{"title":"[III. Introduction]","authors":"A. Violi","doi":"10.2307/j.ctv12sdvn4.16","DOIUrl":"https://doi.org/10.2307/j.ctv12sdvn4.16","url":null,"abstract":"","PeriodicalId":220682,"journal":{"name":"Bodies of Stone in the Media, Visual Culture and the Arts","volume":"97 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132020270","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
According to the basic assumption that monuments are the aesthetic mediators of memory—primarily the memory of the dead—the essay aims to discuss the imaginary of the body as a sepulchral monument. Taking as a starting point the legend of Artemisia of Caria, who celebrated the memory of her dead husband/brother Mausolus both by having the Mausoleum of Halicarnassus erected and by drinking Mausolus’ ashes so as to turn herself into his living sarcophagus, the analytic focus is on the replication of similar symbolic practices in contemporary culture, namely in the field of organ transplantation. The transplanted patient receives and preserves within his/her body the organ of the deceased donor, thus becoming, even if unintentionally, the donor’s memorial monument.
根据纪念碑是记忆(主要是死者的记忆)的审美媒介这一基本假设，本文旨在讨论将身体想象为坟墓纪念碑的问题。以Caria的Artemisia of Caria的传说为起点，她为了纪念死去的丈夫/兄弟Mausolus，既建立了Halicarnassus陵墓，又喝下了Mausolus的骨灰，把自己变成了他的活石棺，分析的重点是在当代文化中类似的象征性实践的复制，即在器官移植领域。移植的病人接受并保留了已故供者的器官，从而成为供者的纪念纪念碑，即使是无意的。
{"title":"Monuments of the Heart:","authors":"S. Damiani","doi":"10.2307/j.ctv12sdvn4.27","DOIUrl":"https://doi.org/10.2307/j.ctv12sdvn4.27","url":null,"abstract":"According to the basic assumption that monuments are the aesthetic\u0000 mediators of memory—primarily the memory of the dead—the essay\u0000 aims to discuss the imaginary of the body as a sepulchral monument.\u0000 Taking as a starting point the legend of Artemisia of Caria, who celebrated\u0000 the memory of her dead husband/brother Mausolus both by having the\u0000 Mausoleum of Halicarnassus erected and by drinking Mausolus’ ashes so\u0000 as to turn herself into his living sarcophagus, the analytic focus is on the\u0000 replication of similar symbolic practices in contemporary culture, namely\u0000 in the field of organ transplantation. The transplanted patient receives\u0000 and preserves within his/her body the organ of the deceased donor, thus\u0000 becoming, even if unintentionally, the donor’s memorial monument.","PeriodicalId":220682,"journal":{"name":"Bodies of Stone in the Media, Visual Culture and the Arts","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133347500","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Theatre and Memory:","authors":"Greta Perletti","doi":"10.2307/j.ctv12sdvn4.5","DOIUrl":"https://doi.org/10.2307/j.ctv12sdvn4.5","url":null,"abstract":"","PeriodicalId":220682,"journal":{"name":"Bodies of Stone in the Media, Visual Culture and the Arts","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115988412","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Ephemeral Cathedral:","authors":"V. Hediger","doi":"10.2307/j.ctv12sdvn4.9","DOIUrl":"https://doi.org/10.2307/j.ctv12sdvn4.9","url":null,"abstract":"","PeriodicalId":220682,"journal":{"name":"Bodies of Stone in the Media, Visual Culture and the Arts","volume":"104 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128576350","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Well-Tempered Memorial:","authors":"A. Pinotti","doi":"10.2307/j.ctv12sdvn4.26","DOIUrl":"https://doi.org/10.2307/j.ctv12sdvn4.26","url":null,"abstract":"","PeriodicalId":220682,"journal":{"name":"Bodies of Stone in the Media, Visual Culture and the Arts","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127540005","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-29DOI: 10.5117/9789089648525_chii05
A. Somaini
Funereal images are characterised by a peculiar dialectic tension between presence and absence that plays a crucial role in understanding the anthropological roots of image-making tout court. Building on Bazin and Eisenstein’s remarks about the longue durée of funerary practices aimed at preserving the visual appearances of dead bodies after their disappearance due to physical decay, this essay offers a genealogy of techniques that from casting, moulding and embalming eventually leads to the recording of images onto celluloid film. The death mask, in particular, with its capacity of capturing and fixing through the imprint process the traits of a face that was once alive, seems to respond to that same need to arrest time and ‘secure phenomena’ to which photography and cinema would later respond.
