Eating beauty : the Eucharist and the spiritual arts of the Middle Ages
Author(s)
Bibliographic Information
Eating beauty : the Eucharist and the spiritual arts of the Middle Ages
Cornell University Press, 2006
Available at 3 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
Note
Includes bibliographical references (p. [265]-285) and index
Description and Table of Contents
Description
"The enigmatic link between the natural and artistic beauty that is to be contemplated but not eaten, on the one hand, and the eucharistic beauty that is both seen (with the eyes of faith) and eaten, on the other, intrigues me and inspires this book. One cannot ask theo-aesthetic questions about the Eucharist without engaging fundamental questions about the relationship between beauty, art (broadly defined), and eating."-from Eating Beauty
In a remarkable book that is at once learned, startlingly original, and highly personal, Ann W. Astell explores the ambiguity of the phrase "eating beauty." The phrase evokes the destruction of beauty, the devouring mouth of the grave, the mouth of hell. To eat beauty is to destroy it. Yet in the case of the Eucharist the person of faith who eats the Host is transformed into beauty itself, literally incorporated into Christ. In this sense, Astell explains, the Eucharist was "productive of an entire 'way' of life, a virtuous life-form, an artwork, with Christ himself as the principal artist." The Eucharist established for the people of the Middle Ages distinctive schools of sanctity-Cistercian, Franciscan, Dominican, and Ignatian-whose members were united by the eucharistic sacrament that they received.
Reading the lives of the saints not primarily as historical documents but as iconic expressions of original artworks fashioned by the eucharistic Christ, Astell puts the "faceless" Host in a dynamic relationship with these icons. With the advent of each new spirituality, the Christian idea of beauty expanded to include, first, the marred beauty of the saint and, finally, that of the church torn by division-an anti-aesthetic beauty embracing process, suffering, deformity, and disappearance, as well as the radiant lightness of the resurrected body. This astonishing work of intellectual and religious history is illustrated with telling artistic examples ranging from medieval manuscript illuminations to sculptures by Michelangelo and paintings by Salvador Dali. Astell puts the lives of medieval saints in conversation with modern philosophers as disparate as Simone Weil and G. W. F. Hegel.
Table of Contents
1. "Taste and See": The Eating of Beauty 2. The Apple and the Eucharist: Foods for a Theological Aesthetics 3. "Hidden Manna": Bernard of Clairvaux, Gertrude of Helfta, and the Monastic Art of Humility 4. "Adorned with Wounds": Saint Bonaventure's Legenda maior and the Franciscan Art of Poverty 5. "Imitate Me As I Imitate Christ": Three Catherines, the Food of Souls, and the Dominican Art of Preaching 6. The Eucharist, the Spiritual Exercises, and the Art of Obedience: Saint Ignatius of Loyola and Michelangelo 7. Weil and Hegel: A Eucharistic "Ante-/Anti-Aesthetic" Aesthetics? 8. To (Fail to) Conclude: Eucharists without End Appendix Bibliography Index
by "Nielsen BookData"