Robert DeCaroli
- Published in print:
- 2004
- Published Online:
- January 2005
- ISBN:
- 9780195168389
- eISBN:
- 9780199835133
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0195168380.003.0004
- Subject:
- Religion, Buddhism
Images of popular demigods and minor deities are shown to dominate the decoration of early Buddhist sites to the exclusion of almost any other subject matter. In particular, an iconographic study of ...
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Images of popular demigods and minor deities are shown to dominate the decoration of early Buddhist sites to the exclusion of almost any other subject matter. In particular, an iconographic study of the remains of the monastery from Bharhut reveals a process of superimposition wherein the spirit‐deities have been moved to the periphery of the sacred space and the center is reserved for the Buddhist relic alone. When this information is coupled with new evidence demonstrating that these monasteries were largely built over locations (like cemeteries and hills) that were understood as being the abodes of specific minor deities, it becomes clear that the Buddhist community is making a potent statement of religious authority though its architecture. Significantly, this hierarchy expressed in sculpture parallels the claims of authority made in the legendary literature.Less
Images of popular demigods and minor deities are shown to dominate the decoration of early Buddhist sites to the exclusion of almost any other subject matter. In particular, an iconographic study of the remains of the monastery from Bharhut reveals a process of superimposition wherein the spirit‐deities have been moved to the periphery of the sacred space and the center is reserved for the Buddhist relic alone. When this information is coupled with new evidence demonstrating that these monasteries were largely built over locations (like cemeteries and hills) that were understood as being the abodes of specific minor deities, it becomes clear that the Buddhist community is making a potent statement of religious authority though its architecture. Significantly, this hierarchy expressed in sculpture parallels the claims of authority made in the legendary literature.
Yumi Park Huntington, Dean E. Arnold, and Johanna Minich (eds)
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780813056067
- eISBN:
- 9780813053820
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813056067.001.0001
- Subject:
- Archaeology, Prehistoric Archaeology
Ceramics of Ancient America analyzes ceramics specifically from ancient America to add new layers to our understanding by emphasizing new perspectives and a multidisciplinary approach from the fields ...
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Ceramics of Ancient America analyzes ceramics specifically from ancient America to add new layers to our understanding by emphasizing new perspectives and a multidisciplinary approach from the fields of archaeology, art history, and anthropology. Scholars have studied ceramic objects in these disciplines using various methodologies. So far, however, no publication has combined these different scholarly approaches to analyze Pre-Columbian ceramics to understand aspects of many different ancient societies across the Americas. This book thus will provide a much-needed compendium, survey, and synthesis of current scholarship of New World ceramics by drawing on a combination of three different disciplines. This volume will help students and scholars alike better understand and appreciate ceramics as one of the vital forms of communication within small social units, and across cultural and political boundaries. Although three different disciplines have approached the study of ceramics using different methodologies, this book will be the first to utilize them in a cross-cultural and cross-disciplinary way to contribute to a more complete picture of Pre-Columbian ceramics and their place in society. The study of ceramics has already been recognized as a fundamental tool for understanding Pre-Columbian beliefs about daily life, reconstructing social systems, and assessing inter- and intra- cultural political relationships. The contributors to this book, however, explore social implications, iconography, trade, variations of regional style, innovation, ritual, and political meanings from numerous cultures in North, Central, and South America that are relevant to the study of ceramics anywhere, but particularly in ancient America.Less
Ceramics of Ancient America analyzes ceramics specifically from ancient America to add new layers to our understanding by emphasizing new perspectives and a multidisciplinary approach from the fields of archaeology, art history, and anthropology. Scholars have studied ceramic objects in these disciplines using various methodologies. So far, however, no publication has combined these different scholarly approaches to analyze Pre-Columbian ceramics to understand aspects of many different ancient societies across the Americas. This book thus will provide a much-needed compendium, survey, and synthesis of current scholarship of New World ceramics by drawing on a combination of three different disciplines. This volume will help students and scholars alike better understand and appreciate ceramics as one of the vital forms of communication within small social units, and across cultural and political boundaries. Although three different disciplines have approached the study of ceramics using different methodologies, this book will be the first to utilize them in a cross-cultural and cross-disciplinary way to contribute to a more complete picture of Pre-Columbian ceramics and their place in society. The study of ceramics has already been recognized as a fundamental tool for understanding Pre-Columbian beliefs about daily life, reconstructing social systems, and assessing inter- and intra- cultural political relationships. The contributors to this book, however, explore social implications, iconography, trade, variations of regional style, innovation, ritual, and political meanings from numerous cultures in North, Central, and South America that are relevant to the study of ceramics anywhere, but particularly in ancient America.
Michael Peppard
- Published in print:
- 2016
- Published Online:
- May 2016
- ISBN:
- 9780300213997
- eISBN:
- 9780300216516
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300213997.003.0005
- Subject:
- Religion, History of Christianity
The eastern and northern walls of the baptistery feature the main artistic program, which is a procession of women. This chapter surveys and challenges the usual identification and interpretation of ...
