{"title":"Marshall D. Sahlins and Danièle Van de Velde, in memoriam","authors":"","doi":"10.1086/718374","DOIUrl":"https://doi.org/10.1086/718374","url":null,"abstract":"","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44060398","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}
Aby Warburg’s Bilderatlas, now a series of disassembled images, has drawn the attention of art historians and philosophers alike, primarily because of its enigmatic format and display, which seemingly defy explanation. Originally conceived of as a picture atlas, the project consisted of a series of image plates put together in the last years before Warburg’s death in October 1929. In it were compiled a wide range of images linked together by the invisible threads of Warburg’s unconventional thought. That this was not a pictorial inventory of the history of art is clear, as it was divided neither in a strictly historical nor clearly defined regional manner. Even taking into account the current growing interest in anachrony and the amalgamation of art history and the anthropology of art, the atlas went well beyond the art historical concerns of Warburg’s own time and the parameters of art historical research that came to be established later. It included reproductions of works of art, along with various photographs, postcards, and newspaper clippings, the connections between them not always self-evident and often, in fact, rather elusive. Warburg called this atlas display Mnemosyne, a name he also wanted for the motto of his library in Hamburg as a collection of knowledge. The archival goddess and mother of the muses thus presided over the final work of his life.
{"title":"Aby Warburg’s Babylonian paradigm","authors":"Z. Bahrani","doi":"10.1086/717459","DOIUrl":"https://doi.org/10.1086/717459","url":null,"abstract":"Aby Warburg’s Bilderatlas, now a series of disassembled images, has drawn the attention of art historians and philosophers alike, primarily because of its enigmatic format and display, which seemingly defy explanation. Originally conceived of as a picture atlas, the project consisted of a series of image plates put together in the last years before Warburg’s death in October 1929. In it were compiled a wide range of images linked together by the invisible threads of Warburg’s unconventional thought. That this was not a pictorial inventory of the history of art is clear, as it was divided neither in a strictly historical nor clearly defined regional manner. Even taking into account the current growing interest in anachrony and the amalgamation of art history and the anthropology of art, the atlas went well beyond the art historical concerns of Warburg’s own time and the parameters of art historical research that came to be established later. It included reproductions of works of art, along with various photographs, postcards, and newspaper clippings, the connections between them not always self-evident and often, in fact, rather elusive. Warburg called this atlas display Mnemosyne, a name he also wanted for the motto of his library in Hamburg as a collection of knowledge. The archival goddess and mother of the muses thus presided over the final work of his life.","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"75-76 1","pages":"250 - 265"},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41381206","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}
One afternoon in 1985, a sexagenarian climbed Trocadero Hill in Paris. Reaching its summit, he approached a platform that offers a vista of the Eiffel Tower. Then, he removed much of his clothing and unrolled a mat. Resting his forearms and the crown of his head at the mat’s center, he raised his legs from the platform’s floor and over his head. Once perpendicular to the floor, he resisted gravity by extending his entire body skyward. He then turned both legs to his left, offering a commentary on the relationship between body and building and inviting comparisons between bones and joints and iron girders and rivets (fig. 1). Thereafter, he dressed and left the hilltop. The visitor was no stranger to the city. He was a celebrity who had been visiting Paris since 1954 and on this visit was Mayor Jacques Chirac’s personal guest. In fact, by the mid-1980s, wherever he went, Bellur Krishnamachar Sundararaja Iyengar was receiving a reception typically reserved for pop stars and acclaim as a man who was instrumental in bringing postural yoga to the West. Less than two decades later, in 2004, he was on Time magazine’s cover—with Nelson Mandela and the Dalai Lama—as one of the one hundred most influential people in the world. The following year, the Oxford Dictionary of English made his Sanskritic last name into an English noun, offering the following definition: “Iyengar (mass noun), a type of
