Laura D Gelfand
Biographic Data
| ID | 4154150 |
|---|---|
| NAME | Laura D Gelfand |
| GIVEN NAMES | Laura D |
| FAMILY NAME | Gelfand |
| SIGNATURE | GELFAND L D |
| AFFILIATIONS | Utah State University |
| ORCID | 0000-0002-2937-4095 |
| VERIFIED | Yes |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 4 |
| WORKS AS AUTHOR | 10 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2002 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
The Medieval Pig
Perhaps it should come as no surprise, but among other things, what we learn from Dolly Jørgensen's new book, The Medieval Pig, is that the lives of medieval pigs were nasty, brutish, and short. The focus of this brief but richly researched book is primarily the rural and urban spaces where pigs lived, how they were slaughtered and turned into food, and how medieval people conceptualized these omnipresent animals. Jørgensen uses a wide variety of…
Leonine Visibility and the Production of Nature
Review of: Katie Hornstein, Myth and Menagerie: Seeing Lions in the Nineteenth Century. New Haven, CT: Yale University Press, 2024. 272 pp. 108 colour + 50 b&w illus. $75.00 (hardcover
A Wolf in Sheep’s Clothing
James McNeill Whistler’s painting, Symphony in White, No. 1: The White Girl, has been the focus of much art historical analysis, but the animal rug beneath the feet of his model has received little attention. In this essay I suggest that Whistler represented a mounted wolf’s head sitting on top of a large sheepskin rug, i.e., a wolf in sheep’s clothing. Exploring the diverse meanings of this symbol within the context of the painting complicates h…
The Wolf at the Door and the Dog at Our Feet
Over millennia, faithful devotion to humans and our homes has become central to the identity we have constructed for dogs. Wolves, on the other hand, have been constructed in opposition to dogs, and they have come to represent all that is not home. In this essay I consider representations of wolves, dogs, and the home from antiquity to the present in secular and sacred sources. Using the lens of cultural studies, this comparative essay explores h…
Our Dogs, Our Selves
Orte der Imagination – Räume des Affekts
Auf welche Weise markieren, übertragen oder konstituieren Medien die Sakralität erfahrbarer Orte? Für das Verständnis der christlichen Kultur des Mittelalters ist diese Frage zentral. Der Band erhellt aus interdisziplinären Perspektiven, wie Medium, Imagination und Affekt spatiale und sakrale Erfahrung verbinden. Bereits in der Spätantike werden die Orte von Christi Passion als heilige Stätten medialisiert. Im Mittelalter kommt ihnen eine Logik ü…
Sense and simulacra
Push Me, Pull You
Late Medieval and Renaissance art was surprisingly pushy; its architecture demanded that people move through it in prescribed patterns, its sculptures played elaborate games alternating between concealment and revelation, while its paintings charged viewers with imaginatively moving through them. Viewers wanted to interact with artwork in emotional and/or performative ways. This inventive and personal interface between viewers and artists sometim…
Agency, Visuality and Society at the Chartreuse de Champmol . Sherry C. M. Lindquist
The Cambridge Companion to Vermeer
Introduction Wayne Franits 1. Johannes Vermeer: an overview of his life and stylistic development Wayne Franits 2. Vermeer teaching himself Walter Liedtke 3. Vermeer's craft and artistry Arthur K. Wheelock, Jr. 4. Perspectives on women in the art of Vermeer Lisa Vergara 5. The landscape on the wall in Vermeer Elise Goodman 6. Vermeer on the question of love H. Rodney Nevitt, Jr. 7. Religion in the art and life of Vermeer Valerie Hedquist 8. Verme…
Push Me, Pull You
Late Medieval and Renaissance art was surprisingly pushy; its architecture demanded that people move through it in prescribed patterns, its sculptures played elaborate games alternating between concealment and revelation, while its paintings charged viewers with imaginatively moving through them. Viewers wanted to interact with artwork in emotional and/or performative ways. This inventive and personal interface between viewers and artists sometim…
Sense and simulacra
The Cambridge Companion to Vermeer
Introduction Wayne Franits 1. Johannes Vermeer: an overview of his life and stylistic development Wayne Franits 2. Vermeer teaching himself Walter Liedtke 3. Vermeer's craft and artistry Arthur K. Wheelock, Jr. 4. Perspectives on women in the art of Vermeer Lisa Vergara 5. The landscape on the wall in Vermeer Elise Goodman 6. Vermeer on the question of love H. Rodney Nevitt, Jr. 7. Religion in the art and life of Vermeer Valerie Hedquist 8. Verme…
Agency, Visuality and Society at the Chartreuse de Champmol . Sherry C. M. Lindquist
Push Me, Pull You
Late Medieval and Renaissance art was surprisingly pushy; its architecture demanded that people move through it in prescribed patterns, its sculptures played elaborate games alternating between concealment and revelation, while its paintings charged viewers with imaginatively moving through them. Viewers wanted to interact with artwork in emotional and/or performative ways. This inventive and personal interface between viewers and artists sometim…
Sense and simulacra
Our Dogs, Our Selves
Orte der Imagination – Räume des Affekts
Auf welche Weise markieren, übertragen oder konstituieren Medien die Sakralität erfahrbarer Orte? Für das Verständnis der christlichen Kultur des Mittelalters ist diese Frage zentral. Der Band erhellt aus interdisziplinären Perspektiven, wie Medium, Imagination und Affekt spatiale und sakrale Erfahrung verbinden. Bereits in der Spätantike werden die Orte von Christi Passion als heilige Stätten medialisiert. Im Mittelalter kommt ihnen eine Logik ü…
The Wolf at the Door and the Dog at Our Feet
Over millennia, faithful devotion to humans and our homes has become central to the identity we have constructed for dogs. Wolves, on the other hand, have been constructed in opposition to dogs, and they have come to represent all that is not home. In this essay I consider representations of wolves, dogs, and the home from antiquity to the present in secular and sacred sources. Using the lens of cultural studies, this comparative essay explores h…
A Wolf in Sheep’s Clothing
James McNeill Whistler’s painting, Symphony in White, No. 1: The White Girl, has been the focus of much art historical analysis, but the animal rug beneath the feet of his model has received little attention. In this essay I suggest that Whistler represented a mounted wolf’s head sitting on top of a large sheepskin rug, i.e., a wolf in sheep’s clothing. Exploring the diverse meanings of this symbol within the context of the painting complicates h…
Leonine Visibility and the Production of Nature
Review of: Katie Hornstein, Myth and Menagerie: Seeing Lions in the Nineteenth Century. New Haven, CT: Yale University Press, 2024. 272 pp. 108 colour + 50 b&w illus. $75.00 (hardcover
The Medieval Pig
Perhaps it should come as no surprise, but among other things, what we learn from Dolly Jørgensen's new book, The Medieval Pig, is that the lives of medieval pigs were nasty, brutish, and short. The focus of this brief but richly researched book is primarily the rural and urban spaces where pigs lived, how they were slaughtered and turned into food, and how medieval people conceptualized these omnipresent animals. Jørgensen uses a wide variety of…
Art (8 works) · Art history (5 works) · History (5 works) · History (5 works) · Aesthetics (3 works) · Classics (3 works) · Classics (3 works) · Sociology (3 works) · Art History and Market Analysis (2 works) · Computer Science (2 works)