Сергей Зотов - Страдающее Средневековье. Парадоксы христианской иконографии

Mikuž J. Le sang et le lait dans l'imaginaire médiéval. Ljubljana: Založba ZRC, 2013.

Olson V. Penetrating the Void: Picturing the Wound in Christ's Side as a Performative Space // Wounds and Wound Repair in Medieval Culture. Leiden; Boston: Brill, 2015. Pp. 313–339.

Reilly D. J. Picturing the Monastic Drama: Romanesque Bible Illustrations of the Song of Songs // Word & Image: A Journal of Verbal/Visual Enquiry, 2001, Vol. 17, № 4. Pp. 389–400.

Steinberg L. The Sexuality of Christ in Renaissance Art and in Modern Oblivion (2 nded.). Chicago; London: The University of Chicago Press, 1996.

Baert B. The Annunciation Revisited. Essay on the Concept of Wind and the Senses in Late Medieval and Early Modern Visual Culture // Critica d'arte, 2013, Vol. 47–48. Pp. 57–68.

Bynum C. W. Encounter: Holy Beds // Gesta, 2016, Vol. 55, № 2. Pp. 129–131.

Gertsman E. Image as Word: Visual Openings, Verbal Imaginings // Studies in Iconography, 2011, Vol. 32. Pp. 51–80.

Hull V. J. The Sex of the Savior in Renaissance Art: the Revelations of Saint Bridget and the Nude Christ Child in Renaissance Art // Studies in Iconography, 1993, Vol. 15. Pp. 77–112.

Ippel I. A Christmas Crib as a Meek Heart of the Late Mediaeval Christian // The Rijksmuseum Bulletin, 2014, Vol. 62, № 4. Pp. 330–347.

Jung J. E. Crystalline Wombs and Pregnant Hearts. The Exuberant Bodies of the Katharinenthal Visitation Group // History in the Comic Mode. New York: Columbia University Press, 2007. Pp. 223–237.

Katz M. R. Marian Motion: Opening the Body of the Vierge Ouvrante // Meaning in Motion. The Semantics of Movement in Medieval Art. Princeton: Princeton University Press, 2011. Pp. 63–91.

Langum V. «As a Kinde Modur Schulde»: Mary and Natural Maternity in the Middle Ages // Words and Matter: The Virgin Mary in Late Medieval and Early Modern Parish Life. Stockholm: Sällskapet Runica et Mediaevalia, 2015. Pp. 133–148.

L'Estrange E. Holy Motherhood. Gender, Dynasty and Visual Culture in the Later Middle Ages. Manchester: Manchester University Press, 2012.

LeZotte A. Cradling Power: Female Devotions and Early Netherlandish Jésueaux // Push Me, Pull You. Imaginative and Emotional Interaction in Late Medieval and Renaissance Art. Vol. 2. Leiden; Boston: Brill, 2011. Pp. 59–84.

Neff A. The Pain of Compassio: Mary’s Labor at the Foot of the Cross // The Art Bulletin, 1998, Vol. 80, № 2. Pp. 254–273.

Salvador Gonzalez J. M. Per Aurem Intrat Christus in Mariam. An Iconographic Approach to the Conceptio per Aurem in Italian Trecento Painting from Patristic and Theological Sources // De Medio Aevo, 2016, Vol. 5, № 1. Pp. 83–122.

Steinberg L. «How Shall This Be?» Reflections on Filippo Lippi's «Annunciation» in London. Part I // Artibus et Historiae, 1987, Vol. 8, № 16. Pp. 25–44.

Coo J., de. Das Josefshosen-Motiv im Weihnachtslied und in der bildenden Kunst // Jahrbuch für Volksliedforschung, 1966. Pp. 58–89.

Decker J. More Strength for Contemplation: Spiritual Play in the Amsterdam Holy Kinship // Journal of Historians of Netherlandish Art, 2016, Vol. 8, № 1.

Hahn C. «Joseph will Perfect, Mary Enlighten and Jesus Save Thee»: The Holy Family as Marriage Model in the Mérode Triptych // The Art Bulletin, 1986, Vol. 68, № 1. Pp. 54–66.

