Pub Date : 2024-02-02DOI: 10.33009/fsu_athanor134934
Anneliese Hardman
Since the Cambodian genocide (1975-79), first-and-second generation survivors have developed new ways of processing personal and national trauma, including through the mode of graphic arts. This paper first extrapolates how graphic narratives differ from comics and cartoons. Then the graphic narrative’s role in assisting genocide survivors will be examined. In this section, the works of graphic artists, Ing Phoussera, Aki Rai, and Vath Nath, will be specifically looked at in relation to Franz Stanzel’s idea of ‘reflector narratives’ and Mieke Bal’s definition of ‘focalization.’ The paper will also focus on how graphic narratives have become a mode for second-generation survivors to engage with the past through Bui Long’s ‘refugee repertoire’ and Marianne Hirsch’s concept of ‘postmemory.’ Within this section, Tian Veasna’s Year of the Rabbit’s will be analyzed. Aspects considered include illustration, dialogue, and layered content. Finally, this paper will look at how graphic narratives contribute to the concept of the memory archive and “memory citizenship” within Cambodia. Specific questions that prompt my research include: What is a graphic narrative? Can graphic narratives be sources of memoir and postmemory? How do graphic narratives function as a tool for remembering and working through trauma for artists and readers?
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Pub Date : 2024-02-02DOI: 10.33009/fsu_athanor134933
Stephanie Haas
As the most richly illustrated and widely-owned texts of the late medieval and early modern eras, books of hours are essential to the study of art, religion, and the history of the book. Fragmented and altered books, while perhaps less coveted, are of particular value for what they may reveal of book owners and the changing meanings and uses of devotional texts and images over more than five centuries. This paper explores the compelling biography of a book of hours in the University of Florida Library that has undergone such extensive alteration prior to its acquisition in 1989 that cataloguers could not identify the printer and edition, leaving the book’s many dislocations, redactions, and annotations unexplored. Engaging with scholarship on the social history of books of hours, I identify the fragmented book as possibly the sole surviving copy of an edition produced by Thielman Kerver in Paris around 1510 and reconstruct its missing contents through comparison with relevant editions. Next, I examine the book’s complex web of redactions, erasures, and annotations in the context of sixteenth-century religious reform before turning to the book’s dislocations and the spoliation of images in the context of nineteenth and twentieth-century collecting trends.
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Pub Date : 2024-02-02DOI: 10.33009/fsu_athanor134935
Sarah Mathiesen
Dated to the late ninth century, scholars position the rock-cut church Yılanlı Kilise as an idiosyncratic outlier, representative of non-Byzantine influence, within Byzantine Cappadocia. I suggest scholars overemphasize Yılanlı’s oddities and underemphasize the complex programmatic and liturgical conception behind Yılanlı and its relation to eleventh-century, Constantinopolitan-influenced Cappadocian churches. I present a case study centered on the interaction between the Koimesis of the Theotokos and a carved water basin that demonstrates that the church’s furniture and images constitute a symbiotic relationship that amplifies and extends their function and meaning. The Yılanlı Koimesis notably includes the Jew Jephonias. Located below the Theotokos’s bed, Jephonias raises arms with severed hands in an orant-like gesture while his body breaches the image border to touch the water basin below. By representing Jephonias without hands, the Yılanlı program purposefully displays the moment after Jephonias is punished for attempting to upset the bier of the Theotokos but before the subsequent recovery of his hands and “rebirth” as a Christian. The presence of Jephonias both creates a narrative image with a supersessionist conversion message and identifies the basin’s baptismal function; simultaneously, the completion of the Jephonias episode is only activated due to his proximity to the baptismal basin.
