Jacqueline Jung, who joined Yale’s History of Art department in spring 2007 after teaching at the University of California-Berkeley and Middlebury College, specializes in the art and architecture of the medieval West, with an emphasis on the figural sculpture of Gothic Germany and France. Her teaching encompasses 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, monumental narrative arts, the body as medium in medieval art and culpture, and interrelations between art and visionary experience. During the summers of 2007 and 2008 she investigated the latter topic as a participant in a SIAS seminar called The Vision Thing: Studying Divine Intervention, hosted by the Center for Advanced Study in the Behavioral Sciences (Stanford, CA) and the Collegium Budapest (Hungary).
Professor Jung completed her graduate studies in 2002 at Columbia University, with a dissertation on the ritual, spatial, and iconographic dimensions of the thirteenth-century choir screen of Naumburg Cathedral. Her first book, The Gothic Screen: Space, Sculpture, and Community in the Cathedrals of France and Germany, ca. 1200-1400 (New York: Cambridge University Press, 2013), expands on that project to incorporate surviving screens and sculptural fragments from Bourges, Chartres, Paris, Mainz, Strasbourg, and elsewhere. The book has been awarded the Samuel and Ronnie Heyman Prize for Outstanding Publication by a junior faculty member in the Humanities at Yale University, and has been named a finalist for the 2014 Charles Rufus Morey book award from the College Art Association. An early article on choir screens, published in the Art Bulletin in 2000, won the Arthur Kingsley Porter Prize for an especially distinguished article by a younger scholar.
In addition to her own scholarship, 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 theAmerican Academy in Berlin in spring 2006, she began to work on various facets of sensory, physical, and emotional experience and expression in the figural arts of later medieval Germany. During her leave year (2013-14) she is developing that research into a new book titled Eloquent Bodies: Movement and Charisma in Gothic Sculpture.
Much to her regret, Professor Jung is not related to the famous Carl.
The Gothic Screen: Space, Sculpture, and Community in the Cathedrals of France and Germany, ca. 1200-1400 (Cambridge: Cambridge University Press, 2013).
“Liturgical Furnishings and Material Splendor in the Gothic Church,” for The Cambridge History of Religious Architecture of the World, general ed. Richard Etlin; volume on Medieval Christian Architecture, ed. Stephen Murray (Cambridge: Cambridge University Press, forthcoming 2016).
“Moving Viewers, Moving Pictures: The Portal as Montage on the Strasbourg South Transept,” in Mouvement/Bewegung: Über die dynamischen Potenziale der Kunst, ed. Andreas Beyer and Guillaume Cassegrain (Berlin: Deutscher Kunstverlag, 2015), 23-44
“The Portal from San Vicente Martír in Frías: Sex, Violence, and the Comfort of Community in Thirteenth-Century Sculpture Program at The Cloisters,” in Theologisches Wissen und die Kunst: Festschrift für Martin Büchsel, ed. Rebecca Müller, Anselm Rau, and Johanna Scheel (Berlin: Gebr. Mann 2015), 369-82.
“The Kinetics of Gothic Sculpture: Movement and Apprehension in the South Transept of Strasbourg Cathedral and the Chartreuse de Champmol in Dijon,” in Mobile Eyes: Peripatetisches Sehen in den Bildkulturen der Vormoderne, ed. David Ganz and Stefan Neuner (Munich: Wilhelm Fink, 2013), 132-63.
B.A., University of Michigan, 1993
1991-1992: Ludwig-Maximilians-Universität, Munich
M.A., Columbia University, 1995
Ph.D., Columbia University, 2002