My reflections on the Vietnam Veterans Memorial were provoked some time ago in a quite natural way, by a visit to the memorial itself. I happened upon it almost by accident, a fact that is due at least in part to the design of the Memorial itself . I found myself reduced to awed silence, and I resolved to attend the dedication ceremony on November 13, 1982. It was an extraordinary event, without question the most moving public ceremony I have (...) ever attended. But my own experience of the Memorial on that and other occasions is far from unique. It is almost commonplace among the many visitors to the VVM—now the most visited of all the memorials in Washington—a fact so striking as to have compelled journalists, art historians, and architects to write countless articles about the monument. And although philosophers traditionally have had little to say about architecture in general or about that of memorials in particular, there is much in the VVM and its iconography worthy of philosophical reflection. Self-knowledge includes, I hazard to say, knowledge of ourselves as members of the larger social and political context, and so includes knowledge of that context.Architecture need not memorialize or symbolize anything; or it may symbolize, but not in a memorializing way, let alone in a way that is tied to a nation’s history. The structures on the Washington Mall belong to a particular species of recollective architecture, a species whose symbolic and normative content is prominent. After all, war memorials by their very nature recall struggles to the death over values. Still further, the architecture by which a people memorializes itself is a species of pedagogy. It therefore seeks to instruct posterity about the past and, in so doing, necessarily reaches a decision about what is worth recovering. It would thus be a mistake to try to view such memorials merely “aesthetically,” in abstraction from all judgments about the noble and the base. To reflect philosophically on specific monuments, as I propose to do here, necessarily requires something more than a simply technical discussion of the theory of architecture or of the history of a given species of architecture. We must also understand the monument’s symbolism, social context, and the effects its architecture works on those who participate in it. That is, we must understand the political iconography which shapes and is shaped y the public structure in question. To do less than this—if I may state a complex argument in hopelessly few words—is to fall short of the demands of true objectivity, of an understanding of the whole which the object is. To understand the meaning of the VVM requires that we understand, among other things, what the memorial means to those who visit it. This is why my observations about the dedication of the VVM and about the Memorial’s continuing power over people play an important role in this essay. Charles L. Griswold, associate professor of philosophy at Howard University, is the author of Self-Knowledge in Plat’s “Phaedrus” and has published widely in the areas of Greek philosophy, German Idealism, hermeneutics, and political philosophy. He is an editor of the Independent Journal of Philosophy and a recipient of numerous awards and fellowships. Currently he is working on a project which centers on Adam Smith’s notion of the “self” and Smith’s relationship to Stoicism and to the American Founding. (shrink)

The article takes Cornelius Castoriadis’ concept of the ‘political imaginary’ as an invitation to reflect on the role of pictures in politics and in facilitating alternative policies. For this purpose, pictures are not understood as merely rhetorical or propagandistic representations of political statements, which are actually to be thought of independently of the particular picture. Instead, by means of their specific pictorial qualities, pictures also influence the ways politics are negotiated or pursued and, moreover, they can stimulate alternative (...) forms of political thinking. In order to argue for this understanding of the politics of pictures, the article proceeds in three steps: a brief review of the research on political iconography is followed by thoughts on Jacques Rancière and his concept of the ‘distribution of the sensible’. On this basis, an understanding of pictorial politics is finally sketched that asks for genuinely political potentials that are directly linked to the specific qualities of the image: its duality, its vagueness, and its temporality. (shrink)

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)

The 2011 Thai general election was seen by many Thai political analysts as a watershed moment that would hopefully be the tipping point of socio-political reconciliation in the drawn out political struggle that has characterized Thai politics since 2005. The highly contested nature of Thai politics becomes salient when viewing campaign posters pictorial and linguistic content. The most controversial of which was the ``Vote No'' campaign taken on by the For Heaven and Earth Party, which is a (...) political party nominally associated with Thailand's conservative People's Alliance for Democracy. This study seeks to unwrap and decode the semiotics of this party's political campaign posters in Thailand's 2011 general election by providing cultural context to the application of multimodal discourse analysis and critical semiotics framework. I will argue that the ``Vote No'' campaign and its campaign posters depicting politicians as animals is a continuing political discourse of conservative Buddhist philosophers/scholars that reaches back to the 1980s. Furthermore, the ``Vote No'' campaign seeks to create dissonance and reinstate conservative rule via monarchial and/or military intervention by creating political deadlock thereby undermining democratic rights and rule by the exercising of democratic rights of voting, thus disenfranchising citizens by their own hand. (shrink)

_A penetrating study of the images, symbols, pageants, and creative performances ambitious Elizabethans used to secure political power_ Shakespeare’s plays abound with kings and leaders who crave a public stage and seize every opportunity to make their lives a performance: Antony, Cleopatra, Richard III, Othello, and many others. Such self-dramatizing characters appear in the work of other playwrights of the era as well, Marlowe’s Edward II and Tamburlaine among them. But Elizabethan playwrights were not alone in realizing that a (...) sense of theater was essential to the exercise of power. Real rulers knew it, too, and none better than Queen Elizabeth. In this fascinating study of political stagecraft in the Elizabethan era, Garry Wills explores a period of vast cultural and political change during which the power of make-believe to make power real was not just a theory but an essential truth. Wills examines English culture as Catholic Christianity’s rituals were being overturned and a Protestant queen took the throne. New iconographies of power were necessary for the new Renaissance liturgy to displace the medieval church-state. The author illuminates the extensive imaginative constructions that went into Elizabeth’s reign and the explosion of great Tudor and Stuart drama that provided the imaginative power to support her long and successful rule. (shrink)

