quote at hand. 2. For the record, the title has been acknowled between boot and shoe of Academe,” New York “sacred duty” to draw di censured the wearing of derives from the Middle same root as the French will recall, means toed o matter. Descending from say a housing for the foo kosa, a container or case was charged with wearin noting the pejorative con shoes “are merely symbo own shoes.” Ample liter some cases, style—for e and sexual availability (s which the shoe was mad viewed as disclosing pol George Washington for new nation, on April 30 simplicity” (K. S. Alexan Georgian Era [Baltimore 3. M. Schapiro, “The Heidegger and van Gog of Kurt Goldstein, ed. M Heidegger, “Der Ursprun Shoes
报价近在咫尺。2. 为了记录，这个标题已经被公认为是靴子和鞋子之间的学术，“纽约”的“神圣的职责”来画di谴责穿着来源于中世纪，和法国人一样的词根，意思是脚趾的东西。一个集装箱或箱子被指控穿着带有侮辱性的鞋子，“只是自己鞋子的象征。”在4月30日，这双鞋被认为是揭露了乔治·华盛顿为新国家所做的“简单”(K. s .亚历山大格鲁吉亚时代[巴尔的摩])。M.夏皮罗，《库尔特·戈尔茨坦的海德格尔和梵高》，编，M.海德格尔，《穿鞋的人》
{"title":"Shoes","authors":"F. Jacobs","doi":"10.1086/704948","DOIUrl":"https://doi.org/10.1086/704948","url":null,"abstract":"quote at hand. 2. For the record, the title has been acknowled between boot and shoe of Academe,” New York “sacred duty” to draw di censured the wearing of derives from the Middle same root as the French will recall, means toed o matter. Descending from say a housing for the foo kosa, a container or case was charged with wearin noting the pejorative con shoes “are merely symbo own shoes.” Ample liter some cases, style—for e and sexual availability (s which the shoe was mad viewed as disclosing pol George Washington for new nation, on April 30 simplicity” (K. S. Alexan Georgian Era [Baltimore 3. M. Schapiro, “The Heidegger and van Gog of Kurt Goldstein, ed. M Heidegger, “Der Ursprun Shoes","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"148 1","pages":"284 - 294"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/704948","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60696992","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":"Their way of memorizing","authors":"Carlo Severi","doi":"10.1086/706117","DOIUrl":"https://doi.org/10.1086/706117","url":null,"abstract":"","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"71-72 1","pages":"312 - 324"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/706117","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42435616","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}
Nine minutes before Brenton Tarrant killed fifty-one people in two mosques in Christchurch, a seventy-fourpage document titled “The Great Replacement” was sent to New Zealand’s prime minister, Jacinda Ardern, and to seventy or so other addresses. One can’t help acknowledging that it was one of the most effective publishing launches to date. In just a few hours, “The Great Replacement” was quoted and commented on, online and in print, as well as on TV, in every part of the world. Somerset Maugham believed that a book’s launch was to be measured in inches. The launch of Tarrant’s little book could be measured in tens of thousands of inches a few hours after the book, which takes on the appearance of a manifesto, came out. But The Communist Manifesto by Karl Marx was also a booklet compared to the ponderous Das Kapital. And Mao Zedong had relied on The Little Red Book to launch a cultural revolution. Two little books that went a long way. Of course, a little book demands stringent formulations, and skips detailed elaborations. Tarrant knew this. But Tarrant, too, had once been a conscientious author who wanted to hold forth. He, too, had his “complete works”: a manuscript numbering approximately 240 pages. Tarrant reports that in this work he “spoke on many issues and went into much depth, but in a moment of unbridled self-criticism I deleted the entire work and started again, two weeks before the attack itself.” The booklet we are reading now, in rushed and feverish form, is therefore what remains of a broader argument. Let’s start with the cover, as one would with any other book. At the center is a circle divided into eight wedges that converge into a smaller circle, ridged by crooked black lines reminiscent of Ordine Nuovo or of certain Nordic sects. Every wedge has a name. From the top, clockwise: anti-imperialism, environmentalism, responsible markets, addiction-free community, law and order, ethnic autonomy, protection of heritage and
