艾丽西亚•沃克

Professor Walker’s primary fields of research include cross-cultural artistic interaction in the medieval world from the ninth to thirteenth centuries and gender issues in the art and material culture of Byzantium. 她的第一部专著， The Emperor and the World: Exotic Elements and the Imaging of Middle Byzantine Imperial Power, was published by Cambridge University Press in 2012. 她是文集的联合编辑 Negotiating Secular and Sacred in Medieval Art. 基督教，伊斯兰教，佛教 (Ashgate, 2009)和 交换机制:传递, Scale, and Interaction in the Arts and Architecture of the Medieval Mediterranean, 1000-1500 (布瑞尔,2012年). She has published essays on topics including medieval inter-cultural artistic transmission, the role of women in Byzantine art and culture, and the function and meaning of early Byzantine marriage jewelry. Her work has appeared in journals including Muqarnas, Gesta, Ars胶, 图像学研究, The 中世纪历史杂志, and 艺术通讯.

课程提供

Professor Walker leads courses on Byzantine, 中世纪伊斯兰, and western medieval art and architecture and modern medievalism, 包括以下内容:

Lectures

Introduction to Medieval Art and Architecture

Byzantine Textiles in Life, Death, and Afterlife

Introduction to Medieval Islamic Art and Architecture

全球中世纪的艺术

布林莫尔大厦

研讨会

Gendered Objects, Gendered Images in Byzantium

Kings, Caliphs, and Emperors: Images of Authority in the Era of the Crusades

测量拜占庭

错综复杂的对象

迦太基:从别处看

伊斯兰教的圣地

君士坦丁堡，城市女王

最近的奖项、奖助金及奖学金:

Marie Neuberger Fund for the Study of Arts, 推荐全球十大博彩公司排行榜, 2017-2022, 2012-2017

The Alliance to Advance Liberal Arts Colleges (AALAC) Faculty Workshop Grant, 2018

基督教的R. 玛丽·F. Lindback Foundation Award for Distinguished Teaching, 推荐全球十大博彩公司排行榜, 2016

查尔斯一. Ryskamp Research Fellowship, American Council of Learned Societies, 2015 (held 2016-2017)

研究生院导师奖, designated by the 研究生 School of Arts and Science, 推荐全球十大博彩公司排行榜, 2014

选择出版物

书籍和编辑卷

The Emperor and the World: Exotic Elements and the Imaging of Middle Byzantine Imperial Power (剑桥大学出版社，2012).

希瑟·格罗斯曼， 交换机制:传递, Scale, and Interaction in the Arts and Architecture of the Medieval Mediterranean, 1000-1500 (布瑞尔,2012年).

Amanda Luyster， Negotiating Secular and Sacred in Medieval Art. 基督教，伊斯兰教，佛教 (Ashgate, 2009).

近期的公共人文项目

联合导演(与Christian Atiyeh合作), Re-excavating Carthage: Digitization and Online Publication of the White Fathers’ Archives (Rome), 在线档案目录编辑: “The White Fathers at Carthage: The Collection of the General Archives, 非洲传教士会.)，意大利罗马，” 2013年秋季至今. 

建议联合策展人(与Carrie Robbins)， “ReconTEXTILEize: Byzantine Textiles from Late Antiquity to the Present,” 18 April 18 to 2 June 2019, 推荐全球十大博彩公司排行榜.

精选文章及散文

“Bootstrapping the Soft History of Female Subjecthood in the Middle Ages,” 《推荐全球十大博彩公司排行榜》，2020年4月16日.

“Integrated yet Segregated: Eastern Islamic Art in Twelfth-Century Byzantium,罗西查·施罗德和安德里亚·林的文章, eds., 纪念亨利·马奎尔的节日, pp. 387-406. 伦敦:Taylor and Francis, 2020.

“The Emperor at the Threshold: Making and Breaking Taxis at Hagia Sophia,” in Shaun Tougher, ed., 拜占庭帝国的皇帝, Papers from the 47th Spring Symposium of Byzantine Studies, Cardiff, 2014年4月, 281-321. London; New York: Routledge, Taylor & 弗朗西斯集团，2019.