This study makes a pair with the author's “Framing the Gift: The Politics of the Siphnian Treasury at Delphi,” Classical Antiquity 20 : 273–336. Like that essay, it argues that the function of a treasury is to provide a civic frame for ostentatious dedications by wealthy citizens: in effect, to “nationalize” votives. In this sense, the Athenian Treasury is a material trace, or fossil, of city politics in the 480s. The article tracks this function through the monument's iconography; its (...) use of marble from the medizing island of Paros; its relation to the “Alkmeonid” temple of Apollo; and the responses it evoked at Delphi and in Athens. Special attention is given to the methodological problem of finding meaning in non-iconic or non-representational features, such as building materials. The article concludes with a new reading of Pindar's sixth Pythian, for Megakles of Athens, which neatly encapsulates what was at stake in this building project. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Attic Document Reliefs: Art and Politics in Ancient AthensWilliam C. WestCarol L. Lawton. Attic Document Reliefs: Art and Politics in Ancient Athens. Oxford: Clarendon Press, 1995. xxii 1 167 pp. 96 pls. Cloth, $100. (Oxford Monographs on Classical Archaeology)Although long recognized as a distinct genre, the reliefs on documents have not been collected comprehensively and studied for their own sake. They are set above the texts of honorary (...) decrees, alliances and documents concerning [End Page 465] foreign affairs, decrees concerning cults, accounts and inventories, public dedications, and other inscriptions. Previous work on the subject (Binnebössel 1932; Meyer 1989) sought to relate the reliefs to other genres of art. Lawton notes that the document relief is “the only genre of Greek art that explicitly and consistently refers to contemporary events in the political sphere” (4). The style of the sculpture of the reliefs is shown to be conservative, “following rather than setting the sculptural trends of their own day” (73).The aim of illustrating documents with reliefs seems to be the desire to highlight certain relations to the text (deities as representative of cities; heroes, personifications of Demos, Boule, and Demokratia; individuals honored set amid the appropriate divinities, etc.). Expenses for inscribing were sometimes shared, as by cities of the empire or by individuals who received honorary decrees, but the cost of inscribing probably also included the reliefs (23–24). They would have been commissioned by authority of the secretaries of the assembly (or other political group such as deme or tribe) in consultation with sculptors and masons. Thus the relief contributes to the artistic display, just as certain features of the layout of the text on the stone (stoichedon style, intentional use of vacat, chequer pattern) serve to articulate the elements of the text and create an attractive monument. Lawton asserts that most of the document reliefs had a votive function, as they were set up in sanctuaries (29).Lawton presents a catalogue of 187 reliefs, arranged in two parts (dated and undated) and listed in chronological order within each part. Each item is accompanied by a lemma giving its most accessible publication, location, measurements, iconographical description, and bibliography. Thus 62 are classified as dated and 125 as undated. Although they range from the middle of the fifth to the second half of the second century B.C., the overwhelming preponderance fall in the fifth and fourth centuries. Statistics make the point effectively: fifth century, 28 total (12 dated, 16 undated); fourth century, 148 total (46 dated, 102 undated). Five are classified “late 5th-early 4th century,” bringing the grand total to 181. Of the dated group in the fourth century, only 9 can be put after 323 and only 4 after 318/17. One might justifiably conclude that the document relief is a phenomenon of the classical period, continued occasionally after it.Lawton offers excellent analyses, with concise discussion of relevant interpretations, in terms of type of inscription, iconography, style, and chronology. Where problems in interpretation still persist, she is careful to note the probabilities.Possibly the earliest surviving document with a relief is the Miletos decree (no. 63 = IG I3 21), which is put by Meritt and others about 450 because it uses the three-bar sigma, but in the 420s by H.B. Mattingly. Lawton summarizes fairly the arguments for both datings but does not insist on either. Rather, she notes the frequency of document reliefs from the 420s onward.IG I3 68 (no. 1), on the collection of tribute, is presented as the earliest securely dated inscription. Perhaps here the case is stated too positively, as the date 426/25 depends on the identification of the proposer Kleonymos with the man [End Page 466] who proposed a decree favoring Methone in the first prytany of that year (Meiggs and Lewis, no. 68, p. 188). Hence the date is probable, rather than certain. Secure dates for several decrees of the fourth century come from the name of the archon in the heading, but in cases where insufficient text is preserved for certainty (as in IG II2 133, no. 30) it should be noted that the stoichedon pattern provides... (shrink)

Stamps are so familiar to us as everyday objects that we – with the exception of philatelists – are not used to considering their aesthetic value or their place in a history of art. They have therefore seldom been systematically investigated in this light. Nevertheless, these issues have been treated by some scholars. Aby Warburg, for instance, was one of the first to identify the importance of stamps for political iconography; and Walter Benjamin has also made insightful observations (...) in this regard. This article takes up earlier work on the cultural history of the iconography of German money. It investigates exemplarily the presentation of the Brandenburg Gate on stamps of the Weimar Republic, the Third Reich, the GDR, and the Federal Re- public of Germany, in order to elucidate more generally aesthetic forms of representation and their exploitation for purposes of propaganda. (shrink)

The article advocates the importance of studying conceptual meaning and change in modern mass media and highlights the significance of conceptual intermediality. The article first analyzes anger in Hindi cinema as an audiovisual key concept within the framework of an Indian national ideology. It explores how anger and the Indian angry young man became popularized, politicized, and stereotyped by popular films and print media in India in the 1970s and 1980s. The article goes on to advocate for extending conceptual history (...) beyond language on theoretical grounds and identifies two major obstacles in political iconography: the methodological subordination of visuals to language in the negotiation of meaning, and the distinction of emotion and reason by assigning them functionally to different sign systems. (shrink)

Este artículo de homenaje a la Profesora Yolanda Ruano se divide en dos partes. En la primera discuto las críticas que ella realizara a mi libro sobre la diosa Fortuna en las que avanzaba su propio análisis de las complejas relaciones entre razón y fortuna en el pensamiento occidental. En la segunda parte, desde el punto de vista del “giro icónico” en humanidades y ciencias sociales, analizo el caso concreto del auge y desaparición de la diosa Fortuna en la iconografía (...) política de la ciudad de Berlín. A lo largo del siglo XIX la diosa Fortuna desaparece de la escena berlinesa y es sustituida por la diosa Niké o Victoria, que popularmente se interpreta como un Ángel de la Victoria. Este es el marco de la infancia de Walter Benjamin, quien más tarde expresará su visión de la historia con un otro ángel completamente distinto, el Angelus Novus de Paul Klee. (shrink)