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The eastern and northern walls of the baptistery feature the main artistic program, which is a procession of women. This chapter surveys and challenges the usual identification and interpretation of these female figures. While the traditional interpretation of them as the women at the tomb of Christ on Easter morning has arguments to support it, the preponderance of evidence supports our recovering an old counter-proposal, which identifies them as virgins at a wedding. When biblical, artistic, and ritual sources are read with this in mind, the singular importance of marriage motifs in early Syrian Christianity becomes clear. The closest artistic comparanda from Syria render a biblical wedding procession—that of Jesus’ Parable of the Wise and Foolish Virgins—with the same iconography as the figures on Dura’s walls. In addition, the motif of spiritual marriage at initiation in a “bridal chamber” was very prominent in proximate textual traditions. That being said, ritual texts and homilies from the fourth century begin to show metaphorical interference between imagery of weddings and funerals, and so polysemic interpretations of this procession are certainly warranted. The marriage motif dominates, but does not completely subordinate, the notions of death and resurrection at initiation.Less
The eastern and northern walls of the baptistery feature the main artistic program, which is a procession of women. This chapter surveys and challenges the usual identification and interpretation of these female figures. While the traditional interpretation of them as the women at the tomb of Christ on Easter morning has arguments to support it, the preponderance of evidence supports our recovering an old counter-proposal, which identifies them as virgins at a wedding. When biblical, artistic, and ritual sources are read with this in mind, the singular importance of marriage motifs in early Syrian Christianity becomes clear. The closest artistic comparanda from Syria render a biblical wedding procession—that of Jesus’ Parable of the Wise and Foolish Virgins—with the same iconography as the figures on Dura’s walls. In addition, the motif of spiritual marriage at initiation in a “bridal chamber” was very prominent in proximate textual traditions. That being said, ritual texts and homilies from the fourth century begin to show metaphorical interference between imagery of weddings and funerals, and so polysemic interpretations of this procession are certainly warranted. The marriage motif dominates, but does not completely subordinate, the notions of death and resurrection at initiation.
Felicity Chaplin
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9781526109538
- eISBN:
- 9781526128263
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526109538.001.0001
- Subject:
- Film, Television and Radio, Film
While there have been significant contributions on la Parisienne in the fields of art history, fashion theory and culture, and cultural history, little is written on her appearance and function in ...
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While there have been significant contributions on la Parisienne in the fields of art history, fashion theory and culture, and cultural history, little is written on her appearance and function in cinema. This book is an attempt to address this gap in scholarship by examining the figure of la Parisienne in cinema.
The approach of this book is threefold: textual (the films), contextual (the history of the representations of the Parisienne type), and intertextual (the relationship between the films and other texts such as novels and paintings, extending to the star persona of the actress). However the overarching methodology of this book is iconographical, tracing the historical prefigurations of la Parisienne in the art, literature, and mass culture of nineteenth-century France.
The findings of this book are both general (la Parisienne as a cultural type) and specific (la Parisienne as a she appears in different films). La Parisienne can be defined as a figure of French modernity, understood both in its technological and cultural sense, and is recognisable in terms of six interconnected categories: art, cosmopolitanism, fashion, danger, prostitution, and stardom.
These categories reveal the way the Parisienne type is constantly evolving while at the same time possessing a set of recognisable motifs. By connecting the films discussed in this book to a cultural tradition to which they may not at first appear to belong, this book not only enriches our understanding of these films, it also offers new analytical and interpretative perspectives.Less
While there have been significant contributions on la Parisienne in the fields of art history, fashion theory and culture, and cultural history, little is written on her appearance and function in cinema. This book is an attempt to address this gap in scholarship by examining the figure of la Parisienne in cinema.
The approach of this book is threefold: textual (the films), contextual (the history of the representations of the Parisienne type), and intertextual (the relationship between the films and other texts such as novels and paintings, extending to the star persona of the actress). However the overarching methodology of this book is iconographical, tracing the historical prefigurations of la Parisienne in the art, literature, and mass culture of nineteenth-century France.
The findings of this book are both general (la Parisienne as a cultural type) and specific (la Parisienne as a she appears in different films). La Parisienne can be defined as a figure of French modernity, understood both in its technological and cultural sense, and is recognisable in terms of six interconnected categories: art, cosmopolitanism, fashion, danger, prostitution, and stardom.
These categories reveal the way the Parisienne type is constantly evolving while at the same time possessing a set of recognisable motifs. By connecting the films discussed in this book to a cultural tradition to which they may not at first appear to belong, this book not only enriches our understanding of these films, it also offers new analytical and interpretative perspectives.
Katy Layton-Jones
- Published in print:
- 2016
- Published Online:
- May 2016
- ISBN:
- 9780719099694
- eISBN:
- 9781526104038
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719099694.003.0007
- Subject:
- History, British and Irish Modern History
The book concludes with re-evaluation of late eighteenth and nineteenth-century attitudes to provincial urbanisation and asserts that the reorganisation of the traditional urban hierarchy was ...
