Nancy Shoemaker
- Published in print:
- 2004
- Published Online:
- September 2007
- ISBN:
- 9780195167924
- eISBN:
- 9780199788996
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195167924.003.0007
- Subject:
- History, American History: early to 18th Century
Eighteenth-century Indians and Europeans meeting on the council grounds relied on the human body as a resource for metaphors that could explain their relationship: that because they were all people ...
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Eighteenth-century Indians and Europeans meeting on the council grounds relied on the human body as a resource for metaphors that could explain their relationship: that because they were all people with arms, legs, eyes, and ears, they would join in one body with one heart and one mind and become one people. This was the language of peace negotiations, but as conflicts erupted over broken agreements and European expansion, increasingly the human body provided the metaphors to explain why they were not one people — they had different skin colors. In particular, Indians began to claim an identity as “red people” sometime in the early 18th century, a trend originating among Southeastern Indians such as the Cherokees and Creeks, probably because it made sense within an existing color symbolism organized around “red” (the color for war) and “white” (the color for peace) and because Europeans settling in the Southeast at that time had identified as “white people,” instead of “Christians” which was still the prevalent term in the Northeast, to distinguish themselves from their “black” slaves. Indians adopted the same racial terminology as Europeans (and vice versa) but endowed the terms with different meanings, so that “red” came to be a source of pride and supremacy, for the “red people” were here first, and “white” came to be associated with the accumulation of wealth and greed.Less
Eighteenth-century Indians and Europeans meeting on the council grounds relied on the human body as a resource for metaphors that could explain their relationship: that because they were all people with arms, legs, eyes, and ears, they would join in one body with one heart and one mind and become one people. This was the language of peace negotiations, but as conflicts erupted over broken agreements and European expansion, increasingly the human body provided the metaphors to explain why they were not one people — they had different skin colors. In particular, Indians began to claim an identity as “red people” sometime in the early 18th century, a trend originating among Southeastern Indians such as the Cherokees and Creeks, probably because it made sense within an existing color symbolism organized around “red” (the color for war) and “white” (the color for peace) and because Europeans settling in the Southeast at that time had identified as “white people,” instead of “Christians” which was still the prevalent term in the Northeast, to distinguish themselves from their “black” slaves. Indians adopted the same racial terminology as Europeans (and vice versa) but endowed the terms with different meanings, so that “red” came to be a source of pride and supremacy, for the “red people” were here first, and “white” came to be associated with the accumulation of wealth and greed.
Vesna A. Wallace (ed.)
- Published in print:
- 2016
- Published Online:
- December 2015
- ISBN:
- 9780199351572
- eISBN:
- 9780199351602
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199351572.003.0009
- Subject:
- Religion, Religion and Society
The Kālacakra-tantra is considered one of the most authoritative tantric traditions, and the chapter examines the homa as found in that tradition. Instructions for the construction of a ritual site ...
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The Kālacakra-tantra is considered one of the most authoritative tantric traditions, and the chapter examines the homa as found in that tradition. Instructions for the construction of a ritual site include color symbolism, revealing another layer of symbolic associations between the type of ritual and the requirements for its effective performance. Also discussed are the directions and locations where a ritual hearth is best constructed, along with its size and shape. In contrast to other texts discussed in this collection, the texts discuss five kinds of ritual performance. According to this tradition, while external homa can accomplish mundane goals, it is only the internal homa in which the awakened consciousness acts as the ritual fire that can accomplish the ultimate goal of awakening.Less
The Kālacakra-tantra is considered one of the most authoritative tantric traditions, and the chapter examines the homa as found in that tradition. Instructions for the construction of a ritual site include color symbolism, revealing another layer of symbolic associations between the type of ritual and the requirements for its effective performance. Also discussed are the directions and locations where a ritual hearth is best constructed, along with its size and shape. In contrast to other texts discussed in this collection, the texts discuss five kinds of ritual performance. According to this tradition, while external homa can accomplish mundane goals, it is only the internal homa in which the awakened consciousness acts as the ritual fire that can accomplish the ultimate goal of awakening.
Paul Ramaeker
- Published in print:
- 2014
- Published Online:
- November 2015
- ISBN:
- 9780231169813
- eISBN:
- 9780231850643
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231169813.003.0001
- Subject:
- Film, Television and Radio, Film
This chapter studies Sylvester Stallone's first seven films as director. These include: Paradise Alley (1978), Rocky II (1979), Rocky III (1982), Staying Alive (1983), Rocky IV (1985), Rocky Balboa ...