{"title":"Confessions of a child of the century","authors":"Roberto Calasso","doi":"10.1086/706986","DOIUrl":"https://doi.org/10.1086/706986","url":null,"abstract":"Nine minutes before Brenton Tarrant killed fifty-one people in two mosques in Christchurch, a seventy-fourpage document titled “The Great Replacement” was sent to New Zealand’s prime minister, Jacinda Ardern, and to seventy or so other addresses. One can’t help acknowledging that it was one of the most effective publishing launches to date. In just a few hours, “The Great Replacement” was quoted and commented on, online and in print, as well as on TV, in every part of the world. Somerset Maugham believed that a book’s launch was to be measured in inches. The launch of Tarrant’s little book could be measured in tens of thousands of inches a few hours after the book, which takes on the appearance of a manifesto, came out. But The Communist Manifesto by Karl Marx was also a booklet compared to the ponderous Das Kapital. And Mao Zedong had relied on The Little Red Book to launch a cultural revolution. Two little books that went a long way. Of course, a little book demands stringent formulations, and skips detailed elaborations. Tarrant knew this. But Tarrant, too, had once been a conscientious author who wanted to hold forth. He, too, had his “complete works”: a manuscript numbering approximately 240 pages. Tarrant reports that in this work he “spoke on many issues and went into much depth, but in a moment of unbridled self-criticism I deleted the entire work and started again, two weeks before the attack itself.” The booklet we are reading now, in rushed and feverish form, is therefore what remains of a broader argument. Let’s start with the cover, as one would with any other book. At the center is a circle divided into eight wedges that converge into a smaller circle, ridged by crooked black lines reminiscent of Ordine Nuovo or of certain Nordic sects. Every wedge has a name. From the top, clockwise: anti-imperialism, environmentalism, responsible markets, addiction-free community, law and order, ethnic autonomy, protection of heritage and","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"71-72 1","pages":"344 - 348"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/706986","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44763103","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}
In 1530, Antonio Allegri, better known as Correggio, brought to completion an altarpiece featuring the rest on the return from Egypt, a work traditionally identified as the Madonna della Scodella in reference to the bowl (scodella) that the Madonna holds in her right hand (fig. 1). Painted for a Parmese confraternity of lay individuals devoted to Saint Joseph, this picture was considered by Giorgio Vasari to be “a divine example of a panel painting” and hence a model to be studied. The image’s combined registers of sacred and domestic moments shaped an experience of proximity to the divine for the local community. An unusually mature Christ child stands between the Virgin and Saint Joseph with his back to the viewer and slightly off-center, connecting his parents through his outstretched arms. His gesture simultaneously reminds us of his ultimate destiny and empowers the diagonal structure of the composition. On the right, Joseph has placed one foot on a ledge to reach the dates hanging from a palm tree, passing them with a downward gesture to Jesus. Underlined by a beam of light, his dynamic actions are registered in the folds of his orange cloak as if an electric charge has passed through them. Joseph’s animation and towering position in the image has brought him closer to heaven, where frolicking angels seem about to collide with the saint. His virility and athletic prowess, unusual for representations of Joseph, who is often depicted as a retiring elderly figure, contrast with the calm attitude of the smiling Virgin Mary seated on rocky ground. The altarpiece is enclosed within its original monumental gilded wooden frame designed to evoke a triumphal arch. Its architecture comprises a massive base, fluted columns, an elegant frieze, and a cornice of equal proportion to the base, and it defines and vertically orients the painted subject. The inscription on the central plaque of the base bears the date 1530 and celebrates the Parmese devotees’
1530年，安东尼奥·阿莱格里（Antonio Allegri），更为人所知的名字是科雷乔（Correggio），完成了一幅祭坛画，画的是从埃及回来时剩下的部分，这幅作品传统上被称为圣母玛利亚（Madonna della Scodella），指的是圣母右手拿着的碗（Scodella）（图1）。这幅画是为献给圣约瑟夫的俗人在帕尔马的聚会而画的，乔治·瓦萨里认为这是“面板画的一个神圣例子”，因此是一个需要研究的模型。这幅图像结合了神圣和家庭时刻，为当地社区塑造了一种接近神圣的体验。一个异常成熟的基督孩子站在圣母和圣约瑟夫之间，背对观众，稍微偏离中心，伸出双臂将父母联系在一起。他的手势同时提醒我们他的终极命运，并赋予构图的对角线结构力量。在右边，约瑟夫把一只脚放在一个窗台上，够到挂在棕榈树上的椰枣，并向耶稣做了一个向下的手势。在一束光的照射下，他的动态动作记录在他橙色斗篷的褶皱中，就好像电荷穿过了褶皱一样。约瑟夫的动画和在图像中的崇高地位使他更接近天堂，在那里嬉戏的天使似乎即将与圣人碰撞。他的男子气概和运动能力，对于约瑟夫来说是不寻常的，他经常被描绘成一个退休的老人，与坐在岩石地上微笑的圣母玛利亚的平静态度形成鲜明对比。祭坛画被封闭在最初的镀金木制框架内，旨在唤起凯旋门的感觉。它的建筑包括一个巨大的底座、凹槽柱、优雅的雕带和与底座成同等比例的飞檐，它定义并垂直定位了绘画主题。基座中央牌匾上的铭文写着1530年，以庆祝帕尔马信徒
