Javier DeFelipe
- Published in print:
- 2009
- Published Online:
- January 2010
- ISBN:
- 9780195392708
- eISBN:
- 9780199863525
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195392708.001.0001
- Subject:
- Neuroscience, History of Neuroscience, Molecular and Cellular Systems
This book contains a large collection of beautiful figures produced throughout the 19th and beginning of the 20th century, which represent some characteristic examples of the early days of research ...
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This book contains a large collection of beautiful figures produced throughout the 19th and beginning of the 20th century, which represent some characteristic examples of the early days of research in neuroscience. The main aim of this work is to demonstrate to the general public that the study of the nervous system is not only important for the many obvious reasons related to brain function in both health and disease, but also for the unexpected natural beauty that it beholds. This beauty has been discovered thanks to the techniques used to visualize the microscopic structure of the brain, a true forest of colorful and florid neural cells. As illustrated by his marvelous drawings, the studies of Santiago Ramón y Cajal (1852-1934) no doubt contributed more than those of any other researcher at the time to the growth of modern neuroscience. Thus, his name has been honored in the title of this book, even though the figures contained in the main body of it are from 91 different authors. Looking at the illustrations in this book, the readers will find that many of the early researchers that studied the nervous system were also true artists, of considerable talent and esthetic sensibility. Hence, the present book contains numerous drawings of some of the most important pioneers in neuroscience, including Deiters, Kolliker, Meynert, Ranvier, Golgi, Retzius, Nissl, Dogiel, Alzheimer, del Rio-Hortega, and de Castro.Less
This book contains a large collection of beautiful figures produced throughout the 19th and beginning of the 20th century, which represent some characteristic examples of the early days of research in neuroscience. The main aim of this work is to demonstrate to the general public that the study of the nervous system is not only important for the many obvious reasons related to brain function in both health and disease, but also for the unexpected natural beauty that it beholds. This beauty has been discovered thanks to the techniques used to visualize the microscopic structure of the brain, a true forest of colorful and florid neural cells. As illustrated by his marvelous drawings, the studies of Santiago Ramón y Cajal (1852-1934) no doubt contributed more than those of any other researcher at the time to the growth of modern neuroscience. Thus, his name has been honored in the title of this book, even though the figures contained in the main body of it are from 91 different authors. Looking at the illustrations in this book, the readers will find that many of the early researchers that studied the nervous system were also true artists, of considerable talent and esthetic sensibility. Hence, the present book contains numerous drawings of some of the most important pioneers in neuroscience, including Deiters, Kolliker, Meynert, Ranvier, Golgi, Retzius, Nissl, Dogiel, Alzheimer, del Rio-Hortega, and de Castro.
Rachel Stanworth
- Published in print:
- 2003
- Published Online:
- November 2011
- ISBN:
- 9780198525110
- eISBN:
- 9780191730504
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198525110.001.0001
- Subject:
- Palliative Care, Patient Care and End-of-Life Decision Making, Palliative Medicine Research
Listening carefully to patients at the end of life is at the heart of good palliative care and this book provides a means of recognizing and talking about spiritual needs even when religious language ...
