Art, Craft, and Theology in Fourth-Century Christian Authors By Morwenna Ludlow
In Art, Craft, and Theology in Fourth-Century Christian Authors, Morwenna Ludlow analyses not so much picture-making (in spite of her open intention to elaborate on this particular type of τέχνη) as crafts involving words and what she calls ‘spiritual crafts’. She follows the evolution of the term...
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| Format: | Electronic Review |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Oxford University Press
2021
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| In: |
The journal of theological studies
Year: 2021, Volume: 72, Issue: 2, Pages: 996-997 |
| Further subjects: | B
Book review
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| Online Access: |
Volltext (lizenzpflichtig) |
| Summary: | In Art, Craft, and Theology in Fourth-Century Christian Authors, Morwenna Ludlow analyses not so much picture-making (in spite of her open intention to elaborate on this particular type of τέχνη) as crafts involving words and what she calls ‘spiritual crafts’. She follows the evolution of the term craft from ancient to modern times, and in the process draws attention to the fact that it covers ‘high’ as well as ‘low’ πράξεις that result in products which are both beautiful and useful. She chooses a definition of ‘craft’ so inclusive that almost all human activities are included in its scope.Ludlow reveals especially how Basil of Caesarea, Gregory of Nazianzus, Gregory of Nyssa, and John Chrysostom practised one of the ‘crafts’ mentioned above—that of writing; it was natural for the four thinkers to be chosen since they penned extensive works. (They also carried out other activities: administration, priesthood, and giving speeches—they had official training in rhetoric.) The main exercise Ludlow undertakes within this volume is to explain how these fourth-century writers perceived themselves as creators of texts, and what techniques they used in order to obtain from their readers the reaction they intended. These linguistic mechanisms were ἔκφρασις and προσωποποιία. In the framework she has established she has ample opportunity to speak about those. Ἔκφρασις refers to the use of detailed description of a work of art (literature included) produced—even though sometimes only partially—as a rhetorical device; and προσωποποιία is defined as a rhetorical method in which an orator/presenter or writer communicates to the audience by talking as another person (or, when personification is envisioned, as an object). Μίμησις is another issue on which the publication focuses; the process is treated from the angle of material representation of reality and emulation of tradition. |
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| ISSN: | 1477-4607 |
| Contains: | Enthalten in: The journal of theological studies
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| Persistent identifiers: | DOI: 10.1093/jts/flab111 |