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The Virgen de Chiquinquirá, the most important religious image of Colombia, is a painting of the Virgin of the Rosary flanked by Saints Anthony and Andrew (fig. 1). It was painted by a Spaniard in the town of Tunja, Boyacá, in the Eastern Cordillera, in the mid1500s. Only a few years after its execution, the image became the focus of a devoted cult. Since then, the Virgen de Chiquinquirá has played a role in the Colombian imaginary similar to that of other Marian images throughout the continent: it is reputed to have cured the sick in times of pestilence and has served as the Patroness of Colombia since the country’s independence (Arizmendi Posada 1986). The image, however, is almost unknown to both scholars and Catholic devotees outside of the country, and consequently studies of it tend to have a rather narrow and regional focus. In the interest of opening the field of inquiry of colonial New Granada (Nuevo Reino de Granada) outside national borders, the following analysis aims to situate the Virgen de Chiquinquirá within the wider context of indigenous and colonial South America by attending primarily to methodological concerns. I focus on the material and formal qualities of the object and image, which will be analyzed through recent approaches from the social sciences, namely new materialism and perspectivism. New materialism (Joyce 2015) seeks to retrieve the agency of objects by analyzing how their material, formal, and technical characteristics shape the way in which humans interact with them. In this perspective, new materialism questions the dichotomy between object and subject, nature and culture, and highlights interdependence and relationality in the creation of meaning. Perspectivism, derived from Amazonian anthropology, is closely related to the paradigmatic and epistemological changes invoked by new materialism, but based on direct ethnographic experience (Viveiros de Castro 1998). Perspectivism posits that for Amazonian people, bodies as matter are unstable and easily change from one form to another, from animal to animal or from animal to plant. Consequently, the world can be experienced differently and in fact enhanced by one’s capacity to travel from one state to another. One’s point of view (hence the term “perspectivism”) shapes the way one relates to the world and acts upon it. Although perspectivism is a relatively new proposition in South American anthropology, it shares a basic tenet that has long been applied in Colombian anthropology, that of shamanism. Since the foundational work of Austrian émigré Gerhard Reichel-Dolmatoff, Colombian social scientists interested in the country’s civilizations have fruitfully applied concepts derived from the ethnography of the Amazonian lowlands to archaeology, which is mostly conducted in the highlands (Botero et al. 2003; Pineda Camacho 2003). Finally, new materialism and perspectivism find a counterpart in the so-called iconic turn in the field of visual studies, which calls for a
哥伦比亚最重要的宗教形象“奇昆基尔圣母”(Virgen de chiquinquir)是16世纪中期，一位西班牙人在东科迪勒拉地区的图尼亚镇(Tunja)绘制的一幅画，画中圣母站在圣安东尼和安德鲁的身旁(图1)。在它被处决后仅仅几年，这幅画就成为了狂热崇拜的焦点。从那时起，奇昆基尔圣母在哥伦比亚人的想象中发挥了类似于整个非洲大陆其他圣母形象的作用:它被认为在瘟疫时期治愈了病人，并自该国独立以来一直担任哥伦比亚的守护神(Arizmendi Posada 1986)。然而，这个形象几乎不为国外的学者和天主教信徒所知，因此对它的研究往往具有相当狭隘和区域性的重点。为了在国家边界之外打开殖民地新格拉纳达(Nuevo Reino de Granada)的调查领域，下面的分析旨在通过主要关注方法问题，将处女德奇昆奇尔置于土著和殖民地南美洲的更广泛背景下。我关注的是物体和图像的物质和形式品质，并将通过最近的社会科学方法，即新唯物主义和透视主义来分析。新唯物主义(Joyce 2015)试图通过分析物体的材料、形式和技术特征如何塑造人类与它们互动的方式，来找回物体的代理。在这一视角下，新唯物主义质疑了客体与主体、自然与文化的二分法，强调了意义创造中的相互依存和关系。透视主义源于亚马逊人类学，与新唯物主义引发的范式和认识论变化密切相关，但基于直接的民族志经验(Viveiros de Castro 1998)。透视主义认为，对于亚马逊人来说，身体作为物质是不稳定的，很容易从一种形式转变为另一种形式，从动物到动物或从动物到植物。因此，一个人从一个国家旅行到另一个国家的能力，可以以不同的方式体验世界，事实上，这一点得到了加强。一个人的观点(因此被称为“透视主义”)塑造了一个人与世界联系并据此行动的方式。虽然透视主义在南美人类学中是一个相对较新的命题，但它有一个在哥伦比亚人类学中长期应用的基本原则，那就是萨满教。自从奥地利的格哈德·雷切尔-多尔马托夫(Gerhard reichell - dolmatoff)的基础工作以来，对该国文明感兴趣的哥伦比亚社会科学家已将来自亚马逊低地人种学的概念卓有成效地应用于考古学，而考古学主要是在高地进行的(Botero et al. 2003;皮内达·卡马乔2003)。最后，新唯物主义和透视主义在视觉研究领域的所谓“标志性转向”中找到了对应之处，它要求对图像作为对象和存在重新产生兴趣，而不是对外部和/或语言内容的表征和符号学翻译(Moxey 2008)。图像和物体，由于它们的长传记，有一个生命和目的，远远超出了它们的创造者的最初意图。作为一种现象学经验的阐释，并不寻求超越物体的外观，去理解其背后的思想，而是依赖于事物的表面，作为物体和观察者之间可触摸的界面。
