Against the assumption that legal and normative systems are coextensive with geopolitical units and national spaces, the article advocates for the need to study how different legal and normative semiospheres, within the same geopolitical unit and national space, often give rise to ‘normolects’ that are transversal to socio-economic classes, ethnicities, and cultural lifestyles. The concept of legal and normative ‘imaginaries’ is useful to come to terms with the legal and normative semiotic ideology of such normolects, including their non-verbal dimension and (...) legal-normative semiotic ideologies. More generally, the article prompts legal scholars, and particularly semioticians of law, not to focus exclusively on inter-cultural awareness in legal-normative language but to concentrate also on intra-cultural awareness. As a case study, the article analyses a drawing through which the former Italian Prime Minister Silvio Berlusconi visualized and advertised for a bill of reform of the Italian judicial system by his Minister of Justice, Angelino Alfano. The semiotic analysis of this visual artifact casts new light on the controversial political and judicial figure of Mr Berlusconi. The drawing is read as a visual embodiment of the conflict between two different legal and normative ideologies within the present-day Italian political and judicial arena. The paradoxes that underpin this iconography of law and mar a rational confrontation of legal-normative arguments in contemporary Italy are uncovered. (shrink)

Summary Several subdisciplines within historiography, most notably the arms and armour or martial arts studies, are interested in inferring physical qualities of historical material objects from historical sources. Scholars from these fields face serious deficiency of written accounts when it comes to various crucial information regarding their subject matter. Therefore, researchers’ attention is often drawn to iconographical sources, sometimes resulting in certain fascination with the material culture depicted in primary technical literature (Fachliteratur). This tendency seems particularly strong in studies on (...) HEMA which rely heavily on pre-modern combat treatises known as ‘fight books’ (Fechtbücher) and are tempted either to treat the available iconography as a faithful representation of its corresponding material reality or to interpret apparent mismatch between icono-graphical representations and their material source domain as evidence for the inferior skills of the illustrator. We would like to put forward that there is a fundamental oversight in such approach to Fachliteratur in general and fight books in particular, namely the lack of consideration for the artwork as a diagrammatic representation of the functional aspects of depicted embodied technique, where proportional ‘realism’ is of lesser priority. It may be fruitful to develop a more nuanced method of ‘reading’ such images. Our survey of select late-medieval fight books shows that equipment, and even body parts, are regularly distorted in their depictions in the fight books to better communicate the subject matter, especially where textual descriptions would be complicated. Interpreted in Gestalt terms, this phenomenon may serve as an example of historical pragmatic application of the cognitive principle of holism – that the whole is something different than the sum of its parts. (shrink)

The paper analyses the impact of the discovery of the division of infusoria on eighteenth century microscopical iconography. In Autumn 1765, when reproducing the antispontaneist experiments of Lazzaro Spallanzani, Horace-Bénédict de Saussure (1740-1799) discovered a new method of generation of the animalcules of the infusions, namely their division. Drawing a dividing animalcule raised particular problems, notably the question of how to depict the time sequence of a microscopical creature. Although Saussure's journal of microscopical experiments remained unpublished, the discovery was (...) soon diffused and acknowledged by the European naturalists who began to repeat the observations and quickly faced iconographic problems similar to those experienced by Saussure. Indeed, linearity, used to picture time, is a construction, and, notably for public images, scholars had to contend with the conventions of drawers and engravers. The analysis of microscopical iconographic material of the period 1740-1786 shows that during this period, certain naturalists invented new solutions for depicting time, but diffusion of their innovations was not immediate. Nevertheless, in regards to the illustration of microscopical creatures, it is between 1765 and 1776 that the use of linearity was established as a solution enabling an audience to read an iconographic time process as a text. (shrink)

This paper explores conflations of martyrdom, spectatorship, and image theory in Caravaggio’s Crucifixion of St. Peter (1601). It argues that Caravaggio employs an “iconic” visual formula as a response to the pressures of a post-Tridentine poetics. Through these strategies, an iconography of immediacy and presence is paired with a sacrificial subject-matter. This merging united witness and visual experience in the shape of the sacred image. Martyrdom, as both a historical and representational phenomenon of early modern sociality and culture, invoked (...) the act of spectatorship. In connecting the Crucifixion of St. Peter with the cultural and aesthetic paradigms of post-Tridentine Italy, the article argues that Caravaggio’s image re-imagines the codes of iconic repre­sentation. While not a novel academic context for Caravaggio scholarship, I will read this image less as the expression of stylistic tensions in the Roman artworld than as the result of overlapping frameworks—martyrdom, Petrine iconography, and a Counter-Reformation aesthetic. Reenergized as part of the visual rhetoric of Tridentine politics, the icon reflected a new propensity for paleochristian cultural revival. Discussing both the contextual pressures of this new aesthetic regime as well as intertwining it with the increasing presence of Catholic image treatises, the article suggests an “iconic” space for reading Caravaggio’s Crucifixion. This “iconic” framework is built into the charged discourse surrounding the image itself. (shrink)

