The Corporeal Imagination

The Corporeal Imagination
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With few exceptions, the scholarship on religion in late antiquity has emphasized its tendencies toward transcendence, abstraction, and spirit at the expense of matter. In The Corporeal Imagination , Patricia Cox Miller argues instead that ancient Christianity took a material turn between the fourth and seventh centuries. During this period, Miller contends, there occurred a major shift in the ways in which the human being was oriented in relation to the divine, a shift that reconfigured the relationship between materiality and meaning in a positive direction. The Corporeal Imagination is a groundbreaking investigation into the theological poetics of material substance in late ancient Christian texts. From hagiographies to literary descriptions of sacred paintings to treatises on relics and theurgy, Miller examines a wide variety of ancient texts to reveal how Christian writers increasingly described the matter of the world as invested with divine power. By appealing to the reader's sensory imagination, Christian texts endowed phenomena like relics, saints' bodies in hagiography, and saints' presence in icons with a visual and tactile presence. The book draws on a variety of contemporary theoretical models to elucidate the significance of all these materials in ancient religious life and imagination.

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Patricia Cox Miller. The Corporeal Imagination

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The Corporeal Imagination

Series Editors: Daniel Boyarin, Virginia Burrus, Derek Krueger

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Like many of the hagiographical images treated in this book, these Eucharistic images are constituted by a carnal rhetoric that has an ocular and affective immediacy. In keeping with the technique of visceral seeing, they appeal to the sensory imagination, and they certainly demonstrate the role of word-pictures in shaping knowledge of material substance—in these cases, the sacramental elements. But, as with images of relics and their connection with the notion of intercession, the Eucharistic images appeal not just to the senses but also to the intellect, to the extent that they invite the reader to “see” a belief system. Visceral seeing, then, denotes a pictorial idiom in which the senses have cognitive status and the mind is materially engaged. Above all, this idiom teaches readers to “see” what is visually intractable—here, the fleshly presence of Christ in the Eucharist; in chapters that follow, the presence of divine power in a human body or the animate quality of a seemingly inanimate work of art.

Pictorial Theatricality

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