Pub Date : 2023-04-11DOI: 10.1163/15685292-02701016
Kyunghee Pyun
Abstract This paper presents a close-up reading of American artist and ex-member of the Maryknoll Sisters, Linda Mary Montano. Her performance in the video work, Anorexia Nervosa (1981) is analyzed in view of contemporary performance and video art by women artists in the second wave feminism. By positioning the experience of self-starving in the Catholic tradition of holy fasting and asceticism of self-starvation, this paper regards Montano’s video work as a continuation of Catholic women utilizing social agencies. Montano’s own performance in Anorexia Nervosa can be seen as one of many forms of keeping the faith while exercising contemporary art with a mission of disrupting social boundaries and norms. Montano’s understanding of the body as a vehicle of performance art is still resonant with her religiosity of elevating self-starving to a miraculous intervention. Her mundane narrative of the extraordinary supports her view that her life is art; art is life.
{"title":"Religiosity and Spirituality in Linda Mary Montano’s Anorexia Nervosa","authors":"Kyunghee Pyun","doi":"10.1163/15685292-02701016","DOIUrl":"https://doi.org/10.1163/15685292-02701016","url":null,"abstract":"Abstract This paper presents a close-up reading of American artist and ex-member of the Maryknoll Sisters, Linda Mary Montano. Her performance in the video work, Anorexia Nervosa (1981) is analyzed in view of contemporary performance and video art by women artists in the second wave feminism. By positioning the experience of self-starving in the Catholic tradition of holy fasting and asceticism of self-starvation, this paper regards Montano’s video work as a continuation of Catholic women utilizing social agencies. Montano’s own performance in Anorexia Nervosa can be seen as one of many forms of keeping the faith while exercising contemporary art with a mission of disrupting social boundaries and norms. Montano’s understanding of the body as a vehicle of performance art is still resonant with her religiosity of elevating self-starving to a miraculous intervention. Her mundane narrative of the extraordinary supports her view that her life is art; art is life.","PeriodicalId":41383,"journal":{"name":"Religion and the Arts","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135478320","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-11DOI: 10.1163/15685292-02701013
Louis Ho
Abstract The motif of the mortal-spectral threshold runs through the practice of Singapore-based artist, Zarina Muhammad. Born Malay-Muslim, she identifies as a queer animist: her body of work is oriented around notions of the interstitial spaces that exist between the living and the otherworldly in Southeast Asian traditions, incorporating elements of ritual, magic, and the supernatural, poised in the discursive space between animist belief and monotheistic orthodoxy. It is the concept of spectrality, as an organizing metaphor, that provides the primary framework within which her installations and moving images are deciphered. Here, the ghostly and incorporeal are as much synonyms for the sphere of the spiritual and paranormal, as they are analogies for the socially other-ed and systematically marginalized, excluded by dominant ideologies and systems. In the context of the heteronormative, technocratic order and orthodox Islamic lifeworld of twenty-first century Singapore, Zarina’s intersecting identities as a queer, Malay-Muslim woman are read as apparitions of alterity, haunting the margins of hegemonic structures. The liminal site of the threshold signifies the spectral realms invoked in her work, and ultimately serves to metaphorize broader socio-cultural realities.