学者们将 Yılanlı Kilise 岩石教堂的年代定为 9 世纪晚期，认为它是拜占庭时期卡帕多西亚地区一个特异的异类，代表了非拜占庭时期的影响。我认为学者们过分强调了耶兰勒的奇特之处，而对耶兰勒背后复杂的计划和礼仪理念及其与十一世纪受君士坦丁堡影响的卡帕多西亚教堂的关系强调不够。我介绍了一个案例研究，该案例研究以圣母像和雕刻水盆之间的互动为中心，表明教堂的家具和图像构成了一种共生关系，扩大并延伸了它们的功能和意义。耶兰勒圣母像 "特别包括犹太人耶弗尼亚斯。耶弗尼亚斯位于圣母玛利亚的床下，他举起断手，做出类似口技的手势，而他的身体则越过图像边界，触碰下方的水盆。通过表现没有双手的耶弗尼亚斯，Yılanlı 节目特意展示了耶弗尼亚斯因试图扰乱圣母的灵柩而受到惩罚后，但在随后恢复双手并 "重生 "为基督徒之前的时刻。耶弗尼亚斯的出现既创造了一个具有至上主义皈依信息的叙事形象，又确定了洗礼盆的洗礼功能；同时，耶弗尼亚斯情节的完成只是因为他靠近洗礼盆才被激活。
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Pub Date : 2024-02-02DOI: 10.33009/fsu_athanor134934
Anneliese Hardman
Since the Cambodian genocide (1975-79), first-and-second generation survivors have developed new ways of processing personal and national trauma, including through the mode of graphic arts. This paper first extrapolates how graphic narratives differ from comics and cartoons. Then the graphic narrative’s role in assisting genocide survivors will be examined. In this section, the works of graphic artists, Ing Phoussera, Aki Rai, and Vath Nath, will be specifically looked at in relation to Franz Stanzel’s idea of ‘reflector narratives’ and Mieke Bal’s definition of ‘focalization.’ The paper will also focus on how graphic narratives have become a mode for second-generation survivors to engage with the past through Bui Long’s ‘refugee repertoire’ and Marianne Hirsch’s concept of ‘postmemory.’ Within this section, Tian Veasna’s Year of the Rabbit’s will be analyzed. Aspects considered include illustration, dialogue, and layered content. Finally, this paper will look at how graphic narratives contribute to the concept of the memory archive and “memory citizenship” within Cambodia. Specific questions that prompt my research include: What is a graphic narrative? Can graphic narratives be sources of memoir and postmemory? How do graphic narratives function as a tool for remembering and working through trauma for artists and readers?
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Pub Date : 2024-02-02DOI: 10.33009/fsu_athanor134936
Samuel Rushing
Since their publication in Sunday Times Magazine in 1987, the photographs of the biblically sized Serra Pelada gold mine in northern Brazil by Sebastião Salgado have garnered an emphatically positive reception. In “Blackness in Black and White: Sebastião Salgado and Serra Pelada,” I argue there is a system of racial coding in his photographs of the Serra Pelada gold mine, which has received little attention in the photographic discourse. I examine the photographs in dialogue with visual histories of enslavement and the exploitation of black bodies in 19th century Brazil and the United States, and the complexities of racial identity and hierarchy in late 20th century Brazil. Through this analysis, I also highlight blind spots in the English-language discourse on Salgado’s gold photographs, which seek to both universalize their themes and aestheticize their content, as well as challenge his own characterization of the photographs. My primary objective is not to argue that Salgado’s photographic decisions, which were made manifest in this systemization, were premeditated, but rather to assert its presence within the photographs and in doing so, offer a more politically and culturally nuanced and specific analysis of the photographs.
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Pub Date : 2024-02-02DOI: 10.33009/fsu_athanor134933
Stephanie Haas
As the most richly illustrated and widely-owned texts of the late medieval and early modern eras, books of hours are essential to the study of art, religion, and the history of the book. Fragmented and altered books, while perhaps less coveted, are of particular value for what they may reveal of book owners and the changing meanings and uses of devotional texts and images over more than five centuries. This paper explores the compelling biography of a book of hours in the University of Florida Library that has undergone such extensive alteration prior to its acquisition in 1989 that cataloguers could not identify the printer and edition, leaving the book’s many dislocations, redactions, and annotations unexplored. Engaging with scholarship on the social history of books of hours, I identify the fragmented book as possibly the sole surviving copy of an edition produced by Thielman Kerver in Paris around 1510 and reconstruct its missing contents through comparison with relevant editions. Next, I examine the book’s complex web of redactions, erasures, and annotations in the context of sixteenth-century religious reform before turning to the book’s dislocations and the spoliation of images in the context of nineteenth and twentieth-century collecting trends.
