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Flagellant sodalities originated in 1260 following the tumultuous processions of self-scourging lay penitents who, enflamed by the charismatic Fra Raniero Fasani of Perugia, beseeched God for peace and mercy. Their number significantly increased throughout the fourteenth and fifteenth centuries, as flagellation became a structured lay male ritual enacted in both private confraternal spaces and public processions. From the later quattrocento, flagellation in large part was no longer a private weekly practice. Rather, it was performed as a grand public spectacle, primarily during Holy Week, when the imitatio Christi experience resonated most profoundly for spectators and battuti (flagellants) alike. The seven-hundredth… Full Review

Attention to structures of patronage in the creation of works of art and architecture has furthered our understanding of the sociopolitical context of material culture in the Islamic world. However, this approach has also overshadowed questions of materiality and a more comprehensive range of human-object relationships. In an attempt to redress this imbalance, scholars have increasingly pushed the roles of the artist, the audience, and the multisensorial experience of spaces and objects to the forefront of the field. Kishwar Rizvi’s Affect, Emotion, and Subjectivity in Early Modern Muslim Empires represents a collective effort to develop a discourse of reception, audience… Full Review

Is a shadow a “physical event” or a “matter of perception? A thing or an absence of something?”(7). In Grasping Shadows: The Dark Side of Literature, Painting, Photography, and Film, William Chapman Sharpe argues that the shadow—a phenomenon as illusory and mysterious as it is tangible and commonplace—is a crucial motif employed by artists and writers seeking to express humanity’s relationship to the “unseen.” In this ambitious feat of interdisciplinary criticism, Sharpe demonstrates methodologies such as the close formal analysis of image and text, psychoanalytic theory, and social history to articulate the varied ways in which artistic shadows… Full Review

Consider visual art as a unique mode of communication capable of bridging the multicultural and multilingual Caribbean islands. Relational Undercurrents: Contemporary Art of the Caribbean Archipelago, an exhibition catalogue coedited by Tatiana Flores and Michelle Ann Stephens (curator of and advisor to the exhibition, respectively), suggests precisely this. Through engaging Caribbean literature and theory, they suggest that visual artwork (here including installation art, paintings, performance, photography, sculpture, and video) can reveal not only shared concerns among the insular Caribbean—that is, its islands—but also the possibility of a “collective and definable discourse around Caribbean visual aesthetics” (29). In part because… Full Review

Childhood by Design contains a variety of essays that investigate the reasons toys exist. The design of childhood itself is examined, as well as the ways toys have helped form (and reform) our ideas about children. Commercial factors including manufacturing, marketing, and distribution have influenced toy creation and as a result the creation of children. The book also offers diverse topics, points of view, writing styles, and ideas about what an academic essay can be. In the introduction to the collection, editor Megan Brandow-Faller writes, “Childhood by Design seeks to fuse socio-historical studies of childhood (examining the tension between… Full Review

Toward the end of the last chapter of Erotic Islands, Lyndon K. Gill reflects on the benefits and challenges of “queer ethnography” as a methodology. According to the author, situating the speaking subjects of ethnography is necessary in order to both highlight the “experiential specificity” of the ethnographer’s lived time in the field (213) and to avoid turning ethnographic subjects into “representational abstractions” (215) that overlook the internal dynamism and fluid nature of experiences of blackness and queerness across differing geographical and temporal contexts. Through that, the author invites us to work against a certain pattern of ossification and… Full Review

Upon first encounter, this book is impressive. The size, weight (nineteen pounds), and price of the two volumes of Liturgical Life and Latin Learning at Paradies bei Soest, 1300–1425, as well as the reputations of the authors, heighten reader expectation. Using an understudied liturgical manuscript of high quality as their focal point, this multidisciplinary team sets out to describe and analyze manuscript production and use at the Dominican monastery Paradies during the late Middle Ages. The library collection of this house, founded for nuns in the mid-thirteenth century and located close to the town of Soest, Germany… Full Review

In the first line of her book Banking on Images: The Bettmann Archive and Corbis, Estelle Blaschke describes William Henry Fox Talbot not as an inventor of photography but, more precisely, as “the inventor of photographic reproducibility.” Today Talbot is firmly ensconced in photographic history as a creator and author of unique photographic objects and publications, which are now prized as material testaments to his individual aesthetic and technical contributions to a new medium. But the shifting perceptions of this position are illuminated when his work appears later in Blaschke’s book as an example of an image that, only… Full Review

The elevation of quotidian objects through technical virtuosity has long been considered a quintessential feature of Islamic visual culture. Accordingly, historians of Islamic art have investigated objects’ potential to accrue shifting meanings, generate affiliations across cultures, and communicate complex rhetorical messages. Rarely, however, have medieval Islamic objects received treatment as constitutive—and even generative—elements of intellectual trends in their own right. Margaret S. Graves shifts this trend with an innovative study that recognizes the full cognitive potentialities of objects. Arts of Allusion focuses on a diverse set of objects from the eastern Mediterranean and Iranian plateau, produced from the ninth through… Full Review

In Picturing War in France, 1792–1856, Katie Hornstein examines four distinct phases of the history of the representation of warfare in France, beginning with works made during the revolutionary wars and the First Empire, through the Bourbon Restoration and the July Monarchy, and culminating in the visual culture of the Crimean War of 1853–56. In four impressively researched and eloquently written main chapters, the author examines the viewing experience of contemporary warfare as mediated through paintings, prints, and photographs as well as technologies of mass spectacle with the overarching goal of highlighting “new forms of spectatorship that… Full Review