{"title":"On the Threshold of Different Realms","authors":"Louis Ho","doi":"10.1163/15685292-02701013","DOIUrl":"https://doi.org/10.1163/15685292-02701013","url":null,"abstract":"Abstract The motif of the mortal-spectral threshold runs through the practice of Singapore-based artist, Zarina Muhammad. Born Malay-Muslim, she identifies as a queer animist: her body of work is oriented around notions of the interstitial spaces that exist between the living and the otherworldly in Southeast Asian traditions, incorporating elements of ritual, magic, and the supernatural, poised in the discursive space between animist belief and monotheistic orthodoxy. It is the concept of spectrality, as an organizing metaphor, that provides the primary framework within which her installations and moving images are deciphered. Here, the ghostly and incorporeal are as much synonyms for the sphere of the spiritual and paranormal, as they are analogies for the socially other-ed and systematically marginalized, excluded by dominant ideologies and systems. In the context of the heteronormative, technocratic order and orthodox Islamic lifeworld of twenty-first century Singapore, Zarina’s intersecting identities as a queer, Malay-Muslim woman are read as apparitions of alterity, haunting the margins of hegemonic structures. The liminal site of the threshold signifies the spectral realms invoked in her work, and ultimately serves to metaphorize broader socio-cultural realities.","PeriodicalId":41383,"journal":{"name":"Religion and the Arts","volume":"134 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135478316","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-12DOI: 10.1163/15685292-02605007
D. Loia
{"title":"Religious Narratives in Contemporary Culture: Between Cultural Memory and Transmediality , by Alexandru. Maria-Sabina Draga and Dragoș Manea, eds.","authors":"D. Loia","doi":"10.1163/15685292-02605007","DOIUrl":"https://doi.org/10.1163/15685292-02605007","url":null,"abstract":"","PeriodicalId":41383,"journal":{"name":"Religion and the Arts","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44462372","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Akedat Yitzhak (The Binding of Isaac) is one of the most powerful and yet horrifying narratives of the Hebrew Bible, describing a sacrifice which was ultimately not performed, as Isaac was not slaughtered. However, over the centuries Jewish exegesis developed a controversial tradition in which Isaac was in fact sacrificed. This paper traces this tradition from Midrashic texts through Hebrew Crusade narratives into works by modern Jewish artists. The latter offer depictions of the divergent interpretation of the Akedah in the context of the Shoah (Marc Chagall) and in the context of Arab-Israeli conflict in the Land of Israel (Abel Pann). Discussing the complex treatment of the actual sacrifice in modern Jewish culture, the paper demonstrates how these artists engaged with an actual sacrifice at different stages of their artistic career as a way of depicting trauma either on the national or personal level.
{"title":"Akedah as an Actual Sacrifice","authors":"Monika Czekanowska-Gutman, Amitai Mendelsohn, Devorah Schoenfeld","doi":"10.1163/15685292-02605005","DOIUrl":"https://doi.org/10.1163/15685292-02605005","url":null,"abstract":"\u0000 Akedat Yitzhak (The Binding of Isaac) is one of the most powerful and yet horrifying narratives of the Hebrew Bible, describing a sacrifice which was ultimately not performed, as Isaac was not slaughtered. However, over the centuries Jewish exegesis developed a controversial tradition in which Isaac was in fact sacrificed. This paper traces this tradition from Midrashic texts through Hebrew Crusade narratives into works by modern Jewish artists. The latter offer depictions of the divergent interpretation of the Akedah in the context of the Shoah (Marc Chagall) and in the context of Arab-Israeli conflict in the Land of Israel (Abel Pann). Discussing the complex treatment of the actual sacrifice in modern Jewish culture, the paper demonstrates how these artists engaged with an actual sacrifice at different stages of their artistic career as a way of depicting trauma either on the national or personal level.","PeriodicalId":41383,"journal":{"name":"Religion and the Arts","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43212502","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-12DOI: 10.1163/15685292-02605001
Joni Hand
In the late Middle Ages, the trials and tribulations of Job served as an exemplar for the devout as they made their way through their religious lives. His narrative became popular in private devotional manuscripts as a way to meditate on a life dedicated to God in spite of great hardships. This article will begin with a brief history of the development of Jobian iconography and the story of Job. This analysis will then examine the most common scenes found in books of hours from Job’s narrative, the compositions of which differ depending on the textual source that had been consulted. Finally, the purpose of Jobian iconography in books of hours will be discussed with emphasis on its placement within the program of the manuscript.