{"title":"Muisca cloth and image in early New Granada","authors":"A. Frassani","doi":"10.1086/705778","DOIUrl":"https://doi.org/10.1086/705778","url":null,"abstract":"The Virgen de Chiquinquirá, the most important religious image of Colombia, is a painting of the Virgin of the Rosary flanked by Saints Anthony and Andrew (fig. 1). It was painted by a Spaniard in the town of Tunja, Boyacá, in the Eastern Cordillera, in the mid1500s. Only a few years after its execution, the image became the focus of a devoted cult. Since then, the Virgen de Chiquinquirá has played a role in the Colombian imaginary similar to that of other Marian images throughout the continent: it is reputed to have cured the sick in times of pestilence and has served as the Patroness of Colombia since the country’s independence (Arizmendi Posada 1986). The image, however, is almost unknown to both scholars and Catholic devotees outside of the country, and consequently studies of it tend to have a rather narrow and regional focus. In the interest of opening the field of inquiry of colonial New Granada (Nuevo Reino de Granada) outside national borders, the following analysis aims to situate the Virgen de Chiquinquirá within the wider context of indigenous and colonial South America by attending primarily to methodological concerns. I focus on the material and formal qualities of the object and image, which will be analyzed through recent approaches from the social sciences, namely new materialism and perspectivism. New materialism (Joyce 2015) seeks to retrieve the agency of objects by analyzing how their material, formal, and technical characteristics shape the way in which humans interact with them. In this perspective, new materialism questions the dichotomy between object and subject, nature and culture, and highlights interdependence and relationality in the creation of meaning. Perspectivism, derived from Amazonian anthropology, is closely related to the paradigmatic and epistemological changes invoked by new materialism, but based on direct ethnographic experience (Viveiros de Castro 1998). Perspectivism posits that for Amazonian people, bodies as matter are unstable and easily change from one form to another, from animal to animal or from animal to plant. Consequently, the world can be experienced differently and in fact enhanced by one’s capacity to travel from one state to another. One’s point of view (hence the term “perspectivism”) shapes the way one relates to the world and acts upon it. Although perspectivism is a relatively new proposition in South American anthropology, it shares a basic tenet that has long been applied in Colombian anthropology, that of shamanism. Since the foundational work of Austrian émigré Gerhard Reichel-Dolmatoff, Colombian social scientists interested in the country’s civilizations have fruitfully applied concepts derived from the ethnography of the Amazonian lowlands to archaeology, which is mostly conducted in the highlands (Botero et al. 2003; Pineda Camacho 2003). Finally, new materialism and perspectivism find a counterpart in the so-called iconic turn in the field of visual studies, which calls for a","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"71-72 1","pages":"113 - 130"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/705778","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47951428","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}
1. For the most complete overviews of the older literature on the painting, the catalogue entries by Mia Cinotti and Maurizio Marini remain fundamental: M. Cinotti, Michelangelo Merisi detto il Caravaggio: Tutte le opere (Bergamo, 1983), 524–25; M. Marini, Caravaggio “pictor praestantissimus”: L’iter artistico completo di uno dei massimi rivoluzionari dell’arte di tutti i tempi, 4th ed. (Rome, 2005), 487–90. The documentation regarding the pilgrimage of the confraternity members to Loreto was published by M. Pupillo, “La Madonna di Loreto di Caravaggio: Gli scenari di una committenza,” in Caravaggio nel IV centenario della Cappella Contarelli, ed. C. Volpi (Città di Castello, 2002), 105–21. Alessandro Zuccari noted Pupillo’s findings in an important earlier essay, “Caravaggio, sus comitentes y el culto lauretano,” in Caravaggio, ed. C. Strinati and R. Vodret, exh. cat. (Madrid, 1999), 63–73, now republished in Italian as “Caravaggio, i suoi committenti e il culto lauretano,” in A. Zuccari, Caravaggio controluce: Ideali e capolavori (Milan, 2011), 187–203, with updated bibliography. A sustained consideration