Hand J. O. Saint Anne with the Virgin and the Christ Child by the Master of Frankfurt // Studies in the History of Art, 1982, Vol. 12. Pp. 43–52.

Herlihy D. The Making of the Medieval Family: Symmetry, Structure and Sentiment // Journal of Family History, 1983, Vol. 8, № 2. Pp. 116–130.

Heublein B. Der «verkannte» Joseph. Zur mittelalterlichen Ikonographie des Heiligen im deutschen und niederländischen Kultrraum. Weimar: VDG, 1998.

Nixon V. Mary's Mother. Saint Anne in Late Medieval Europe. University Park: Pennsylvania University Press, 2004.

Payan P. Ridicule? L'image ambiguë de saint Joseph à la fin du Moyen Âge // Médiévales, 2000, № 39. Pp. 96–111.

Schabacker P. H. The Holy Kinship in a Church: Geertgen and the Westphalian Master of 1473 // Oud Holland, 1975, Vol. 89, № 4. Pp. 225–242.

Sheingorn P. «The Wise Mother»: The Image of St. Anne Teaching the Virgin Mary // Gesta, 1993, Vol.32, No.1. Pp. 69–80.

Stanton A. R. La Genealogye Comence: Kinship and Difference in the Queen Mary Psalter // Studies in Iconography, 1996, Vol. 17. Pp. 177–214.

Бельтинг Х. Образ и культ. История образа до эпохи искусства. М.: Прогресс-Традиция, 2002.

Овчинников А. Н. Символика христианского искусства. М.: Родник, 1999.

Пастуро М. Символическая история европейского Средневековья. СПб.: Alexandria, 2012.

Bartlová M. Iconography of Jan Hus // Šmahel F. (ed.). A Companion to Jan Hus. Leiden; Boston: Brill, 2015. Pp. 325–341.

Didron A. N. Iconographie chrétienne: Histoire de Dieu. Paris: Imprimerie royale, 1843.

Emmerson R. K. Antichrist in the Middle Ages: A Study of Medieval Apocalypticism, Art, and Literature. Seattle: University of Washington Press, 1981.

Frugoni Ch. La voce delle immagini: pillole iconografiche dal Medioevo. Torino: Einaudi, 2010.

Hall E., Uhr H. Aureola super Auream: Crowns and Related Symbols of Special Distinction for Saints in Late Gothic and Renaissance Iconography // The Art Bulletin, 1985, Vol. 67, № 4. Pp. 567–603.

Kessler H. Spiritual Seeing: Picturing God's Invisibility in Medieval Art. Philadelphia: University of Pennsylvania Press, 2000.

Ladner G. B. The So-Called Square Nimbus // Mediaeval Studies, 1941, Vol. 3. Pp. 15–45.

Martin S. M. The Ontology of the Venetian Halo in its Italian Context. A Thesis Submitted to the University of Plymouth in Partial Fulfilment for the Degree of Doctor of Philosophy, 2012.

McGinn B. Visions of the End. Apocalyptic Traditions in the Middle Ages. New York: Columbia University Press, 1979.

Mellinkoff R. Outcasts. Signs of Otherness in Northern European Art of the Late Middle Ages. Vol. 1–2. Berkeley: University of California Press, 1993.

Newman B. Love’s Arrows: Christ as Cupid in Late Medieval Art and Devotion // Hamburger J. F., Bouché A.-M. The Mind’s Eye: Art and Theological Argument in the Middle Ages. Princeton: Princeton University Press, 2005. Pp. 263–286.

Reau L. Iconographie de l'art chrétien. T. 1: Introduction générale. Paris: PUF, 1955.

Todorova R. Visualizing the Divine. Mandorla as a Vision of God in Byzantine Iconography // IKON. Journal of Iconographic Studies, 2013, Vol. 6. Pp. 287–296

Максимов С. В. Нечистая, неведомая и крестная сила. СПб.: Товарищество Р. Голике и А. Вильборг, 1903.

Boespflug F. Dieu et ses images: une histoire de l'Éternel dans l'art. Montrouge: Bayard, 2008.

Boespflug F. Le diable et la trinité tricéphales. A propos d'une pseudo-«vision de la Trinité» advenue à un novice de saint Norbert de Xanten // Revue des Sciences Religieuses, 1998, Vol. 72, № 2. Pp. 156–175.