The purpose of this article is to explore the concept of Philosophy within the works written by Wittgenstein if we take into account the ambivalent sense of the term phármakon. Thus, it will be outlined a contest of paradoxes between, on the one hand, healthiness, sanity, and the adaptable confidence produced by western rationality materialized into objective science, and, on the other hand, sickness, insanity, the world of perplexities, and the realm of desire and death, essential to philosophical thought. Bearing (...) in mind last Wittgenstein’s approaches, we will understand the Tractatus both critical to the deficiencies of western Reason and imprisoned within them. But the “enchanting” power of western Reason, conducting to identify rationality and scientificity in that work, will be conjured in the last Wittgenstein through the opening of plural realms of rationality and of discourses. In this way, philosophical questions will be rescued from silence and absurdity. (shrink)

The purpose of this article is to explore the concept of Philosophy within the works written by Wittgenstein if we take into account the ambivalent sense of the term phármakon. Thus, it will be outlined a contest of paradoxes between, on the one hand, healthiness, sanity, and the adaptable confidence produced by western rationality materialized into objective science, and, on the other hand, sickness, insanity, the world of perplexities, and the realm of desire and death, essential to philosophical thought. Bearing (...) in mind last Wittgenstein’s approaches, we will understand the Tractatus both critical to the deficiencies of western Reason and imprisoned within them. But the “enchanting” power of western Reason, conducting to identify rationality and scientificity in that work, will be conjured in the last Wittgenstein through the opening of plural realms of rationality and of discourses. In this way, philosophical questions will be rescued from silence and absurdity. (shrink)

The purpose of this article is to explore the concept of Philosophy within the works written by Wittgenstein if we take into account the ambivalent sense of the term phármakon. Thus, it will be outlined a contest of paradoxes between, on the one hand, healthiness, sanity, and the adaptable confidence produced by western rationality materialized into objective science, and, on the other hand, sickness, insanity, the world of perplexities, and the realm of desire and death, essential to philosophical thought. Bearing (...) in mind last Wittgenstein’s approaches, we will understand the Tractatus both critical to the deficiencies of western Reason and imprisoned within them. But the “enchanting” power of western Reason, conducting to identify rationality and scientificity in that work, will be conjured in the last Wittgenstein through the opening of plural realms of rationality and of discourses. In this way, philosophical questions will be rescued from silence and absurdity. (shrink)

Este artículo de homenaje a la Profesora Yolanda Ruano se divide en dos partes. En la primera discuto las críticas que ella realizara a mi libro sobre la diosa Fortuna en las que avanzaba su propio análisis de las complejas relaciones entre razón y fortuna en el pensamiento occidental. En la segunda parte, desde el punto de vista del “giro icónico” en humanidades y ciencias sociales, analizo el caso concreto del auge y desaparición de la diosa Fortuna en la iconografía (...) política de la ciudad de Berlín. A lo largo del siglo XIX la diosa Fortuna desaparece de la escena berlinesa y es sustituida por la diosa Niké o Victoria, que popularmente se interpreta como un Ángel de la Victoria. Este es el marco de la infancia de Walter Benjamin, quien más tarde expresará su visión de la historia con un otro ángel completamente distinto, el Angelus Novus de Paul Klee. (shrink)

Prolongando los trabajos de Horst Bredekamp y de Quentin Skinner, la hipótesis que pretendo defender aquí consiste en demostrar que si el célebre frontispicio que adorna el Leviatán, obra mayor del pensamiento de Hobbes, hace de la figura del Leviatán el sustento estructurante de nuestra iconografía..

“You Have Seen Their Faces”: Gisèle Freund, Walter Benjamin and Margaret Bourke-White as Headhunters of the Thirties -/- Abstract This paper concentrates on one work by each of three authors: Walter Benjamin’s Deutsche Menschen (Germans), an anthology of twenty-five 18th and 19th century German personal letters; Margaret Bourke-White and Erskine Caldwell’s You Have Seen Their Faces; and Gisèle Freund’s collection of photographic portraits of writers and artists, compiled between 1936 and 1939. The purpose of this paper is to compare the (...) politics of representation of these three figures and to examine the challenge they addressed to the dominant iconography of the 1930s. At the heart of each one’s work was a desire to bring about a shift in contemporary cultural politics by reimagining the body politic. Benjamin’s and Freund’s aim was to displace the monumentalizing, distancing, ‘heroic’ forms of fascist art and writing. They construct and project an intimate, or ‘domestic’ image of humanism as a form of social practice, past and present. Bourke-White’s aim was to bring to visibility an America concealed beneath the glossy homogenized images of white American advertising. All three authors aligned themselves with a documentary tradition that believed that representation should function as a constructed record of the traces of lived experience. Driven by a need to expose the other side’s deliberate falsifications of experience, they saw their own constructed fictions as ways of ‘documenting,’ and then perhaps transforming, an experiential world of ‘facts,’ bodies, and ‘truths.’ -/- Working Paper 3:15 European Society and Culture Research Group. Center for German and European Studies, University of California at Berkeley. April 1994 37pp. -/- M. Kay Flavell Critical Theory, University of California at Davis . (shrink)

To become sovereign, one must be seen as sovereign. In other words, a sovereign must appear-philosophically, politically, and aesthetically-on the stage of power, both to themselves and to others, in order to assume authority. In this sense, sovereignty is a theatrical phenomenon from the very beginning. This book explores the relationship between theater and sovereignty in modern political theory, philosophy, and performance. Arthur Bradley considers the theatricality of power-its forms, dramas, and iconography-and examines sovereignty's modes of appearance: thrones, (...) insignia, regalia, ritual, ceremony, spectacle, marvels, fictions, and phantasmagoria. He weaves together political theory and literature, reading figures such as Plato, Aristotle, Montaigne, Leibniz, Kant, Hegel, Schmitt, Benjamin, Derrida, and Agamben alongside writers including Shakespeare, Cervantes, Schiller, Melville, Valéry, Kafka, Ionesco, and Genet. Formally inventive and deeply interdisciplinary, Staging Sovereignty offers a surprising and original narrative of political modernity from early modern political theology to the age of neoliberal capitalism. (shrink)