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The book concludes with re-evaluation of late eighteenth and nineteenth-century attitudes to provincial urbanisation and asserts that the reorganisation of the traditional urban hierarchy was mirrored by the evolution of a new visual vocabulary with which the urban scene was articulated. In the 1780s towns and cities were represented primarily through an aesthetic formula inherited from picturesque landscape painting. By the 1830s and 1840s, it was possible to present towns from myriad perspectives. However, by the 1880s this plurality was under attack from a new aesthetic archetype that privileged the scale and impact of industrial premises, pollution, and overcrowding.Less
The book concludes with re-evaluation of late eighteenth and nineteenth-century attitudes to provincial urbanisation and asserts that the reorganisation of the traditional urban hierarchy was mirrored by the evolution of a new visual vocabulary with which the urban scene was articulated. In the 1780s towns and cities were represented primarily through an aesthetic formula inherited from picturesque landscape painting. By the 1830s and 1840s, it was possible to present towns from myriad perspectives. However, by the 1880s this plurality was under attack from a new aesthetic archetype that privileged the scale and impact of industrial premises, pollution, and overcrowding.
Felicity Chaplin
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9781526109538
- eISBN:
- 9781526128263
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526109538.003.0008
- Subject:
- Film, Television and Radio, Film
The conclusion offers the following provisional definition of la Parisienne: a type of which atypicality is the dominant feature; a type whose identity is continuously displaced or deferred, ...
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The conclusion offers the following provisional definition of la Parisienne: a type of which atypicality is the dominant feature; a type whose identity is continuously displaced or deferred, simultaneously reaching back to her earliest manifestations in the nineteenth century and forward to future manifestations which will both affirm and rework the iconography of the type. The further turn of the screw for the difficulty of defining la Parisienne as a type is that this difficulty is not in spite of her iconography but is in fact built into it. This apparent contradiction is accounted for within iconography itself as a methodology, the two aspects of which are stability and mutability. Since a type is only a type because of recognisable motifs, certain motifs must be established which have both universal, and particular or historical validity. One of the ways iconography may respond to its dual imperatives of stability and mutability is by constructing a cycle of films featuring a certain type, and the conclusion reveals that this book goes some way toward constructing what might be called a cycle of Parisienne films.Less
The conclusion offers the following provisional definition of la Parisienne: a type of which atypicality is the dominant feature; a type whose identity is continuously displaced or deferred, simultaneously reaching back to her earliest manifestations in the nineteenth century and forward to future manifestations which will both affirm and rework the iconography of the type. The further turn of the screw for the difficulty of defining la Parisienne as a type is that this difficulty is not in spite of her iconography but is in fact built into it. This apparent contradiction is accounted for within iconography itself as a methodology, the two aspects of which are stability and mutability. Since a type is only a type because of recognisable motifs, certain motifs must be established which have both universal, and particular or historical validity. One of the ways iconography may respond to its dual imperatives of stability and mutability is by constructing a cycle of films featuring a certain type, and the conclusion reveals that this book goes some way toward constructing what might be called a cycle of Parisienne films.
Linnea Wren, Cynthia Kristan-Graham, Travis Nygard, and Kaylee Spencer (eds)
- Published in print:
- 2017
- Published Online:
- September 2018
- ISBN:
- 9780813054964
- eISBN:
- 9780813053417
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813054964.001.0001
- Subject:
- Archaeology, Prehistoric Archaeology
Designated a World Heritage site in 1998 by UNESCO, Chichen Itza in Yucatan, Mexico, has fascinated explorers, scholars, and visitors for nearly 500 years. Yet, despite Chichen Itza’s extensive ...
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Designated a World Heritage site in 1998 by UNESCO, Chichen Itza in Yucatan, Mexico, has fascinated explorers, scholars, and visitors for nearly 500 years. Yet, despite Chichen Itza’s extensive written corpus, fundamental questions remain regarding the occupants, rulers, ritual and religious nature, political economy, and even chronology of this late Maya capital. This volume presents new archaeological, epigraphic, ceramic, and art historical data and contemporary interpretations regarding Chichen Itza both in terms of its internal dynamics and in terms of its relationships with smaller sites in the surrounding area. Utilizing concepts of landscape as both geographic and ideological milieus, some chapters explore the ways that the presence of Chichen Itza was felt in regional sites, including Popola, Ichmul de Morley, and Ek Balam, and how boundaries operated between such sites. Other chapters analyze visual culture through the lenses of iconography, political geography, ritual, and gender to examine the hieroglyphic texts, sculpture, painting and buildings at Chichen Itza, including the Castillo, the Osario, and the Mercado. The volume presents new avenues to understand Chichen Itza and its environs.Less
Designated a World Heritage site in 1998 by UNESCO, Chichen Itza in Yucatan, Mexico, has fascinated explorers, scholars, and visitors for nearly 500 years. Yet, despite Chichen Itza’s extensive written corpus, fundamental questions remain regarding the occupants, rulers, ritual and religious nature, political economy, and even chronology of this late Maya capital. This volume presents new archaeological, epigraphic, ceramic, and art historical data and contemporary interpretations regarding Chichen Itza both in terms of its internal dynamics and in terms of its relationships with smaller sites in the surrounding area. Utilizing concepts of landscape as both geographic and ideological milieus, some chapters explore the ways that the presence of Chichen Itza was felt in regional sites, including Popola, Ichmul de Morley, and Ek Balam, and how boundaries operated between such sites. Other chapters analyze visual culture through the lenses of iconography, political geography, ritual, and gender to examine the hieroglyphic texts, sculpture, painting and buildings at Chichen Itza, including the Castillo, the Osario, and the Mercado. The volume presents new avenues to understand Chichen Itza and its environs.