of the painting is offered by P. M. Jones, “The Place of Poverty in Seicento Rome: Bare Feet, Humility, and the Pilgrimage of Life in Caravaggio’s Madonna of Loreto (ca. 1605–06) in the Church of S. Agostino,” in Altarpieces and Their Viewers in the Churches of Rome from Caravaggio to Guido Reni (Aldershot, 2008), chap. 2. Cavalletti’s will and the documents relating to the concession of the chapel and the disposal of the earlier Caravaggio’s Madonna di Loreto was painted sometime between 1604 and 1606 for the altar of the Cavalletti Chapel in the church of Sant’Agostino in Rome, where, happily, it remains today (fig. 1). Its subject was determined by the devotional inclinations of Ermete Cavalletti, an aristocratic Roman citizen of Bolognese origin and a member of the Roman Archconfraternity of the Most Holy Trinity of Pilgrims and Convalescents. The confraternity’s primary charitable mission was ministering to the needs of the poor on pilgrimage in Rome, who arrived in great numbers particularly during jubilee years. In 1602, the confraternity members undertook their own pilgrimage to the Holy House of the Virgin, enshrined in the city of Loreto in the Italian Marches. Archival records confirm Cavalletti’s participation in the preparatory meetings for the trip, but since the final list of participants does not survive, it remains unclear if he ultimately made the journey, which took place between April 12 and May 3. It is known that by July 19 of the same year, the forty-six-year-old Cavalletti was gravely ill and prepared his will, dying two days later. In his testament Cavalletti expressed his desire to be buried in Sant’Agostino in a family chapel he wished to establish. His wife and two executors saw that his wishes were carried out, acquiring the first chapel in the left aisle in September 1603. Cavalletti’s will specified that the chap
1.米娅·西诺蒂和毛里齐奥·马里尼的目录条目仍然是关于这幅画的最完整的文献综述：M.西诺蒂，米开朗基罗·梅里西·德托·il·卡拉瓦乔：歌剧院（贝加莫，1983），524-25；M.Marini，卡拉瓦乔“画派”：《艺术大师》，第4版（罗马，2005年），487-90。关于理事会成员前往洛雷托朝圣的文件由M.Pupillo出版，“La Madonna di Loreto di Caravaggio:Gli scenari di una committenza”，载于Caravaggio nel IV centerio della Cappella Contarelli，编C.Volpi（Cittàdi Castello，2002），105-21。亚历山德罗·祖卡里（Alessandro Zuccari）在卡拉瓦乔（Caravaggio）编辑C.斯特里纳蒂（C.Strinati）和R.沃德雷特（R.Vodret。猫（马德里，1999年），63-73，现以意大利语重新出版，名为“卡拉瓦乔，我的承诺和我的文化”，载于A.Zuccari，卡拉瓦乔控制：理想和capolavori（米兰，2011年），187-203，并更新了参考书目。P·M·琼斯对这幅画进行了持续的思考，“罗马市中心的贫困之地：卡拉瓦乔在s.Agostino教堂创作的洛雷托圣母玛利亚（约1605–2006年）中的赤脚、谦逊和生命的朝圣”，载于《从卡拉瓦乔到吉多·雷尼的罗马教堂祭坛画及其观众》（Aldershot，2008），第2章。Cavalletti的遗嘱和与小教堂特许权和早期卡拉瓦乔的《洛雷托圣母玛利亚》处置有关的文件是在1604年至1606年之间的某个时候为罗马圣阿戈斯蒂诺教堂的Cavalleti小教堂祭坛绘制的，它很高兴地保留至今（图1）。它的主题是由Ermete Cavalletti的虔诚倾向决定的，他是博洛尼亚出身的罗马贵族公民，也是朝圣者和康复者最神圣三位一体的罗马大公会成员。该协会的主要慈善使命是满足在罗马朝圣的穷人的需求，他们大量抵达，尤其是在禧年。1602年，教友会成员前往圣母院朝圣，圣母院供奉在意大利进行曲中的洛雷托市。档案记录证实卡瓦莱蒂参加了此次旅行的筹备会议，但由于最终的参与者名单已经不复存在，目前尚不清楚他是否最终成行，这次旅行发生在4月12日至5月3日之间。据了解，同年7月19日，46岁的卡瓦莱蒂病重，准备了遗嘱，两天后去世。卡瓦莱蒂在遗嘱中表达了他希望被安葬在圣戈斯蒂诺一座他希望建立的家庭小教堂的愿望。他的妻子和两名遗嘱执行人看到他的愿望得到了实现，于1603年9月获得了左侧过道的第一座小教堂。卡瓦莱蒂的遗嘱规定，小礼拜堂应供奉洛雷托圣母，祭坛应配有这一主题的画作。1606年3月初，小教堂原有的圣母祭坛画被赠送给红衣主教Scipione Borghese，这表明卡拉瓦乔的画作在当时已经到位。学者们试图确定卡拉瓦乔是否选择了随身携带
{"title":"Luke, Lena, and the chiaroscuro of the sacred","authors":"E. Lingo","doi":"10.1086/706034","DOIUrl":"https://doi.org/10.1086/706034","url":null,"abstract":"1. For the most complete overviews of the older literature on the painting, the catalogue entries by Mia Cinotti and Maurizio Marini remain fundamental: M. Cinotti, Michelangelo Merisi detto il Caravaggio: Tutte le opere (Bergamo, 1983), 524–25; M. Marini, Caravaggio “pictor praestantissimus”: L’iter artistico completo di uno dei massimi rivoluzionari dell’arte di tutti i tempi, 4th ed. (Rome, 2005), 487–90. The documentation regarding the pilgrimage of the confraternity members to Loreto was published by M. Pupillo, “La Madonna di Loreto di Caravaggio: Gli scenari di una committenza,” in Caravaggio nel IV centenario della Cappella Contarelli, ed. C. Volpi (Città di Castello, 2002), 105–21. Alessandro Zuccari noted Pupillo’s findings in an important earlier essay, “Caravaggio, sus comitentes y el culto lauretano,” in Caravaggio, ed. C. Strinati and R. Vodret, exh. cat. (Madrid, 1999), 63–73, now republished in Italian as “Caravaggio, i suoi committenti e il culto lauretano,” in A. Zuccari, Caravaggio controluce: Ideali e capolavori (Milan, 2011), 187–203, with updated bibliography. A sustained consideration of the painting is offered by P. M. Jones, “The Place of Poverty in Seicento Rome: Bare Feet, Humility, and the Pilgrimage of Life in