One of the most striking features of the South African polity, as the 20th anniversary of democratization draws closer, is the intensity of public arguments about race that show no signs of abating any time soon. In the midst of worsening socio-economic inequality, it’s the economic question – of the terms of access to wealth, status and economic power, and of how to erase the residues of apartheid’s economic dispossession – that dominates these arguments. In recent years, the ANC Youth (...) League – a renewal of the Youth League originally created in 1944 and then banned in 1960 – effectively positioned itself at the forefront of this politicization of race. I argue in this essay that from 1994 to early 2012, the contemporary Youth League retained its predecessor’s political persona of precocious provocateur, particularly on matters of race – but differently styled, and deployed to different political ends in the new conjuncture. The repertoire of the Youth League during this period was shaped by a clientelist politics, informed by a version of freedom as a freedom to consume, and the concomitant spectacles of conspicuous consumption that infused the iconography of the ‘new’ South Africa. These tendencies were most dramatically illustrated during Julius Malema’s controversial tenure as Youth League president. Largely disconnected from discursive, deliberative notions of the political, the Youth League’s version of politics became an amalgamation of angry street protest, patronage, and lavish partying, which produced a racialized iconography of being well-heeled and down-trodden in a seamless narrative of black solidarity. (shrink)

The recent pop culture iconography of the Critical Race Theory (CRT) label has attracted more devoted (white) fans than a 90s boy band. In philosophy, this trend is evidenced by the growing number of white feminists who extend their work in gender analogically to questions of race and identity. The trend is further evidenced by the unchecked use of the CRT label to describe (1) any work dealing with postcolonial authors like W.E.B. Du Bois and Frantz Fanon or (2) (...) the role postcolonial themes like power, discourse, and the unconscious play in the social constructionist era. While this misnomer may seem practically insignificant, the artifice formerly known as CRT in philosophy—more adequately labeled “critical theories of race”— has been axiomatically driven by the political ideals of integration and by a revisionist commentary that seeks to expand traditional philosophical ideas, such as reason, history, and humanity, which were previously closed off by racial borders, to people of color. This “revision in the name of inclusion,” however, is not without its consequences. In order to incorporate the experiences of those who suffer under the weight of modernity and are marred by the burdens of racism into the narration of Continental and American philosophy, the theoretical perspectives in Critical Race Theory that deny the legitimacy of philosophy’s diversity agenda must necessarily be excluded.In particular, this recent move to recognize the study of race as a category of philosophical relevance has resulted in the outright denial of the nationalist and revolutionary fervor contained in the intellectual history specific to the Critical Race Theory movement started by the works of Derrick Bell.2 Instead, this new movement favors narratives that inculcate the ideals of a post-racial humanity and racial amelioration between compassionate (Black and white) philosophical thinkers dedicated to solving America’s race problem. (shrink)

Este artículo de homenaje a la Profesora Yolanda Ruano se divide en dos partes. En la primera discuto las críticas que ella realizara a mi libro sobre la diosa Fortuna en las que avanzaba su propio análisis de las complejas relaciones entre razón y fortuna en el pensamiento occidental. En la segunda parte, desde el punto de vista del “giro icónico” en humanidades y ciencias sociales, analizo el caso concreto del auge y desaparición de la diosa Fortuna en la iconografía (...) política de la ciudad de Berlín. A lo largo del siglo XIX la diosa Fortuna desaparece de la escena berlinesa y es sustituida por la diosa Niké o Victoria, que popularmente se interpreta como un Ángel de la Victoria. Este es el marco de la infancia de Walter Benjamin, quien más tarde expresará su visión de la historia con un otro ángel completamente distinto, el Angelus Novus de Paul Klee. (shrink)

ABSTRACTAbel Evans's poem Vertumnus celebrates Jacob Bobart the Younger, second keeper of the Oxford Physick Garden, as a model monarch to his botanical subjects. This paper takes Vertumnus as a point of departure from which to explore the early history of the Physick Garden, situating botanical collections and collecting spaces within utopian visions and projects as well as debates about order more widely in the turbulent seventeenth-century. Three perspectives on the Physick Garden as an ordered collection are explored: the architecture (...) of the quadripartite Garden, with particular attention to the iconography of the Danby Gate; the particular challenges involved in managing living collections, whose survival depends on the spatial order regulating the microclimates in which they grow; and the taxonomic ordering associated with the hortus siccus collections. A final section on the ideal ‘Botanick throne’ focuses on the metaphor of the state as a garden in the period, as human and botanical subjects resist being order and can rebel, but also respond to right rule and wise cultivation. However, the political metaphor is Evans’s; there is little to suggest that Bobart himself was driven by utopian, theological and political visions. (shrink)

This article considers the changing perceptions, expressions and representations of violence in South Africa post-1994, with particular reference to photography. Following the evolution of the documentary tradition in its relationship to the political history of South Africa, I will suggest that since the release of Nelson Mandela and the first democratic elections in South Africa, photography has taken a new turn, particularly with regard to its representation of violence, which had been its primary iconography up to that watershed (...) moment. I will follow three arguments (from Sartre, Benjamin and Mbembe) in my explication of the ways in which violence has both altered South African society and assumed a different place in the collective mind of South Africans living in a country that is politically free but grappling with an ever-rising wave of violent crime. (shrink)

Abstract:This visual essay invites renewed reflection on the iconography of the people. In the spring of 2020, Guatemala's President Alejandro Giammattei prohibited citizens from leaving their homes to help contain the spread of the novel coronavirus known as Covid-19. Doing little to manage the spread of the virus, these curfew events gave new aesthetic and political meaning to a familiar visual genre: photographs of empty streets. For more than a century, and especially in the summer of 2020, images (...) of crowds and mass protests have provided both governments on the one hand, and protesting multitudes on the other with an aesthetic representation of the people. But this interest in collective assemblies has tended to engage only one side of the equation. To fully appreciate the visual power of the people, it is also necessary to understand those images from which people are strikingly absent. (shrink)