“Iconomachy in Byzantium,” in ChristianeGruber and Stefano Carboni, eds., 伊斯兰艺术中的形象， 86-103. 伯克利:银杏出版社，2019.

“The Beryozovo Cup: A Byzantine Object at the Crossroads of Twelfth-Century Eurasia,” 中世纪地球仪 3.2 (2017): 125-48.

“Laughing at Eros and Aphrodite: Sexual Inversion and Its Resolution in the Classicizing Arts of Medieval Byzantium,玛格丽特·亚历克西乌和道格拉斯·凯恩斯的文章, eds., Greek Laughter and Tears: Late Antiquity, Byzantium and Beyond, 263-87. Edinburgh: University of Edinburgh Press, 2017.

“Pseudo-Arabic ‘Inscriptions’ and the Pilgrim’s Path at Hosios Loukas,” in Antony Eastmond, ed., Viewing Inscriptions in the Late Antique and Medieval World, 99-123. Cambridge: Cambridge University Press, 2015.

“Magic in Medieval Byzantium,” in David Collins, ed., The Cambridge History of Magic and Demonology in the West, 209-34. 纽约:剑桥大学出版社，2015.

“The Emperor as Cosmopolitan Ruler: Imaging Middle Byzantine Imperial Power,艾拉Ödekan, Nevra Necipoğlu, 和Engin akyrek, eds., The Byzantine Court: Source of Power and Culture, Papers from the Second International Sevgi Gönül Byzantine Studies Symposium, 67-72. 伊斯坦布尔:Koç大学出版社，2013.

“Islamicizing Motifs in Byzantine Lead Seals: Exoticizing Style and the Expression of Identity,” in Contextualising Choices: Islamicate Elements in European ArtsVera Beyer和Isabelle Dolezalek主编.的特刊 中世纪历史杂志 15.2 (2012): 381-408.

“‘The Art that Does Not Think’: Byzantine ‘Decorative Arts’ – History and Limits of a Concept,” 图像学研究 34 (2012): 169-93.

“全球主义”, Medieval Art History Today – Critical Terms的特刊 图像学研究 33 (2012): 183-96.

《推荐全球十大博彩公司排行榜》，1999年 The Encyclopedia of the Bible and Its Reception 6. Berlin; Boston: Walter De Gruyter, 2012.

“Off the Page and Beyond Antiquity: Ancient Romance in Medieval Byzantine Silver,” in Marília P. future Pinheiro和Stephen J. 哈里森,eds., Fictional Traces: Receptions of the Ancient Novel, vol. 1, 55-68. 格罗宁根:Barkhuis Publishing & 格罗宁根大学图书馆，2011.

“Numismatic and Metrological Parallels for the Iconography of Early Byzantine Marriage Jewelry. 《推荐全球十大博彩公司排行榜》 我是莫瑞森的特刊 Travaux et msammoires 16 (2010; published 2011): 1-14.

“Middle Byzantine Aesthetics and the Incomparability of Islamic Art: The Architectural Ekphraseis of Nikolaos Mesarites,” Muqarnas 27 (2010): 79-101.

“Patterns of Flight: Middle Byzantine Appropriation of the Chinese Feng-Huang Bird,” Ars胶 37 (2010): 188-216.

中文翻译: Translation Collection of Tsinghua's History (2015).

“Cross-cultural Reception in the Absence of Texts: The Islamic Appropriation of a Middle Byzantine Rosette Casket,” Gesta 47/2 (2008; published 2009): 99-122.

“Meaningful Mingling: Classicizing Imagery and Islamicizing Script in a Byzantine Bowl,” 艺术通讯 90/1 (2008): 32-53.

“Myth and Magic in Early Byzantine Marriage Jewelry: The Persistence of Pre-Christian Traditions,安妮·麦克拉南和凯伦Encarnación, eds., The Material Culture of Sex, Procreation, and Marriage in Premodern Europe, pp. 59-78. 纽约:帕尔格雷夫出版社，2002.