Orbis Sensualium Pictus by Comenius is historical evidence of the revolutionary development of language didactic in the seventeenth century. However, this book is not only a simple encyclopedic Latin study book with pictures, but a little theology work containing Christian cosmological universalism as well as a pedagogy which provides principles for educational practice and social realizations of a theological ideal in a very new and creative form of iconography. While studying Latin seems to be the main purpose of his (...) work, the authentic intention of the author lies in a panpedagogical call to a religious-educational mission for rebuilding humanity and society during and after the 30 Years War. In this article, we will show the historical and pedagogical meaning of this book through component analysis, framework analysis and iconographical interpretation. In addition, we will also approach Comenius’ concept of Pampaedia through an iconographical shortcut, highlighting a picture in “Invitatio” and “Clausula”, which is presented twice in this book. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 31.2 (2001) 9-34 [Access article in PDF] Of Blackface and Paranoid KnowledgeRichard Wright, Jacques Lacan, and the Ambivalence of Black Minstrelsy Mikko Tuhkanen Only the subject—the human subject, the subject of the desire that is the essence of man—is not, unlike the animal, entirely caught up in this imaginary capture. He maps himself in it. How? In so far as he isolates the function of the mask and (...) plays with it. Man, in effect, knows how to play with the mask as that beyond which there is the gaze. —Jacques Lacan, The Four Fundamental Concepts of Psycho-AnalysisThere is a danger of corrosion of the self in this pretense, and surely a rending of integrity. How, and when does one call upon the real self to dispel the make-believe and claim humanity and dignity?... It was just possible that the trick had been too perfect; legerdemain had undone itself in a disappearance act where the self had vanished, but also the incantation to call it back again. —Nathan Irvin Huggins, Harlem RenaissanceIn late November 1998, a teacher in New York City's Public School 75 introduced an acclaimed children's book called Nappy Hair to her third-grade students as extracurricular reading material. The book, written by Carolivia Herron, is a transcript of a piece of oral history passed on in the author's family. It tells the story of a black girl with "the kinkiest, the nappiest, the fuzziest, the most screwed up, squeezed up, knotted up, tangled up, twisted up [...] hair you've ever seen in your life" [Herron, unnumbered pages]. According to the author, the book aims to celebrate racial diversity and encourage pride in black children. Some parents of the (mostly black) pupils saw it differently, however. In the days following the introduction of the book, photocopies of parts of the book were circulated among the parents, some of whom were enraged when they saw what they considered demeaning, stereotypical, and "racially insensitive" depictions of black people. A meeting was called with parents and school officials. Threats were made by the parents, and the 27-year-old teacher, a white woman, was put on desk duty while an investigation was launched. Even though the school ended up backing the teacher, she refused to return to the classroom, citing fears for her own safety [see Holloway, "School"; "Teacher"; "Threatened"; "Unswayed"].The incident received a fair amount of commentary, including a New York Times op-ed article by Jill Nelson. In the article, Nelson argues that what the Nappy Hair controversy illustrates is not the racial insensitivity of the white teacher or the school [End Page 9] system—as the black parents argued—but that the "barriers to [...] self-esteem are perpetuated not by the white community but by the black one." For Nelson, the black community remains overly sensitive about certain representations of blackness. She suggests that such attitudes may have their origin in slavery and in the adoption of the valorization of white physical features by African descendants from their masters. In this, she follows critics such as Kobena Mercer, who writes in "Black Hair/Style Politics" that "black people's hair has been historically devalued as the most visible stigmata of blackness, second only to skin" [101]. Inevitably, representations such as those at stake in the classroom controversy find their historical background in minstrelsy: "In the minstrel stereotype of Sambo [...] the 'frizzy' hair of the character is an essential part of the iconography of inferiority. In children's books and vaudeville minstrelsy, the 'woolly' hair is ridiculed, just as aspects of black people's speech were lampooned in both popular music hall and the nineteenth-century novel as evidence of the 'quaint folkways' and 'cultural backwardness of the slaves'" [102]. Nelson concludes: "Too many African-Americans," she writes, "have internalized and passed down these beliefs, as if proximity to whiteness inherently enhances our worth."Nelson's reading of the controversy is neither incorrect nor adequate. Certainly, the parents' outrage with the book—more precisely, with the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 22 (2002) 183-187 [Access article in PDF] The 2001 Meeting of the Society for Buddhist-Christian Studies Edward L. Shirley St. Edward's University The annual meeting of the Society for Buddhist-Christian Studies met in Denver, Colorado, on Friday and Saturday, November 16 and 17, 2001. This year's papers addressed the question of "dual belonging" from both Buddhist and Christian perspectives.On Friday afternoon, two papers were delivered, the first (...) paper by Catherine Cornille, who suggested three categories of dual belonging: syncretism, drawing elements from both traditions; belief that both traditions point to a higher reality, which may not be expressible in itself; and inculturation, incorporating local symbols and rituals into a tradition that is being transplanted from elsewhere. She then focused on the issue of inculturation.Inculturation, she argued, assumed an essence of a religion that had independent existence from cultural expressions. The people involved in the process of inculturation may not, in fact, believe that they are dual practitioners, but rather that they are simply expressing the essence of a tradition through new symbols. She understands this as belonging to a symbol from one religious tradition (e.g., Christ) while using the hermeneutical tools of another.The caveat that must be acknowledged in this process, according to Cornille, is that it is impossible to separate religious developments from their roots. For example, while there has been some talk of a "Christian Vedanta," the fact is Vedanta was developed in a particular context, and cannot be separated from its Vedic roots. At the same time, however, it must be admitted that religious traditions have, in fact, historically developed in such a manner. As Cornille points out, Greek expressions are not in themselves Christian, but have in fact helped to shape Christianity, as, for example, in the Nicene Creed.Ruben Habito, who focused more on his personal journey, delivered the second paper. In his late twenties, while still in Jesuit formation, he was sent to Japan and there was introduced to the practice of Zen. He spoke of his meditation on the mu koan, and his first experience of kensho, direct insight. He went on to further koan meditation from there.As he was preparing for ordination as a Jesuit priest, he began to wonder: How did [End Page 183] he still deal with Jesus, the Trinity, Incarnation, and the Paschal Mystery if he was committed to Zen practice? He found his answer in his Jesuit training: He was being called to continued metanoia, the continual movement from self to love. In Zen terms, he was undergoing a continuing process of transformation.In Buddhism, it is said that the myriad beings are one's true self. This is the meaning of the phrase "to be awakened by the myriad beings." In the Buddhist tradition, one of those myriad beings who assist in awakening is the bodhisattva Kanzeon, the Bodhisattva of Compassion. In the Christian tradition, this function is often associated with the Virgin Mary. The iconography of these two figures is often quite similar, to the point that early Jesuits took the figure of Kanzeon to be the Virgin Mary. During times of persecution, Japanese Christians would use a double-sided figure, with Kanzeon on one side and Mary on the other. This composite of Maria-Kannon has become, for Habito, a symbol of the potential of being nourished by the two traditions.The first response was from Jay McDaniel, who drew an analogy from biology. Some trees have two sets of roots, one a deep taproot and the other a secondary root system. Could this be an image for those drawing from two paths?McDaniel's response was based on his personal encounters with two traditions. He spoke of how reading Thomas Merton twenty-five years ago changed his life and helped him overcome a fundamentalist Christian background. He spoke of how Ruben Habito has helped him understand what it means to walk two paths. Like Whitehead, he feels that he can say "yes" to both a Personal God and to the Ultimate Reality of Emptiness... (shrink)

