Marian H. Feldman
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9780226105611
- eISBN:
- 9780226164427
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226164427.001.0001
- Subject:
- Classical Studies, Asian and Middle Eastern History: BCE to 500CE
This book explores how communities formed around artworks in the Iron Age Levant (c. 1200-600 BCE). It argues that portable luxury arts forged collective memories and community identities through the ...
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This book explores how communities formed around artworks in the Iron Age Levant (c. 1200-600 BCE). It argues that portable luxury arts forged collective memories and community identities through the production and consumption of style, understood as stylistic practices, and offers a rethinking of the way art historians approach style as an analytical feature of art. Stylistic analysis of Iron Age Levantine ivories and metalworks reveals a spectrum of heterogeneous styles that point to flexible networked communities of practice, rather than to one-to-one geographical associations between style and city-state, challenging the autochthonous nature of style and strictly culture-history classifications of art. An alternative approach for interpreting stylistic traits, derived from practice theory, proposes that stylistic practices be understood as part of embodied social relations. These are considered from the vantage point first of the Levant and then of its increasingly powerful neighbor Assyria. Contextualizing the stylistic practices of specific Levantine artworks, such as decorated metal (“Phoenician”) bowls, articulates the ways in which collective memories could coalesce around them through social activities such as drinking and libating. The artworks’ efficacy in creating social relations extends to contexts of displacement, recycling, and reuse, and the book concludes by tracing the narratives of several Levantine ivories and metalworks that moved in multiple contexts across cultures and social strata in the Near East and eastern Mediterranean.Less
This book explores how communities formed around artworks in the Iron Age Levant (c. 1200-600 BCE). It argues that portable luxury arts forged collective memories and community identities through the production and consumption of style, understood as stylistic practices, and offers a rethinking of the way art historians approach style as an analytical feature of art. Stylistic analysis of Iron Age Levantine ivories and metalworks reveals a spectrum of heterogeneous styles that point to flexible networked communities of practice, rather than to one-to-one geographical associations between style and city-state, challenging the autochthonous nature of style and strictly culture-history classifications of art. An alternative approach for interpreting stylistic traits, derived from practice theory, proposes that stylistic practices be understood as part of embodied social relations. These are considered from the vantage point first of the Levant and then of its increasingly powerful neighbor Assyria. Contextualizing the stylistic practices of specific Levantine artworks, such as decorated metal (“Phoenician”) bowls, articulates the ways in which collective memories could coalesce around them through social activities such as drinking and libating. The artworks’ efficacy in creating social relations extends to contexts of displacement, recycling, and reuse, and the book concludes by tracing the narratives of several Levantine ivories and metalworks that moved in multiple contexts across cultures and social strata in the Near East and eastern Mediterranean.
Patrick Colm Hogan
- Published in print:
- 2020
- Published Online:
- December 2020
- ISBN:
- 9780197539576
- eISBN:
- 9780197539606
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780197539576.003.0010
- Subject:
- Literature, Criticism/Theory
A good deal of the most valuable current work in stylistics concerns political topics. However, politics is not a focus of Style in Narrative. Hogan therefore devotes this brief afterword to ...
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A good deal of the most valuable current work in stylistics concerns political topics. However, politics is not a focus of Style in Narrative. Hogan therefore devotes this brief afterword to suggesting that the book’s approach to stylistic analysis may potentially enrich political analysis. Specifically, recalling Roman Jakobson’s famous analysis of the Dwight Eisenhower campaign slogan, “I Like Ike,” Hogan considers the levels of story, plot, and narration in Donald Trump’s 2016 campaign slogan, “Make America Great Again,” in part by contrast with Hillary Clinton’s “I’m With Her.” Contrary to what one would expect from Trump’s policies, the slogan shows considerable subtlety, which can be identified and explained by careful, stylistic analysis.Less
A good deal of the most valuable current work in stylistics concerns political topics. However, politics is not a focus of Style in Narrative. Hogan therefore devotes this brief afterword to suggesting that the book’s approach to stylistic analysis may potentially enrich political analysis. Specifically, recalling Roman Jakobson’s famous analysis of the Dwight Eisenhower campaign slogan, “I Like Ike,” Hogan considers the levels of story, plot, and narration in Donald Trump’s 2016 campaign slogan, “Make America Great Again,” in part by contrast with Hillary Clinton’s “I’m With Her.” Contrary to what one would expect from Trump’s policies, the slogan shows considerable subtlety, which can be identified and explained by careful, stylistic analysis.
Ken Stephenson
- Published in print:
- 2002
- Published Online:
- October 2013
- ISBN:
- 9780300092394
- eISBN:
- 9780300128239
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300092394.003.0001
- Subject:
- Music, Theory, Analysis, Composition
This introductory chapter discusses the theme of this volume which is about a stylistic analysis of rock music. It offers arguments against the assumption that rock is simply a crude extension of ...
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This introductory chapter discusses the theme of this volume which is about a stylistic analysis of rock music. It offers arguments against the assumption that rock is simply a crude extension of common-practice music and explains that rock exhibits melodic, rhythmic, and harmonic characteristics that are not found in any other musical style. It also suggests that the stylistic norms of rock depend on ideas from the common practice, but differ from common-practice norms in crucial ways.Less
This introductory chapter discusses the theme of this volume which is about a stylistic analysis of rock music. It offers arguments against the assumption that rock is simply a crude extension of common-practice music and explains that rock exhibits melodic, rhythmic, and harmonic characteristics that are not found in any other musical style. It also suggests that the stylistic norms of rock depend on ideas from the common practice, but differ from common-practice norms in crucial ways.
Laxman S. Thakur
- Published in print:
- 2005
- Published Online:
- October 2012
- ISBN:
- 9780195673142
- eISBN:
- 9780199081943
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195673142.003.0003
- Subject:
- Religion, Buddhism
This chapter considers three main interrelated questions: (i) modes and methods of visualization, (ii) text and image, and (iii) stylistic analysis. Taking into consideration the existence of seven ...
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This chapter considers three main interrelated questions: (i) modes and methods of visualization, (ii) text and image, and (iii) stylistic analysis. Taking into consideration the existence of seven modes of visual narration in early India, the Gaṇḍavyūhasūtra murals at Tabo’s gTsug-lag-khaṅ belong to meandering continuous narratives. Each textual detail of the forty-two surviving mural panels are then compared with the Tibetan, Sanskrit, and Chinese versions of the Gaṇḍavyūhasūtra. The examined Gaṇḍavyūhasūtra illustrations belong to an art style that can be called the ‘mṄa'ris style’. The murals preserve fascinating varieties of numerous architectural edifices-palaces and ordinary houses. Many times the artists have gone beyond the textual details and have displayed their creative genius superbly.Less
This chapter considers three main interrelated questions: (i) modes and methods of visualization, (ii) text and image, and (iii) stylistic analysis. Taking into consideration the existence of seven modes of visual narration in early India, the Gaṇḍavyūhasūtra murals at Tabo’s gTsug-lag-khaṅ belong to meandering continuous narratives. Each textual detail of the forty-two surviving mural panels are then compared with the Tibetan, Sanskrit, and Chinese versions of the Gaṇḍavyūhasūtra. The examined Gaṇḍavyūhasūtra illustrations belong to an art style that can be called the ‘mṄa'ris style’. The murals preserve fascinating varieties of numerous architectural edifices-palaces and ordinary houses. Many times the artists have gone beyond the textual details and have displayed their creative genius superbly.