{"title":"Modern postural yoga in an expanded field","authors":"Nachiket Chanchani","doi":"10.1086/717297","DOIUrl":"https://doi.org/10.1086/717297","url":null,"abstract":"One afternoon in 1985, a sexagenarian climbed Trocadero Hill in Paris. Reaching its summit, he approached a platform that offers a vista of the Eiffel Tower. Then, he removed much of his clothing and unrolled a mat. Resting his forearms and the crown of his head at the mat’s center, he raised his legs from the platform’s floor and over his head. Once perpendicular to the floor, he resisted gravity by extending his entire body skyward. He then turned both legs to his left, offering a commentary on the relationship between body and building and inviting comparisons between bones and joints and iron girders and rivets (fig. 1). Thereafter, he dressed and left the hilltop. The visitor was no stranger to the city. He was a celebrity who had been visiting Paris since 1954 and on this visit was Mayor Jacques Chirac’s personal guest. In fact, by the mid-1980s, wherever he went, Bellur Krishnamachar Sundararaja Iyengar was receiving a reception typically reserved for pop stars and acclaim as a man who was instrumental in bringing postural yoga to the West. Less than two decades later, in 2004, he was on Time magazine’s cover—with Nelson Mandela and the Dalai Lama—as one of the one hundred most influential people in the world. The following year, the Oxford Dictionary of English made his Sanskritic last name into an English noun, offering the following definition: “Iyengar (mass noun), a type of","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"75-76 1","pages":"233 - 249"},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44468855","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}
Verity Platt presented “Classicism and the Statue Crisis in the Age of Black Lives Matter” at the University of Southern California on October 28, 2020, and published “Why People Are Toppling Monuments to Racism,” Scientific American, July 3, 2020. Hallie Franks, Ann Macy Roth, Patricia Eunji Kim, and Eric Varner participated in the roundtable “Monuments and Memory” at New York University on October 29, 2020. 3. S. Drimmer, “Seeing the Bigger Picture on Public Memorials to Women,” Hyperallergic, November 27, 2020, https://hyperallergic .com/601877/. There is a certain narrative of the history of monuments that traces power from Greek and Roman antiquity to today. In this narrative, figural representation predominates, especially when it comes to monumentalizing the powerful and the dead. Figural monuments designed to memorialize a single person were often erected after that individual’s death, functioning less to mourn the deceased and more to celebrate the political world he had embodied, a practice that encodes and perpetuates systems of patriarchal and civic power. Ancient ruler-portraits of women and nonbinary people are comparatively rare; in examples where women have ruled and are monumentalized, such as Hatshepsut, the female pharaoh of ancient Egypt, they adopt the visual codes of patriarchal power. Although each specific, local context reveals cultural and political differences, similar patriarchal figural monumentalizing practices have been maintained across centuries and cultures, constructing a heritage that is of particular interest today. Recent work in the field of classics has explored the resonance between nineteenth-century Confederate monuments and the robust ruler-portrait tradition from ancient Rome. This work traces a lineage from portrait
{"title":"Overwriting the monument tradition","authors":"L. Easa, J. Stager","doi":"10.1086/717461","DOIUrl":"https://doi.org/10.1086/717461","url":null,"abstract":"Verity Platt presented “Classicism and the Statue Crisis in the Age of Black Lives Matter” at the University of Southern California on October 28, 2020, and published “Why People Are Toppling Monuments to Racism,” Scientific American, July 3, 2020. Hallie Franks, Ann Macy Roth, Patricia Eunji Kim, and Eric Varner participated in the roundtable “Monuments and Memory” at New York University on October 29, 2020. 