The thematic frame of this issue is the anthropological notion of liminality, applied both to physical as well as imaginary places of transition in medieval art. The volume is thus dedicated to the phenomenon of the limen, the threshold in medieval culture, understood mainly as a spatial, ritual and temporal category. The structure of the book follows the virtual path of any medieval visitor entering the sacred space. While doing so, the visitor encountered and eventually crossed several "liminal zones" that have been constructed around a series of physical and mental thresholds. In order to truly access the sacred - once again both physically and metaphorically - many transitional (micro)rituals were required and were therefore given particular attention within this volume. The volume was published as proceedings of the Liminality and Medieval Art II conference, which was held in October 2018 at the Masaryk University in Brno. Authors were supposed to conceive their contributions in pairs in order to reflect on the selected topics with an interdisciplinary approach. In the end, the very same pattern was also maintained for the final publication.

Perceptions of the Body and Sacred Space in Late Antiquity and Byzantium seeks to reveal Christian understanding of the body and sacred space in the medieval Mediterranean. Case studies examine encounters with the holy through the perspective of the human body and sensory dimensions of sacred space, and discuss the dynamics of perception when experiencing what was constructed, represented, and understood as sacred. The comparative analysis investigates viewers’ recognitions of the sacred in specific locations or segments of space with an emphasis on the experiential and conceptual relationships between sacred spaces and human bodies. This volume thus reassesses the empowering aspects of space, time, and human agency in religious contexts. By focusing on investigations of human endeavors towards experiential and visual expressions that shape perceptions of holiness, this study ultimately aims to present a better understanding of the corporeality of sacred art and architecture. The research points to how early Christians and Byzantines teleologically viewed the divine source of the sacred in terms of its ability to bring together – but never fully dissolve – the distinctions between the human and divine realms. The revealed mechanisms of iconic perception and noetic contemplation have the potential to shape knowledge of the meanings of the sacred as well as to improve our understanding of the liminality of the profane and the sacred.

This book presents a fresh perspective on eleventh- and twelfth-century Irish architecture, and a critical assessment of the value of describing it, and indeed contemporary European architecture in general, as “Romanesque”. Medieval Irish Architecture and the Concept of Romanesque is a new and original study of medieval architectural culture in Ireland. The book’s central premise is that the concept of a “Romanesque” style in eleventh- and twelfth-century architecture across Western Europe, including Ireland, is problematic, and that the analysis of building traditions of that period is not well served by the assumption that there was a common style. Detailed discussion of important buildings in Ireland, a place marginalised within the “Romanesque” model, reveals the Irish evidence to be intrinsically interesting to students of medieval European architecture, for it is evidence which illuminates how architectural traditions of the Middle Ages were shaped by balancing native and imported needs and aesthetics, often without reference to Romanitas. This book is for specialists and students in the fields of Romanesque, medieval archaeology, medieval architectural history, and medieval Irish studies.

Holy sites - churches, monasteries, shrines - defined religious experience and were fundamental to the geography and social history of medieval and early modern Europe. How were these sacred spaces defined? How were they created, used, recognized and tran

Retracing the contours of a bitter controversy over the meaning of sacred architecture that flared up among some of the leading lights of the Carolingian renaissance, Collins explores how ninth-century authors articulated the relationship of form to function and ideal to reality in the ecclesiastical architecture of the Carolingian empire.

In The Ritual Process: Structure and Anti-Structure, Victor Turner examines rituals of the Ndembu in Zambia and develops his now-famous concept of "Communitas." He characterizes it as an absolute inter-human relation beyond any form of structure.The Ritual Process has acquired the status of a small classic since these lectures were first published in 1969. Turner demonstrates how the analysis of ritual behavior and symbolism may be used as a key to understanding social structure and processes. He extends Van Gennep's notion of the "liminal phase" of rites of passage to a more general level, and applies it to gain understanding of a wide range of social phenomena. Once thought to be the "vestigial" organs of social conservatism, rituals are now seen as arenas in which social change may emerge and be absorbed into social practice.As Roger Abrahams writes in his foreword to the revised edition: "Turner argued from specific field data. His special eloquence resided in his ability to lay open a sub-Saharan African system of belief and practice in terms that took the reader beyond the exotic features of the group among whom he carried out his fieldwork, translating his experience into the terms of contemporary Western perceptions. Reflecting Turner's range of intellectual interests, the book emerged as exceptional and eccentric in many ways: yet it achieved its place within the intellectual world because it so successfully synthesized continental theory with the practices of ethnographic reports."

Perceptions of Medieval Manuscripts takes as its starting point an understanding that a medieval book is a whole object at every point of its long history. As such, medieval books can be studied most profitably in a holistic manner as objects-in-the-world. This means readers might profitably account for all aspects of the manuscript in their observations, from the main texts that dominate the codex to the marginal notes, glosses, names, and interventions made through time. This holistic approach allows us to tell the story of the book's life from the moment of its production to its use, collection, breaking-up, and digitization--all aspects of what can be termed 'dynamic architextuality'. The ten chapters include detailed readings of texts that explain the processes of manuscript manufacture and writing, taking in invisible components of the book that show the joy and delight clearly felt by producers and consumers. Chapters investigate the filling of manuscripts' blank spaces, presenting some texts never examined before, and assessing how books were conceived and understood to function. Manuscripts' heft and solidness can be seen, too, in the depictions of miniature books in medieval illustrations. Early manuscripts thus become archives and witnesses to individual and collective memories, best read as 'relics of existence', as Maurice Merleau-Ponty describes things. As such, it is urgent that practices fragmenting the manuscript through book-breaking or digital display are understood in the context of the book's wholeness. Readers of this study will find chapters on multiple aspects of medieval bookness in the distant past, the present, and in the assurance of the future continuity of this most fascinating of cultural artefacts.