{"title":"The Celluloid and the Death Mask : Bazin’s and Eisenstein’s Image Anthropology","authors":"A. Somaini","doi":"10.5117/9789089648525_chii05","DOIUrl":"https://doi.org/10.5117/9789089648525_chii05","url":null,"abstract":"Funereal images are characterised by a peculiar dialectic tension between\u0000 presence and absence that plays a crucial role in understanding the anthropological\u0000 roots of image-making tout court. Building on Bazin and\u0000 Eisenstein’s remarks about the longue durée of funerary practices aimed at\u0000 preserving the visual appearances of dead bodies after their disappearance\u0000 due to physical decay, this essay offers a genealogy of techniques that from\u0000 casting, moulding and embalming eventually leads to the recording of\u0000 images onto celluloid film. The death mask, in particular, with its capacity\u0000 of capturing and fixing through the imprint process the traits of a face\u0000 that was once alive, seems to respond to that same need to arrest time and\u0000 ‘secure phenomena’ to which photography and cinema would later respond.","PeriodicalId":220682,"journal":{"name":"Bodies of Stone in the Media, Visual Culture and the Arts","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122111537","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
At the 54th Venice Biennale, Urs Fischer presented the most monumental of his ‘candles’: a 1:1 scale replica of Giambologna’s The Rape of the Sabine Women. Together with two other wax sculptures—a copy of his favourite studio chair (a self-portrait) and the life-size statue of Rudolf Stingel (an alter ego)—it formed quite an eclectic sculptural group. But this ‘untitled’ installation was far from being an exercise in monumentality. At the Biennale opening, the sculptures were lit through candle wicks hidden in their bodies and started to melt. Though copies replaced the ‘originals’, Untitled resulted in a mass of ruins. More than a memento mori, it showed the passage of time focusing on the afterlife of images.
在第54届威尼斯双年展上，乌尔斯·费舍尔(Urs Fischer)展示了他最具纪念意义的“蜡烛”:詹博洛尼亚(Giambologna)的《强奸萨宾妇女》(the Rape of the Sabine Women)的1:1比例复制品。连同另外两个蜡像——他最喜欢的工作室椅子的复制品(自画像)和鲁道夫·斯廷格尔的真人大小的雕像(另一个自我)——组成了一个相当不拘一格的雕塑团体。但这个“无题”的装置远不是一个纪念性的练习。在双年展开幕式上，这些雕塑被藏在身体里的烛芯点燃，开始融化。虽然复制品取代了“原件”，但无题导致了大量的废墟。它不仅仅是一个死亡的纪念，它展示了时间的流逝，聚焦于死后的图像。
{"title":"Ephemeral Bodies: The ‘Candles’ of Urs Fischer","authors":"C. Baldacci","doi":"10.2307/j.ctv12sdvn4.14","DOIUrl":"https://doi.org/10.2307/j.ctv12sdvn4.14","url":null,"abstract":"At the 54th Venice Biennale, Urs Fischer presented the most monumental\u0000 of his ‘candles’: a 1:1 scale replica of Giambologna’s The Rape of the Sabine\u0000 Women. Together with two other wax sculptures—a copy of his favourite\u0000 studio chair (a self-portrait) and the life-size statue of Rudolf Stingel (an\u0000 alter ego)—it formed quite an eclectic sculptural group. But this ‘untitled’\u0000 installation was far from being an exercise in monumentality. At the\u0000 Biennale opening, the sculptures were lit through candle wicks hidden\u0000 in their bodies and started to melt. Though copies replaced the ‘originals’,\u0000 Untitled resulted in a mass of ruins. More than a memento mori, it showed\u0000 the passage of time focusing on the afterlife of images.","PeriodicalId":220682,"journal":{"name":"Bodies of Stone in the Media, Visual Culture and the Arts","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122154302","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-29DOI: 10.5117/9789089648525_chiii05
Luca Malavasi
Focusing on two TV series, the French Les Revenants and the American The Leftovers, the essay aims to analyse the cultural and techno-scientific paradigm of animation of the inanimate and its opposite, which may range from reification and ghostly disembodiment to a redefinition of what the human is. Driven by an apocalyptic imaginary, both television projects revolve around the failure of the natural order to distinguish and separate life from death; therefore, they revolve as well around the crisis of the psychological, social and ritual processes through which life, by working through the thought of death, allows the subject to make sense of time and reality—that is, to perceive and understand the finitude of things and the mortality of bodies.
