Early Modern Work in P members of that group f especially Allison Stielau also grateful to Christoph and to Vedran Sulovsky research and image righ College, Cambridge, and Texas State University. 1. Raymond of Capu George Lamb (London, 1 of Capua], Legenda maio de Senis, ed. Silvia Noce videntibus, corpusculum erexit ac super genua sta Cumque sic diu staret to ac si fuisset quasi letalite quodammodo in instanti eius ad sensus corporeo
{"title":"Five invisible lines, before and after the Reformation","authors":"Andrew Chen","doi":"10.1086/720844","DOIUrl":"https://doi.org/10.1086/720844","url":null,"abstract":"Early Modern Work in P members of that group f especially Allison Stielau also grateful to Christoph and to Vedran Sulovsky research and image righ College, Cambridge, and Texas State University. 1. Raymond of Capu George Lamb (London, 1 of Capua], Legenda maio de Senis, ed. Silvia Noce videntibus, corpusculum erexit ac super genua sta Cumque sic diu staret to ac si fuisset quasi letalite quodammodo in instanti eius ad sensus corporeo","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"77-78 1","pages":"214 - 232"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41463041","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 a Catholic church of the Redemptorist order in Singapore, a crowd surrounds an icon of Our Mother of Perpetual Help (fig. 1). Concurrently, thousands come for the weekly devotions to Our Mother and her icon at the National Shrine in Baclaran, Philippines (fig. 2). Some walk the length of the long nave on their knees. The object of veneration in both churches is a handpainted copy of a fifteenth-century post-Byzantine icon, now in the Redemptorist church of Sant’Alfonso di Liguori in Rome, that has been called the most popular icon in the world today (figs. 3–4). Swathed in a dark blue cloak, Mary looks directly at viewers. Her right hand is held up; her long fingers point to her infant child whom she cradles in her left hand. The child Jesus grasps the thumb of her right hand and looks back at Gabriel, the angel at the right. Frightened and agitated by what he sees there, he is about to lose one sandal. Gabriel can be identified by his abbreviation, the Greek letter G; the archangel Michael is similarly labeled M. Gabriel carries a cross and four nails; Michael a brown jar from which extend two poles. Their tips are difficult to discern, but from other versions of the icon, these must be a sponge and a spear point. Jesus was tortured and killed at the Crucifixion by these objects: the nails affixed his limbs to the cross, a spear pierced his side, and the sponge gave
{"title":"From Crete to Singapore via Rome and St. Louis","authors":"R. S. Nelson","doi":"10.1086/722774","DOIUrl":"https://doi.org/10.1086/722774","url":null,"abstract":"At a Catholic church of the Redemptorist order in Singapore, a crowd surrounds an icon of Our Mother of Perpetual Help (fig. 1). Concurrently, thousands come for the weekly devotions to Our Mother and her icon at the National Shrine in Baclaran, Philippines (fig. 2). Some walk the length of the long nave on their knees. The object of veneration in both churches is a handpainted copy of a fifteenth-century post-Byzantine icon, now in the Redemptorist church of Sant’Alfonso di Liguori in Rome, that has been called the most popular icon in the world today (figs. 3–4). Swathed in a dark blue cloak, Mary looks directly at viewers. Her right hand is held up; her long fingers point to her infant child whom she cradles in her left hand. The child Jesus grasps the thumb of her right hand and looks back at Gabriel, the angel at the right. Frightened and agitated by what he sees there, he is about to lose one sandal. Gabriel can be identified by his abbreviation, the Greek letter G; the archangel Michael is similarly labeled M. Gabriel carries a cross and four nails; Michael a brown jar from which extend two poles. Their tips are difficult to discern, but from other versions of the icon, these must be a sponge and a spear point. Jesus was tortured and killed at the Crucifixion by these objects: the nails affixed his limbs to the cross, a spear pierced his side, and the sponge gave","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"77-78 1","pages":"141 - 156"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48600483","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}
