LEADER 02675 am 2200505 n 450 001 9910341155603321 005 20190708 010 $a979-1-03-510184-8 024 7 $a10.4000/books.psorbonne.33546 035 $a(CKB)4100000009365857 035 $a(FrMaCLE)OB-psorbonne-33546 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/47287 035 $a(PPN)267968760 035 $a(EXLCZ)994100000009365857 100 $a20190918j|||||||| ||| 0 101 0 $afre 135 $auu||||||m|||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 13$aLa fabrique de la ville $eEspace et sociétés à Tours (ixe-xiiie siècle) /$fHélène Noizet 210 $aParis $cÉditions de la Sorbonne$d2019 215 $a1 online resource (504 p.) 311 $a2-85944-572-2 330 $aCette étude se propose d?aborder l?espace urbain comme une construction impensée de l?activité humaine. Les pratiques et les représentations des acteurs qui s?impliquent dans la ville de Tours (les chanoines de Saint-Martin, les moines de Saint-Julien et de Marmoutier, les rois, les archevêques, les comtes...) sont examinées tout d?abord pour elles-mêmes, comme une série de moments particuliers, liés à chaque fois à des finalités spécifiques et très diverses - et en général non urbaines. Puis, elles sont mises en relation avec les caractéristiques de l?espace urbain, c?est-à-dire le parcellaire et le réseau viaire précisément décrits grâce à un système d?information géographique, en montrant qu?elles participent à structurer cet espace urbain de manière dialectique, et non causale ou immédiate. Les temporalités propres à l?activité sociale, qui ne sont pas les mêmes que celles de la structuration de l?espace urbain, interagissent néanmoins en permanence avec celles de la ville. C?est ce jeu de décalage entre des temporalités aux rythmes différents qui permet d?expliquer la morphogenèse de la ville. 606 $aHistory 606 $aMedieval & Renaissance Studies 606 $aville médiévale 606 $aurbanisation 606 $abourgeois 610 $abourgeois 610 $aurbanisation 610 $aville médiévale 615 4$aHistory 615 4$aMedieval & Renaissance Studies 615 4$aville médiévale 615 4$aurbanisation 615 4$abourgeois 700 $aNoizet$b Hélène$01290457 701 $aGalinié$b Henri$0459296 801 0$bFR-FrMaCLE 906 $aBOOK 912 $a9910341155603321 996 $aLa fabrique de la ville$93021495 997 $aUNINA LEADER 03753nam 22005895 450 001 9910154283903321 005 20200424112023.0 010 $a9780226354897 010 $a022635489X 024 7 $a10.7208/9780226354897 035 $a(CKB)4340000000022953 035 $a(MiAaPQ)EBC4766829 035 $a(StDuBDS)EDZ0001621514 035 $a(DE-B1597)524669 035 $a(OCoLC)1125186300 035 $a(DE-B1597)9780226354897 035 $a(Perlego)1851463 035 $a(EXLCZ)994340000000022953 100 $a20200424h20172016 fg 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aAlbrecht Dürer and the Epistolary Mode of Address /$fShira Brisman 210 1$aChicago : $cUniversity of Chicago Press, $d[2017] 210 4$d©2016 215 $a1 online resource (232 pages) $cillustrations 300 $aPreviously issued in print: 2017. 311 08$a9780226354750 311 08$a022635475X 320 $aIncludes bibliographical references and index. 327 $tFrontmatter -- $tContents -- $tIntroduction -- $tChapter one. The Body of a Letter -- $tChapter two. The Message in Transit -- $tChapter three. Relay and Delay -- $tChapter four. Privileged Mediators -- $tChapter five. Interception -- $tChapter six. Dürer's Open Letter -- $tConclusion -- $tAcknowledgments -- $tNotes -- $tIndex 330 $aArt historians have long looked to letters to secure biographical details; clarify relationships between artists and patrons; and present artists as modern, self-aware individuals. This book takes a novel approach: focusing on Albrecht Dürer, Shira Brisman is the first to argue that the experience of writing, sending, and receiving letters shaped how he treated the work of art as an agent for communication. In the early modern period, before the establishment of a reliable postal system, letters faced risks of interception and delay. During the Reformation, the printing press threatened to expose intimate exchanges and blur the line between public and private life. Exploring the complex travel patterns of sixteenth-century missives, Brisman explains how these issues of sending and receiving informed Dürer's artistic practices. His success, she contends, was due in large part to his development of pictorial strategies-an epistolary mode of address-marked by a direct, intimate appeal to the viewer, an appeal that also acknowledged the distance and delay that defers the message before it can reach its recipient. As images, often in the form of prints, coursed through an open market, and artists lost direct control over the sale and reception of their work, Germany's chief printmaker navigated the new terrain by creating in his images a balance between legibility and concealment, intimacy and public address. 606 $aCommunication and the arts$zGermany$xHistory$y16th century 606 $aCommunication in art$zGermany$xHistory$y16th century 606 $aVisual communication$zGermany$xHistory$y16th century 606 $aGerman letters$y16th century$xHistory and criticism 606 $aWritten communication$zGermany$xHistory$y16th century 615 0$aCommunication and the arts$xHistory 615 0$aCommunication in art$xHistory 615 0$aVisual communication$xHistory 615 0$aGerman letters$xHistory and criticism. 615 0$aWritten communication$xHistory 676 $a700.943 700 $aBrisman$b Shira, $4aut$4http://id.loc.gov/vocabulary/relators/aut$0990214 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a9910154283903321 996 $aAlbrecht Dürer and the Epistolary Mode of Address$92264952 997 $aUNINA