Yumi Park Huntington
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780813056067
- eISBN:
- 9780813053820
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813056067.003.0005
- Subject:
- Archaeology, Prehistoric Archaeology
This chapter employs the traditional art historical methods of formal analysis and iconography to understand head motifs engraved on Cupisnique ceramics that were made between 1200 and 200 BCE. ...
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This chapter employs the traditional art historical methods of formal analysis and iconography to understand head motifs engraved on Cupisnique ceramics that were made between 1200 and 200 BCE. Rather than characterizing a small social group operating in isolation, these motifs and objects serve as indicators of cultural identity, affiliation, and transmission, expressing complex interactions between neighboring cultures. In other words, the head motifs on Cupisnique ceramics display the cultural networks inside of which the Cupisnique people saw themselves. Through conscious combination of various techniques and symbols appropriated from other cultures, Cupisnique artists created innovative objects unique to their own society. In particular, the Cupisnique people combined the post-firing engraving techniques of the Chorrera and Machalilla cultures of Ecuador with head motifs appropriated from the architectural friezes of Huaca de los Reyes, a public ritual space, to create small, personal items. These objects with imagery and techniques appropriated into a new, private context become a key distinction of the Cupisnique culture against its neighbors, antecedents, and trade partners.Less
This chapter employs the traditional art historical methods of formal analysis and iconography to understand head motifs engraved on Cupisnique ceramics that were made between 1200 and 200 BCE. Rather than characterizing a small social group operating in isolation, these motifs and objects serve as indicators of cultural identity, affiliation, and transmission, expressing complex interactions between neighboring cultures. In other words, the head motifs on Cupisnique ceramics display the cultural networks inside of which the Cupisnique people saw themselves. Through conscious combination of various techniques and symbols appropriated from other cultures, Cupisnique artists created innovative objects unique to their own society. In particular, the Cupisnique people combined the post-firing engraving techniques of the Chorrera and Machalilla cultures of Ecuador with head motifs appropriated from the architectural friezes of Huaca de los Reyes, a public ritual space, to create small, personal items. These objects with imagery and techniques appropriated into a new, private context become a key distinction of the Cupisnique culture against its neighbors, antecedents, and trade partners.
Sarahh E. M. Scher
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780813056067
- eISBN:
- 9780813053820
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813056067.003.0006
- Subject:
- Archaeology, Prehistoric Archaeology
The Moche people of northern coastal Peru (c. 100 B.C.E–850 C.E.) left behind a great deal of visual communication in their art, which is unusual in its relative naturalism and realistic portrayal of ...
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The Moche people of northern coastal Peru (c. 100 B.C.E–850 C.E.) left behind a great deal of visual communication in their art, which is unusual in its relative naturalism and realistic portrayal of human and animal figures. Although their stylistic choices appear to allow for a close study of artistic imagery and its relationship to Moche life, the Moche were selective in what they included in their iconography; their art is not a comprehensive catalogue of their culture. Nevertheless, by comparing the results of a iconographic analysis of human costume in Moche ceramics with the work of scholars who have studied Moche supernatural representations in the same medium, it is possible to move toward a deeper understanding of mid- to late Moche culture and status as depicted in their art. By focusing mainly on art produced in the middle to late Moche periods (AD 200–550), this essay provides an inquiry into general ideas in Moche culture about the supernatural, ideas which of course would have varied in their details over time and space.Less
The Moche people of northern coastal Peru (c. 100 B.C.E–850 C.E.) left behind a great deal of visual communication in their art, which is unusual in its relative naturalism and realistic portrayal of human and animal figures. Although their stylistic choices appear to allow for a close study of artistic imagery and its relationship to Moche life, the Moche were selective in what they included in their iconography; their art is not a comprehensive catalogue of their culture. Nevertheless, by comparing the results of a iconographic analysis of human costume in Moche ceramics with the work of scholars who have studied Moche supernatural representations in the same medium, it is possible to move toward a deeper understanding of mid- to late Moche culture and status as depicted in their art. By focusing mainly on art produced in the middle to late Moche periods (AD 200–550), this essay provides an inquiry into general ideas in Moche culture about the supernatural, ideas which of course would have varied in their details over time and space.
Michael D. Carrasco and Robert F. Wald
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780813056067
- eISBN:
- 9780813053820
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813056067.003.0007
- Subject:
- Archaeology, Prehistoric Archaeology
Ceramic texts and imagery have been critically important tools in the study of Maya iconography and epigraphy. However, how these narratives coordinate with those in other media as coherent, ...