{"title":"Bodies’ Strange Stories : Les Revenants and The Leftovers","authors":"Luca Malavasi","doi":"10.5117/9789089648525_chiii05","DOIUrl":"https://doi.org/10.5117/9789089648525_chiii05","url":null,"abstract":"Focusing on two TV series, the French Les Revenants and the American\u0000 The Leftovers, the essay aims to analyse the cultural and techno-scientific\u0000 paradigm of animation of the inanimate and its opposite, which may\u0000 range from reification and ghostly disembodiment to a redefinition of\u0000 what the human is. Driven by an apocalyptic imaginary, both television\u0000 projects revolve around the failure of the natural order to distinguish and\u0000 separate life from death; therefore, they revolve as well around the crisis\u0000 of the psychological, social and ritual processes through which life, by\u0000 working through the thought of death, allows the subject to make sense\u0000 of time and reality—that is, to perceive and understand the finitude of\u0000 things and the mortality of bodies.","PeriodicalId":220682,"journal":{"name":"Bodies of Stone in the Media, Visual Culture and the Arts","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134638382","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-29DOI: 10.1017/9789048527069.001
A. Violi, B. Grespi, A. Pinotti, Pietro Conte
{"title":"Introduction: Learning from Stone","authors":"A. Violi, B. Grespi, A. Pinotti, Pietro Conte","doi":"10.1017/9789048527069.001","DOIUrl":"https://doi.org/10.1017/9789048527069.001","url":null,"abstract":"","PeriodicalId":220682,"journal":{"name":"Bodies of Stone in the Media, Visual Culture and the Arts","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127438350","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The essay starts with the photograph that reveals the mystery of Stanley Kubrick’s The Shining (1980) to introduce the notion of a fossil as a mineral compound that continues to evolve into something biologically distinct from the cadaver that provided its origin. The fossil represents a form of survival in stone, a material within which the dead body can continue to decay and so, in a certain sense, to live on. Considered to be a state of suspended animation, the fossil holds a particular attraction for the cinema, as we see in the character of Jack Torrance, a paradoxical figure who takes on a clear identity if we recognise him as a fossil—and more precisely a ‘living fossil’.
{"title":"On Jack Torrance As a Fossil Form","authors":"Barbara Le Maître","doi":"10.2307/j.ctv12sdvn4.18","DOIUrl":"https://doi.org/10.2307/j.ctv12sdvn4.18","url":null,"abstract":"The essay starts with the photograph that reveals the mystery of Stanley\u0000 Kubrick’s The Shining (1980) to introduce the notion of a fossil as a mineral\u0000 compound that continues to evolve into something biologically distinct from\u0000 the cadaver that provided its origin. The fossil represents a form of survival\u0000 in stone, a material within which the dead body can continue to decay\u0000 and so, in a certain sense, to live on. Considered to be a state of suspended\u0000 animation, the fossil holds a particular attraction for the cinema, as we see\u0000 in the character of Jack Torrance, a paradoxical figure who takes on a clear\u0000 identity if we recognise him as a fossil—and more precisely a ‘living fossil’.","PeriodicalId":220682,"journal":{"name":"Bodies of Stone in the Media, Visual Culture and the Arts","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129334976","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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