Ancient Greek visual representations of the recovery of Helen by Menelaos are generally thought to depend closely on two distinct poetic sources. This paper argues that this belief is untenable. The principal theoretical assumption underlying it, that there will always be a close fit between ancient Greek poetic and artistic representations of a given story, is not the only conceivable relationship between poetry and art in Archaic and Early Classical Greece. The empirical evidence advanced to support the belief, the occurrence (...) of similar motifs in both the poetic sources and the visual representations, is strained: scholars have read into the pictures motifs or intentions, including nudity and seduction, that are known from literature but have not been given unambiguous visual form in the pictures. This paper argues that the relationship between the artistic and literary representations of the recovery of Helen is much more distant and less direct than most scholars have thought. The same general story underlies all the pictorial representations of the subject in the Archaic and Early Classical periods, but no specific poetic source was necessarily behind the story circulating among the artists. This study draws attention, in particular, to methods of storytelling that are unique to the visual arts. It addresses in detail one of the most striking and problematic aspects of the iconography of the recovery of Helen, the variety of physical settings of the event, and argues that the pictorial elements of setting provide important narrative information that verbal narratives would convey in a different way. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:While studying the history of the Liber figurarum by Joachim of Fiore, I have used the distinction among his followers between Joachimist and Joachites,1 that is between the pupils who respected Joachim’s ideas and the ones who re-created his message, combining his ideas with other apocalyptic themes borrowed from different authors or traditions. Both groups considered Joachim to be a starting point in the history of the Church, but (...) in a dissimilar way: this break sometimes encouraged conflicts and struggles. The meeting between Franciscanism and Joachimism was influenced by such quarrels and perhaps stimulated them. Both the Florensians and the Franciscans divided themselves roughly between Joachimists and Joachites.This fluctuation of opinions becomes clear if one follows the diffusion of the Liber figurarum and the transformations in the cycle of illustrations linked to Joachim’s ideas.The Liber figurarum represents the swan song of a civilization based on figurae, which expressed itself in many forms during Late Antiquity and the Early Middle Ages. Joachim’s iconographic tradition is actually perfectly in tune with the early medieval tradition of Southern Italy, rooted in the iconography of late antiquity. The key word to describe its most profound essence is “kaleidoscopic.”2 This word, used by Reeves to define Joachim’s outlook, shows the method and the merit of Joachim’s images, grafted onto the trunk of an ancient plant that had deep roots in Southern Italy. Like a kaleidoscope, an image can easily change into a concept, and the concept can easily turn into an image that is at the same time astonishing and coherent. At the base of this unpredictable metamorphic process is the conviction, widespread in the ancient world, because of Plato, that there was an inseparable link between and idea in itself and its external, sensible manifestation. We have an important application of one such kaleidoscope in the art of memory theories.3This notion of idea and copy helped shape late antiquity and early medieval codices. An example is the conjuring effect of two uncovered facades opening the book; a technique we already find in copies of Cassiodorus’s Institutiones and in the Liber Figurarum. Another example is the fading of text into images as in calligrams; or the text moves around an image, changing the direction of perception in relation to the image. Kaleidoscopes also include figures breaking up into other figures, effects which happen when different geometrical figures cross and can be seen in different ways such as when “realistic” figures split or double before our eyes, like Joachim’s eagle-trees. To underline the amazing appearance of a text’s metamorphosis into an image and vice versa, we can have a figure larger than the written part of a page that goes beyond the layout of the manuscript’s leaves. But we can also have small figures in the white margin set on the same line, like visual notes to the text. Sometimes there are also figures that show where a gloss is, for example in the calligrams of the Cassiodorian codice, in some calligrams of the Liber Figurarum and in the psaltery representations in the margins of the Psalterium Decem Chordarum of ms. 322 of the Biblioteca Antoniana Padova. In this process, in which mnemonic inspiration is really, there is continuous interaction between text and margin, between words and images, which contributes to a better understanding of the meaning. In the same way, the methods we have already described allowed an active, watchful, lively use of the hand written single page. You can take visual possession of it or even take hold of it and move it around to read what is written in the opposite direction of the image. The codex will turn from a lector’s hand to the master’s hand and, from it, to the hand of.. (shrink)

This paper examines the importance of artist names and artistic identity, especially as expressed in artist signatures, to the interpretation of ancient Greek pottery. Attention is focused on a calyx krater signed ΣϒPIΣKOΣ EΓPΦΣEN [sic], and it is argued that the non-Greek ethnikon used as artist name encourages a non-Athenian reading of the iconography. The painted labels for all six figures on this vase, together with parallels from other Athenian red-figure vases—including others from the Syriskos workshop—all suggest the (...) presentation of an alternative, un-Athenian world view. Okeanos, Dionysos, and Epaphos are read as representing faraway lands at the edges of the Ge Panteleia, or “entire earth,” while the central figure of Themis, Greek personification of divine right, is depicted pouring a libation to Balos, the Hellenized form of the Syrian supreme god Baal, thereby recognizing his status as a supreme deity. Other overtly political messages have been read elsewhere in the oeuvre of the Syriskos Workshop, where it seems that at least two distinct artistic identities were at play—the explicitly foreign “little Syrian,” and the more conventional Pistoxenos, or “trustworthy foreigner.” When explicitly signed on vessels, these artistic identities necessarily sway interpretation, whereas on the many unsigned pieces, the viewer is left to consider which identity is at play. (shrink)