of Chicago Press for the 1. James Clifford, “O Studies in Society and H relationship is the subjec of “Art, Materiality and R Anthropological Institute .org.uk/conferences/art-m 2. Elizabeth Harney Art, Indigeneity, Colonia Edwards, The Practice o of Black Internationalism 3. Jeremy MacClanc Observation, of British S of the Royal Anthropolo 4. MacClancy, “Brie mode d’inemploi: De qu malaise dans la civilisati Hainard and Roland Kae Narratives of a reluctant modernist
{"title":"Narratives of a reluctant modernist","authors":"E. Harney","doi":"10.1086/721852","DOIUrl":"https://doi.org/10.1086/721852","url":null,"abstract":"of Chicago Press for the 1. James Clifford, “O Studies in Society and H relationship is the subjec of “Art, Materiality and R Anthropological Institute .org.uk/conferences/art-m 2. Elizabeth Harney Art, Indigeneity, Colonia Edwards, The Practice o of Black Internationalism 3. Jeremy MacClanc Observation, of British S of the Royal Anthropolo 4. MacClancy, “Brie mode d’inemploi: De qu malaise dans la civilisati Hainard and Roland Kae Narratives of a reluctant modernist","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"77-78 1","pages":"1 - 14"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44390745","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":"Who wrote Renaissance art?","authors":"Kirsten J. Burke","doi":"10.1086/723448","DOIUrl":"https://doi.org/10.1086/723448","url":null,"abstract":"","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"77-78 1","pages":"233 - 249"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44514265","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}
(Dis)entangling Global E My thanks to all involve Tworek. Wendy Belcher Oldjira, an anonymous r suggestions that enriched Cory Gundlach, Joshua Fente Derbew (and fami advice. All translations a transliterations from the Classical Ethiopic in Twe Amharic and Təgrəñña fo Aethiopica, ed. Siegbert 1. See Gauvin Alexa Jesuit Corporate Culture Sciences, and the Arts, 1 Alexander Bailey, Steven 1999), 38–89; and Gauv Sebastiano Serlio, Giaco America,” Archivum His 2. “Ethiopia” here re empire (መንግሥተ ፡ኢትዮጵ dynasty that existed from and Eritrea. The ˀAksum which dates to around th extended into Yemen, p understudied Zage Chr day Amhara region from Throughout this text, “Eu essentialism, but is a sho reflects authorial self-ide “Africa” is not used with interrogate ideas of Afro
（Dis）纠缠全球E我感谢所有涉及特沃雷克。Wendy Belcher Oldjira，一个匿名的r建议，丰富了Cory Gundlach，Joshua Fente Derbew（和家庭建议。所有翻译都是从二十阿姆哈拉语和埃蒂奥皮卡语中的古典埃塞俄比亚语音译而来，编Siegbert 1。见Gauvin Alexa Jesuit Corporate Culture Sciences，and the Arts，1 Alexander Bailey，Steven 1999），38-89；和Gauv Sebastiano Serlio，Giaco America，“Archivum His 2。“埃塞俄比亚”在这里重建帝国(መንግሥተ ፡ኢትዮጵ 存在于和厄立特里亚的王朝。Aksum可以追溯到世纪前后，延伸到也门，p understudie Zage Chr day Amhara地区。在整个文本中，“Eu本质主义，但是一个反映作者自我的sho”非洲“没有与非洲的审问思想一起使用
{"title":"Ethiopian architecture during the reign of Emperor Susənyos (1607–1632)","authors":"Kristen D. Windmuller-Luna","doi":"10.1086/721272","DOIUrl":"https://doi.org/10.1086/721272","url":null,"abstract":"(Dis)entangling Global E My thanks to all involve Tworek. Wendy Belcher Oldjira, an anonymous r suggestions that enriched Cory Gundlach, Joshua Fente Derbew (and fami advice. All translations a transliterations from the Classical Ethiopic in Twe Amharic and Təgrəñña fo Aethiopica, ed. Siegbert 1. See Gauvin Alexa Jesuit Corporate Culture Sciences, and the Arts, 1 Alexander Bailey, Steven 1999), 38–89; and Gauv Sebastiano Serlio, Giaco America,” Archivum His 2. “Ethiopia” here re empire (መንግሥተ ፡ኢትዮጵ dynasty that existed from and Eritrea. The ˀAksum which dates to around th extended into Yemen, p understudied Zage Chr day Amhara region from Throughout this text, “Eu essentialism, but is a sho reflects authorial self-ide “Africa” is not used with interrogate ideas of Afro","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"77-78 1","pages":"184 - 201"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49252137","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}