3. S. Drimmer, “Seeing the Bigger Picture on Public Memorials to Women,” Hyperallergic, November 27, 2020, https://hyperallergic .com/601877/. There is a certain narrative of the history of monuments that traces power from Greek and Roman antiquity to today. In this narrative, figural representation predominates, especially when it comes to monumentalizing the powerful and the dead. Figural monuments designed to memorialize a single person were often erected after that individual’s death, functioning less to mourn the deceased and more to celebrate the political world he had embodied, a practice that encodes and perpetuates systems of patriarchal and civic power. Ancient ruler-portraits of women and nonbinary people are comparatively rare; in examples where women have ruled and are monumentalized, such as Hatshepsut, the female pharaoh of ancient Egypt, they adopt the visual codes of patriarchal power. Although each specific, local context reveals cultural and political differences, similar patriarchal figural monumentalizing practices have been maintained across centuries and cultures, constructing a heritage that is of particular interest today. Recent work in the field of classics has explored the resonance between nineteenth-century Confederate monuments and the robust ruler-portrait tradition from ancient Rome. This work traces a lineage from portrait","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"75-76 1","pages":"266 - 281"},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41823888","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}
It may be their most public setting: carved from a block of Istrian stone, Adam and Eve flank the sharp, southwest angle of the Doge’s Palace in Venice (fig. 1). The huge corner thrusts these figures aggressively toward the broad quay, called the Molo, where Venice had its grandest entrance to the sea. The city’s nineteenthcentury champion, John Ruskin, nicknamed the three visible angles of the great palace after the stone carvings they displayed. He called this, the building’s principal bend, the “Fig-tree angle,” and he admired how its maker extended and softened the corner by allowing the biblical Tree of Knowledge, pictured as a ficus, to form the farthest outer edge of the palace, with its deeply cut lobed foliage embracing both façades. For Ruskin, such “stones of Venice” embodied the symbiosis of art and faith that he so admired in the era of the Middle Ages. The sculptor, imagined as an anonymous “Gothic” craftsman, had copied nature down to the seeming fibers of those marble branches; but he did so in the service of a pious symbol, here a most venerable one that reaches back into the depths of sacred history. And he allowed his Tree of Knowledge also to reach right into the bustle of everyday life, its entangled story forming the principle turning of urban space, with Adam and Eve, caught red-handed with the fruit but already passing the blame, and Satan’s coils enlarging and embellishing the sculpted angle grotesquely. It was almost certainly the city’s leading sculptor and architect, Filippo Calendario, who carved the palace’s figured capitals in the 1340s, or at least he oversaw their carving—he was responsible for rebuilding the whole
{"title":"The moment of the Fall","authors":"J. Koerner","doi":"10.1086/716221","DOIUrl":"https://doi.org/10.1086/716221","url":null,"abstract":"It may be their most public setting: carved from a block of Istrian stone, Adam and Eve flank the sharp, southwest angle of the Doge’s Palace in Venice (fig. 1). The huge corner thrusts these figures aggressively toward the broad quay, called the Molo, where Venice had its grandest entrance to the sea. The city’s nineteenthcentury champion, John Ruskin, nicknamed the three visible angles of the great palace after the stone carvings they displayed. He called this, the building’s principal bend, the “Fig-tree angle,” and he admired how its maker extended and softened the corner by allowing the biblical Tree of Knowledge, pictured as a ficus, to form the farthest outer edge of the palace, with its deeply cut lobed foliage embracing both façades. For Ruskin, such “stones of Venice” embodied the symbiosis of art and faith that he so admired in the era of the Middle Ages. The sculptor, imagined as an anonymous “Gothic” craftsman, had copied nature down to the seeming fibers of those marble branches; but he did so in the service of a pious symbol, here a most venerable one that reaches back into the depths of sacred history. And he allowed his Tree of Knowledge also to reach right into the bustle of everyday life, its entangled story forming the principle turning of urban space, with Adam and Eve, caught red-handed with the fruit but already passing the blame, and Satan’s coils enlarging and embellishing the sculpted angle grotesquely. It was almost certainly the city’s leading sculptor and architect, Filippo Calendario, who carved the palace’s figured capitals in the 1340s, or at least he oversaw their carving—he was responsible for rebuilding the whole","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"75-76 1","pages":"304 - 328"},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46712852","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}
