<p>“With this slim yet rich and thoughtful volume, the field of Byzantine studies has finally joined the project of excavating the colonialist, imperialist, and white supremacist foundations of modern academia. This collection of essays does more than merely remedy a scholarly lacuna; it sounds an urgent call to action that is bound to reverberate in years to come, generating further self-reflection, debate, and dialogue.”</p><p>—Ivan Drpić, author of<i> Epigram, Art, and Devotion in Later Byzantium </i></p>

<p>“This dynamic, multivocal volume has the potential to reshape not only the field of Byzantine studies but also larger movements within the humanities, with outstanding contributions by Aschenbrenner and Ransohoff, Achi, and Williams. Anderson and Ivanova’s work—particularly its willingness to engage with critical race and decolonial studies—will appeal to Byzantinists as well as those engaged in global medieval studies and adjacent fields, especially Ethiopian and Islamic studies.”</p><p>—Suzanne Conklin Akbari, author of <i>Idols in the East: European Representations of Islam and the Orient, 1100-1450</i></p>

Is Byzantine Studies a colonialist discipline? Rather than provide a definitive answer to this question, this book defines the parameters of the debate and proposes ways of thinking about what it would mean to engage seriously with the field’s political and intellectual genealogies, hierarchies, and forms of exclusion.In this volume, scholars of art, history, and literature address the entanglements, past and present, among the academic discipline of Byzantine Studies and the practice and legacies of European colonialism. Starting with the premise that Byzantium and the field of Byzantine studies are simultaneously colonial and colonized, the chapters address topics ranging from the material basis of philological scholarship and its uses in modern politics to the colonial plunder of art and its consequences for curatorial practice in the present. The book concludes with a bibliography that serves as a foundation for a coherent and systematic critical historiography. Bringing together insights from scholars working in different disciplines, regions, and institutions, Is Byzantine Studies a Colonialist Discipline? urges practitioners to reckon with the discipline’s colonialist, imperialist, and white supremacist history.In addition to the editors, the contributors to this volume include Andrea Myers Achi, Nathanael Aschenbrenner, Bahattin Bayram, Averil Cameron, Stephanie R. Caruso, Şebnem Dönbekci, Hugh G. Jeffery, Anthony Kaldellis, Matthew Kinloch, Nicholas S. M. Matheou, Maria Mavroudi, Zeynep Olgun, Arietta Papaconstantinou, Jake Ransohoff, Alexandra Vukovich, Elizabeth Dospěl Williams, and Arielle Winnik.
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List of IllustrationsPreface: The Historical ConjunctureIntroduction: For a Critical Historiography of Byzantine StudiesBenjamin Anderson and Mirela IvanovaPart 1: How Is Byzantine Studies (Re)Produced?1. Hieronymus Wolf’s Silver Tongue: Early Byzantine Scholarship at the Intersection of Slavery, Colonialism, and the CrusadesNathanael Aschenbrenner and Jake Ransohoff2. Byzantine Archaeology: Teaching the Tenth and the Twentieth CenturiesHugh G. Jeffery3. Byzantium in ExileŞebnem Dönbekci, Bahattin Bayram, and Zeynep OlgunPart 2: How Is Byzantium (Re)Produced?4. Methodological ImperialismNicholas S. M. Matheou5. The Price of AdmissionAnthony Kaldellis6. Byzantine Studies: A Field Ripe for DisruptionAveril Cameron7. Subaltern ByzantinismMaria MavroudiPart 3: How Are Byzantine Texts (Re)Produced?8. Byzantine and Western Narratives: A Dialogue of EmpiresArietta Papaconstantinou9. The Ethnic ProcessAlexandra Vukovich10. Publication and Citation Practices: Enclosure, Extractivism, and Gatekeeping in Byzantine StudiesMatthew KinlochPart 4: How Is Byzantine Art (Re)Produced?11. The South Kensington Museum, Byzantine Egyptian Textiles, and Art-Historical ImperialismArielle Winnik12. From Ethnographic Illustration to Aphrodisian Magistrate: Changing Perceptions of an Early Byzantine PortraitStephanie R. Caruso13. Expanding and Decentering Byzantium: The Acquisition of an Ethiopian Double-Sided Gospel LeafAndrea Myers Achi14. Equity, Accessibility, and New Narratives for Byzantine Art in the MuseumElizabeth Dospěl WilliamsA Collective Bibliography Toward a Critical Historiography of Byzantine StudiesList of ContributorsIndex
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The International Center of Medieval Art and the Pennsylvania State University Press announce a new book series: ICMA Books | Viewpoints. This series aims to engage with and instigate new conversations, debates, and perspectives not only about medieval art and visual-material culture, but also in relation to the critical practices employed by medieval art historians. Books will typically be data-rich, issue-driven, and even polemical. The range of potential subjects is broad and varied, and each title will tackle a significant and timely problem in the field of medieval art and visual-material culture. The Viewpoints series is interdisciplinary and actively involved in providing a forum for current critical developments in art historical methodology, the structure of scholarly writing, and/or the use of evidence. Books in the ICMA Books | Viewpoints series will be short: ca. 45,000– 75,000 words, illustrated by no more than 20–30 black-and-white images and will be written to engage specialists and students alike.\\Questions or submissions?\Contact Penn State University Press:\Eleanor Goodman\Executive Editor\{{mailto:egoodman@psu.edu}{email}}
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Produktdetaljer

ISBN
9780271095264
Publisert
2023-06-27
Utgiver
Vendor
Pennsylvania State University Press
Vekt
318 gr
Høyde
216 mm
Bredde
140 mm
Dybde
15 mm
Aldersnivå
P, 06
Språk
Product language
Engelsk
Format
Product format
Heftet
Antall sider
216

Om bidragsyterne

Benjamin Anderson is Associate Professor of the History of Art and Classics at Cornell University. He is the author of Cosmos and Community in Early Medieval Art and coeditor of Antiquarianisms: Contact, Conflict, Comparison, and The Byzantine Neighbourhood: Urban Space and Political Action.

Mirela Ivanova is Lecturer in Medieval History at the University of Sheffield. She is the author of Inventing Slavonic: Cultures of Writing Between Rome and Constantinople.