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Listening carefully to patients at the end of life is at the heart of good palliative care and this book provides a means of recognizing and talking about spiritual needs even when religious language is not used. The author refers to this as a ‘language of spirit’. The book is based on interviews with patients who are dying and the language that they use to describe their experiences. It deals with death, dying, the experiences of patients, and the relief of spiritual pain by looking closely at patient stories, drawings, and behaviour. The book explains why it is often easier to recognize than to explain spiritual issues. Part One explores the psychological, spiritual, and theological interpretations of human experience. A detailed account is given of how the patients' own stories were collected. Drawing on a broad literature that is grounded in patients' words and deeds, Part Two introduces a non-religious ‘language of spirit’. Illuminated by patient art, Part Three shows what patients use this language to ‘say’ about their situation and how it is mediated through various metaphors. Part Four suggests ways of responding positively to patients' spiritual needs.Less
Listening carefully to patients at the end of life is at the heart of good palliative care and this book provides a means of recognizing and talking about spiritual needs even when religious language is not used. The author refers to this as a ‘language of spirit’. The book is based on interviews with patients who are dying and the language that they use to describe their experiences. It deals with death, dying, the experiences of patients, and the relief of spiritual pain by looking closely at patient stories, drawings, and behaviour. The book explains why it is often easier to recognize than to explain spiritual issues. Part One explores the psychological, spiritual, and theological interpretations of human experience. A detailed account is given of how the patients' own stories were collected. Drawing on a broad literature that is grounded in patients' words and deeds, Part Two introduces a non-religious ‘language of spirit’. Illuminated by patient art, Part Three shows what patients use this language to ‘say’ about their situation and how it is mediated through various metaphors. Part Four suggests ways of responding positively to patients' spiritual needs.
Kathleen Coulborn Faller
- Published in print:
- 2007
- Published Online:
- January 2009
- ISBN:
- 9780195311778
- eISBN:
- 9780199865055
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195311778.003.0009
- Subject:
- Social Work, Children and Families, Crime and Justice
A contested issue in interviewing children about sexual abuse is the use of media, props, tools, or aids, as means of communication about abuse. The controversy over media originated with the use of ...
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A contested issue in interviewing children about sexual abuse is the use of media, props, tools, or aids, as means of communication about abuse. The controversy over media originated with the use of anatomical dolls, that is, dolls with private parts. This chapter discusses the research and practice on anatomical dolls, anatomical drawings, and free drawing. Interviewers may employ other media, but other media lack an empirical base. Indeed, most of the research is on the use of anatomical dolls, which have been the subject of more than one hundred written works.Less
A contested issue in interviewing children about sexual abuse is the use of media, props, tools, or aids, as means of communication about abuse. The controversy over media originated with the use of anatomical dolls, that is, dolls with private parts. This chapter discusses the research and practice on anatomical dolls, anatomical drawings, and free drawing. Interviewers may employ other media, but other media lack an empirical base. Indeed, most of the research is on the use of anatomical dolls, which have been the subject of more than one hundred written works.
N. Thompson Hobbs and Mevin B. Hooten
- Published in print:
- 2015
- Published Online:
- October 2017
- ISBN:
- 9780691159287
- eISBN:
- 9781400866557
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691159287.003.0006
- Subject:
- Biology, Ecology
This chapter seeks to explain hierarchical models and how they differ from simple Bayesian models and to illustrate building hierarchical models using mathematically correct expressions. It begins ...
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This chapter seeks to explain hierarchical models and how they differ from simple Bayesian models and to illustrate building hierarchical models using mathematically correct expressions. It begins with the definition of hierarchical models. Next, the chapter introduces four general classes of hierarchical models that have broad application in ecology. These classes can be used individually or in combination to attack virtually any research problem. Examples are used to show how to draw Bayesian networks that portray stochastic relationships between observed and unobserved quantities. The chapter furthermore shows how to use network drawings as a guide for writing posterior and joint distributions.Less
This chapter seeks to explain hierarchical models and how they differ from simple Bayesian models and to illustrate building hierarchical models using mathematically correct expressions. It begins with the definition of hierarchical models. Next, the chapter introduces four general classes of hierarchical models that have broad application in ecology. These classes can be used individually or in combination to attack virtually any research problem. Examples are used to show how to draw Bayesian networks that portray stochastic relationships between observed and unobserved quantities. The chapter furthermore shows how to use network drawings as a guide for writing posterior and joint distributions.
Alex Belsey
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781789620290
- eISBN:
- 9781789623574
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781789620290.003.0007
- Subject:
- Literature, 20th-century and Contemporary Literature
This chapter examines Keith Vaughan’s attempt to curate his own legacy with the publication of his self-edited Journal & Drawings (1966). At intervals throughout the 1950s he had been revisiting the ...
