By ΠΠ°ΠΉΠ·ΡΠ»ΡΡ ΠΠΈΡ Π°ΠΈΠ» Π ΠΎΠΌΠ°Π½ΠΎΠ²ΠΈΡ
ΠΠΈΡ Π°ΠΈΠ» ΠΠ°ΠΉΠ·ΡΠ»ΡΡ, 2022
Π‘ΡΠ΅Π΄Π½Π΅Π²Π΅ΠΊΠΎΠ²ΠΎΠ΅ Π·Π°ΠΏΠ°Π΄Π½ΠΎΠ΅ ΠΈΡΠΊΡΡΡΡΠ²ΠΎ ΠΈΡΠΏΠΎΠ»ΡΠ·ΠΎΠ²Π°Π»ΠΎ ΠΌΠ½ΠΎΠΆΠ΅ΡΡΠ²ΠΎ ΡΠΈΠΌΠ²ΠΎΠ»ΠΎΠ² Π΄Π»Ρ ΠΎΠ±ΠΎΠ·Π½Π°ΡΠ΅Π½ΠΈΡ ΠΈ ΠΎΠ±Π»ΠΈΡΠ΅Π½ΠΈΡ ΠΈΠ½ΠΎΠ²Π΅ΡΡΠ΅Π², Π΅ΡΠ΅ΡΠΈΠΊΠΎΠ² ΠΈ Π΄ΡΡΠ³ΠΈΡ Π³ΡΠ΅ΡΠ½ΠΈΠΊΠΎΠ². ΠΡΠΈ Π³ΡΡΠΏΠΏΡ ΡΠ°ΡΡΠΎ Π°ΡΡΠΎΡΠΈΠΈΡΠΎΠ²Π°Π»ΠΈΡΡ Ρ Π΄ΡΡΠ²ΠΎΠ»ΠΎΠΌ ΠΈ ΠΏΡΠ΅Π΄ΡΡΠ°Π²Π»ΡΠ»ΠΈΡΡ ΠΊΠ°ΠΊ ΡΠ°ΡΡΡ Π·Π°Π³ΠΎΠ²ΠΎΡΠ° ΠΏΡΠΎΡΠΈΠ² Ρ ΡΠΈΡΡΠΈΠ°Π½ΡΠΊΠΎΠ³ΠΎ ΠΎΠ±ΡΠ΅ΡΡΠ²Π°. Π ΠΊΠ½ΠΈΠ³Π΅ ΠΌΠ΅Π΄ΠΈΠ΅Π²ΠΈΡΡ ΠΠΈΡ Π°ΠΈΠ» ΠΠ°ΠΉΠ·ΡΠ»ΡΡ ΠΈΡΡΠ»Π΅Π΄ΡΠ΅Ρ, ΠΊΠ°ΠΊ Ρ XII ΠΏΠΎ XVI Π²Π΅ΠΊ ΠΊΠΎΠ½ΡΡΡΡΠΈΡΠΎΠ²Π°Π»ΡΡ ΠΎΠ±ΡΠ°Π· Π²ΡΠ°Π³Π°. ΠΠ½ ΠΏΠΎΠΊΠ°Π·ΡΠ²Π°Π΅Ρ ΠΌΠ΅Ρ Π°Π½ΠΈΠ·ΠΌΡ ΡΡΠΈΠ³ΠΌΠ°ΡΠΈΠ·Π°ΡΠΈΠΈ, Π΄Π΅ΠΉΡΡΠ²ΠΎΠ²Π°Π²ΡΠΈΠ΅ Π² ΠΈΠ·ΠΎΠ±ΡΠ°ΠΆΠ΅Π½ΠΈΡΡ ΠΈ Π½Π° ΡΠ»ΠΈΡΠ°Ρ Π³ΠΎΡΠΎΠ΄ΠΎΠ². Π’Π°ΠΊΠΆΠ΅ ΡΠ°ΡΡΠΌΠ°ΡΡΠΈΠ²Π°Π΅ΡΡΡ ΠΏΠ΅ΡΠ΅Ρ ΠΎΠ΄ ΡΡΠΈΡ ΠΏΡΠΈΠ΅ΠΌΠΎΠ² Π² ΠΏΠ°ΠΌΡΠ»Π΅ΡΡ, ΠΏΠ»Π°ΠΊΠ°ΡΡ ΠΈ ΠΊΠ°ΡΠΈΠΊΠ°ΡΡΡΡ ΠΠΎΠ²ΠΎΠ³ΠΎ Π²ΡΠ΅ΠΌΠ΅Π½ΠΈ.
Mikhail Maisuls, 2022
Medieval Western art employed numerous signs to identify and condemn infidels, heretics, and other sinners. These groups were often associated with the devil and depicted as part of a conspiracy against Christian society. In this book, medievalist Mikhail Maisuls examines how the image of the enemy was constructed from the 12th to the 16th century. He explores the mechanisms of stigmatization that operated within visual representations and in urban spaces. The study also traces the transition of these techniques into pamphlets, posters, and caricatures of the modern era.