Crossing the dense forests of central Brazil in 1887–88, Karl von den Steinen became a firsthand witness to what he was convinced was the archaic origin of art. In the published report of his expedition along the upper Xingu River, the German ethnologist recounted how his party’s canoe approached a sand beach, which their indigenous escorts had already passed before them. To their surprise, the crew saw two fishes drawn there in the sand. Steinen’s informant, a young Bakairi man named Antonio, identified them as matrinxã, a local species of freshwater fish (fig. 1). “We stopped there and went fishing,” writes Steinen, “and lo, we caught matrinxã! It was as good as if the word had been written there, as if deliberately inviting Antonio as well to try his luck there.” For the ethnologist, this moment signified nothing less than a primal scene from the very dawn of human culture. Through it he could relive, as in a flash, the “distant course of the evolution of Xingu art” and, indeed, of art in general. “Among the natural peoples [Naturvölker],” he extrapolated, “drawing is used like a gesture to communicate something and not in order to reproduce graceful forms; and based on the personal impression I gained from the immediacy of explanatory drawing, I believe that it is older than ornamental, artistic drawing.” He thus surmised that drawing in the sand, which after all requires no tools, must have emerged as the first recourse when gesture or vocal mimicry no longer sufficed to communicate. For Steinen’s metropolitan readers, this communicational theory of art put forward a potent new account of
1887-88年，卡尔·冯·登·斯泰宁（Karl von den Steinen）穿越巴西中部的茂密森林，亲眼目睹了他所确信的艺术的古老起源。在他沿新古河上游探险的已发表报告中，这位德国民族学家讲述了他一行的独木舟是如何接近沙滩的，而他们的土著护卫队已经在他们面前经过了沙滩。令他们惊讶的是，船员们看到沙子里有两条鱼。Steinen的线人，一位名叫Antonio的年轻巴凯里人，确认它们是当地的一种淡水鱼（图1）。“我们在那里停下来钓鱼，”Steinen写道，“瞧，我们抓到了matrinxã！这就像这个词是在那里写的一样好，就像是故意邀请Antonio去那里碰碰运气一样。”对这位民族学家来说，这一刻象征着人类文化诞生之初的原始场景。通过它，他可以在一瞬间重温“新谷艺术进化的遥远历程”，甚至是整个艺术的进化历程。“在自然人（Naturvölker）中，”他推断道，“绘画就像是一种交流的姿态，而不是为了再现优美的形式；基于我从解释性绘画的即时性中获得的个人印象，我相信它比装饰性的艺术绘画更古老。”他因此推测，毕竟不需要任何工具，当手势或声音模仿不再足以进行交流时，它一定是第一种手段。对于斯泰宁的大都市读者来说，这种艺术传播理论对
{"title":"The origins of art around 1900","authors":"Matthew Vollgraff","doi":"10.1086/722290","DOIUrl":"https://doi.org/10.1086/722290","url":null,"abstract":"Crossing the dense forests of central Brazil in 1887–88, Karl von den Steinen became a firsthand witness to what he was convinced was the archaic origin of art. In the published report of his expedition along the upper Xingu River, the German ethnologist recounted how his party’s canoe approached a sand beach, which their indigenous escorts had already passed before them. To their surprise, the crew saw two fishes drawn there in the sand. Steinen’s informant, a young Bakairi man named Antonio, identified them as matrinxã, a local species of freshwater fish (fig. 1). “We stopped there and went fishing,” writes Steinen, “and lo, we caught matrinxã! It was as good as if the word had been written there, as if deliberately inviting Antonio as well to try his luck there.” For the ethnologist, this moment signified nothing less than a primal scene from the very dawn of human culture. Through it he could relive, as in a flash, the “distant course of the evolution of Xingu art” and, indeed, of art in general. “Among the natural peoples [Naturvölker],” he extrapolated, “drawing is used like a gesture to communicate something and not in order to reproduce graceful forms; and based on the personal impression I gained from the immediacy of explanatory drawing, I believe that it is older than ornamental, artistic drawing.” He thus surmised that drawing in the sand, which after all requires no tools, must have emerged as the first recourse when gesture or vocal mimicry no longer sufficed to communicate. For Steinen’s metropolitan readers, this communicational theory of art put forward a potent new account of","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"77-78 1","pages":"15 - 30"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49487475","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":"Myth, ritual, and the Classic-period Maya sweat bath","authors":"M. E. Clarke","doi":"10.1086/723449","DOIUrl":"https://doi.org/10.1086/723449","url":null,"abstract":"settings and stages of","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"77-78 1","pages":"48 - 68"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43412871","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}