Among the extant masterworks of Roman art, there is probably none that has generated more scholarly debate than the Portland Vase over the interpretation of its elegant frieze. No fewer than forty-four different theories attempting to interpret the scenes on the vase have appeared in the last 400 years. In the main, the theories fall into two categories, those relating the frieze to Greek myth, and those linking the figures to Roman personages. Moreover, there is no consensus whether the frieze (...) is two separate scenes or one continuous story. The obstacle to interpreting the frieze is that all but one of the figures lack identifying attributes. This paper will demonstrate (1) that in lieu of standard iconography, a synthesis of visual and literary tropes in the form of hidden letters, that is, cryptograms, tells the viewer how to read the frieze; (2) that scene A of the frieze illustrates specifically lines 26-30 of Catullus 64 by visually rendering the epithets and tropes used in those lines; (3) that visual reproductions of other tropes in Catullus 64 further substantiate the relationship between frieze and poem; (4) that scene B of the frieze is an intentional aberration from the poem; (5) that there is a complex and unfinished interaction between scenes A and B which the viewer must complete; and (6) that in the final analysis, the frieze duplicates both the theme and central structure of Catullus 64.10 . (shrink)

This text reads into the work of Ibrahim Nubani (1962—), a Palestinian-Israeli painter who was diagnosed with schizophrenia in 1988, during the first Intifada. Nubani’s painting has undergone a tremendous change from the 1980s and the period of his hospitalization to his painting style today: from geometric, Modernist-type painting, gradually moving into his contemporary chaotic and saturated style of expression. I draw parallels between Nubani’s personal and psychological condition and the political events that affected him. I refer to his state (...) in relation to the discourse of mimicry and camouflage in nature, comparing his position to that of the invisible presences in the background in a perfect camouflage, referring to Roger Caillois’ interpretations. I look at his diagnosed psychiatric state of schizophrenia as the materialization of the meaning of being a Palestinian-Israeli in a life of fragmentation and rejection, by referring to Bhabha and Shammas. I relate to Deleuze and Guattari’s notions of schizophrenia as a cultural rebellion against the moderating mechanisms of cultural/national identification. I demonstrate how Nubani’s work and speech undermine the modalities of mainstream Israeli society, acting like a cultural insurgent, terrorizing Zionist axioms. While analysing Nubani’s iconography I identify several tropes, images and icons that serve as signifiers of his personal crisis and artistic development. I link Nubani’s eyes/ocelli images to Lacan’s discussion of ‘symbolic castration’ as the core of his personal becoming part of Israeli society and his collapse, the in-between desire to assimilate in the early stages of his life, and his current desire to fully live his life as a Palestinian. The text moves between his images and images from other sources that open Nubani’s world into the discourses of Western painting, schizophrenia, high Modernism, the postcolonial condition and so forth. The text is fragmented into eight pieces, following the schizophrenic break-up of Nubani’s personal state and his painted work. I read his work as a destabilizing agent, and identify visual references drawn from the wider context of art history, and specifically referring to masterpieces of the Israeli art canon. (shrink)

Magazines, leaflets, weblogs, and a variety of other media incessantly spread messages advising us on how to achieve or maintain our health or well-being. In such messages, the iconic representation of the face is predominant, and reveals an interesting phenomenon: the “face of health” seems to be unattainable as such, and is generally represented in a differential way, that is to say, by making reference to its opposite – the “face of illness”, or at least of malaise. In fact, the (...) face is crucial in the medical domain: since ancient times, face observation has played an essential role in diagnostic practices, both in Western medicine (which resorts to the concept of facies, intended as the distinctive facial expression or appearance associated with a specific medical condition, for the description of pathological states) and Eastern preventive and healing techniques (within which the so-called Mian Xiang, or ‘face reading’, is fundamental, and connects the medical sphere with other aspects such as personality, talents, and dispositions). Drawing on the semiotic analysis of relevant case studies extending from classical iconography to present-day digital mediascapes, this paper investigates the representation of the face of health (and illness) across time and space, specifically focusing on the analogies and differences between the Western and the Eastern semiosphere. To this purpose, it relies on both literature concerning the representation and understanding of the face and studies on medical sign systems and discourses. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Chaos, Fractals, and the Pedagogical Challenge of Jackson Pollock's "All-Over" PaintingsFrancis Halsall (bio)IntroductionThe "all-over" abstract canvases that Jackson Pollock produced between 1943 and 1951 present a pedagogical challenge in how to account for their apparently chaotic structure. One reason that they are difficult to teach about is that they have proved notoriously difficult for art historians to come to terms with. This is undoubtedly a consequence of their abstraction. (...) In the face of an apparent disintegration of the traditional pictorial distinction between figure and ground, multiplicities of (sometimes contradictory) readings present themselves. The question, posed to students, as to what they represent is an open one. To many, recalling the opinions of the baffled audience of the 1950s, they are nothing but an inchoate mess. In 1950 Time magazine referred to them as "chaos," prompting Pollock to wire a heated reply, "NO CHAOS DAMN IT."1Pollock's claim of "no chaos" can, however, be unpacked. This article looks at how a scientific analysis based on Chaos Theory and fractal patterns can be used to demonstrate to students that the paintings are indeed chaotic, but that this in turn provides evidence of an internal structure, an order within the chaos. This order is mimetically similar to other chaotic patterns and systems, from coastlines to economic systems. My overall position in this article is one of skepticism as to what such analysis ultimately has to offer in art historical, aesthetic, or pedagogical terms.The ProblemFor a student encountering Pollock's work for the first time, especially after a standard first-year survey of Western art, it can seem incomprehensible. [End Page 1] The challenge of Pollock's work is that none of the multiple interpretations that have been brought to bear on the paintings have any special claim to validity. Given the suggestive ambiguity and "chaos" of the images, there is little in the work itself that challenges the numerous, often contradictory, readings that have been posited. In fact, how art historians approach such images tells students something about the way art history itself works and how art historians are faced with particular choices in applying their discursive models. They must choose whether these accounts "fit" or satisfy the conditions of "rightness," to evoke Nelson Goodman's terms.2The numerous questions that have been asked of what the paintings actually represent are themselves demonstrative of the wide variety of techniques that modern art historians have at their disposal. Analyses have been based upon observations that are couched in the vocabularies of the political (often Marxist theory), feminism, psychoanalysis, iconography, formalism, and so forth.3 At the time of the paintings' creation even the CIA was in on the act; apparently realizing the ambiguity of the work left it open to political manipulation, they secretly funded the promotion of abstract expressionism as a weapon of the cold war.4 Simultaneously, members of Congress such as George Dondero were actually claiming the opposite—that Pollock was making paintings that were a "means of espionage" (sic) and that "If you know how to read them... [they] will disclose weak spots in U.S. fortifications, and such crucial constructions as Boulder Dam."5Ernst Gombrich's celebrated frustration with abstract art highlights the problems that those following traditional art historical methods had with such art at the time. Writing on Pollock's Number 12 (1952), Gombrich also seemed perplexed in the face of chaos. His response to the lack of explicit representational content or apparently accountable meaning was to claim:It is quite consistent that these [action] painters must counteract all semblance of familiar objects or even of patterns in space. But few of them appear to realise that they can drive into the desired identification only those who know how to apply the various traditional consistency tests and thereby discover the absence of any meaning except the highly ambiguous meaning of traces.6Indeed, if there is any consensus to be communicated to students about the work, it is that a single, specific meaning will always allude them.All of the above reactions to the work makes the claims of three physicists to have found the... (shrink)