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This chapter examines Keith Vaughan’s attempt to curate his own legacy with the publication of his self-edited Journal & Drawings (1966). At intervals throughout the 1950s he had been revisiting the wartime volumes of his journal and by the early 1960s his opinion of them had changed from scornful critique to aching nostalgia, so in 1965 he commenced (at the behest of Alan Ross) a long process of self-editing journal entries from 1939 to present to be published alongside previously unseen drawings and photographs. The first section of this chapter considers Vaughan’s practices of re-reading his journal and examines his typescripts as evidence of the extensive revisions made to the content and style of specific journal entries for publication. The second section reveals how Vaughan shaped the text of Journal & Drawings through processes of selecting, re-writing, and even devising entirely new material, resulting in a streamlined narrative at once confessional yet choreographed. The third section of this chapter surveys the placement of drawings and photographs in Journal & Drawings and how words and images work to communicate the interrelations between his journal-writing and visual practice – and to fix and control the image of ‘Keith Vaughan’.Less
This chapter examines Keith Vaughan’s attempt to curate his own legacy with the publication of his self-edited Journal & Drawings (1966). At intervals throughout the 1950s he had been revisiting the wartime volumes of his journal and by the early 1960s his opinion of them had changed from scornful critique to aching nostalgia, so in 1965 he commenced (at the behest of Alan Ross) a long process of self-editing journal entries from 1939 to present to be published alongside previously unseen drawings and photographs. The first section of this chapter considers Vaughan’s practices of re-reading his journal and examines his typescripts as evidence of the extensive revisions made to the content and style of specific journal entries for publication. The second section reveals how Vaughan shaped the text of Journal & Drawings through processes of selecting, re-writing, and even devising entirely new material, resulting in a streamlined narrative at once confessional yet choreographed. The third section of this chapter surveys the placement of drawings and photographs in Journal & Drawings and how words and images work to communicate the interrelations between his journal-writing and visual practice – and to fix and control the image of ‘Keith Vaughan’.
Ralph Pite
- Published in print:
- 1994
- Published Online:
- October 2011
- ISBN:
- 9780198112945
- eISBN:
- 9780191670886
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198112945.003.0002
- Subject:
- Literature, 19th-century Literature and Romanticism, Poetry
In the late 18th century, various illustrations of the Commedia began to circulate within English communities such as Sir Joshua Reynolds picture of Ugolino, Henry Fuseli's collection of ...
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In the late 18th century, various illustrations of the Commedia began to circulate within English communities such as Sir Joshua Reynolds picture of Ugolino, Henry Fuseli's collection of Inferno-based images, and John Flaxman's complete published set of drawings for the Commedia. Further paintings and drawings that exhibited Dantean themes persisted until the first part of the 19th century. This chapter explains how three different sets of illustrations — presented by Fuseli, Flaxman, and William Blake — adopt a certain understanding of Dante's writings that resembles the interpretations of his translators. Also, the chapter puts forward the idea of how Blake's work makes up a further development that entails an innovative approach in understanding the Commedia.Less
In the late 18th century, various illustrations of the Commedia began to circulate within English communities such as Sir Joshua Reynolds picture of Ugolino, Henry Fuseli's collection of Inferno-based images, and John Flaxman's complete published set of drawings for the Commedia. Further paintings and drawings that exhibited Dantean themes persisted until the first part of the 19th century. This chapter explains how three different sets of illustrations — presented by Fuseli, Flaxman, and William Blake — adopt a certain understanding of Dante's writings that resembles the interpretations of his translators. Also, the chapter puts forward the idea of how Blake's work makes up a further development that entails an innovative approach in understanding the Commedia.