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Ceramic texts and imagery have been critically important tools in the study of Maya iconography and epigraphy. However, how these narratives coordinate with those in other media as coherent, media-specific compositions has been little explored. This chapter presents a single case study to address issues of intertextuality. In particular, it focuses on the iconography and textual composition of the Regal Rabbit Vase (K1398) with the imagery found on Naranjo Stela 22. That the royal house of Naranjo commissioned both objects makes this a useful comparison, because it provides historical links between the vessel and the stela. Taking advantage of this fortuitous pairing of contemporaneous objects, we look to the visual rhetoric through which K’ahk Tiliw Chan Chahk’s (688–726? A.D.) military and youth rites were presented in each medium. Then, these rites are placed in conversation with the extensive iconographic and textual record at Palenque to contextualize the pan-Maya significance of youth rites involving the deity B’olon Okte’ K’uh and their mythological underpinnings. Through this example, we explore why ceramics were a preferred medium for the presentation of certain genres of imagery (e.g. mythological narratives) that are rarely presented in the monuments and how this choice is itself meaningful.Less
Ceramic texts and imagery have been critically important tools in the study of Maya iconography and epigraphy. However, how these narratives coordinate with those in other media as coherent, media-specific compositions has been little explored. This chapter presents a single case study to address issues of intertextuality. In particular, it focuses on the iconography and textual composition of the Regal Rabbit Vase (K1398) with the imagery found on Naranjo Stela 22. That the royal house of Naranjo commissioned both objects makes this a useful comparison, because it provides historical links between the vessel and the stela. Taking advantage of this fortuitous pairing of contemporaneous objects, we look to the visual rhetoric through which K’ahk Tiliw Chan Chahk’s (688–726? A.D.) military and youth rites were presented in each medium. Then, these rites are placed in conversation with the extensive iconographic and textual record at Palenque to contextualize the pan-Maya significance of youth rites involving the deity B’olon Okte’ K’uh and their mythological underpinnings. Through this example, we explore why ceramics were a preferred medium for the presentation of certain genres of imagery (e.g. mythological narratives) that are rarely presented in the monuments and how this choice is itself meaningful.
Jeremy Prestholdt
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9780190632144
- eISBN:
- 9780190077914
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190632144.001.0001
- Subject:
- History, History of Ideas
The global icon is an omnipresent but poorly understood element of mass culture. This book asks why audiences around the world have embraced particular iconic figures, how perceptions of these ...
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The global icon is an omnipresent but poorly understood element of mass culture. This book asks why audiences around the world have embraced particular iconic figures, how perceptions of these figures have changed, and what this tells us about transnational relations since the Cold War era. Prestholdt addresses these questions by examining one type of icon: the anti-establishment figure. As symbols that represent sentiments, ideals, or something else recognizable to a wide audience, icons of dissent have been integrated into diverse political and consumer cultures, and global audiences have reinterpreted them over time.
To illustrate these points the book examines four of the most evocative and controversial figures of the past fifty years: Che Guevara, Bob Marley, Tupac Shakur, and Osama bin Laden. Each has embodied a convergence of dissent, cultural politics, and consumerism, yet popular perceptions of each reveal the dissonance between shared, global references and locally contingent interpretations. By examining four very different figures, Icons of Dissent offers new insights into global symbolic idioms, the mutability of common references, and the commodification of political sentiment in the contemporary world.Less
The global icon is an omnipresent but poorly understood element of mass culture. This book asks why audiences around the world have embraced particular iconic figures, how perceptions of these figures have changed, and what this tells us about transnational relations since the Cold War era. Prestholdt addresses these questions by examining one type of icon: the anti-establishment figure. As symbols that represent sentiments, ideals, or something else recognizable to a wide audience, icons of dissent have been integrated into diverse political and consumer cultures, and global audiences have reinterpreted them over time.
To illustrate these points the book examines four of the most evocative and controversial figures of the past fifty years: Che Guevara, Bob Marley, Tupac Shakur, and Osama bin Laden. Each has embodied a convergence of dissent, cultural politics, and consumerism, yet popular perceptions of each reveal the dissonance between shared, global references and locally contingent interpretations. By examining four very different figures, Icons of Dissent offers new insights into global symbolic idioms, the mutability of common references, and the commodification of political sentiment in the contemporary world.
Melanie Tebbutt
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780719066139
- eISBN:
- 9781781704097
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719066139.003.0004
- Subject:
- History, Social History
Chapter 3 compares and contrasts anxieties and concerns which surrounded the clothed and unclothed male body. Male bodies had a powerful cultural resonance after the war, in rehabilitative ...