It is said that reality is stronger than any description we can make of it, and we must admit that atrocities, when we see them, go beyond any idea we may have had of them. On the other hand, when it is a question of values and beliefs, the contrary is true: reality is much less than its representation and the ideas it professes. This loss of energy is called indifference. Madame Bovary believed that in Naples happiness was as firmly (...) rooted as the orange trees and as strong as stone. The wisdom of nations knows that that is not the case: “We hope for Paradise but as late as possible,” affirms a Christian proverb. This indifference poses a problem or an entire series of problems (Georg Simmel's work could be considered from that point of view) unless it arises from all our errors, spontaneous or scientific, concerning man and society. I do not know where I read, or dreamed, the story of a young ethnologist who went to study a tribe that was said to believe that the world would come to an end if the priests let the sacred fire go out. He assumed that the priests were as anxious as though they controlled the detonator of an atomic bomb. Admitted into the temple of the fire, he saw the peaceful religious going about routine tasks. Reality is rarely emphatic. Rites and customs, for example, reflect the beliefs of a society. Paintings and sculptures show what the society believes or serve to make it believe what it sees. Sculpture in cathedrals were the bible of the illiterate. Is that really certain? We notice that most often people perform the rites without believing in their significance and, in any case, without interest in them, because the liturgy is not a means of communication giving information. They do not look at the images. (How many Parisians have looked at the Napoleonic bas-reliefs on the Vendôme column?) and if they tried to do so, they would not be able to decipher their iconography or even see them: placed too high, the images are often undecipherable. So it is necessary to sketch out a sociology of art in which the art work, far from conveying an iconography and an ideology, is a decor that we do not even look at, that we can hardly see and that is however very important. The study of all these insufficiencies would be a vast program. Here we will confine ourselves to art. (shrink)

How did cultural factors participate in the event of October in Chile? How were these factors related to each other? What implications did they have for collective action and social life? The purpose of the article is to carry out a cultural reading of the October event. To do this, a dialogue is proposed between cultural sociology and cultural studies, applied to the October protest movement, resorting to interpretive research tools. The appropriation of Plaza Italia, in Santiago, by the (...) protesters, is used in an illustrative way to highlight the cultural elements and their interactions. Among the findings, the production of meaning based on motifs and frames stands out, the production of its own symbolism and iconography and the deployment of performances that allow defining the Plaza itself as an artifact of protest. Then certain scopes of the above for civil society are discussed. It concludes with a projection of the work and a brief reflection on the relationship between social sciences and humanities to deploy an interpretive strategy of empirical research. (shrink)

Reading the Shape of Nature vividly recounts the turbulent early history of the Museum of Comparative Zoology at Harvard and the contrasting careers of its founder Louis Agassiz and his son Alexander. Through the story of this institution and the individuals who formed it, Mary P. Winsor explores the conflicting forces that shaped systematics in the second half of the nineteenth century. Debates over the philosophical foundations of classification, details of taxonomic research, the young institution's financial struggles, and the (...) personalities of the men most deeply involved are all brought to life. In 1859, Louis Agassiz established the Museum of Comparative Zoology to house research on the ideal types that he believed were embodied in all living forms. Agassiz's vision arose from his insistence that the order inherent in the diversity of life reflected divine creation, not organic evolution. But the mortar of the new museum had scarcely dried when Darwin's Origin was published. By Louis Agassiz's death in 1873, even his former students, including his son Alexander, had defected to the evolutionist camp. Alexander, a self-made millionaire, succeeded his father as director and introduced a significantly different agenda for the museum. To trace Louis and Alexander's arguments and the style of science they established at the museum, Winsor uses many fascinating examples that even zoologists may find unfamiliar. The locus of all this activity, the museum building itself, tells its own story through a wonderful series of archival photographs. (shrink)

Through the prism of iconography, we may be able to better understand Vecchietta's stylistic choices towards the end of his career. His last known bronze sculpture, a gaunt and pathetic Christ, executed in 1476, is widely agreed to represent the Risen Christ. Today, the sculpture stands atop the high altar of the Santissima Annunziata, the Hospital Church in Siena, but this was neither its original nor intended location. In fact, the figure was meant to be part of a larger (...) ensemble which, together, constituted Vecchietta's funerary chapel. This article demonstrates unequivocally that the present setting of the statue has fostered an iconographical misunderstanding: naturally, the subject of the statue is Christ; but he represents the Man of Sorrows, not the Risen Christ. An exploration of the significance of the iconography of the Man of Sorrows in mid-fifteenth-century Siena, and its possible antecedents, reveals connections especially with Northern European artefacts circulating in central Italy at the time. The result of these findings is to set Vecchietta's sculpture free from previous preconceptions, shedding new light on a famous artwork and triggering new questions about the artist who made it. (shrink)