Donald Davidson
- Published in print:
- 2005
- Published Online:
- July 2005
- ISBN:
- 9780198237570
- eISBN:
- 9780191602610
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/019823757X.003.0011
- Subject:
- Philosophy, General
This essay discusses the series of ‘Blind-Time Davidson’ drawings made by artist Robert Morris, which were inspired by Davidson’s Essays on Actions and Events. Each drawing contains a fragment from ...
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This essay discusses the series of ‘Blind-Time Davidson’ drawings made by artist Robert Morris, which were inspired by Davidson’s Essays on Actions and Events. Each drawing contains a fragment from an essay by Davidson and a description of the artist’s intention in making the drawing (blindfolded). It argues that Morris depicted the essential element on which the concept of an autonomous object (and world) depends — an intersubjective measure of error and success, of truth and falsity. He has put his viewers in a position to triangulate with him the location of his creative acts.Less
This essay discusses the series of ‘Blind-Time Davidson’ drawings made by artist Robert Morris, which were inspired by Davidson’s Essays on Actions and Events. Each drawing contains a fragment from an essay by Davidson and a description of the artist’s intention in making the drawing (blindfolded). It argues that Morris depicted the essential element on which the concept of an autonomous object (and world) depends — an intersubjective measure of error and success, of truth and falsity. He has put his viewers in a position to triangulate with him the location of his creative acts.
William St. Clair
- Published in print:
- 1998
- Published Online:
- October 2011
- ISBN:
- 9780192880536
- eISBN:
- 9780191670596
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780192880536.003.0012
- Subject:
- History, British and Irish Modern History
In January 1803 Elgin and his family were to return home as all the drawings and moulds that Elgin wanted had already been constructed. Lusieri did not leave with Elgin. The drawings were thus to be ...
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In January 1803 Elgin and his family were to return home as all the drawings and moulds that Elgin wanted had already been constructed. Lusieri did not leave with Elgin. The drawings were thus to be finished and turned into engravings for publication as this would serve as an integral step not just in improving the arts in the country but also in making casts and original works available. As four of the seventeen cases of marbles were recovered from the Mentor in Greece, Elgin independently assigned Pietro Gavallo as an Italian messenger to send naval vessels to Cythera and to prioritize the salvaging of the Mentor. Simultaneously, Lusieri was still in Athens after his request for prolonged employment. This chapter looks into Lusieri's endeavours and difficulties in Athens.Less
In January 1803 Elgin and his family were to return home as all the drawings and moulds that Elgin wanted had already been constructed. Lusieri did not leave with Elgin. The drawings were thus to be finished and turned into engravings for publication as this would serve as an integral step not just in improving the arts in the country but also in making casts and original works available. As four of the seventeen cases of marbles were recovered from the Mentor in Greece, Elgin independently assigned Pietro Gavallo as an Italian messenger to send naval vessels to Cythera and to prioritize the salvaging of the Mentor. Simultaneously, Lusieri was still in Athens after his request for prolonged employment. This chapter looks into Lusieri's endeavours and difficulties in Athens.
Carin Berkowitz
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780226280394
- eISBN:
- 9780226280424
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226280424.003.0003
- Subject:
- History, History of Science, Technology, and Medicine
This chapter explores the ways in which Charles Bell conducted his classes inside various medical classrooms and the ways in which those contents of the classroom were delivered to wider publics. The ...