This article aims to analyze the tiger-hunting scene on Yeh Pulu relief, located in Bedulu Village, Gianyar, Bali. This relief is estimated to have been created by Balinese artists of the end of the era of Ancient Bali Kingdom in about the 14th century AD. There are only few in-depth studies conducted on this monumental relief in the context of iconology by visual art researchers. Therefore, the author has conducted intensive field research and studies since a year ago based on (...) Panofsky's iconology theory. Tiger-hunting is part of a series of scenes on the relief which in general tends to tell about everyday routines. The tiger-hunting scene carries an unusual theme amidst a wide range of Balinese cultural artifacts which tend to revolve around mythology and epics such as Mahabrata and Ramayana. Based on the theory of iconology which consists of a sequence of analyses starting from the pre-iconographic analysis, the relief characters were found in the form of rough sculptures on the surface of a rocky soil wall located near the Petanu watershed in Gianyar. The iconography aspects revealed that the characters on the relief figuration tend to be naturalistic; and iconologically, they tend to relate to the meaning of narratives on the romanticism of everyday heroism. Heroism nurtures the Balinese people's proletariat side in facing challenges in their life and the political power in the era of the Ancient Bali Kingdom. (shrink)

This article examines the visual archive of the 1955 Asian-African Conference held in Bandung, Indonesia. Better known as the Bandung Conference or simply Bandung, this diplomatic meeting hosted 29 delegations from countries in Africa and Asia to address questions of sovereignty and development facing the emergent postcolonial world. A number of well-known leaders attended, including Jawaharlal Nehru of India, Zhou Enlai of China, Gamal Abdel Nasser of Egypt, and Sukarno of the host country, Indonesia. Given its importance, the meeting was (...) documented extensively by photojournalists. The argument of this article is that the visual archive that resulted has contributed to the enduring symbolism and mythology of Bandung as a moment of Third World solidarity. More specifically, the street photography style of many images - with leaders walking down the streets of Bandung surrounded by adoring crowds - depicted an informality and intimacy that conveyed an accessible, anti-hierarchical view of the leaders who were present. These qualities of conviviality and optimism can also be seen in images of conference dinners, airport arrivals, delegate speeches, and working groups. Drawing upon the critical work of scholars of southern Africa and Southeast Asia, this article summarily positions the concept of the 'decolonising camera' to describe both the act of documenting political decolonisation as well as the ways in which visual archives produced during decolonisation can contribute to new iconographies of the political, which are both factual and mythic at once. (shrink)

This article examines the phenomenon of Black Madonnas as a discrete grouping within the iconography of the Virgin. It addresses the question whether they are just black/indigenous/dark-skinned versions of the Virgin or whether their meaning goes far beyond Christianity. Are they venerated as the Mother of God or are they deities in their own right? They are political and personal, leading both to action and to healing journeys.

Cet article a pour but de retracer, à partir de l’exemple des étendards polonais du xxe siècle, la genèse et le fonctionnement à travers le temps de cet important support identitaire. L’iconographie et la chromatique vexillologique ont un rôle précis à jouer dans la transmission intergénérationnelle de la mythologie nationale. À partir d’un échantillon thématique de bannières des immigrées polonaises en France, nous nous interrogerons sur l’évolution ou l’immuabilité de cet imaginaire spécifique conditionné non seulement par le temps et l’espace, (...) mais surtout par le besoin collectif de représentation. This article aims to trace selected examples of Polish flags from the 20th century, focusing on their meaning and function, as they were crucial to cultural identity. This is also how the iconography or the color of the flags played an important role in shaping the intergenerational transmission of national and private mythology. Our goal is to show the evolution, as well as the timelessness of this imagery, on the basis of thematically and chronologically circumscribed sets of examples of twentieth century Polish émigré flags from Northern France, where they played an important social and political role. (shrink)

However little that various disciplines in the humanities and social sciences might seem to have in common, they share certain interests in methodological problems relating to evidence, inference, and interpretation. By pursuing these shared interests across divergent topics and fields, the contributors to this book advance our understanding of how such truth-seeking, proof-finding methods work, and of what it means to prove something in a range of contexts. Coedited by William Twining, one of the world's outstanding evidence scholars, and Lain (...) HempsherMonk, a leading political theorist, the volume considers intriguing questions from different realms--Assyriology, theatre iconography, musicology, criminology, the history of ideas and colonial history--as it reveals how particular concepts, lines of questioning, and techniques of reasoning and analysis developed in one context can be fruitfully applied in others. (shrink)

Italian philosopher Giorgio Agamben is the rare writer whose ideas and works have a broad appeal across many fields, and his devoted fans are not just philosophers, but readers of political and legal theory, sociology, and literary criticism as well. In March 2009, Agamben was invited to speak in Paris’ Notre-Dame Cathedral in the presence of the Bishop of Paris and a number of other high-ranking church officials. His resulting speech, a stunningly lucid and provocative look at the history (...) and state of the Church and its role in society, is presented here. _The Church and the Kingdom_ is at once a pointed attack on the institutional structure of the Catholic Church and a theoretical excursus on the concepts of messianic time and economy. Presenting an exegesis of certain key passages in the New Testament, Agamben examines the philology and philosophy at the root of the Church and of its earthly reign. With its examinations of the foundational texts of the Church, which are also the foundational texts of our modern idea of economy, _The Church and the Kingdom_ reveals significant connections and parallel ideologies which are imperative to understanding the current global situation. This edition of Agamben’s text is accompanied by photographs by artist Alice Attie. Made from folded and twisted reproductions of paintings culled from Christian iconography, these works of art evoke the restless challenge that well-characterizes Agamben’s four decades of philosophy and critique. This book will be welcomed by Agamben’s many readers across the disciplines. (shrink)

Every archive holds many stories; this paper analyses the treatment and socio-political role of the Indian goddess icon, Kali, in the early nineteenth century, considering the story of legal subjectivity through her changing depiction and worship. Kali was reimagined as a monster-like figure of hate and fear, of depravity and unchecked female sexuality, and the anti-thesis of morality, by the East India Company officers who compiled the archive on thuggee. As the icon of reverence to thuggee, an early codified (...) crime of habitual stranglers, this paper follows Kali through her restructuring under the British imperial vision, and as a mirror-metaphor of repressed feminine energy in the legal archive. I analyse the change in Kali’s iconography under the gaze of the law and the advent of a new colonial branding made up from parts of her legend. It is through this new role that the introduction of a standardised legal framework forced Kali to become secondary to Western paternalism, a role that split her Eastern feminine aspect into separate facets. I discuss how the repression of the female voice in the thuggee archive reflects historic attitudes of engendering that echoed as a form of nomos in the twentieth century socio-political climate of Britain. Finally, I present where the feminine energy highlights the need for a subtle reorientation of the criminal law to overcome areas of recurring dissonance in service to its female subjects. (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)