This paper is concerned with the different forms of pleasure and identification activated in the consumption of dominant and subcultural print media. It centres on an analysis of the lesbian visual pleasures generated through the reading of fashion editorial in the new lesbian and gay lifestyle magazines. This consideration of the lesbian gaze is contrasted to the lesbian visual pleasures obtained from an against the grain reading of mainstream women's fashion magazines. The development of the lesbian and gay (...) lifestyle magazines, in the context of the pink pound, produces a situation in which an eroticized lesbian visual pleasure is the overt remit of the magazine, rather than a clandestine pleasure obtained through a transgressive reading of dominant cultural imagery. In contrast to the polysemic free-play of fashion fantasy by which readers produce lesbian pleasure in the consumption of mainstream magazines, responses to the fashion content in the lesbian magazine Diva suggest that in a subcultural context readers deploy a realist mode of reading that demands a monosemic positive images iconography. The article uses the concept of subcultural competency to consider the different ways lesbians read mainstream and subcultural print media and suggests that the conflict over Diva‘s fashion spreads may be linked to changing patterns of identification and the use of dress for recognizability. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Authority, Reading, Reflexivity: Pierre Bourdieu and the Aesthetic Judgment of KantKoenraad Geldof (bio)Translated by Alex Martin (bio)1. AuthorityFor some time now, Pierre Bourdieu has been a true author 1 —a producer, in other words, of an impressive number of theoretical and analytical discourses in a wide variety of research fields. 2 Whether in anthropology or ethnology, in the sociology of institutions or of the structure and workings of (...) the market of symbolic goods, or in the sociology of literature, the name Bourdieu imposes itself: it establishes authority. Contributing to this is another particularity quite typical of authority: it gets itself talked about; it generates, at accelerated speed, discourses that in one way or another (re-)produce and thus reinforce the authority of the author who was their point of departure and origin. The international proliferation of articles dealing with one aspect or another of Bourdieu’s thought, 3 essay collections, 4 and introductions to Bourdieu’s work 5 testifies to this. The intensity of metadiscursive production not only gives material form to the intrinsic analytic pertinence and richness of the discourse on which it comments—these are evident—but also shows, independent of the pieces’ intentions, that the proliferation is situated in a process of (re-)production of authority, that it is an integral part of a canonizing effort. The articles and introductions problematize, implicitly or explicitly, the direct accessibility of Bourdieu’s discourse. They make the oeuvre into a complex totality, difficult and diversified to the extreme, whose coherence can be revealed only with the help of a gradual, exegetic, and essentially submissive reading practice.To put it another way, and to examine the question more closely, the metadiscursive (re-)production of the authority of the author we call Pierre Bourdieu reveals itself to be [End Page 20] ambivalent: it is at once innovative—it invites the uninitiated to get to know a fascinating new universe of thought—and authoritarian, indeed even conservative. An introduction is never a simple mediation of discourse between an author and his or her potential readers: it provides a sort of user’s guide, it (re-)produces a reading habitus, an ideology of the correct interpretation the reader must learn and interiorize to be able to distinguish orthodox from false, heterodox, readings. Between the metadiscourse/commentary and the authority it discusses, a relationship of tautological circularity is established that surreptitiously transforms the discourse read into a legend (into what must be read): the possibility of an autonomous reading practice is erased by a pedagogy of legendary decoding. 6The authority of an author, that of Bourdieu for example, is consequently implicated in a dynamic of opening (the proliferation of metadiscourses) and closing (the tendency to discipline reading, to make it obey certain norms of legibility). It would be erroneous, however, to attribute the paradoxical aspect of authority simply to the ambivalent effect of metadiscourses/commentaries. This is because authors who establish authority can only rarely escape the canonizing efforts of which they are the object: in many cases, authors themselves participate in the production and reproduction of a mode of reading and interpretation judged to be legitimate. The fact that no authority can completely and exhaustively control its discursive and institutional space does not in any way contradict, therefore, that other distinctive and essential feature of authority: its intrinsic animation by a desire to control, by the desire to see itself respected. Authority wants to become Law and be recognized as such. Thus the tendency of certain authors to become actively involved in the modes of appropriation of their name and their discourses, to endeavor to make the reading of the author’s work not simply an act of connaissance but also a proof of reconnaissance. Authority detests being insufficiently or poorly known. Let us take the case of Bourdieu. As an author, he is first and foremost the one to whom we owe Raisons pratiques, La distinction, Homo academicus and Les règles de l’art, the producer, in other words, of a series of momentous works that, upon publication, established authority. Furthermore, Bourdieu is also the author of a considerable number of accompanying discourses, dominated by the... (shrink)

This chapter investigates medieval Sweden and its iconography of justice. The Swedish lay judges were without university education, and especially the commoners had few opportunities of seeing images of justice on artefacts or in secular buildings. Yet, the ecclesiastical imagery in churches was seen and understood by all, thanks to the Church’s teaching. Based on surveys of justice-related iconography in medieval Swedish and Finnish churches, the chapter argues that the scope of these motifs was very limited. Images of (...) the Last Judgment and Saint Michael weighing souls predominate, while some churches had murals with Moses receiving the Tables of the Law, Solomon’s justice, or truth- or justice-related Biblical verses in Latin. No images of Lady Justice or other justice-related representations came up. Even only a fraction of the Finnish churches had a Last Judgment or Saint Michael to adorn them. However, these two images together, with images of devils tempting people to sin and perdition, were visualisations that had practical meaning in the Swedish legal culture. The practices of justice and judging were popular and daily reiterated, making each sworn oath a step towards either heaven or hell. (shrink)

Re-reads Marx in light of the contemporary critical interrogation of subjectivity.

Navigating the tension between moral virtue and realism in a ruler’s effort to preserve power, Justus Lipsius’ Politicorum libri sex (1589) was a foundational text in Catholic reason of state, but its ambiguous form and content leave it open for interpretation. The present article shows how in his Italian translation, the Ferrarese secretary and scholar Ercole Cato offers an individual reading of the Politica, transforming it to underline its usefulness and enhance its orthodoxy. Through a creative use of examples (...) from ancient and modern history, Cato presented Lipsius’ political prudence as one that rejected political calculation without virtue, and placed in direct dialogue with contemporary political events. This article argues that in reshaping and expanding the Politica, Cato presented his own intervention in the debate on Catholic reason of state, and it suggests that translators like Cato should be taken seriously as active and inventive participants in early modern political languages. (shrink)

Reading is an affective and reflective relationship with a text, whether it is a new, groundbreaking monograph or one of those books that keeps getting pulled off the shelf year after year. Unlike traditional reviews, the pieces in this section may veer off in new directions as critical reading becomes an extended occurrence of thinking, being, and creation. The Highest Poverty: Monastic Rules and Form-of-Life, by Giorgio Agamben.Stanford: Stanford University Press, 2013.

