Drew Daniel
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780823251278
- eISBN:
- 9780823252701
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823251278.003.0002
- Subject:
- Literature, 16th-century and Renaissance Literature
Melancholy is a product of the composition and recomposition of bodies, with the smooth spectrum of bodily affect territorialized into a striated repertoire of characteristic zones that are ...
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Melancholy is a product of the composition and recomposition of bodies, with the smooth spectrum of bodily affect territorialized into a striated repertoire of characteristic zones that are classified into emotions. It is impossible to imagine a body experiencing an emotional state without knowing what an emotion looks like in the first place. This chapter explores melancholy representation to determine what sort of consistency bodily posture might provide for a melancholy assemblage. Drawing on Albrecht Dürer’s engraving Melencolia I (1514), Isaac Oliver’s oil painting Edward Herbert, First Baron Herbert of Cherbury (1614), and Bas Jan Ader’s silent short film I’m Too Sad to Tell You (1970), the chapter examines the extent to which the pictorial convention of melancholy posture produces the viewer’s experience of affective recognition in each image. It also considers what sort of self-relation is transmitted by the posture of propping and how the visual register is complicated by the haptic circuit of self-support and self-touch implicit in propping.Less
Melancholy is a product of the composition and recomposition of bodies, with the smooth spectrum of bodily affect territorialized into a striated repertoire of characteristic zones that are classified into emotions. It is impossible to imagine a body experiencing an emotional state without knowing what an emotion looks like in the first place. This chapter explores melancholy representation to determine what sort of consistency bodily posture might provide for a melancholy assemblage. Drawing on Albrecht Dürer’s engraving Melencolia I (1514), Isaac Oliver’s oil painting Edward Herbert, First Baron Herbert of Cherbury (1614), and Bas Jan Ader’s silent short film I’m Too Sad to Tell You (1970), the chapter examines the extent to which the pictorial convention of melancholy posture produces the viewer’s experience of affective recognition in each image. It also considers what sort of self-relation is transmitted by the posture of propping and how the visual register is complicated by the haptic circuit of self-support and self-touch implicit in propping.
Benedetta Rossi
- Published in print:
- 2009
- Published Online:
- June 2013
- ISBN:
- 9781846311994
- eISBN:
- 9781846315640
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781846311994.003.0009
- Subject:
- History, Imperialism and Colonialism
In the Ader region of the Republic of Niger, hierarchy is expressed in terms of relative control over mobility. The mobility of various subordinate groups was constrained by the mobility of elites ...
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In the Ader region of the Republic of Niger, hierarchy is expressed in terms of relative control over mobility. The mobility of various subordinate groups was constrained by the mobility of elites and freemen. This chapter focuses on Tuareg society in Ader and its patterns of migration characteristic of the region's pre-colonial hierarchy. It also examines the consequences of colonial conquest for the intertwined mobilities of slaves and elites, and considers the articulations of status and mobility for dependent groups by focusing on the Izanazzafan. Moreover, the chapter views the rearrangement of axes of physical mobility as privileged strategies for social mobility and suggests that social status in Ader is determined by particular patterns of mobility.Less
In the Ader region of the Republic of Niger, hierarchy is expressed in terms of relative control over mobility. The mobility of various subordinate groups was constrained by the mobility of elites and freemen. This chapter focuses on Tuareg society in Ader and its patterns of migration characteristic of the region's pre-colonial hierarchy. It also examines the consequences of colonial conquest for the intertwined mobilities of slaves and elites, and considers the articulations of status and mobility for dependent groups by focusing on the Izanazzafan. Moreover, the chapter views the rearrangement of axes of physical mobility as privileged strategies for social mobility and suggests that social status in Ader is determined by particular patterns of mobility.