When thunder strikes, Papageno cries out and drops to the ground: “A terrible chord with all instruments. Thunder, lightning, and banging; at the same time two powerful thunderclaps . . . Papageno: ‘Alas! Alas! Alas!’ He falls to the ground.” When asked to get up, he refuses: “I am lying in a faint!” Tamino, however, remains unshaken. Thunder and lightning, fear and terror—nothing can turn the hero of Mozart’s The Magic Flute (1791) from the course of virtue and wisdom. This article will tell the Enlightenment’s story of humanity’s emergence from thunder: from a terrible thunder storm in the German town of Greifswald to despotic rulers on the opera stage and finally to the spectacles of the so-called thunder house. Thunder is not a single acoustic event but an interplay of several sounds that can be distinguished as bangs, rollings, and echoes. The actual thunderclap, which suddenly startles us, is produced by an explosion. When lightning passes through humid air, it heats up very quickly and expands in a shock wave. These shocks can occur in quick succession, and individual components of their frequency travel at various speeds to create the characteristic rumbling of thunder that invites anthropomorphization (as a roar, for instance). This unique sound quality is central to the cultural history of thunder, as is its multimodality: thunder is necessarily preceded by lightning, with its enormous destructive potential. Thus, thunder appears as an acoustic indicator of impending destruction. Even
{"title":"Emerging from stupor","authors":"Nicola Gess","doi":"10.1086/721447","DOIUrl":"https://doi.org/10.1086/721447","url":null,"abstract":"When thunder strikes, Papageno cries out and drops to the ground: “A terrible chord with all instruments. Thunder, lightning, and banging; at the same time two powerful thunderclaps . . . Papageno: ‘Alas! Alas! Alas!’ He falls to the ground.” When asked to get up, he refuses: “I am lying in a faint!” Tamino, however, remains unshaken. Thunder and lightning, fear and terror—nothing can turn the hero of Mozart’s The Magic Flute (1791) from the course of virtue and wisdom. This article will tell the Enlightenment’s story of humanity’s emergence from thunder: from a terrible thunder storm in the German town of Greifswald to despotic rulers on the opera stage and finally to the spectacles of the so-called thunder house. Thunder is not a single acoustic event but an interplay of several sounds that can be distinguished as bangs, rollings, and echoes. The actual thunderclap, which suddenly startles us, is produced by an explosion. When lightning passes through humid air, it heats up very quickly and expands in a shock wave. These shocks can occur in quick succession, and individual components of their frequency travel at various speeds to create the characteristic rumbling of thunder that invites anthropomorphization (as a roar, for instance). This unique sound quality is central to the cultural history of thunder, as is its multimodality: thunder is necessarily preceded by lightning, with its enormous destructive potential. Thus, thunder appears as an acoustic indicator of impending destruction. Even","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"77-78 1","pages":"120 - 132"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44883711","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":"Roberto Calasso and Robert Farris Thompson, in memoriam","authors":"","doi":"10.1086/723544","DOIUrl":"https://doi.org/10.1086/723544","url":null,"abstract":"","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"77-78 1","pages":"i - i"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47264258","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}
Raphael’s fresco of Philosophy was painted in about 1510 in what was then Pope Julius II’s library (fig. 1). Since an authoritative description was offered in 1695 it has erroneously been called The School of Athens, but in fact it shows philosophers from different lands and schools (and times) conversing in clusters of philosophical inquiry. Of the figures that are more or less identifiable, Socrates, Pythagoras, Plato, and Aristotle were Greek, though not all from Athens; Diogenes was from Asia Minor; Archimedes was from Sicily; and Ptolemy was Egyptian. The turbaned figure behind Pythagoras is often identified as Averroes, a Muslim from Córdoba. And though we may not agree that the figure holding the celestial globe is Zoroaster, as Vasari says, it is telling that he believed a Persian philosopher belonged in the assembly. From a European point of view, the fresco attempted a global sweep of philosophical wisdom. Although this article focuses on the Philosophy fresco, it proceeds from the premise that it is impossible to understand any element in isolation from the decorations throughout the room as a whole. I propose that the new world explorations were essential to the conceptualization and design of Raphael’s Philosophy fresco and its relation to the room it decorates. A basic feature of the fresco’s conception was a spherical understanding of the nature of philosophical inquiry,
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