What do they all mean – the lascivious ape, autophagic dragons, pot-bellied heads, harp-playing asses, arse-kissing priests and somersaulting jongleurs to be found protruding from the edges of medieval buildings and in the margins of illuminated manuscripts? Michael Camille explores that riotous realm of marginal art, so often explained away as mere decoration or zany doodles, where resistance to social constraints flourished. Medieval image-makers focused attention on the underside of society, the excluded and the ejected. Peasants, servants, prostitutes and beggars all found their place, along with knights and clerics, engaged in impudent antics in the margins of prayer-books or, as gargoyles, on the outsides of churches. Camille brings us to an understanding of how marginality functioned in medieval culture and shows us just how scandalous, subversive, and amazing the art of the time could be.

Images in the Margins is the third in the popular Medieval Imagination series of small, affordable books drawing on manuscript illumination in the collections of the J. Paul Getty Museum and the British Library. Each volume focuses on a particular theme and provides an accessible, delightful introduction to the imagination of the medieval world. An astonishing mix of mundane, playful, absurd, and monstrous beings are found in the borders of English, French, and Italian manuscripts from the Gothic era. Unpredictable, topical, often irreverent, like the New Yorker cartoons of today, marginalia were a source of satire, serious social observation, and amusement for medieval readers. Through enlarged, full-color details and a lively narrative, this volume brings these intimately scaled, fascinating images to a wider audience. It accompanies an exhibition on view at the J. Paul Getty Museum from September 1 through November 8, 2009.

This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1966. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived

A young apprentice learns to tap his own wellspring of creativity with the help of the magical margins of an illuminated manuscript in this story about patience, talent, and imagination. Full color.

"This is an important collection and starting point for the worthy goal of promoting a better understanding of the past that makes it less able to be manipulated for contemporary political and religious aims...Compiled out of the European past, its aim of a better understanding of traditional values ought to be useful for contemporary cultures and for the work of scholars of all cultures and continents." - Renaissance Quarterly In the last decade or so, many books have been devoted to the history of Europe.Two conceptual axes predominate in a large number of these accounts: a discourse focusing on Europe's values, and another discourse, fashioned largely in opposition to the first, which emphasizes the process of European "construction." The first conceives of Europe's past teleologically, as a process by which certain values (Christian ethics, individualism, capitalism, tolerance, republicanism, due process, etc.) were affirmed and came to define European culture. The second approach rejects the discourse on values emphasizes the post-Enlightenment emergence of the concept of Europe, and the political and ideological implications in its continuous redefinitions (and re elaborations) during the past two or more centuries. This volume offers new approaches that integrate the long temporal dimension of the values-based approach, albeit devoid of its teleological element, with the "constructivist" interpretation.

Documents the rich allusiveness and intellectual probity of experimental filmmaking-a form that thrived despite having been officially banned-in East German socialism's final years.