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Chapter 3 compares and contrasts anxieties and concerns which surrounded the clothed and unclothed male body. Male bodies had a powerful cultural resonance after the war, in rehabilitative initiatives and emerging consumer industries. By the 1930s, the physical power of the masses, from the Bolshevik Revolution to images of crowds at play, was informing a national iconography of controlled and disciplined youth, very visible in newsreel footage from the 1930s of the Scouts, BB, boys' clubs, and totalitarian youth movements in Germany and Italy. At an individual level, young men's physical sense of self was coming under the growing influence of visual forms and commercial leisure trends, bringing working-class young men into contact with new models of personal behaviour and social interaction which made many sensitive to style, fashion and appearance. This chapter examines how working-class young men mediated the feminised connotations of consumption in negotiating these new physical images and ways of performing masculinity.Less
Chapter 3 compares and contrasts anxieties and concerns which surrounded the clothed and unclothed male body. Male bodies had a powerful cultural resonance after the war, in rehabilitative initiatives and emerging consumer industries. By the 1930s, the physical power of the masses, from the Bolshevik Revolution to images of crowds at play, was informing a national iconography of controlled and disciplined youth, very visible in newsreel footage from the 1930s of the Scouts, BB, boys' clubs, and totalitarian youth movements in Germany and Italy. At an individual level, young men's physical sense of self was coming under the growing influence of visual forms and commercial leisure trends, bringing working-class young men into contact with new models of personal behaviour and social interaction which made many sensitive to style, fashion and appearance. This chapter examines how working-class young men mediated the feminised connotations of consumption in negotiating these new physical images and ways of performing masculinity.
Miguel Ángel Molinero Polo
- Published in print:
- 2014
- Published Online:
- September 2014
- ISBN:
- 9789774166181
- eISBN:
- 9781617975448
- Item type:
- chapter
- Publisher:
- American University in Cairo Press
- DOI:
- 10.5743/cairo/9789774166181.003.0010
- Subject:
- Archaeology, Historical Archaeology
The excavation of the tomb of Karakhamun has brought to light its textual richness. It is the oldest known Late Period revival monumental mortuary building, making it a an important reference for ...
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The excavation of the tomb of Karakhamun has brought to light its textual richness. It is the oldest known Late Period revival monumental mortuary building, making it a an important reference for later temple tombs of Thebes. This chapter presents the texts identified in the First Pillared Hall, which are from the Book of Going Forth By Day, the Ritual of the Hours of the Day, the Ritual of the Hours of the Night, and various offering scenes. It describes the textual decoration and explains the placement of texts, spells, and scenes, as well as highlighting iconographic novelties.Less
The excavation of the tomb of Karakhamun has brought to light its textual richness. It is the oldest known Late Period revival monumental mortuary building, making it a an important reference for later temple tombs of Thebes. This chapter presents the texts identified in the First Pillared Hall, which are from the Book of Going Forth By Day, the Ritual of the Hours of the Day, the Ritual of the Hours of the Night, and various offering scenes. It describes the textual decoration and explains the placement of texts, spells, and scenes, as well as highlighting iconographic novelties.
Elena Pischikova
- Published in print:
- 2014
- Published Online:
- September 2014
- ISBN:
- 9789774166181
- eISBN:
- 9781617975448
- Item type:
- chapter
- Publisher:
- American University in Cairo Press
- DOI:
- 10.5743/cairo/9789774166181.003.0005
- Subject:
- Archaeology, Historical Archaeology
Archaism is a key factor in Late Period Theban tomb decoration, and this chapter explores this in the tombs of Karakhamun and Karabasken. It looks at the style of carving, the use of imagery and ...
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Archaism is a key factor in Late Period Theban tomb decoration, and this chapter explores this in the tombs of Karakhamun and Karabasken. It looks at the style of carving, the use of imagery and iconography, and techniques and innovations employed. This chapter concludes that the tomb was decorated in a relatively short period of time by a large number of building and artistic teams, yet was never completed.Less
Archaism is a key factor in Late Period Theban tomb decoration, and this chapter explores this in the tombs of Karakhamun and Karabasken. It looks at the style of carving, the use of imagery and iconography, and techniques and innovations employed. This chapter concludes that the tomb was decorated in a relatively short period of time by a large number of building and artistic teams, yet was never completed.
Elena Pischikova
- Published in print:
- 2014
- Published Online:
- September 2014
- ISBN:
- 9789774166181
- eISBN:
- 9781617975448
- Item type:
- chapter
- Publisher:
- American University in Cairo Press
- DOI:
- 10.5743/cairo/9789774166181.003.0009
- Subject:
- Archaeology, Historical Archaeology
This chapter explores the decoration of the recently discovered vestibule in the tomb of Karakhamun. It looks at eight scenes—including grape gathering, musicians, and plowing—exploring composition, ...
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This chapter explores the decoration of the recently discovered vestibule in the tomb of Karakhamun. It looks at eight scenes—including grape gathering, musicians, and plowing—exploring composition, iconography, imagery, artistic influences, and subject matter. It concludes by drawing attention to three key features: that New-Kingdom inspired features increases throughout the Twenty-sixth Dynasty; the ‘mistakes’ in the representation of objects, attire, or action; and the progression away from narrative and toward sacralization.Less
This chapter explores the decoration of the recently discovered vestibule in the tomb of Karakhamun. It looks at eight scenes—including grape gathering, musicians, and plowing—exploring composition, iconography, imagery, artistic influences, and subject matter. It concludes by drawing attention to three key features: that New-Kingdom inspired features increases throughout the Twenty-sixth Dynasty; the ‘mistakes’ in the representation of objects, attire, or action; and the progression away from narrative and toward sacralization.