Boespflug F., Zaluska Y. Le dogme trinitaire et l'essor de son iconographie en Occident de l'époque carolingienne au IVe Concile du Latran (1215) // Cahiers de civilisation médiévale, 1994, Vol. 37, № 147. Pp. 181–240.

Hamburger J. The Rothschild Canticles: Art and Mysticism in Flanders and the Rhineland circa 1300. New Haven: Yale University Press, 1990.

Hallebeek J. Papal Prohibitions Midway Between Rigor and Laxity. On the Issue of Depicting the Holy Trinity // Iconoclasm and Iconoclash: Struggle for Religious Identity. Leiden; Boston: Brill, 2007. Pp. 353–383.

Kantorowicz E. H. The Quinity of Winchester //The Art Bulletin, 1947, Vol. 29, № 2. Pp. 73–85.

Kirfel W. Die dreiköpfige Gottheit: archäologisch-ethnologischer Streifzug durch die Ikonographie der Religionen. Bonn: Dümmler, 1948.

Newman B. Contemplating the Trinity: Text, Image, and the Origins of the Rothschild Canticles // Gesta, 2013, Vol. 52, № 2. Pp. 133–159.

Newman B. God and the Goddesses: Vision, Poetry, and Belief in the Middle Ages. University of Pennsylvania Press, 2016.

Pettazzoni R. The Pagan Origins of the Three-Headed Representation of the Christian Trinity // Journal of the Warburg and Courtauld Institutes, 1946, № 9. Pp. 135–151.

Dinzelbacher P. Angst im Mittelalter: Teufels-, Todes- und Gotteserfahrung: Mentalitätsgeschichte und Ikonographie. Paderborn: Schöningh, 1996.

Gebauer A. «Christus und die minnende Seele»: An Analysis of Circulation, Text, and Iconography. Wiesbaden: Reichert, 2010.

Jacob R. Images de la justice: essai sur l'iconographie judiciaire du Moyen Âge à l'Âge classique. Paris: Le Léopard d'Or, 1994.

Jefferson L. The Staff of Jesus in Early Christian Art // Religion and the Arts, 2010, № 14. Pp. 221–251.

Keller P. Glaube & Aberglaube Amulette, Medaillen und Andachtsbildchen. Salzburg: Dommuseum zu Salzburg, 2010.

Krafft F. Christus als Apotheker: Ursprung, Aussage und Geschichte eines christlichen Sinnbildes. Marburg: Universitätsbibliothek, 2001.

Kretzenbacher L. Nachtridentinisch untergegangene Bildthemen und Sonderkulte der «Volksfrömmigkeit» in den Südost-Alpenländern. München: Verlag der Bayerischen Akademie der Wissenschaften, 1994.

Mathews T. F. The Clash of Gods: A Reinterpretation of Early Christian Art. Princeton: Princeton University Press, 1999.

Pastoureau M. Jésus teinturier. Histoire symbolique et sociale d'un métier réprouvé // Médiévales, 1995, № 29. Pp. 47–63.

Polo de Beaulieu M. La Passion du Christ comme cuisine sacrificielle dans les sermons de Jacques de Voragine // Littérales, 2009, № 43 (Littérature et révélation au Moyen Âge. III. Ancienne Loi, nouvelle Loi). Pp. 39–58.

Schapiro M. «Muscipula Diaboli». The Symbolism of the Mérode Altarpiece // The Art Bulletin, 1945, Vol. 27, № 3. Pp. 182–187.

Thomas A. Die Darstellung Christi in der Kelter: eine theologische und kulturhistorische Studie, zugleich ein Beitrag zur Geschichte und Volkskunde des Weinbaus. Düsseldorf: Schwann, 1981.

Berns J. J. Aquila Biceps: die mnemotechnische Belastbarkeit des Reichsadlers und das Problem der Schemaüberblendung / Seelenmaschinen: Gattungstraditionen, Funktionen und Leistungsgrenzen der Mnemotechniken vom späten Mittelalter bis zum Beginn der Moderne. Wien: Böhlau, 2000.