Making Worlds brings together thirty-one distinguished feminist activists, artists, and scholars to address a series of questions that resonate with increasing urgency in our current global environment: How is space imagined, represented, arranged, and distributed? What are the lived consequences of these configurations? And how are these questions affected by gender and other socially constructed categories of "difference"—race, ethnicity, sexuality, class, nationality? How are the symbolic formations of place and space marked by cultural ideologies that carry across into the places (...) and spaces we inhabit, the boundaries and institutions we maintain? In recent years these questions have occasioned intensifying debates, but they have seldom extended beyond the boundaries of individual academic disciplines or crossed the divide that has traditionally separated the academy from the "outside" world. Making Worlds both questions and traverses those divisions by combining personal essays, activist political rhetoric, oral history, poetry, iconography, and performance art with interdisciplinary academic discourses. Representing a wide range of perspectives, Making Worlds develops a provocative conversation about gender and spatiality in the interwoven symbolic and material environments we create. The contributors engage such issues as the body as site of symbolic action, fabrication, and desire; the place and play of sexualities; the cultural implications of everyday life—home, travel, work, childbirth, food, disease, and death; technology and mass media; surveillance, confinement, and the law; the dynamics of race and ethnicity; imperialism, oppression, and resistance; the politics of urban spaces; landscape and cultural memory; the experience of time; and the nature of "Nature." For students and scholars in cultural studies, geography, literary criticism, anthropology, history, and women's studies, it offers new ways of thinking about space, place, and the spatial contexts of social thought and action. (shrink)

[Esotericism. One-day Workshop about the Annale n. 25 of the Storia d'Italia Einaudi]. This section contains the proceedings of the one-day workshop on the book Esoterismo, published as the Annale n. 25 in the collection "History of Italy" by Einaudi. The workshop was organized by ISPF on the October 26, 2011 to promote the discussion on the significance of Western esotericist traditions in Italian history. S. Caianiello’s introduction highlights some major concepts and goals of the recent field of studies about (...) Western Esotericism, and some open problems about its definition. M. Cambi comments on the substantial transformation of esotericist themes in Giordano Bruno’s natural philosophy, whereby the sources of the magician’s power are completely enclosed in the realm of nature, thus rejecting any transcendent foundation. M. Conforti focuses on "the function and opportunities" offered by the Western Esotericism approach "to the genesis and development of early modern science" and comments from this perspective on different contributions in the volume, emphasizing however the importance of largely pre-existing traditions in the history of science and medicine which have long challenged the wiggish separation between science and magic, rational and irrational thought. L. Simonutti provides new material to the general theme, with a historical-philosophical analysis of the esotericist elements in Picart’s iconography of the 18th Century edition of "Cymbalum mundi". F. Sofia discusses the effective role of esotericist traditions in the attempts to establish a "civil religion" in Italy from Risorgimento to Fascism, a history in which, she argues, it is difficult to establish "how much esotericism was an intentional choice or the product of an unavoidable nicodemism". C. Castellano reviews the contributions dedicated to the "political teology" of Italian Risorgimento, dealing in depth with the complex relationship between Freemasonry and Carbonari in Italy – in her view, more of a cultural than of a strictly political connection – and highlights the relevance of the anticurial component in their esotericist inspiration. G.M. Cazzaniga, author and editor of the Annale, beyond reacting to the different stimuli offered by the discussion, provides a brief history of Western Esotericism studies in Europe and of the reasons of their difficult reception in Italy. (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)

Gordion, the principal city of Phrygia, was an important center for the worship of the major Phrygian divinity, the Great Mother of Anatolia, the Greek and Roman Cybele. Considerable evidence for the goddess's prominence there have come to light through excavations conducted at the site, first by Gustav and Alfred Körte and more recently by the continuing expedition sponsored by the University Museum in Philadelphia. These include sculptural representations of the goddess and numerous votive objects dedicated to her. The material (...) pertinent to the goddess and her cult in Gordion during the most prominent period of Phrygian culture, the eighth and seventh centuries BC, is similar to that from other contemporary Phrygian centers. Even after the loss of Phrygian political independence in the seventh century, the cult of the goddess in Anatolia continued to flourish, and the older traditions of iconography and votive types were maintained. During the Hellenistic period, however, we see a different version of the goddess at Gordion. The earlier Phrygian forms of cult image and votive were gone, and in their stead are figurines and votive objects which are clearly of Greek inspiration. The Mother goddess was still at home in Gordion—several stone and terracotta representations of her from this period attest to that—but her visual image had become thoroughly Hellenized. (shrink)

