Jacqueline Jung, who joined Yale’s History of Art department in Spring 2007 after teaching at the University of California-Berkeley (2003-06) and Middlebury College (2002-03), specializes in the art and architecture of the medieval West, with an emphasis on the figural sculpture of Gothic Germany. Her teaching has thus far encompassed the history of medieval sculpture, images of death and apocalypse, art and ritual in the Middle Ages, Gothic cathedrals, medieval image-theory, medieval memory practices, and the relations between visionary experience and art in various media. The latter topic forms the subject of her newest article “The Tactile and the Visionary: Notes on the Place of Sculpture in the Medieval Religious Imagination,” forthcoming in a volume from the Index of Christian Art in 2009. Professor Jung’s dissertation, completed at Columbia University in 2002, examined the ritual, spatial, and iconographic dimensions of the thirteenth-century choir screen of Naumburg Cathedral; this monument that plays a prominent role in her larger book project, The Gothic Screen: Sacred Sculpture and Social Space in the Medieval Cathedral, finally nearing completion. The first article related to that project, published in the Art Bulletin in 2000, won the Arthur Kingsley Porter Prize for an especially distinguished article by a younger scholar. In addition, Professor Jung has translated several seminal art-historical studies from German, most notably Aloïs Riegl’s Historical Grammar of the Visual Arts (Zone, 2004). While a Fellow at the American Academy in Berlin in Spring 2006, she began research a new book project, Eloquent Bodies in German Gothic Art, which addresses various facets of sensory, physical, and emotional experience and expression in the figural arts of later medieval Germany—a project that will occupy her during her leave in the calendar year 2009.

Selected Publications
“The Passion, the Jews, and the Crisis of the Individual on the Naumburg West Choir Screen,” in Beyond the Yellow Badge: Anti-Judaism and Anti-Semitism in Medieval and Early Modern Visual Culture, ed. Mitchell B. Merback (Boston and Leiden: Brill, 2008), 145-77, 469-83.

“Beyond the Barrier: The Unifying Role of the Choir Screen in Gothic Churches.” Art Bulletin 82 (Dec. 2000): 622-57.

“Peasant Meal or Lord’s Feast? The Social Iconography of the Naumburg Last Supper.” Gesta 42 (2003): 39-61.

“Dynamic Bodies and the Beholder’s Share: The Wise and Foolish Virgins of Magdeburg Cathedral,” in Bild und Körper im Mittelalter, ed. Kristin Marek et al. (Munich: Wilhelm Fink, 2006), 135-60.

“Seeing through Screens: The Gothic Choir Enclosure as Frame,” in Thresholds of the Sacred: Architectural, Art Historical, Liturgical and Theological Perspectives on Religious Screens, East and West, ed. Sharon Gerstel (Cambridge: Harvard University Press, 2006), 185-213.

“Crystalline Wombs and Pregnant Hearts: The Exuberant Bodies of the Katharinenthal Visitation Group,” in History in the Comic Mode: Medieval Communities and the Matter of Person, ed. Rachel Fulton and Bruce W. Holsinger (New York: Columbia University Press, 2007).

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