The 'Danse Macabre' of Women is a 15th-century French poem found in an illuminated late-medieval manuscript. This book contains reproductions of each manuscript folio, a translation and explanatory chapters by Ann Tukey Harrison. Art historian Sandra L. Hindman also contributes a chapter.

In the thralls of supernatural passion, Anita Blake faces a most human dilemma.

Includes a CD with a recording of Saint-Seans's Danse Macabre.

This groundbreaking collection of essays by a host of international authorities addresses the many aspects of the Danse Macabre, a subject that has been too often overlooked in Anglo-American scholarship. The Danse was once a major motif that occurred in many different media and spread across Europe in the course of the fifteenth century, from France to England, Germany, Scandinavia, Poland, Spain, Italy and Istria. Yet the Danse is hard to define because it mixes metaphors, such as dance, di ...

The Dance of Death Danse Macabre Hans Holbein With an introductory note by Austin Dobson Dance of Death, also called Danse Macabre, is an artistic genre of late-medieval allegory on the universality of death: no matter one's station in life, the Dance of Death unites all. The Danse Macabre consists of the dead or personified Death summoning representatives from all walks of life to dance along to the grave, typically with a pope, emperor, king, child, and labourer. They were produced as mementos mori, to remind people of the fragility of their lives and how vain were the glories of earthly life. Its origins are postulated from illustrated sermon texts; the earliest recorded visual scheme was a now-lost mural in the Saints Innocents Cemetery in Paris dating from 1424 to 1425.

The Dance Macabre (Paean on the nature of life and death as a Humanist Philosophy)in six cantos Danse Macabre (French), Danza Macabra (Italian and Spanish), or Totentanz (German), is a late-medieval allegory on the universality of death. Irrespective of one's class in life, the dance of death unites all. The idea consists of the personified death leading a row of dancing figures to the grave, typically with an emperor, king, youngster, and beautiful girl in the troupe. The image above reminds people of how fragile their lives and how vain the glories of earthly life are.[1] Its origins are postulated from illustrated sermon texts; the earliest artistic examples being in a cemetery in Paris circa 1424.

Elina Gertsman's multifaceted study introduces readers to the imagery and texts of the Dance of Death, an extraordinary subject that first emerged in western European art and literature in the late medieval era. Conceived from the start as an inherently public image, simultaneously intensely personal and widely accessible, the medieval Dance of Death proclaimed the inevitability of death and declared the futility of human ambition. Gertsman inquires into the theological, socio-historic, literary, and artistic contexts of the Dance of Death, exploring it as a site of interaction between text, image, and beholder. Pulling together a wide variety of sources and drawing attention to those images that have slipped through the cracks of the art historical canon, Gertsman examines the visual, textual, aural, pastoral, and performative discourses that informed the creation and reception of the Dance of Death, and proposes different modes of viewing for several paintings, each of which invited the beholder to participate in an active, kinesthetic experience.

Danse Macabre and Other Stories: A Psychoanalytic Perspective on Global Dynamics examines the world using a systemic and psychoanalytic lens, including concepts of splitting, separation, projection, displacement, and the return of the repressed. They consider what impact the disappearance of some iconic and psychic containers has on individuals' functioning and why we choose populist leaders to shore up our own social defences. They question why the world feels so threatening to the twenty-first-century linked-in citizens when the objective facts suggest that overall much is improving for the global citizen. Building on their previous work, Halina Brunning and Olya Khaleelee have created a coherent framework in order to conceptualise global dynamics within a matrix form. The matrix contains dialectic dynamic forces for both good and evil, love and hate, creation and destruction. They take a closer look at the plethora of phenomena which they see arising therein. Whilst the matrix holds steady, inside it is a world in constant flux, reconfiguring and rearranging itself, as if in a kaleidoscope, with inevitable and unavoidable turbulence, but - Brunning and Khaleelee hypothesise - with an underlying pattern that is available to be discerned and studied. Aware of this turbulence, Brunning and Khaleelee wish to share their view of the world in the hope of offering a containing reflection, capable of calming the nerves of the readers as well as their own.