conference “Ways of Re 2017) at Columbia Univ and François Queyrel fo and Shannon Wearing fo reviewers for their very u The following abbrev épigraphique; CIL: Corpu Romani anteiustiniani; IL ILS: Inscriptiones Latinae Tripolitania; P.Oxy.: Pap Inscriptions of Britain; SE 1. S. R. F. Price, Ritu Asia Minor (Cambridge, translations are my own. 2. W. Van Andringa politique I –III e siècle ap des dieux et des homme l’époque romaine (Rome Le collège des Frères Arv
在哥伦比亚大学和francois Queyrel fo和Shannon Wearing fo审稿人的“Ways of Re 2017”会议上，他们使用了以下铭文缩写;CIL: Corpu Romani anteiustiniani;它是:拉丁铭文的黎波里塔尼亚;P.Oxy.:英国Pap铭文;在1。= =地理= =根据美国人口普查，这个县的面积为。2. W. Van Andringa政治公元一-三世纪的神和人罗马时代(罗马兄弟学院
{"title":"Why the emperor had to be a god","authors":"C. Goddard","doi":"10.1086/717918","DOIUrl":"https://doi.org/10.1086/717918","url":null,"abstract":"conference “Ways of Re 2017) at Columbia Univ and François Queyrel fo and Shannon Wearing fo reviewers for their very u The following abbrev épigraphique; CIL: Corpu Romani anteiustiniani; IL ILS: Inscriptiones Latinae Tripolitania; P.Oxy.: Pap Inscriptions of Britain; SE 1. S. R. F. Price, Ritu Asia Minor (Cambridge, translations are my own. 2. W. Van Andringa politique I –III e siècle ap des dieux et des homme l’époque romaine (Rome Le collège des Frères Arv","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"75-76 1","pages":"145 - 153"},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47497772","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}
As a child, I understood how to give; I have forgotten that grace since I became civilized. I lived the natural life, whereas I now live the artificial. Any pretty pebble was valuable to me then; every growing tree an object of reverence. Now I worship with the white man before a painted landscape whose value is estimated in dollars! Thus, the Indian is reconstructed, as the natural rocks are ground to powder, and made into artificial blocks which may be built into the walls of modern society.
{"title":"Flesh and stone","authors":"Annika K. Johnson","doi":"10.1086/715646","DOIUrl":"https://doi.org/10.1086/715646","url":null,"abstract":"As a child, I understood how to give; I have forgotten that grace since I became civilized. I lived the natural life, whereas I now live the artificial. Any pretty pebble was valuable to me then; every growing tree an object of reverence. Now I worship with the white man before a painted landscape whose value is estimated in dollars! Thus, the Indian is reconstructed, as the natural rocks are ground to powder, and made into artificial blocks which may be built into the walls of modern society.","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"75-76 1","pages":"74 - 90"},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49140816","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. See, e.g., D. Freed Iconoclasm,” in Iconocla 1977), 165–77; more ge (Chicago, 1989), esp. 99 2. Begun already by Iconoclastic Controversy more recently, L. Brubak Era, c. 680–850 (Cambri extent of image destructi of the material impact o Iconophobia and Iconoc Iconoclasm and Text De ed. N. N. May (Chicago 3. C. Barber, Figure in Byzantine Iconoclasm “What Was the Iconocla (1976): 16–31; J. Pelikan (New Haven, CT, 1990) Iconoclasm and/as repair
芝加哥出版社。例如，参见D.Freed Iconoclasm，“在Iconocla 1977），165–77；更多的ge（芝加哥，1989），尤其是992。最近，L.Brubak Era，约680–850（Cambri的图像破坏程度对恐像症的物质影响和Iconoc Iconoclasm and Text De ed.N.N.May（芝加哥3。C.Barber，拜占庭标志性建筑中的人物“标志性建筑是什么（1976）：16-31；J.Pelikan（康涅狄格州纽黑文，1990）标志性建筑和/或修复
{"title":"Iconoclasm and/as repair","authors":"Sean V. Leatherbury","doi":"10.1086/716674","DOIUrl":"https://doi.org/10.1086/716674","url":null,"abstract":"of Chicago Press for the 1. See, e.g., D. Freed Iconoclasm,” in Iconocla 1977), 165–77; more ge (Chicago, 1989), esp. 99 2. Begun already by Iconoclastic Controversy more recently, L. Brubak Era, c. 680–850 (Cambri extent of image destructi of the material impact o Iconophobia and Iconoc Iconoclasm and Text De ed. N. N. May (Chicago 3. C. Barber, Figure in Byzantine Iconoclasm “What Was the Iconocla (1976): 16–31; J. Pelikan (New Haven, CT, 1990) Iconoclasm and/as repair","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"75-76 1","pages":"154 - 167"},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41739557","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：