Felicity Chaplin
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9781526109538
- eISBN:
- 9781526128263
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526109538.003.0001
- Subject:
- Film, Television and Radio, Film
The introduction provides an overview of the origins of the Parisienne type in nineteenth-century French art and culture. It traces these origins to specific works of art and literature, including ...
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The introduction provides an overview of the origins of the Parisienne type in nineteenth-century French art and culture. It traces these origins to specific works of art and literature, including the novels of Balzac, Flaubert, Zola and Dumas fils; the paintings of Renoir, James Tissot, Toulouse-Lautrec; and the numerous physiognomies written on the type. The origin of the term la Parisienne is examined and two key features of her mythology are identified: visibility and mobility. A provisional definition of la Parisienne as ‘a figure of French modernity’ and ‘more than just a female inhabitant of Paris’ is then offered. Both the technological (railways, printing press, fashion plates, photography) and cultural (art, literature, advertising, print media) developments in nineteenth-century France which provided the basis for the emergence of la Parisienne as a dominant cultural figure are then discussed. Also introduced here is the main theoretical approach of the book: iconography.The iconography of la Parisienne can be categorised according to the following concepts: visibility and mobility (both social and spatial); style and fashionability, including self-fashioning; artist and muse; cosmopolitanism; prostitution; danger; consumption (the consumer and the consumed); and transformation.Less
The introduction provides an overview of the origins of the Parisienne type in nineteenth-century French art and culture. It traces these origins to specific works of art and literature, including the novels of Balzac, Flaubert, Zola and Dumas fils; the paintings of Renoir, James Tissot, Toulouse-Lautrec; and the numerous physiognomies written on the type. The origin of the term la Parisienne is examined and two key features of her mythology are identified: visibility and mobility. A provisional definition of la Parisienne as ‘a figure of French modernity’ and ‘more than just a female inhabitant of Paris’ is then offered. Both the technological (railways, printing press, fashion plates, photography) and cultural (art, literature, advertising, print media) developments in nineteenth-century France which provided the basis for the emergence of la Parisienne as a dominant cultural figure are then discussed. Also introduced here is the main theoretical approach of the book: iconography.The iconography of la Parisienne can be categorised according to the following concepts: visibility and mobility (both social and spatial); style and fashionability, including self-fashioning; artist and muse; cosmopolitanism; prostitution; danger; consumption (the consumer and the consumed); and transformation.
Eugen J. Pentiuc
- Published in print:
- 2014
- Published Online:
- January 2014
- ISBN:
- 9780195331226
- eISBN:
- 9780199358380
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195331226.003.0007
- Subject:
- Religion, Biblical Studies, Religion in the Ancient World
Chapter 7 opens with a discussion on icon’s nature and functions (liturgical, anagogical, pedagogical), periodization of the Byzantine art, and media of visual art (portable icons and monumental ...
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Chapter 7 opens with a discussion on icon’s nature and functions (liturgical, anagogical, pedagogical), periodization of the Byzantine art, and media of visual art (portable icons and monumental art). The core of this chapter deals with the Old Testament in Eastern Orthodox iconography. This chapter underscores the close relationship between aural and visual modes of interpretation. The iconographers seem to be inspired more by hymns of the Church than by patristic commentaries. This demonstrates once more that both iconography and hymnography belong to what one can label “folk theology,” well rooted in the liturgical life of the Church. The icons at once inform, form, and transform the beholders who participate in the Church’s liturgical life. While verbal language must be understood gradually, as a sequence of bytes of information, the narrative world of meaning as mediated by the icons may be captured instantaneously and compendiously.Less
Chapter 7 opens with a discussion on icon’s nature and functions (liturgical, anagogical, pedagogical), periodization of the Byzantine art, and media of visual art (portable icons and monumental art). The core of this chapter deals with the Old Testament in Eastern Orthodox iconography. This chapter underscores the close relationship between aural and visual modes of interpretation. The iconographers seem to be inspired more by hymns of the Church than by patristic commentaries. This demonstrates once more that both iconography and hymnography belong to what one can label “folk theology,” well rooted in the liturgical life of the Church. The icons at once inform, form, and transform the beholders who participate in the Church’s liturgical life. While verbal language must be understood gradually, as a sequence of bytes of information, the narrative world of meaning as mediated by the icons may be captured instantaneously and compendiously.
Rachel McBride Lindsey
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9781469633725
- eISBN:
- 9781469633732
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469633725.003.0003
- Subject:
- Religion, Religious Studies
This chapter explores death and mourning pictures within a shifting memorial culture that was rooted in historical modes of representation and theologies of redemption. Over the course of the ...
