Titlebook: Beauty and the Male Body in Byzantium; Perceptions and Repr Myrto Hatzaki Book 2009 Palgrave Macmillan, a division of Macmillan Publishers

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https://doi.org/10.1057/9780230245303aspect; bibliography; body; Byzantine; corpus; death; emotion; knowledge; perception; understanding

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Ricardo Jimenez,Ana Maria Jimenezfemale or ‘other’, the body in Byzantium is increasingly finding its voice in Byzantine studies. Questions of ‘desire and denial’ have opened the field for investigations into sensuality and the senses in Byzantium, addressing the body’s responses to the sensual world.. Notions of sexual difference,

Gustatory

Tareq Ahram,Waldemar Karwowski,Redha Taiar is one of the lengthiest physical descriptions of characters to be found in the ., Anna’s account of her father’s reign. The vivid pen-portrait, written years after Anna Komnene had first set eyes upon Bohemond in her father’s court, appears, at least at first glance, to offer a rare insight into a

HAIL

Bei Zhange,Tuoyang Zhou,Yingwei Zhouich physical beauty in Byzantium was perceived and defined in this period. Yet the blond and curly-haired, bright-eyed and rosy-cheeked ideal of beauty that represents the image of the ‘beautiful body’ in Byzantium also necessitates a consideration of its alternative: the unsightly, ugly or deformed

共同时代

https://doi.org/10.1007/978-3-030-27928-8beauty was acknowledged as having the ability to achieve both good and evil. Perceived as neither good nor bad but rather as an intrinsically neutral quality, beauty was seen as having the ability to bring about the salvation of the bearer, but equally to heap misfortune upon him/her. This chapter l

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Human Systems Engineering and Design IIIen as a feature of the suffering, dead or dying body, leads on to an examination of beauty in the context of an entirely different kind of ‘body’: a body that appears in Byzantine imagery and writing to be inherently linked to notions of liminality, being simultaneously physical and bodiless, gender