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本书基本材料是1909年, 1914年俄罗斯两次新疆考察队在焉耆錫克沁遗址所获文物,以及当时的测绘地图, 原始记录等.錫克沁连接了敦煌, 吐鲁番, 和阗, 克孜尔等丝绸之路重镇,其出土文物主要是唐代的,对於周边资料具有重要的参考借鉴作俑.錫克沁遗址现极少遗存,外国探险队所获材料和100年前的现场记录,对於历史, 美术考古具有重要的意义. 本书基本材料是1909年, 1914年俄罗斯两次新疆考察队在焉耆錫克沁遗址所获文物,以及当时的测绘地图, 原始记录等.錫克沁连接了敦煌, 吐鲁番, 和阗, 克孜尔等丝绸之路重镇,其出土文物主要是唐代的,对於周边资料具有重要的参考借鉴作俑.錫克沁遗址现极少遗存,外国探险队所获材料和100年前的现场记录,对於历史, 美术考古具有重要的意义.

<Summary in Chinese field only>
本书通过对民国杭州的专业艺术教育、学校艺术教育、社会艺术教育三方面的梳理, 再现民国时期发生在杭州的艺术教育状况; 从"空间"与"时间"两个维度展开, 将纷繁芜杂的历史碎片串联起来, 再现民国时期大杭州中活跃的那些人、那些事, 使后来者深切体味前辈们曾经的所思所为, 进而对我们城市的文化精髓有更真切的感悟.

• ""Fron tCover""; ""Half-title""; ""Title""; ""Copyright""; ""Contents""; ""Acknowledgements""; ""Introduction: Collecting Junk/Collecting Memory""; ""
• Chapter 1: The Trash of History: The Timeliness of Benjamins Dialectical Images""

• ""
• Chapter 2: Fossilizing the Commodity: Ricky Swallows Art of Crafting Time in Postmodern Culture""""
• Chapter 3: China China: Autoethnography as Literal Translation in Ah Xian's Porcelain Forms ""; ""
• Chapter 4: Melancholy Debris: Black Humour and Colonial Memory in Work by Julie Gough ""

• ""
• Chapter 5: Australian Modernity: The Metaphorics of Mining in Donna Marcus Compositions""""After-Images: Visualising Difference""; ""Works Cited""; ""BackCover""

Taking as its starting point four contemporary visual artists whose work utilizes the conventions of museum display and collecting practices, "Memory Fragments" examines how these artists have reconfigured dominant representations of Australian history and identity, including viewpoints often marginalized by gender and race. Echoing Walter Benjamin's reflections on history and time, this interdisciplinary volume will be of interest to scholars working in the arts as well as modern and postmodern cultural studies.
(source: Nielsen Book Data)

• Jean Arp essay
• Joe Brainard collaborations
• ARTnews reviews
• Essays and collaborations
• Poetry.

"Offers a selection of Guest's work on art written between the 1950's and 2000"--Introd.

• Acknowledgements; List of Contributors; List of Illustrations; Foreword; Introduction; Part One Iconographic Invention in the Life of Mary Magdalene; Chapter One The Magdalene as Mirror: Trecento Franciscan Imagery in the Guidalotti-Rinuccini Chapel, Florence; Chapter Two Mary Magdalene and Her Dear Sister: Innovation in the Late Medieval Mural Cycle of Santa Maddalena in Rencio (Bolzano); Chapter Three The German Iconography of the Saint Magdalene Altarpiece: Documenting Its Context; Part Two Mary Magdalene as the Reformed Sinner.

• Chapter Four The Printed Penitent: Magdalene Imagery and Prostitution Reform in Early Modern Italian Chapbooks and BroadsheetsChapter Five Tintoretto's Holy Hermits at the Scuola Grande di San Rocco; Chapter Six Irony and Realism in the Iconography of Caravaggio's Penitent Magdalene; Part Three Noli me Tangere: Mary Magdalene, the Witness; Chapter Seven The Gaze in the Garden: Mary Magdalene in Noli me Tangere; Chapter Eight Michelangelo's Noli Me Tangere for Vittoria Colonna, and the Changing Status of Women in Renaissance Italy.

• Chapter Nine Woman, Why Weepest Thou? Rembrandt's 1638 Noli Me Tangere as a Dutch Calvinist Visual TypologyPart Four Patronage and Privilege: The Magdalene as Guardian and Advocate; Chapter Ten The Magdalene and 'Madame': Piety, Politics, and Personal Agenda in Louise of Savoy's Vie de la Magdalene; Chapter Eleven Mary Magdalene Between Public Cult and Personal Devotion in Correggio's Noli Me Tangere; Chapter Twelve Reflections on a Glass Madeleine Pénitente; Part Five Fusion and Flexibility: The Magdalene's Role Transformed; Chapter Thirteen Exorcism in the Iconography of Mary Magdalene.

• Chapter Fourteen "Woman, Why Weepest Thou?" Mary Magdalene, the Virgin Mary and the Transformative Power of Holy Tears in Late Medieval Devotional PaintingChapter Fifteen Mary Magdalene and the Iconography of Domesticity; Chapter Sixteen Marketing Mary Magdalene in Early Modern Northern European Prints and Paintings; Bibliography; Index.

Mary Magdalene, Iconographic Studies from the Middle Ages to the Baroque examines the iconographic inventions in Magdalene imagery and the contextual factors that shaped her representation in visual art from the fourteenth to the seventeenth centuries.