Caravaggio’s Madonna of Loreto (ca. 1605–06) in the Church of S. Agostino,” in Altarpieces and Their Viewers in the Churches of Rome from Caravaggio to Guido Reni (Aldershot, 2008), chap. 2. Cavalletti’s will and the documents relating to the concession of the chapel and the disposal of the earlier Caravaggio’s Madonna di Loreto was painted sometime between 1604 and 1606 for the altar of the Cavalletti Chapel in the church of Sant’Agostino in Rome, where, happily, it remains today (fig. 1). Its subject was determined by the devotional inclinations of Ermete Cavalletti, an aristocratic Roman citizen of Bolognese origin and a member of the Roman Archconfraternity of the Most Holy Trinity of Pilgrims and Convalescents. The confraternity’s primary charitable mission was ministering to the needs of the poor on pilgrimage in Rome, who arrived in great numbers particularly during jubilee years. In 1602, the confraternity members undertook their own pilgrimage to the Holy House of the Virgin, enshrined in the city of Loreto in the Italian Marches. Archival records confirm Cavalletti’s participation in the preparatory meetings for the trip, but since the final list of participants does not survive, it remains unclear if he ultimately made the journey, which took place between April 12 and May 3. It is known that by July 19 of the same year, the forty-six-year-old Cavalletti was gravely ill and prepared his will, dying two days later. In his testament Cavalletti expressed his desire to be buried in Sant’Agostino in a family chapel he wished to establish. His wife and two executors saw that his wishes were carried out, acquiring the first chapel in the left aisle in September 1603. Cavalletti’s will specified that the chap","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"71-72 1","pages":"162 - 177"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/706034","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49625389","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}
conversation among frie and Addie Langford for e this text for their journal generously read and com thank especially Akiko W my anonymous reader a my indebtedness to the t de l’anthropologie socia I first learned how to rec “chimerical principle” in find an outline of Severi An Anthropology of Mem 2015). For reasons relate images of Hello Kitty rat 1. L. Carroll, Alice’s Annotated Alice, ed. M. 2. F. Boas, introduct Indians of British Columb Lévi-Strauss, “The Struct Folklore 68, no. 270 (19 3. C. A. Miranda, “H before Her L.A. Tour,” L own account of the incid Tracking Japanese Cute The rhetoric of Hello Kitty
在frie和Addie Langford的对话中，我为他们的期刊慷慨地阅读了这篇文章，并特别感谢我的匿名读者Akiko W，我对人类社会的感激之情。我第一次学会如何理解“化学原理”是在寻找Severi的大纲中。原因与Hello Kitty老鼠的形象有关。L.卡罗尔，《爱丽丝的注释》，M. 2编。F.鲍亚士，介绍不列颠哥伦比亚省的印第安人。[au:] [au:]c·a·米兰达(C. A. Miranda)，《洛杉矶巡演前的H》，她自己对“追踪日本人的可爱”事件的描述
{"title":"The rhetoric of Hello Kitty","authors":"J. Cheng","doi":"10.1086/707410","DOIUrl":"https://doi.org/10.1086/707410","url":null,"abstract":"conversation among frie and Addie Langford for e this text for their journal generously read and com thank especially Akiko W my anonymous reader a my indebtedness to the t de l’anthropologie socia I first learned how to rec “chimerical principle” in find an outline of Severi An Anthropology of Mem 2015). For reasons relate images of Hello Kitty rat 1. L. Carroll, Alice’s Annotated Alice, ed. M. 2. F. Boas, introduct Indians of British Columb Lévi-Strauss, “The Struct Folklore 68, no. 270 (19 3. C. A. Miranda, “H before Her L.A. Tour,” L own account of the incid Tracking Japanese Cute The rhetoric of Hello Kitty","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"71-72 1","pages":"265 - 283"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/707410","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44524025","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}