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This chapter explores death and mourning pictures within a shifting memorial culture that was rooted in historical modes of representation and theologies of redemption. Over the course of the nineteenth century, photographic portraiture emerged within this memorial culture as both the preferred iconography of mourning in nineteenth-century America and, significantly, as a relic of the departed that disclosed future glory to the bereaved. In this chapter, I explore the role of photographs as relics that illuminated the communion of shadows by mediating the body of the deceased with the grieving body of the bereaved. Here, photographs were devised not as tokens of the moldering body of the deceased but of promise of celestial reunion in glory. As memorial portraiture focused attention on the body of the deceased, another facet within the communion of shadows purported to provide evidence of the soul’s survival after death. Less
This chapter explores death and mourning pictures within a shifting memorial culture that was rooted in historical modes of representation and theologies of redemption. Over the course of the nineteenth century, photographic portraiture emerged within this memorial culture as both the preferred iconography of mourning in nineteenth-century America and, significantly, as a relic of the departed that disclosed future glory to the bereaved. In this chapter, I explore the role of photographs as relics that illuminated the communion of shadows by mediating the body of the deceased with the grieving body of the bereaved. Here, photographs were devised not as tokens of the moldering body of the deceased but of promise of celestial reunion in glory. As memorial portraiture focused attention on the body of the deceased, another facet within the communion of shadows purported to provide evidence of the soul’s survival after death.
Emily A. Engel
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9780813062624
- eISBN:
- 9780813051734
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813062624.003.0002
- Subject:
- Society and Culture, Latin American Studies
Emily Engel considers how the early portraits of Simón Bolívar demonstrate the activation of visual imagery as a necessary component in the independence process during a pivotal moment in American ...
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Emily Engel considers how the early portraits of Simón Bolívar demonstrate the activation of visual imagery as a necessary component in the independence process during a pivotal moment in American history. Portraits of the Liberator built on existing colonial viceregal traditions while deviating from the past in order to articulate a distinctive iconography of political change. This heterogeneous body of military portraits connoted broad-reaching affiliations with nascent revolutionary ideologies. Bolívar used the images to position himself as an agent of international political change, while his supporters commissioned, collected, and displayed Bolivarian portraits as visual demonstrations of loyal allegiance designed to further emphasize the inevitability of his rise to power and the subsequent demise of Spanish imperial domination. Even less ardent allies temporarily displayed Bolivarian portraits as they negotiated their social positions in the liminal space between imperialism and nationalism. Collectively, Bolivarian portraits produced during the Liberator’s lifetime articulated the foundation for the transition of the hero into an icon in the second half of the nineteenth century.Less
Emily Engel considers how the early portraits of Simón Bolívar demonstrate the activation of visual imagery as a necessary component in the independence process during a pivotal moment in American history. Portraits of the Liberator built on existing colonial viceregal traditions while deviating from the past in order to articulate a distinctive iconography of political change. This heterogeneous body of military portraits connoted broad-reaching affiliations with nascent revolutionary ideologies. Bolívar used the images to position himself as an agent of international political change, while his supporters commissioned, collected, and displayed Bolivarian portraits as visual demonstrations of loyal allegiance designed to further emphasize the inevitability of his rise to power and the subsequent demise of Spanish imperial domination. Even less ardent allies temporarily displayed Bolivarian portraits as they negotiated their social positions in the liminal space between imperialism and nationalism. Collectively, Bolivarian portraits produced during the Liberator’s lifetime articulated the foundation for the transition of the hero into an icon in the second half of the nineteenth century.
Kenneth J. Kinkor
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780813061580
- eISBN:
- 9780813051246
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813061580.003.0010
- Subject:
- Archaeology, Historical Archaeology
In recent decades, the historiography of piracy has focussed on how pirates have acted as sub-cultures within larger social units. This is reflected, in part, by their use of symbols, such as the ...
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In recent decades, the historiography of piracy has focussed on how pirates have acted as sub-cultures within larger social units. This is reflected, in part, by their use of symbols, such as the infamous "Jolly Roger", as a means of distinguishing themselves. For Europeans pirates of the so-called "Golden Age of Piracy" this aspect of iconography is confirmed in terms of material culture by graffiti on artifacts recovered from the wreck site of the pirate ship Whydah off Cape Cod, as well as artifacts adapted by pirates to their own purposes.These historical and archaeological findings therefore have a potential role in the process of determining the identify of shipwreck sites dating to the late seventeenth and early eighteenth centuries.Less
In recent decades, the historiography of piracy has focussed on how pirates have acted as sub-cultures within larger social units. This is reflected, in part, by their use of symbols, such as the infamous "Jolly Roger", as a means of distinguishing themselves. For Europeans pirates of the so-called "Golden Age of Piracy" this aspect of iconography is confirmed in terms of material culture by graffiti on artifacts recovered from the wreck site of the pirate ship Whydah off Cape Cod, as well as artifacts adapted by pirates to their own purposes.These historical and archaeological findings therefore have a potential role in the process of determining the identify of shipwreck sites dating to the late seventeenth and early eighteenth centuries.