This study examines whether Chinese complement coercion sentences with aspectual verbs will elicit processing difficulty during real-time comprehension.Complement coercionis a linguistic phenomenon in which certain verbs (e.g.,start, enjoy), requiring an event-denoting complement, are combined with an entity-denoting complement (e.g.,book), as inThe author started a book. Previous studies have reported that the entity-denoting complement elicited processing difficulty following verbs that require event argument compared with verbs that do not (e.g.,The author wrote a book). While the processing of complement coercion has been (...) extensively studied in Indo-European languages such as English and German, it is relatively under-researched in Sino-Tibetan languages such as Mandarin Chinese. Given the fact that there are many linguistic elements behaving distinctly in the different language families, for instance, verbs with respect to their semantic properties and syntactic representations of the complement, it is meaningful to investigate whether or not the existing linguistic differences have any effect on the processing of complement coercion in Mandarin. With this research goal, we recorded self-paced reading time of 61 native Mandarin speakers to investigate the processing of the entity-denoting complement in sentences with three different verb types (aspectual verbswhich require an event-denoting complement,preferred verbswhich denote a preferred interpretation of the aspectual expressions, andnon-preferred verbswhich denote a non-preferred but plausible interpretation of the aspectual expressions), as exemplified in 顾客开始/填写/查看这份问卷gù-kè kāi-shǐ/tián-xiě/chá-kàn zhè-fèn wèn-juàn“The customer started/filled in/checked the questionnaire.” It was found that the entity noun complement (e.g., 这份问卷zhè-fèn wèn-juàn“the questionnaire”) elicited significantly longer reading times in coercion sentences than non-coercion counterparts. The results are compatible with the previous findings in English that complement coercion sentences impose processing cost during real-time comprehension. The study contributes empirical evidence to coercion studies cross-linguistically. (shrink)

Reading is an affective and reflective relationship with a text, whether it is a new, groundbreaking monograph or one of those books that keeps getting pulled off the shelf year after year. Unlike traditional reviews, the pieces in this section may veer off in new directions as critical reading becomes an extended occurrence of thinking, being, and creation. Retromania: Pop Culture’s Addiction to Its Own Past, by Simon Reynolds. New York: Faber and Faber, 2011.

When censorship was reformed during the era of Joseph II publishing and the book trade underwent a liberalisation. Enlightenment conceptions helped create the image of the ideal reader—someone who reads to acquire knowledge or to improve his spiritual life. During the reign of Joseph II reading spread to all social strata, but readers’ preferences did not follow a reading ideal. This is demonstrated by significant urban-rural disparities. The publishing projects of the Protestant elite met with failure in the (...) distribution phase and with the indifference country people displayed towards spiritual literature. This relates to several other social phenomena such as literacy and living conditions. Archival sources, which are relevant to lending library research, indicate the reading preferences of the urban classes. An uncontrollable reading mania targeted literature and short political and anticlerical writing, which triggered public discussions on the dangers of uncontrolled reading. The print medium helped shape a “reading public“, whose reading activities occupied an area between mainstream cultural consumption and the dissemination of political news. (shrink)

On reading Irvine Welsh's novel Filth for the first time, I quickly noticed that something was amiss. I followed the apparent food poisoning of amoral Detective Sergeant Bruce Robertson all the way down page twenty-three. Then, as I turned the page, something entirely unexpected happened. The text became obscured by what appeared to be the black outlines of intestines. What's more, though Robertson's first-person account of his own illness was obscured, a new narrative voice appeared within the intestines: "I (...) am alive. … I am soft and weak. … I must grow. … I must eat. … I must grow strong … eat … eat … eat …".1 Welsh's novel was no longer simply words on a page. Its visual features were playing an artistic role in... (shrink)

_Reading R. S. Peters Today: Analysis, Ethics and the Aims of Education_ reassesses British philosopher Richard Stanley Peters’ educational writings by examining them against the most recent developments in philosophy and practice. Critically reassesses R. S. Peters, a philosopher who had a profound influence on a generation of educationalists Brings clarity to a number of key educational questions Exposes mainstream, orthodox arguments to sympathetic critical scrutiny.

Dynamic Reading examines the reception history of Epicureanism in the West, focusing in particular on the ways in which it has provided conceptual tools for defining how we read and respond to texts, art, and the world more generally.

'Practices without foundations' is, in genesis and in effect, a discussion of the following quotation , which serves therefore as an epigraph to it: ;Nelson Goodman's discussion of the 'new riddle of induction' ... deserves comparison with Wittgenstein's work. Indeed ... the basic strategy of Goodman's treatment of the 'new riddle' is strikingly close to Wittgenstein's sceptical arguments .... Although our paradigm of Wittgenstein's problem was formulated for a mathematical problem it ... is completely general and can be applied to (...) any rule or word. In particular, if it were formulated for the language of color impressions, as Wittgenstein himself suggests, Goodman's 'grue', or something similar, would play the role of 'quus'. But the problem would not be Goodman's about induction--"Why not predict that grass, which has been grue in the past will be grue in the future?"--but Wittgenstein's about meaning: "Who is to say that in the past I didn't mean grue by 'green', so that now I should call the sky, not the grass, 'green'?" vskip9pt ;This fascinating remark of Kripke's suggests a project, that of charting out both the interpretive and philosophic points of connection and disconnection between Wittgenstein, Goodman and Kripke. That project is this dissertation. ;My work severely tests Kripke's remark. For I argue that Kripke not only misreads Wittgenstein, but also mistakes the extremity of the 'scepticism' of his version of Wittgenstein for the priority of the philosophical puzzle that Goodman has bequeathed to us. ;To reach this conclusion, I show that Kripke's Wittgenstein's 'meaning-scepticism' is unanswerable if statable, but actually unstatable; and that, under certain interpretations, the same is true of putative scepticisms derivable from Goodman's text. The upshot is that the sceptical reading of most twentieth century philosophy must be displaced in favour of 'post-scepticism' and 'philosophical ethnography'. The latter concepts, sketched toward the end of the dissertation, are perhaps its telos. (shrink)

