Afterlives, Nancy Mandeville Caciola explores this extraordinary phenomenon of the living's relationship with the dead in Europe during the five hundred years after the year 1000.Caciola considers both Christian and pagan beliefs, showing how certain traditions survived and evolved over time, and how attitudes both diverged and overlapped through different contexts and social strata. As she shows, the intersection of Christian eschatology with various pagan afterlife imaginings—from the classical paganisms of the Mediterranean to the Germanic, Celtic, Slavic, and Scandinavian paganisms indigenous to northern Europe—brought new cultural values about the dead into the Christian fold as Christianity spread across Europe. Indeed, the Church proved surprisingly open to these influences, absorbing new images of death and afterlife in unpredictable fashion. Over time, however, the persistence of regional cultures and beliefs would be counterbalanced by the effects of an increasingly centralized Church hierarchy. Through it all, one thing remained constant: the deep desire in medieval people to bring together the living and the dead into a single community enduring across the generations.

What does the study of iconography entail for scholars active today? How does it intersect with the broad array of methodological and theoretical approaches now at the disposal of art historians? Should we still dare to use the term "iconography" to describe such work? The seven essays collected here argue that we should. Their authors set out to evaluate the continuing relevance of iconographic studies to current art-historical scholarship by exploring the fluidity of iconography itself over broad spans of time, place, and culture. These wide-ranging case studies take a diversity of approaches as they track the transformation of medieval images and their meanings along their respective paths, exploring how medieval iconographies remained stable or changed; how images were reconceived in response to new contexts, ideas, or viewerships; and how modern thinking about medieval images--including the application or rejection of traditional methodologies--has shaped our understanding of what they signify. These essays demonstrate that iconographic work still holds a critical place within the rapidly evolving discipline of art history as well as within the many other disciplines that increasingly prioritize the study of images. This inaugural volume in the series Signa: Papers of the Index of Medieval Art at Princeton University demonstrates the importance of keeping matters of image and meaning--regardless of whether we use the word "iconography"--at the center of modern inquiry into medieval visual literature. In addition to the editors, the contributors to this volume are Kirk Ambrose, Charles Barber, Catherine Fernandez, Elina Gertsman, Jacqueline E. Jung, Dale Kinney, and D. Fairchild Ruggles.

ItÕs okay if you donÕt believe in the afterlife. The people who live there donÕt believe in you, either. What if you went to heaven and no one there believed in Earth? This is the question at the heart of Beforelife, a satirical novel that follows the post-mortem adventures of widower Ian Brown, a man who dies on the bookÕs first page and finds himself in an afterlife where no one else believes in Òpre-incarnation.Ó The other residents of the afterlife have mysteriously forgotten their pre-mortem lives and think that anyone who remembers a mortal life is suffering from a mental disorder called the ÒBeforelife Delusion.Ó None of that really matters to Ian. All he wants to do is reunite with Penelope, his wife. Scouring the afterlife for any sign of her, Ian accidentally winds up on a quest to prove that the beforelife is real. This puts him squarely into the crosshairs of some of historyÕs greatest heroes and villains, all of whom seem unhealthily obsessed with erasing IanÕs memories and preventing him from reminding anyone of their pre-mortem lives. Only by staying a step ahead of his enemies can Ian hope to keep his much-needed marbles, find Penelope, and restore the publicÕs memories of the beforelife.

This book examines the ways in which the literary genre of hagiography and the hermeneutical paradigm of Biblical typology together entered into the construction of "the Renaissance” as a canon and period. It is not about saints’ lives in themselves, as either literary or historical phenomena, but instead addresses the structural effects of hagiography in the secular literature of the Renaissance. The central texts analyzed--Boccaccio’s Decameron, Vasari’s Lives of the Artists, and Shakespeare’s Measure for Measure and The Winter’s Tale--all manifest key moments and aspects in the creation of a Renaissance canon for the post-Renaissance world. The epochal significance of these works, saturated in religious allusions as well as scenes of profane life and classical art, is shown to rest in neither the normative piety nor the subversive heresy of any of these writers, but rather in their crafting of myths of modernity precisely out of the religious material that formed such an important part of their daily vocabularies.

Terence Cave traces the afterlives of Mignon, an apparently minor character in Goethe's novel Wilhelm Meisters Lehrjahre, through the European cultures of the 19th and 20th centuries. The enigmatic and fascinating Mignon reappears in wide range of different works, mainly narrative fiction but also poetry, song, opera, and film.