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This chapter explores the ways in which Charles Bell conducted his classes inside various medical classrooms and the ways in which those contents of the classroom were delivered to wider publics. The chapter begins by entering Bell’s Great Windmill Street classroom and museum, looking at his teaching practices by examining the role of visual displays in making medicine memorable. Drawings, models, and preserved specimens that represented knowledge of human anatomy, aesthetics, and the best means of instruction for Bell, allowed him to teach both medical and non-medical men effectively. Creating anatomical models and drawings was thought to discipline the surgeon’s hand, while the study of anatomy and comparative anatomy would discipline the artist’s eye. In addition, Bell believed that because the world was beautiful, simple, and ‘readable’; and he imparted beauty to his drawings, thinking them better teaching tools and more accurate depictions because they were aesthetically pleasing. This aesthetic and pedagogical philosophy drew from popular ideas about sensory knowledge and object lessons and notions about how memories (the foundations from which knowledge was developed) were best created, and it informed Bell’s attempts to teach wider, sometimes non-medical audiences both in his classes and through print.Less
This chapter explores the ways in which Charles Bell conducted his classes inside various medical classrooms and the ways in which those contents of the classroom were delivered to wider publics. The chapter begins by entering Bell’s Great Windmill Street classroom and museum, looking at his teaching practices by examining the role of visual displays in making medicine memorable. Drawings, models, and preserved specimens that represented knowledge of human anatomy, aesthetics, and the best means of instruction for Bell, allowed him to teach both medical and non-medical men effectively. Creating anatomical models and drawings was thought to discipline the surgeon’s hand, while the study of anatomy and comparative anatomy would discipline the artist’s eye. In addition, Bell believed that because the world was beautiful, simple, and ‘readable’; and he imparted beauty to his drawings, thinking them better teaching tools and more accurate depictions because they were aesthetically pleasing. This aesthetic and pedagogical philosophy drew from popular ideas about sensory knowledge and object lessons and notions about how memories (the foundations from which knowledge was developed) were best created, and it informed Bell’s attempts to teach wider, sometimes non-medical audiences both in his classes and through print.
Chad Kia
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9781474450386
- eISBN:
- 9781474464864
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474450386.003.0007
- Subject:
- Society and Culture, Middle Eastern Studies
The Sufi–Shiite synthesis of the Timurid and early Safavid periods is reflected in Persian figural art at the turn of the sixteenth century and continued to disseminate, even after the decline of ...
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The Sufi–Shiite synthesis of the Timurid and early Safavid periods is reflected in Persian figural art at the turn of the sixteenth century and continued to disseminate, even after the decline of luxury manuscript painting, in new media such as single-sheet drawings and wall paintings.Less
The Sufi–Shiite synthesis of the Timurid and early Safavid periods is reflected in Persian figural art at the turn of the sixteenth century and continued to disseminate, even after the decline of luxury manuscript painting, in new media such as single-sheet drawings and wall paintings.
Geoffrey G. Field
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199604111
- eISBN:
- 9780191731686
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199604111.003.0003
- Subject:
- History, British and Irish Modern History, Political History
The chapter discusses German bombing of British cities September 1940 to May 1941. It analyses government plans to protect the civilian population and public responses to the raids ...
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The chapter discusses German bombing of British cities September 1940 to May 1941. It analyses government plans to protect the civilian population and public responses to the raids both in London and provincial cities. In working-class neighbourhoods of London and elsewhere people often chose their own makeshift mass shelters, most famously the London Underground. These mass shelters, which developed a social life of their own, became the focal point of public debate about air-raid protection and sites of social exploration for journalists, photographers, artists, and writers—some of whom saw them as microcosms of democratic community and active citizenship. The chapter examines representations of the sheltering population by photographer Bill Brandt and artist Henry Moore and, compared to the public recrimination and class prejudice evident during the first evacuation, the emergence of more positive imagery about workers and the concept of a ‘people's war’. Less
The chapter discusses German bombing of British cities September 1940 to May 1941. It analyses government plans to protect the civilian population and public responses to the raids both in London and provincial cities. In working-class neighbourhoods of London and elsewhere people often chose their own makeshift mass shelters, most famously the London Underground. These mass shelters, which developed a social life of their own, became the focal point of public debate about air-raid protection and sites of social exploration for journalists, photographers, artists, and writers—some of whom saw them as microcosms of democratic community and active citizenship. The chapter examines representations of the sheltering population by photographer Bill Brandt and artist Henry Moore and, compared to the public recrimination and class prejudice evident during the first evacuation, the emergence of more positive imagery about workers and the concept of a ‘people's war’.