Wants and desires are central to ordinary experience and to aesthetic, philosophical, and theological thought. Yet despite a burgeoning interest in the history of emotions research, their history as objects of scientific study has received little attention. This historiographical neglect mirrors a real one, with the retreat of introspection in the positivist human sciences of the early 20th century culminating in the relative marginalization of questions of psychic interiority. This article therefore seeks to explain an apparent paradox: the attempt to (...) develop a comprehensive theory of ‘why … we want what we want’ in the 1940s by esteemed American ‘neo-behaviorist’ psychologist Edward Tolman – a proponent of a methodology famous for its prohibition on appeals to unobservable mental phenomena. Though chiefly known today for his theory of ‘cognitive maps’, Tolman also sought to map the contours of desire as such, integrating Freudian and behaviorist models of the ‘drives’ to develop a complex iconography of the universal structures of motivation. Close attention to Tolman's striking maps offers a compelling limit case for what could and could not be captured within an anti-mentalist framework, and illuminates an important precursor to theories of motivational ‘affect’ in the postwar cognitive and neurosciences. His work upsets a standard chronology that centers on the ‘cognitive revolution’ of the 1960s, and points to the significance of psychoanalysis to an earlier turn to cognitivism. Tolman concluded his theory pointed ‘in the direction of more socialism’ – a reminder of the politically labile anti-essentialism of behaviorism's commitment to mental plasticity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:IconsEwa HarabaszArtistEwa Harabasz was born in Czestochowa, Poland. She currently lives and paints in New York City, where she is represented by The Luxe Gallery. Her paintings have been recently featured in several solo shows in Poland, most recently at Galeria BWA in Bielsko Biala, Le Guern in Warsaw, Galeria Miejska Arsenal in Poznan, and Galeria Wozownia in Torun. Her work was also featured in a solo exhibition at (...) the Luxe Gallery in New York. Her paintings have been included in a number of group shows including “Poza” at Real Art Ways in Hartford (see the catalog, “Poza: On the Polishness of Polish Contemporary Art”). Ewa Harabasz's new work will be presented in 2008 as part of the group show “Identity and Otherness in the Face of Anxiety” at the Socio-Political Contemporary Art Museum in Jerusalem, Israel.Harabasz has worked in church and religious art conservation in Italy and Poland, and grew up in Czestochowa, the seat of a Polish national religious shrine—a Byzantine icon called “Black Madonna.” She has been a visiting assistant professor at Cornell University since 2005.StatementThe images painted by Ewa Harabasz present themselves as ambiguous “icons”: it is unclear whether they refer to media representations of present-day war and destruction or to religious or spiritual iconography. Harabasz appropriates mass media images from the wars in Bosnia and Iraq, the Beslan tragedy, and London underground transportation terrorism by using photographic transfer methods combined with painting on wood in the style of inspirational religious art. Harabasz insists that the spectacle inherent in her images is a critical reflection on how the destruction and horror of human suffering in war and terrorism is often glamorized and dramatized, and turned into present-day pseudo-icons by the mass media to be consumed by the public as a “redeeming” experience. Writer Dora Apel cautions viewers to reflect “that these works are less analogous to the Byzantine icons of Harabasz's native Poland than the International Gothic paintings of the late Middle Ages, which demanded of religious art that it correlate with people's everyday experience. Paintings of the fourteenth and fifteenth centuries employed an extensive use of gold to create a sumptuous surface but combined it with a radical naturalism. The images ultimately pictured the workings of secular power, combined with religious figures. This came about at a time when religion focused increasingly on human and humane concerns. Similarly Harabasz uses a spiritual lens to focus on worldly experience, achieving, for modern sensibilities, the same elegance, coloristic splendor, narrative detail, and lyricism as those earlier medieval works.”Harabasz says that despite her obvious references to the Madonna images and other religious iconography, she wishes these images to be viewed as “false icons.” While saints and martyrs are immortalized via religious art, the survivors and victims whom media notoriously immortalize had no choice in their suffering. [End Page 81] Click for larger view View full resolution[End Page 82] Click for larger view View full resolution[End Page 83] Click for larger view View full resolution[End Page 84] Click for larger view View full resolution[End Page 85] Click for larger view View full resolution[End Page 86] Click for larger view View full resolution[End Page 87] Click for larger view View full resolution[End Page 88] Click for larger view View full resolution[End Page 89]Copyright © 2008 The Johns Hopkins University Press... (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)

This study examines the specifics of the theme of the anti-Japanese war in Chinese art at various stages from the 1930s to the beginning of the XXI century. The key works of graphic artists and painters are selected as the material, which mark the key points of the evolution of the topic under consideration. Images in Chinese art associated with the events of the anti-Japanese War or the "War of Resistance" have been created by artists for more than seven decades, (...) changing and transforming in accordance with political, ideological, socio-cultural and artistic-stylistic factors. This topic is extremely important for the people, since it was she who gave the art of the newly born New China in the XX century a historical dimension, determined the measure of responsibility of Chinese artists to society and partly the aesthetic paradigm of the evolution of the arts. Moreover, it has served and continues to serve as a source of inspiration for new generations of masters of historical painting, especially battle artists. As a result of the analysis and generalization, four stages are distinguished. The first one is connected with the work of wartime graphs, which recorded the most important moments of the confrontation between the two armies and peoples, determining the general realistic orientation in the development of the theme and its iconography. The middle of the century is the time of the establishment of images associated with the anti-Japanese war as the main line in Chinese painting, the appearance of multi-figure subject canvases, including in the battle genre. The last third of the XX century is defined as the period of transition from the glorification of events to the embodiment of the understanding of that war as a national tragedy, as well as the enrichment of romanticized realism with new artistic forms. At the beginning of the new century, artists tended to create large-scale canvases, saturating them with complex symbolic meanings and details. Such changes indicate the continuation of the evolution of the topic under study and its further transformations. (shrink)

Italian philosopher Giorgio Agamben is the rare writer whose ideas and works have a broad appeal across many fields, and his devoted fans are not just philosophers, but readers of political and legal theory, sociology, and literary criticism as well. In March 2009, Agamben was invited to speak in Paris' Notre-Dame Cathedral in the presence of the Bishop of Paris and a number of other high-ranking church officials. His resulting speech, a stunningly lucid and provocative look at the history (...) and state of the Church and its role in society, is presented here. The Church and the Kingdom is at once a pointed attack on the institutional structure of the Catholic Church and a theoretical excursus on the concepts of messianic time and economy. Presenting an exegesis of certain key passages in the New Testament, Agamben examines the philology and philosophy at the root of the Church and of its earthly reign. With its examinations of the foundational texts of the Church, which are also the foundational texts of our modern idea of economy, The Church and the Kingdom reveals significant connections and parallel ideologies which are imperative to understanding the current global situation. This edition of Agamben's text is accompanied by photographs by artist Alice Attie. Made from folded and twisted reproductions of paintings culled from Christian iconography, these works of art evoke the restless challenge that well-characterizes Agamben's four decades of philosophy and critique. This book will be welcomed by Agamben's many readers across the disciplines. (shrink)

