I didn't know how much I didn't know. [Towards a Global Middle Ages: Encountering the World through Illuminated Manuscripts edited by Bryan C. Keene]
2020 is literally tomorrow. The new year is right around the corner. So I've got a new arbitrary cycle of time to improve on myself and change my behaviors. First on that list will be reading the description for NetGalley books I'm reading, again, once I've been approved and have decided to start my textual dive.
I was honestly surprised when, probably by the second or third chapter, I realized this was a collection of essays. Had I read the description well the first time or read it again once I'd started reading that probably wouldn't have been the case, but oh well, it was. The shift in tone and voice between chapters was jarring and probably one of the biggest negatives for this book. As opposed to seamless transitions between chapters in respective sections, differences in the complexity of speech and cadence of voice soon made obvious that an array of speakers were presenting information. Logical as that may be, and appropriate for the variety of sub-specialties discussed, it was a shock as it was unexpected.
The copy of the book I downloaded may have downloaded incorrectly or it have been the intended format of the copies dispersed, but I did not see the full integration of all visual images throughout the text. There were many pictures missing that had they been present I imagine would have made a more visually stimulating experience. Having to (really wanting to) look up images of the referenced media, in addition to the foregone research of unknown references, also took me out of my reading experience and invariably prolonged it unnecessarily. So while I imagine the layout of images in the final (already published) edition of the book was highly artistic in itself, my reading experience was negatively impacted by the lack of images.
Research was done regardless, and especially with respect to history I really did not know how much I did not know. The painted interconnected image of history and cultural interplay that the book sets out to present and explore was entertaining and educational. The various and nuanced opinions on how modern historians should approach history and the creation of historical narratives were illuminating arguments on the benefits and drawbacks of broad or specific approaches to historical analysis. And by the end of the book I walked away with a greater appreciation and understanding of the many skills and multidisciplinary knowledge bases art historians must have and be familiar with.
At some point I wasn't sure about the rating I'd give Towards a Global Middle Ages. Sometimes the book seemed so specialized and geared towards academics and related professionals, but I can't deny how much I feel I learned. Reading on valued techniques, seeing gilded images, understanding the weight of different media in the context of storytelling, I was inspired to pick my tools back up and start embroidering a new project. So overall my reading experience was a positive one, and a quick mention of the book to my sister had her asking for more information, so I think I must give this 5 stars.
I was honestly surprised when, probably by the second or third chapter, I realized this was a collection of essays. Had I read the description well the first time or read it again once I'd started reading that probably wouldn't have been the case, but oh well, it was. The shift in tone and voice between chapters was jarring and probably one of the biggest negatives for this book. As opposed to seamless transitions between chapters in respective sections, differences in the complexity of speech and cadence of voice soon made obvious that an array of speakers were presenting information. Logical as that may be, and appropriate for the variety of sub-specialties discussed, it was a shock as it was unexpected.
The copy of the book I downloaded may have downloaded incorrectly or it have been the intended format of the copies dispersed, but I did not see the full integration of all visual images throughout the text. There were many pictures missing that had they been present I imagine would have made a more visually stimulating experience. Having to (really wanting to) look up images of the referenced media, in addition to the foregone research of unknown references, also took me out of my reading experience and invariably prolonged it unnecessarily. So while I imagine the layout of images in the final (already published) edition of the book was highly artistic in itself, my reading experience was negatively impacted by the lack of images.
At some point I wasn't sure about the rating I'd give Towards a Global Middle Ages. Sometimes the book seemed so specialized and geared towards academics and related professionals, but I can't deny how much I feel I learned. Reading on valued techniques, seeing gilded images, understanding the weight of different media in the context of storytelling, I was inspired to pick my tools back up and start embroidering a new project. So overall my reading experience was a positive one, and a quick mention of the book to my sister had her asking for more information, so I think I must give this 5 stars.
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