ISBN: 9780691008318

In a lucid history of what used to be termed "the Dark Ages," Judith Herrin outlines the origins of Europe from the end of late antiquity to the coronation of Charlemagne. She shows that … Altro …

In a lucid history of what used to be termed "the Dark Ages," Judith Herrin outlines the origins of Europe from the end of late antiquity to the coronation of Charlemagne. She shows that the clash between nascent Islam and stubburn Byzantium was the central contest that allowed "Europe" to develop, and she thereby places the rise of the West in its true Mediterranean context. Her inquiry centers on the notion of "Christendom." Instead of taking medieval beliefs for granted or separating theology from politics, she treats the faith as a material force. In a path-breaking account of the arguments over Christian doctrine, she shows how the northern sphere of the Roman world divided into two distinct and self-conscious imperial units, as the Arabs swept through the southern regions.One of the most interesting strands of the author's argument concerns religious art and iconoclasm. Her book shows how the impact of Islam's Judaic ban on graven images precipitated both the iconoclast crisis in Constantinople and the West's unique commitment to pictorial narrative, as justified by Pope Gregory the Great. Media > Book, [PU: Princeton University Press]<

1989, ISBN: 0691008310

edizione con copertina rigida

[EAN: 9780691008318], [PU: Princeton University Press], CHURCH HISTORY, A groundbreaking history of how the Christian West emerged from the ancient Mediterranean worldIn this acclaimed hi… Altro …

[EAN: 9780691008318], [PU: Princeton University Press], CHURCH HISTORY, A groundbreaking history of how the Christian West emerged from the ancient Mediterranean worldIn this acclaimed history of Early Christendom, Judith Herrin shows how-from the sack of Rome in 410 to the coronation of Charlemagne in 800-the Christian West grew out of an ancient Mediterranean world divided between the Roman west, the Byzantine east, and the Muslim south. Demonstrating that religion was the periods defining force, she reveals how the clash over graven images, banned by Islam, both provoked iconoclasm in Constantinople and generated a distinct western commitment to Christian pictorial narrative. In a new preface, Herrin discusses the books origins, reception, and influence., Books<