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This chapter studies Sylvester Stallone's first seven films as director. These include: Paradise Alley (1978), Rocky II (1979), Rocky III (1982), Staying Alive (1983), Rocky IV (1985), Rocky Balboa (2006), and Rambo (2008). Stallone's accomplishments with Rocky and Rambo are considerable. He has made significant progress in recovering his stardom by resuscitating his signature roles and in forging an authorial identity. He has also demonstrated a mastery of contemporary Hollywood aesthetics, while extending the strategies of his earlier films, particularly with regard to editing. In this, he continues to offer a distinct variation on prevailing trends. In Paradise Alley, this meant overt colour symbolism alongside a self-conscious mobilisation of classical Hollywood conventions in relation to 1970s genre revisionism. Rocky II, III, and IV saw him develop a form of melodramatic storytelling that is nonetheless classicist, inflected with elements of the backstage musical seen most explicitly in Staying Alive.Less
This chapter studies Sylvester Stallone's first seven films as director. These include: Paradise Alley (1978), Rocky II (1979), Rocky III (1982), Staying Alive (1983), Rocky IV (1985), Rocky Balboa (2006), and Rambo (2008). Stallone's accomplishments with Rocky and Rambo are considerable. He has made significant progress in recovering his stardom by resuscitating his signature roles and in forging an authorial identity. He has also demonstrated a mastery of contemporary Hollywood aesthetics, while extending the strategies of his earlier films, particularly with regard to editing. In this, he continues to offer a distinct variation on prevailing trends. In Paradise Alley, this meant overt colour symbolism alongside a self-conscious mobilisation of classical Hollywood conventions in relation to 1970s genre revisionism. Rocky II, III, and IV saw him develop a form of melodramatic storytelling that is nonetheless classicist, inflected with elements of the backstage musical seen most explicitly in Staying Alive.
Andrea Stevens
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780748670499
- eISBN:
- 9780748693757
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748670499.001.0001
- Subject:
- Literature, Drama
This book challenges the narrative of Shakespeare's ‘bare’ stage by looking at the ‘ground zero’ of early modern theatrical representation: the painted body of the actor. Organised as a series of ...
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This book challenges the narrative of Shakespeare's ‘bare’ stage by looking at the ‘ground zero’ of early modern theatrical representation: the painted body of the actor. Organised as a series of studies and considering the impact of the materiality of stage properties on live performance, the four chapters of the book examine goldface and divinity in York's Corpus Christi play; bloodiness in Elizabethan and Jacobean drama, including the unexpected use of blood as a disguise device; blackface performance within seventeenth-century court masques and in popular plays performed at the public playhouses; and finally whiteface, death, and stoniness in two King's Men plays of 1611. Not only did dramatists turn to paint to sustain a variety of theatrical illusions, they also strategically manipulated the multiple significations of this technology to create stage characters with complex effects of depth; allude to past and to contemporary performances; and thrill audiences by showcasing actors’ virtuoso transformations. Addressing current debates about the relationship between pre- and early modern subjectivity and embodiment, this book challenges the persistent notion that the drama of Shakespeare and his contemporaries was built predominantly around a new, ‘modern’ language of interiority. As a whole, the book questions the boundaries of the period categories ‘medieval’ and ‘early modern’ by demonstrating important continuities in theatrical labour and theatrical materials from medieval cycle drama through to the popular and courtly drama of the 1630s.Less
This book challenges the narrative of Shakespeare's ‘bare’ stage by looking at the ‘ground zero’ of early modern theatrical representation: the painted body of the actor. Organised as a series of studies and considering the impact of the materiality of stage properties on live performance, the four chapters of the book examine goldface and divinity in York's Corpus Christi play; bloodiness in Elizabethan and Jacobean drama, including the unexpected use of blood as a disguise device; blackface performance within seventeenth-century court masques and in popular plays performed at the public playhouses; and finally whiteface, death, and stoniness in two King's Men plays of 1611. Not only did dramatists turn to paint to sustain a variety of theatrical illusions, they also strategically manipulated the multiple significations of this technology to create stage characters with complex effects of depth; allude to past and to contemporary performances; and thrill audiences by showcasing actors’ virtuoso transformations. Addressing current debates about the relationship between pre- and early modern subjectivity and embodiment, this book challenges the persistent notion that the drama of Shakespeare and his contemporaries was built predominantly around a new, ‘modern’ language of interiority. As a whole, the book questions the boundaries of the period categories ‘medieval’ and ‘early modern’ by demonstrating important continuities in theatrical labour and theatrical materials from medieval cycle drama through to the popular and courtly drama of the 1630s.