- Published in print:
- 2006
- Published Online:
- June 2013
- ISBN:
- 9781846310225
- eISBN:
- 9781846314391
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781846310225.003.0001
- Subject:
- Literature, 20th-century and Contemporary Literature
This introductory chapter sets out the book's purpose: to identify the main themes, motifs, and structural patterns of Mervyn Peake's prose and verse, relating them where relevant to his drawings and ...
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This introductory chapter sets out the book's purpose: to identify the main themes, motifs, and structural patterns of Mervyn Peake's prose and verse, relating them where relevant to his drawings and illustrations. All Peake's works are treated as products of the same mind and therefore mutually illuminating. The book also respects the unique form of Peake's works by dealing with them in and on their own terms, grouping findings in chapters with titles that reflect his preoccupations rather than pre-established concepts.Less
This introductory chapter sets out the book's purpose: to identify the main themes, motifs, and structural patterns of Mervyn Peake's prose and verse, relating them where relevant to his drawings and illustrations. All Peake's works are treated as products of the same mind and therefore mutually illuminating. The book also respects the unique form of Peake's works by dealing with them in and on their own terms, grouping findings in chapters with titles that reflect his preoccupations rather than pre-established concepts.
Kim A. Munson (ed.)
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9781496828118
- eISBN:
- 9781496828064
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496828118.003.0002
- Subject:
- Literature, Comics Studies
This chapter includes a short introduction to the opening section of Comic Art in Museums by art historian Kim A. Munson, and it provides an overview of the evolution and challenges in ...
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This chapter includes a short introduction to the opening section of Comic Art in Museums by art historian Kim A. Munson, and it provides an overview of the evolution and challenges in comics exhibitions, why they are important, who the most influential artists were, and how comic art drawings function as an art object when framed on the gallery wall and in special artist’s edition books. This chapter also introduces contributors Denis Kitchen (image), Brian Walker, and Andrei Molotiu. This chapter discusses gallery comics and the work of artists Will Eisner, Mort Walker, and Mark Staff Brandl (image).Less
This chapter includes a short introduction to the opening section of Comic Art in Museums by art historian Kim A. Munson, and it provides an overview of the evolution and challenges in comics exhibitions, why they are important, who the most influential artists were, and how comic art drawings function as an art object when framed on the gallery wall and in special artist’s edition books. This chapter also introduces contributors Denis Kitchen (image), Brian Walker, and Andrei Molotiu. This chapter discusses gallery comics and the work of artists Will Eisner, Mort Walker, and Mark Staff Brandl (image).
Javier DeFelipe
- Published in print:
- 2017
- Published Online:
- November 2017
- ISBN:
- 9780190842833
- eISBN:
- 9780190842864
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190842833.003.0012
- Subject:
- Neuroscience, History of Neuroscience
This section contains a gallery of original Cajal drawings pertaining to the retina and optic centers in cephalopods.
This section contains a gallery of original Cajal drawings pertaining to the retina and optic centers in cephalopods.
Javier DeFelipe
- Published in print:
- 2017
- Published Online:
- November 2017
- ISBN:
- 9780190842833
- eISBN:
- 9780190842864
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190842833.003.0014
- Subject:
- Neuroscience, History of Neuroscience
This section contains a gallery of supplementary figures based on original drawings of Cajal.
This section contains a gallery of supplementary figures based on original drawings of Cajal.
Javier DeFelipe
- Published in print:
- 2017
- Published Online:
- November 2017
- ISBN:
- 9780190842833
- eISBN:
- 9780190842864
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190842833.003.0008
- Subject:
- Neuroscience, History of Neuroscience
This section contains a gallery of original Cajal drawings pertaining to the optic lobe of lower vertebrates.
This section contains a gallery of original Cajal drawings pertaining to the optic lobe of lower vertebrates.