ions. To say ob-ject is to say that reality is offered up to be seen, or “thrown before” the eyes of an observer. From the objectification of our immediate environment to the contemplation of essences (according to the etymology of the Greek notion of theory), sight is always primary in the metaphysical approach to being. Consequently, the critique of metaphysics is just as much a critique of image-worlds as it is a critique of the technological apparatus. Indeed, the rise of conceptual abstraction with respect to the perceived world, that is to say, the increasingly systematic reduction of moving reality to countable, geometric coordinates capable of being 2. Translator’s note: The French objet, like the English word “object,” comes from the Latin objectus (thrown in front; ob 1 jaceō, jacēre, from 1 to throw). Similarly, the French word jeter (to throw) comes from the Latin jaceō, jacēre. apprehended technologically, has been accompanied by a proliferation of images. This increase has accelerated through our current moment to the point where the ubiquitous spectacles of postmodernity can be considered as the contemporary culmination of humanity’s gradual attempt to replace life’s inner vibration within the whole fabric of the real by a succession of stable, objective, and rationally delimited abstractions. As a leap forward out of the immediate experience of things, we effortlessly pass from the world of tools to the world of machines and then on to the world of spectacles (and also of specters), as described by Guy Debord in 1967, in the second paragraph of The Society of the Spectacle: “The spectacle in its generality is a concrete inversion of life, and, as such, the autonomous movement of non-life” (Debord 1994, 12). As such, the theorist of Situationism agrees with Marx, for whom post-Hegelian speculative philosophy was essentially the “first wholesale production of ghosts” (Marx and Engels 1968, 179 [erste Gespensterfabrikation im Grossen]; see also Derrida 1993, 214; Vioulac 2015, 245). Like Marx, he places this spectral condition in the wake of the entire history of Western philosophy, a project he defines as “an attempt to understand activity by means of the categories of vision” (Debord 1994, 17). The specificity of the society of the spectacle, though, can be found in the layering of alienation by consumption upon alienation by labor. Moving from the proletariat to the society of consumption (consommariat), the human masses are submerged in a universe of mechanical products. And their capacity for productive control (or the unity between knowing and doing), which determines their power of revolution, is in turn spectralized. As such, what occurs is not only the rational fulfillment but also the collapse of theoretical contemplation, that original invention of metaphysics, which attains its purest essence but also loses any establishing capability within the image-world of mechanized consumption. For Heidegger, the inaugural moment of
离子。说到客体，就是说实在是供人观看的，或者说，被“抛到”观察者的眼前。从我们对直接环境的客观化到对本质的观照(根据希腊理论概念的词源)，在形而上学的存在方法中，视觉始终是首要的。因此，对形而上学的批判既是对图像世界的批判，也是对技术工具的批判。事实上，关于感知世界的概念抽象的兴起，也就是说，将移动的现实越来越系统地还原为可数的，能够为2的几何坐标。译者注:法语中的object和英语中的object一样，来自拉丁语中的objectus(扔在前面;(1 jacehi, jacēre，从1到扔)。同样，法语单词jeter(投掷)来自拉丁语jaceji, jacēre。在技术上被逮捕，伴随着图像的扩散。这种增长在我们当前的时刻加速了，以至于无处不在的后现代性景象可以被认为是人类逐渐尝试用一系列稳定、客观、合理界定的抽象来取代整个现实结构中生命的内在振动的当代高潮。作为对事物的直接经验的飞跃，我们毫不费力地从工具的世界进入机器的世界，然后进入景观的世界(也进入幽灵的世界)，正如盖伊·德波在1967年《景观的社会》的第二段中所描述的那样:“景观在其总体上是生命的具体反转，而且，就其本身而言，是非生命的自主运动”(德波1994,12)。因此，情境主义理论家同意马克思的观点，对马克思来说，后黑格尔思辨哲学本质上是“幽灵的第一次批发生产”(马克思和恩格斯1968,179 [erste Gespensterfabrikation im Grossen];另见德里达1993,214;Vioulac 2015, 245)。像马克思一样，他将这种光谱状态置于整个西方哲学史的后面，他将其定义为“通过视觉范畴来理解活动的尝试”(Debord 1994,17)。然而，景观社会的特殊性可以在消费异化和劳动异化的分层中找到。从无产阶级过渡到消费社会(consommariat)，人类大众被淹没在机械产品的世界里。而他们的生产控制能力(或知与行之间的统一)，决定了他们的革命力量，反过来又被具体化了。因此，发生的不仅是理性的实现，而且是理论沉思的崩溃，形而上学的原始发明，达到了最纯粹的本质，但在机械化消费的图像世界中失去了任何建立能力。对于海德格尔来说，人类与世界的关系中这种戏剧性折叠的开始时刻，体现在人类的形而上学观点和技术机器上，可以在希腊人的逻各斯发明中找到(海德格尔2014)。这一发明导致了纯粹理性和现实之间的和谐，这样生活世界就像一个宇宙一样固定下来，与天体音乐的数学节奏产生共鸣。这样就引入了一种思想，这种思想在20世纪的哲学中仍然很容易被接受，即希腊的逻各斯不仅是形而上学的来源，也是技术资本主义现代性的来源，这是第三种哲学的实现。In diesem[格林]also ruht die unergrndliche Vorzeit;(摘自1813年的一份手稿)“我的意思是，我的书在我的书里，我的书在我的书里。”4. 手稿中删去了一句话:“这些人区别于动物的第一个历史行为，不在于他们思考，而在于他们开始生产自己的生存资料”(强调原)。5. 另见:“几何来自测量，算术来自数字艺术，数学力学来自日常力学，等等。”因此，甚至不需要在这里精确地制定一个假设，自然和直觉世界就会转变成一个数学世界，一个自然数学科学的世界”(胡塞尔[1935-36]1989,375)。参见violac 2015, 181-83。拉布鲁斯:新石器时代的终结?(第二部分)335形而上学的秩序——自相矛盾的是，鉴于它似乎缺乏超越的视界。逻各斯的发明只有通过对生产关系的异化才成为可能，而希腊思想(以及之后的所有西方形而上学)将这种异化排除在其视野之外。 因此，它掩盖了城邦具体使用两种基本技术工具的事实:一方面，奴隶制使人的因素无效(Vioulac 2015, 39;引用海德格尔的《现象学的基本问题》)，另一方面是货币，它将现实简化为可计算的。在抽象的生产逻辑中，这种对个人劳动的意识形态异化在现代技术工业体系中达到了顶峰，当时金融经济实现了无与伦比的去现实化力量，机器取代了奴隶制，导致工人被肢解的身体实际上消失了(它要么被简单地忽视，要么实际上成为机器的延伸)。然而，如果奴隶制和货币的发明在形而上学的发明中发挥了作用，那么挖掘这一过程的起源需要在古典希腊之前的概念和历史上的回归，在其最广泛的概念上的新石器时代革命的方向上(Testart 1985)。尽管缺乏可靠的考古资料和解释学工具，马克思还是第一个向这一方向提出建议的人，他认为现代过程，如生活的客观化和抽象，可以参考它们的“史前”根源来概念化。就此而言，早在1845年，他就在《德意志意识形态》中谴责了“史前”和“历史”之间人为的二分法:“当缺乏实质内容，当没有对神学、政治或文学性质的愚蠢进行辩论时，我们德国人看到的不是历史，而是‘史前时代’。”然而，我们究竟是怎样从荒谬的“史前”过渡到真正的历史的，却从来没有人解释过。然而，我们的历史推测抓住了这个‘史前史’，因为它被认为是安全的，不受‘残酷事实’的侵犯，因为它给了投机本能自由，允许成千上万的假设被产生和摧毁”(马克思和恩格斯1968,58)。在当时德国哲学的历史背景下，这些攻击是针对黑格尔和谢林的唯心主义的。特别是在谢林1811-15年的《时代志》中，“深海史前”(unergrndliche Vorzeit)的概念(谢林2012,6)加强了从任何事实基础中分离投机推理的方法论要求。但是，马克思关于人类生计的生产是“第一个历史行为”的假设(马克思和恩格斯1968,45)与考古学和世界史领域即将到来的史前史发明之间也存在直接联系。在“史前史”这个词被广泛宣传的20年前，马克思似乎预见到新石器时代(当时还没有命名)可以被置于一个直到现在的历史中。他还凭直觉认为，生产主义经济和劳动异化的根源可以在其中找到，因为两者都是基于对现实的系统合理化。这使得他在《资本论》中将工业革命产生的制度描述为“跨越数千个世纪的历史的结果”(马克思1993,574)。随后，他阅读了刘易斯·亨利·摩根(Lewis Henry Morgan)和新石器时代分类的发明者约翰·拉伯克(John Lubbock)等史前人种学家的著作，并对其进行了细致的评论。相关的直觉可以在胡塞尔的《欧洲科学的危机》和《先验现象学》中找到。为了从伽利略的逻逻斯(因此也从“希腊理想主义的数学世界”)转移到它们在某些具体技术活动中的起源，他使用了一些例子，有意或无意地唤起卢梭，将它们与农业的诞生联系起来，作为一种与世界的关系，而不是作为考古事实:“土地测量的实践，没有理想主义的概念，先于理想主义的几何。然而，这种前几何的活动为几何的意义提供了基础，为伟大的理想化发明提供了基础。这包括几何理想世界的发明，以及由此产生的构造——一种通过‘数学存在’创造理想的客观化方法”(胡塞尔[1935-36]1989,57)。