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Pub Date : 2024-02-02DOI: 10.33009/fsu_athanor134937
Kelsea Whaley
1970s Japan saw major changes in the way society lived and worked. A changing family structure, one led by the patriarchal “salaryman,” created new demands for housing. The Nakagin Capsule Tower, completed by architect Kisho Kurokawa in 1972, formerly located in the business district of Shimbashi, Tokyo, Japan, was Kurokawa’s utopian model for Japan’s salarymen. This presentation investigates how the Nakagin Capsule Tower inscribed gendered institutional thought in its construction, restricting women to the home and maintaining male power in the public sphere. Moreover, I explore the relationship between the construction of masculinity and urban space in postwar Japan and discuss the ways in which a housewife is unable to fulfill societal expectations within the Nakagin Capsule Tower. While Kurokawa believed the Nakagin Capsule Tower was a utopian architecture that would improve society, it maintained the salaryman/housewife relationship that prevented Japan from socially evolving to include women in their workforce and reinforced the city as a place only for men in service to the economy. This assessment investigates how the built environment has the power to detract from women’s opportunities outside of the home and the ways architecture met the social demands of men in postwar Japan.
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Pub Date : 2024-02-02DOI: 10.33009/fsu_athanor134936
Samuel Rushing
Since their publication in Sunday Times Magazine in 1987, the photographs of the biblically sized Serra Pelada gold mine in northern Brazil by Sebastião Salgado have garnered an emphatically positive reception. In “Blackness in Black and White: Sebastião Salgado and Serra Pelada,” I argue there is a system of racial coding in his photographs of the Serra Pelada gold mine, which has received little attention in the photographic discourse. I examine the photographs in dialogue with visual histories of enslavement and the exploitation of black bodies in 19th century Brazil and the United States, and the complexities of racial identity and hierarchy in late 20th century Brazil. Through this analysis, I also highlight blind spots in the English-language discourse on Salgado’s gold photographs, which seek to both universalize their themes and aestheticize their content, as well as challenge his own characterization of the photographs. My primary objective is not to argue that Salgado’s photographic decisions, which were made manifest in this systemization, were premeditated, but rather to assert its presence within the photographs and in doing so, offer a more politically and culturally nuanced and specific analysis of the photographs.
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Pub Date : 2024-02-02DOI: 10.33009/fsu_athanor134932
Emily DuVall
At first glance, a green parrot featured in Jean Clouet’s Portrait of François Ier as St. John the Baptist appears out of place. The parrot was a prized import that graced Europe upon Alexander the Great’s victorious return from the Persian Empire and India. Why is this foreign bird exhibited in a sixteenth-century French royal portrait? Repeated in a portrait of François’ sister, it becomes apparent that the green parrot was no casual inclusion. François’ green parrot contains a complex visual message. Considering the implications of the parrot and the ambitions of François, this paper will argue that the appearance of this particular bird served to glorify and endorse a new branch of the royal House of Valois.
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Pub Date : 2024-02-02DOI: 10.33009/fsu_athanor134932
Emily DuVall
At first glance, a green parrot featured in Jean Clouet’s Portrait of François Ier as St. John the Baptist appears out of place. The parrot was a prized import that graced Europe upon Alexander the Great’s victorious return from the Persian Empire and India. Why is this foreign bird exhibited in a sixteenth-century French royal portrait? Repeated in a portrait of François’ sister, it becomes apparent that the green parrot was no casual inclusion. François’ green parrot contains a complex visual message. Considering the implications of the parrot and the ambitions of François, this paper will argue that the appearance of this particular bird served to glorify and endorse a new branch of the royal House of Valois.
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