Vijaya Nagarajan
- Published in print:
- 2018
- Published Online:
- November 2018
- ISBN:
- 9780195170825
- eISBN:
- 9780190858100
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780195170825.001.0001
- Subject:
- Religion, Hinduism
Drawing on extensive fieldwork, this book investigates aesthetic, symbolic, metaphorical, literary, mathematical, and philosophical meanings of the kōlam, the popular Tamil women’s daily ephemeral ...
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Drawing on extensive fieldwork, this book investigates aesthetic, symbolic, metaphorical, literary, mathematical, and philosophical meanings of the kōlam, the popular Tamil women’s daily ephemeral practice, a ritual art tradition performed with rice flour on the thresholds of houses in southern India. They range from concepts such as auspiciousness, inauspiciousness, ritual purity, and ritual pollution. Several divinities, too, play a significant role: Lakshmi, the goddess of wealth, good luck, well-being, and a quickening energy; Mūdevi, the goddess of poverty, bad luck, illness, and laziness; Bhūdevi, the goddess of the soils, the earth, and the fields; and the god Ganesh, the remover of obstacles. Braiding art history, aesthetics, and design, this book analyzes the presence of the kōlam in medieval Tamil literature, focusing on the saint-poet Āṇṭāḷ. The author shows that the kōlam embodies mathematical principles such as symmetry, fractals, array grammars, picture languages, and infinity. Three types of kōlam competitions are described. The kinship between Bhūdevi and the kōlam is discussed as the author delves into the topics of “embedded ecologies” and “intermittent sacrality.” The author explores the history of the phrase “feeding a thousand souls,” tracing it back to ancient Sanskrit literature, where it was connected to Indian notions of hospitality, karma, and strangers. Its relationship to the theory of karma is represented by its connection to the five ancient sacrifices. This ritual is distinguished as one of the many “rituals of generosity” in Tamil Nadu.Less
Drawing on extensive fieldwork, this book investigates aesthetic, symbolic, metaphorical, literary, mathematical, and philosophical meanings of the kōlam, the popular Tamil women’s daily ephemeral practice, a ritual art tradition performed with rice flour on the thresholds of houses in southern India. They range from concepts such as auspiciousness, inauspiciousness, ritual purity, and ritual pollution. Several divinities, too, play a significant role: Lakshmi, the goddess of wealth, good luck, well-being, and a quickening energy; Mūdevi, the goddess of poverty, bad luck, illness, and laziness; Bhūdevi, the goddess of the soils, the earth, and the fields; and the god Ganesh, the remover of obstacles. Braiding art history, aesthetics, and design, this book analyzes the presence of the kōlam in medieval Tamil literature, focusing on the saint-poet Āṇṭāḷ. The author shows that the kōlam embodies mathematical principles such as symmetry, fractals, array grammars, picture languages, and infinity. Three types of kōlam competitions are described. The kinship between Bhūdevi and the kōlam is discussed as the author delves into the topics of “embedded ecologies” and “intermittent sacrality.” The author explores the history of the phrase “feeding a thousand souls,” tracing it back to ancient Sanskrit literature, where it was connected to Indian notions of hospitality, karma, and strangers. Its relationship to the theory of karma is represented by its connection to the five ancient sacrifices. This ritual is distinguished as one of the many “rituals of generosity” in Tamil Nadu.
Mick Atha and Kennis Yip
- Published in print:
- 2017
- Published Online:
- May 2017
- ISBN:
- 9789888208982
- eISBN:
- 9789888313952
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888208982.003.0008
- Subject:
- Archaeology, Historical Archaeology
In Chapter 8 all the strands of evidence are drawn together within an overarching synthetic analysis of patterns of human activity through time, which are then interpreted in terms of the ...