The centuries-long evolution of the iconography of Niccolò Machiavelli is itself a chapter in the history of Machiavelli’s reputation. As intuited by one of his foremost biographers, Oreste Tommasini, portraits of the Florentine are probably best considered as visual expressions of philosophical and literary anti-Machiavellism, which exercised, in their own way, a negative influence on the reception and interpretations of his writings. The Machiavelli who we have seen represented over the course of history in paintings, prints, and engravings may (...) be nothing more, therefore, than a Machiavellian persona: the visual translation of a conventional and stereotypical interpretation, which considers the author of The Prince to be the champion of a politics based on duplicity, cunning, deceit, and guile. This essay examines the origins and dissemination over the centuries of ‘La Testina’, one of the most celebrated and widely publicized portraits of Machiavelli. The conclusion, after comparing all of the extant variants of this portrait, is that it is an unfaithful and invented graphic representation of Machiavelli, whose fortunes in publishing and in the collective imagination have kept pace with the spread of a demonizing interpretation of Machiavelli, the master of evil, well-rooted even today in mass popular culture. (shrink)

Within cognitive science, narratives are regarded as crucial and fundamental cognitive instruments or tools. As Roger Schank suggests, the identity of (sub-)cultures is to a considerable extent based upon the sharing of narrative structures (Schank. 1995.Tell me a story: Narrative and intelligence. Evanston, IL: Northwestern University Press.). According to Schank, culturally shared stories, as do many other stories, occur frequently in highly abbreviated form, as “skeleton stories” or “gists.” Collective identities are conveyed in and between cultures not only through verbal (...) discourse, but also by pictorial means. Many pictures and visual artworks have indeed been produced in order to establish and to consolidate a home-culture and to demarcate it from conceived extra-cultural counterparts.Some of my previous work on these lines has been concerned with demarcation efforts in visual media of “Jews” as extra-cultural, since the Middle Ages onwards, in the Third Reich’s iconography, as well as in modern, radicalized forms of anti-Semitic picturing in Arab media (Ranta. 2016. The (pictorial) construction of collective identities in the Third Reich.Language and Semiotic Studies2(3). 107–124, Ranta. 2017. Master narratives and the (pictorial) construction of otherness: Anti-semitic images in the Third Reich and beyond.Contemporary Aesthetics15.https://contempaesthetics.org/newvolume/pages/article.php?articleID=765(accessed 17 November 2019.). In building upon and extending this work, I shall focus in the current paper upon attempts of creating cultural and political cohesion by means of pictorial propaganda in post-war China from the early 1950’s onwards, as promoted by the Chinese Communist Party (CCP) under the leadership by Mao Zedong. Some concrete pictorial examples indicating these attempts will be discussed from a narratological and cultural semiotic perspective. (shrink)

The scholarly contributions gathered together in this volume discuss themes related to the cultural, social and ethical dimension of St Gregory Palamas’ works. They relate his mystical philosophy and theology to contemporary debates in metaphysics, philosophy of language, ethics, philosophy of culture, political philosophy, epistemology, and philosophy of religion and theology, among others. The book considers a variety of topics of special interest to Christian theologians, philosophers and art historians including church and state relations, similarities and differences between Palamas, (...) contemporary phenomenologists and philosophers of language, and hesychast influences on late Byzantine iconography. (shrink)

In 1947, the U.S. Secretary of State, George C. Marshall announced that the USA would provide development aid to help the recovery and reconstruction of the economies of Europe, which was widely known as the ‘Marshall Plan’. In Italy, this plan generated a resurgence of modern industrialization and remodeled Italian Industry based on American models of production. As the result of these transnational transfers, the systemic approach known as Fordism largely succeeded and allowed some Italian firms such as Fiat to (...) flourish. During this period, Detroit and Turin, homes to the most powerful automobile corporations of the twentieth century, became intertwined in a web of common features such as industrial concentration, mass flows of immigrations, uneven urban sprawl, radical iconography and inner-city decay, which characterized Fordism in both cities. In the crucial decades of the postwar expansion of the automobile industries, both cities were hubs of labor battles and social movements. However, after the radical decline in their industries as previous auto cities, they experienced the radical shift toward post-Fordist urbanization and production of political urbanism. This research responds to the recent interest for a comparative (re)turn in urban studies by suggesting the conceptual theoretical baseline for the proposed comparative framework in post-Fordist cities. In better words, it develops a “theory” on the challenges of comparative urbanism in post-Fordist cities. (shrink)

The early work of Mikhail Bakhtin is notable for its emphasis on questions in ethics and philosophy. Focusing on these early writings, though also informed by Bakhtin's later works of the early 1970s, the authors in this volume explore the human and prosaic dimensions of ethical and moral dilemmas, whether in the philosophical concerns of the Young Hegelians, the iconography and implicit doctrine of Christian redemption in Dostoevsky's Crime and Punishment, in testimonial accounts of political martyrs in Latin (...) America, or in the nationalist features of Russian Village Prose. Incorporating a variety of disciplinary backgrounds into their essays, including theater arts, philosophy, history, women's studies, Latin American literature, and Russian literature, the authors take Bakhtin's ethics, as articulated in his writings of 1919-1929, and extend them into areas of thought that themselves enter into fruitful dialogue with his theoretical positions, endeavoring at all times to remain cognizant of both Russian and Western views of Bakhtin. The essayists' interactions attest to the productivity of any thoughtful encounter with Bakhtin's work and to the transformational nature of his work's impact on the myriad disciplines that it affects. Bakhtin's thought exerted a profound, systemic influence on many areas of knowledge as they have been configured in the twentieth century and, as this volume amply demonstrates, promises to do the same for the twenty-first. (shrink)

ABSTRACT In this article the Irish harp tradition is re-configured as a space consisting of visual and sonic dimensions. The visual dimension of the Irish harp space incorporates the employment of the instrument in contemporary iconography; the sonic dimension includes the employment of the instrument as a metaphor in contemporary literature and songs. By employing Bloch’s concept of surplus and tracing the path of the Irish harp from its earliest employment in Christian iconography, its prominence as an icon (...) of colonial and Ascendancy rule, and finally its utilisation as an utopian tool to inspire members of the Volunteer and United Irish movements in the late eighteenth century, I identify how the accumulation of centuries of utopian surplus resulted in the creation of an utopian icon that had the capacity to inspire a generation of Irish men and women to critique the prevailing social and political order in the eighteenth century. (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)

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)