The Fourfold Gospel of regeneration, sanctification, divine healing, and the Second Coming was introduced to Korea in the early 20th century and played a crucial role in developing the Korea Holiness Churches. It seems, however, that the previous understanding of the Fourfold Gospel has some limitations in helping Christians to participate in missio Dei. Because missiological hermeneutics of the Fourfold Gospel has focused mainly on the theology of redemption, it has frequently led to a narrow understanding of missio Dei. Through (...) the reading of the two creation stories in Genesis, we can recognize that God’s creative works already have redemptive meanings and that His redemptive works already have creative/creational meanings. In this sense, it is also possible to see the Fourfold Gospel from a creation theological perspective. This understanding may positively motivate Christians to participate in missio Dei to restore and complete God’s creation as his vicegerents and stewards. (shrink)

This paper offers a reading of Hartmann’s philosophy of literature from the perspective of contemporary aesthetics. In particular, I focus on his defense of the truth-value of literary works. After outlining the main concern of the paper (sect. 1), I place Hartmann’s view within the context of current aesthetic cognitivism (sect. 2). In the following three sections, I discuss Hartmann’s account, examining his critique of the thesis that literature is cognitively valuable because it transmits factual truths (sect. 3); his (...) defense of the view that literature discloses life (sect. 4); and the link between cognitive value and the ontology of the literary work (sect. 5). Finally, I discuss Hartmann’s focus on the concept of “truth” in the light of recent debates on knowledge of “what it is like” and on “understanding” (sect. 6). (shrink)

The hundred-year history of interpretations of Wittgenstein’s Tractatus Logico-Philosophicus we examine in the article through a gradual approach (through the refusal of researchers from obviously erroneous interpretations) to an ethical (or metaphilosophical) reading of the work. The latter explains Wittgenstein’s unambiguous indication of ethical meaning as the main meaning of the Tractatus and consistently reconciles various parts of the work (ontology, figurative theory of meaning, rejection of the theory of types and logical constants, etc.) with the latest so-called ethical (...) and mystical statements of the Tractatus and with demanding silence. An ethical (metaphilosophical) reading explains the continuing influence and relevance of the Tractatus and is presented in the article as a necessary condition for understanding the continuity between the works of early and late Wittgenstein. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:‘Reading’ Greek Death: To the End of the Classical PeriodJoseph W. Day and Leslie Preston DayChristiane Sourvinou-Inwood. ‘Reading’ Greek Death: To the End of the Classical Period. Oxford: Clarendon Press, 1995. xiv + 489 pp. 11 pls. Cloth, $79.This important book contributes much to the growing, though divided, scholarship on Greek mortuary practice as a system of behavior that reflected and constructed eschatological, religious, and socio-political (...) attitudes and ideologies. Distancing herself strongly from I. Morris’ historical analysis of mortuary data (Burial in Ancient Society [1987]; Death-Ritual and Social Structure in Classical Antiquity [1992]), with its rejection of what he sees as limiting text- and object-based approaches, S-I derives cultural attitudes from texts like Homer and artifacts like the archaic grave monument. Her approach to this conventional material is hardly conventional, however, nor are its results.Chapter 1, which most classicists could read with benefit, explains S-I’s reader-oriented method; but methodology is foregrounded throughout, especially the semiological principle that no element of a text or artifact, independent of its context, has a fixed meaning for readers. S-I recreates ancient readings of grave monuments, epitaphs, literary texts, and other artifacts accordingly, by reconstructing the cultural lenses through which contemporaries would have interpreted such an artifact (that is, their attitudes to death, expectations about relevant genres, and other aspects of their cultural repertoire). To alleviate the dangers of circularity inherent in such approaches, S-I constructs, and criticizes others for failing to construct, several independent arguments to support each point. Though “very idiosyncratic post-structuralist” (113), S-I’s method can be compared to recent semiological, cultural, and functional approaches to literary and artistic “texts” (e.g., C. Dougherty and L. Kurke, Cultural Poetics in Archaic Greece [1993]) and inscriptions (e.g., D. T. Steiner, The Tyrant’s Writ [1994]).Chapter 2 deals with views of the afterlife in the Homeric poems and with beliefs about the dead from the Late Bronze Age to the seventh century. For S-I, Homer represents the culture of eighth-century Ionia, and she uses the poems to show later eighth-century attitudes toward death. This is too facile a solution to complex Homeric problems, and while her analysis of the beliefs reflected in the poems is excellent, she does not apply archaeological evidence to demonstrate that this analysis is relevant to eighth-century Greece. She sees two attitudes in the poems: the predominant belief that “everyone must die,” a simple statement of the inevitability of death without any idea of reward and punishment, and the nascent idea that a few individuals can achieve happiness and even immortality after death. She debunks the theory that this latter concept of Elysion comes from Minoan Crete. What she does not do is use archaeological evidence to support her hypotheses. As she rightly points out, reconstructing “belief systems on the basis of archaeological data is a complex and problematic enterprise” (90); [End Page 645] but given the hundreds of burials excavated all over the Greek world from this period, it seems amazing that she refers to them so little. S-I is not unfamiliar with archaeological evidence and uses it to good account in discussing Minoan and Mycenaean burial practices, and she makes excellent use of sculpture and vase painting in chapters 3 and 5; but she chooses not to use actual burial data for Homeric beliefs, perhaps partly in response to Morris. Chapter 2 supplies a useful background for the study of archaic grave markers, but the unwary classicist should know that a methodologically rigorous archaeologist, in particular, will have trouble with it, as with Morris, although for different reasons.Morris and his methodology come under heavy attack in the lengthy Appendix. While some find Morris’ model-building methodology problematic, it is widely accepted by anthropologists looking for an objective method akin to scientific hypothesis testing. S-I opposes this methodology because of its a priori assumptions, yet no methodology is free of cultural bias. We need a variety of approaches, and archaeology must be allowed to give its evidence without either being forced into Morris’ a priori models or S-I’s (and the traditional... (shrink)