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In Chapter 8 all the strands of evidence are drawn together within an overarching synthetic analysis of patterns of human activity through time, which are then interpreted in terms of the development, use, and past experience of Sha Po’s multi-period cultural landscape. The shifting patterns of human activity during the 6,500-year span of the study also permit the changing backbeach landform to be modelled as it expanded westward through time. Social landscape reconstructions, aided by artist’s impression drawings, focus in particular on activities evidenced during the Bronze Age, Six-Dynasties-Tang period, and Qing to early twentieth century.Less
In Chapter 8 all the strands of evidence are drawn together within an overarching synthetic analysis of patterns of human activity through time, which are then interpreted in terms of the development, use, and past experience of Sha Po’s multi-period cultural landscape. The shifting patterns of human activity during the 6,500-year span of the study also permit the changing backbeach landform to be modelled as it expanded westward through time. Social landscape reconstructions, aided by artist’s impression drawings, focus in particular on activities evidenced during the Bronze Age, Six-Dynasties-Tang period, and Qing to early twentieth century.
Susanna Millar
- Published in print:
- 1994
- Published Online:
- March 2012
- ISBN:
- 9780198521426
- eISBN:
- 9780191688416
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198521426.003.0008
- Subject:
- Psychology, Cognitive Psychology
In this chapter, modality-specific imagery is considered in the context of emergent symbols for actual representation, by drawings and maps. It is argued that covert coding of movement output can ...
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In this chapter, modality-specific imagery is considered in the context of emergent symbols for actual representation, by drawings and maps. It is argued that covert coding of movement output can mediate non-visual spatial representation in memory. It suggested that the invention and discovery means of representation do not necessarily depend on a long process of associative learning. Further, this chapter proposed that cognitive and modality-specific aspects of information are not mutually exclusive aspects of information processing. Finally, the relevance of temporary memory to spatial development on non-verbal representation is discussed extensively.Less
In this chapter, modality-specific imagery is considered in the context of emergent symbols for actual representation, by drawings and maps. It is argued that covert coding of movement output can mediate non-visual spatial representation in memory. It suggested that the invention and discovery means of representation do not necessarily depend on a long process of associative learning. Further, this chapter proposed that cognitive and modality-specific aspects of information are not mutually exclusive aspects of information processing. Finally, the relevance of temporary memory to spatial development on non-verbal representation is discussed extensively.
Susanna Millar
- Published in print:
- 1994
- Published Online:
- March 2012
- ISBN:
- 9780198521426
- eISBN:
- 9780191688416
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198521426.003.0009
- Subject:
- Psychology, Cognitive Psychology
Some practical implications of the evidence so far seen are presented in this chapter. First, the chapter prefaces its suggestions by emphasizing that they are not necessarily applicable in all ...
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Some practical implications of the evidence so far seen are presented in this chapter. First, the chapter prefaces its suggestions by emphasizing that they are not necessarily applicable in all conditions and that the practical implications of research findings have to be seen in specific conditions of individuals and their environment. The first part of this chapter offers an implication of the evidence on infants without sight. The chapter then argues that movement coding, and coding in terms of body-centred references, can be used as an important basis for understanding external relations especially, but not necessarily, in blind conditions. Orientation and mobility aids are also illustrated in this chapter. Lastly, the chapter looks at language and environmental knowledge and the use of scale models, drawings, maps, and graphs as aids.Less
Some practical implications of the evidence so far seen are presented in this chapter. First, the chapter prefaces its suggestions by emphasizing that they are not necessarily applicable in all conditions and that the practical implications of research findings have to be seen in specific conditions of individuals and their environment. The first part of this chapter offers an implication of the evidence on infants without sight. The chapter then argues that movement coding, and coding in terms of body-centred references, can be used as an important basis for understanding external relations especially, but not necessarily, in blind conditions. Orientation and mobility aids are also illustrated in this chapter. Lastly, the chapter looks at language and environmental knowledge and the use of scale models, drawings, maps, and graphs as aids.