{"title":"“Miserere Mei, Deus”","authors":"Joni Hand","doi":"10.1163/15685292-02605001","DOIUrl":"https://doi.org/10.1163/15685292-02605001","url":null,"abstract":"\u0000 In the late Middle Ages, the trials and tribulations of Job served as an exemplar for the devout as they made their way through their religious lives. His narrative became popular in private devotional manuscripts as a way to meditate on a life dedicated to God in spite of great hardships. This article will begin with a brief history of the development of Jobian iconography and the story of Job. This analysis will then examine the most common scenes found in books of hours from Job’s narrative, the compositions of which differ depending on the textual source that had been consulted. Finally, the purpose of Jobian iconography in books of hours will be discussed with emphasis on its placement within the program of the manuscript.","PeriodicalId":41383,"journal":{"name":"Religion and the Arts","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45434131","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-12DOI: 10.1163/15685292-02605009
Frederick S. Roden
{"title":"The Jewish Decadence: Jews and the Aesthetics of Modernity , by Jonathan Freedman","authors":"Frederick S. Roden","doi":"10.1163/15685292-02605009","DOIUrl":"https://doi.org/10.1163/15685292-02605009","url":null,"abstract":"","PeriodicalId":41383,"journal":{"name":"Religion and the Arts","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47518342","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-12DOI: 10.1163/15685292-02605008
B. Stephenson
{"title":"The Figure of Christ in Contemporary Photography , by Nathalie Dietschy","authors":"B. Stephenson","doi":"10.1163/15685292-02605008","DOIUrl":"https://doi.org/10.1163/15685292-02605008","url":null,"abstract":"","PeriodicalId":41383,"journal":{"name":"Religion and the Arts","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44064988","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-12DOI: 10.5040/9781501302657.ch-006
Josh Ellenbogen
{"title":"Idolatry and Iconoclasm","authors":"Josh Ellenbogen","doi":"10.5040/9781501302657.ch-006","DOIUrl":"https://doi.org/10.5040/9781501302657.ch-006","url":null,"abstract":"","PeriodicalId":41383,"journal":{"name":"Religion and the Arts","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44043977","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-12DOI: 10.1163/15685292-02605004
David B. Greene
Hearing a song, listeners can often pick up the syntactical relationships among its words only with great difficulty. The musical flow washes away most of the syntax, and the musical connections from one phrase to the next or one section to the next, sometimes even from one note to the next, are what connect the words to one another and give them meanings very different from their submerged syntactically fixed meanings. This article probes the musical relationships joining the phrases in Beethoven’s Freude theme and attempts to paraphrase “joy” and “brotherhood” as their meanings are qualified by the musically determined relation of each to the other. It pays particular attention to the music that sets texts with a religious dimension, and the way their musical connections change the meaning of joy and brotherhood.
{"title":"Religious Dimensions of Beethoven’s Ode “To Joy”","authors":"David B. Greene","doi":"10.1163/15685292-02605004","DOIUrl":"https://doi.org/10.1163/15685292-02605004","url":null,"abstract":"\u0000 Hearing a song, listeners can often pick up the syntactical relationships among its words only with great difficulty. The musical flow washes away most of the syntax, and the musical connections from one phrase to the next or one section to the next, sometimes even from one note to the next, are what connect the words to one another and give them meanings very different from their submerged syntactically fixed meanings. This article probes the musical relationships joining the phrases in Beethoven’s Freude theme and attempts to paraphrase “joy” and “brotherhood” as their meanings are qualified by the musically determined relation of each to the other. It pays particular attention to the music that sets texts with a religious dimension, and the way their musical connections change the meaning of joy and brotherhood.","PeriodicalId":41383,"journal":{"name":"Religion and the Arts","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42430302","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-12DOI: 10.1163/15685292-02605003
N. Ben-Aryeh Debby
In this article I focus on two of the most prominent female saints: the Franciscan St. Clare of Assisi (1194–1253) and one belonging to the third order of Saint Dominic, St. Catherine of Siena (1347–1380). I analyze a series of visual examples that picture their roles as saviors against epidemics and point out similarities and differences between them. I emphasize the power of the images in providing relief and salvation. St. Clare of Assisi and St. Catherine of Siena offer two distinct models of female sanctity that protect against the plague: the first owing to her symbolic power and her being a kind of a second Mary and the second because of her unique personality and actions in healing the sick and saving the dying in Italian cities.
{"title":"Facing the Plague in Renaissance Italy","authors":"N. Ben-Aryeh Debby","doi":"10.1163/15685292-02605003","DOIUrl":"https://doi.org/10.1163/15685292-02605003","url":null,"abstract":"\u0000 In this article I focus on two of the most prominent female saints: the Franciscan St. Clare of Assisi (1194–1253) and one belonging to the third order of Saint Dominic, St. Catherine of Siena (1347–1380). I analyze a series of visual examples that picture their roles as saviors against epidemics and point out similarities and differences between them. I emphasize the power of the images in providing relief and salvation. St. Clare of Assisi and St. Catherine of Siena offer two distinct models of female sanctity that protect against the plague: the first owing to her symbolic power and her being a kind of a second Mary and the second because of her unique personality and actions in healing the sick and saving the dying in Italian cities.","PeriodicalId":41383,"journal":{"name":"Religion and the Arts","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45216143","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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