{"title":"The end of the Neolithic? (Part 2)","authors":"Rémi Labrusse","doi":"10.1086/706916","DOIUrl":"https://doi.org/10.1086/706916","url":null,"abstract":"ions. To say ob-ject is to say that reality is offered up to be seen, or “thrown before” the eyes of an observer. From the objectification of our immediate environment to the contemplation of essences (according to the etymology of the Greek notion of theory), sight is always primary in the metaphysical approach to being. Consequently, the critique of metaphysics is just as much a critique of image-worlds as it is a critique of the technological apparatus. Indeed, the rise of conceptual abstraction with respect to the perceived world, that is to say, the increasingly systematic reduction of moving reality to countable, geometric coordinates capable of being 2. Translator’s note: The French objet, like the English word “object,” comes from the Latin objectus (thrown in front; ob 1 jaceō, jacēre, from 1 to throw). Similarly, the French word jeter (to throw) comes from the Latin jaceō, jacēre. apprehended technologically, has been accompanied by a proliferation of images. This increase has accelerated through our current moment to the point where the ubiquitous spectacles of postmodernity can be considered as the contemporary culmination of humanity’s gradual attempt to replace life’s inner vibration within the whole fabric of the real by a succession of stable, objective, and rationally delimited abstractions. As a leap forward out of the immediate experience of things, we effortlessly pass from the world of tools to the world of machines and then on to the world of spectacles (and also of specters), as described by Guy Debord in 1967, in the second paragraph of The Society of the Spectacle: “The spectacle in its generality is a concrete inversion of life, and, as such, the autonomous movement of non-life” (Debord 1994, 12). As such, the theorist of Situationism agrees with Marx, for whom post-Hegelian speculative philosophy was essentially the “first wholesale production of ghosts” (Marx and Engels 1968, 179 [erste Gespensterfabrikation im Grossen]; see also Derrida 1993, 214; Vioulac 2015, 245). Like Marx, he places this spectral condition in the wake of the entire history of Western philosophy, a project he defines as “an attempt to understand activity by means of the categories of vision” (Debord 1994, 17). The specificity of the society of the spectacle, though, can be found in the layering of alienation by consumption upon alienation by labor. Moving from the proletariat to the society of consumption (consommariat), the human masses are submerged in a universe of mechanical products. And their capacity for productive control (or the unity between knowing and doing), which determines their power of revolution, is in turn spectralized. As such, what occurs is not only the rational fulfillment but also the collapse of theoretical contemplation, that original invention of metaphysics, which attains its purest essence but also loses any establishing capability within the image-world of mechanized consumption. For Heidegger, the inaugural moment of","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"71-72 1","pages":"333 - 343"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/706916","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46677964","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":"A gift no more","authors":"J. Willson","doi":"10.1086/707128","DOIUrl":"https://doi.org/10.1086/707128","url":null,"abstract":"","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"71-72 1","pages":"131 - 144"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/707128","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49251400","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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