Res: Anthropology and Aesthetics最新文献

Five invisible lines, before and after the Reformation 宗教改革前后的五条隐形线

Res: Anthropology and Aesthetics Pub Date : 2022-01-01 DOI: 10.1086/720844

Andrew Chen

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From Crete to Singapore via Rome and St. Louis 从克里特岛经罗马和圣路易斯到新加坡

Res: Anthropology and Aesthetics Pub Date : 2022-01-01 DOI: 10.1086/722774

R. S. Nelson

{"title":"From Crete to Singapore via Rome and St. Louis","authors":"R. S. Nelson","doi":"10.1086/722774","DOIUrl":"https://doi.org/10.1086/722774","url":null,"abstract":"At a Catholic church of the Redemptorist order in Singapore, a crowd surrounds an icon of Our Mother of Perpetual Help (fig. 1). Concurrently, thousands come for the weekly devotions to Our Mother and her icon at the National Shrine in Baclaran, Philippines (fig. 2). Some walk the length of the long nave on their knees. The object of veneration in both churches is a handpainted copy of a fifteenth-century post-Byzantine icon, now in the Redemptorist church of Sant’Alfonso di Liguori in Rome, that has been called the most popular icon in the world today (figs. 3–4). Swathed in a dark blue cloak, Mary looks directly at viewers. Her right hand is held up; her long fingers point to her infant child whom she cradles in her left hand. The child Jesus grasps the thumb of her right hand and looks back at Gabriel, the angel at the right. Frightened and agitated by what he sees there, he is about to lose one sandal. Gabriel can be identified by his abbreviation, the Greek letter G; the archangel Michael is similarly labeled M. Gabriel carries a cross and four nails; Michael a brown jar from which extend two poles. Their tips are difficult to discern, but from other versions of the icon, these must be a sponge and a spear point. Jesus was tortured and killed at the Crucifixion by these objects: the nails affixed his limbs to the cross, a spear pierced his side, and the sponge gave","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"77-78 1","pages":"141 - 156"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48600483","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Narratives of a reluctant modernist 一个不情愿的现代主义者的叙述

Res: Anthropology and Aesthetics Pub Date : 2022-01-01 DOI: 10.1086/721852

E. Harney

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Who wrote Renaissance art? 谁写了文艺复兴时期的艺术?

Res: Anthropology and Aesthetics Pub Date : 2022-01-01 DOI: 10.1086/723448

Kirsten J. Burke

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Ethiopian architecture during the reign of Emperor Susənyos (1607–1632) 苏斯尼奥斯皇帝统治时期的埃塞俄比亚建筑（1607-1632）

Res: Anthropology and Aesthetics Pub Date : 2022-01-01 DOI: 10.1086/721272

Kristen D. Windmuller-Luna

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The origins of art around 1900 1900年左右艺术的起源

Res: Anthropology and Aesthetics Pub Date : 2022-01-01 DOI: 10.1086/722290

Matthew Vollgraff

{"title":"The origins of art around 1900","authors":"Matthew Vollgraff","doi":"10.1086/722290","DOIUrl":"https://doi.org/10.1086/722290","url":null,"abstract":"Crossing the dense forests of central Brazil in 1887–88, Karl von den Steinen became a firsthand witness to what he was convinced was the archaic origin of art. In the published report of his expedition along the upper Xingu River, the German ethnologist recounted how his party’s canoe approached a sand beach, which their indigenous escorts had already passed before them. To their surprise, the crew saw two fishes drawn there in the sand. Steinen’s informant, a young Bakairi man named Antonio, identified them as matrinxã, a local species of freshwater fish (fig. 1). “We stopped there and went fishing,” writes Steinen, “and lo, we caught matrinxã! It was as good as if the word had been written there, as if deliberately inviting Antonio as well to try his luck there.” For the ethnologist, this moment signified nothing less than a primal scene from the very dawn of human culture. Through it he could relive, as in a flash, the “distant course of the evolution of Xingu art” and, indeed, of art in general. “Among the natural peoples [Naturvölker],” he extrapolated, “drawing is used like a gesture to communicate something and not in order to reproduce graceful forms; and based on the personal impression I gained from the immediacy of explanatory drawing, I believe that it is older than ornamental, artistic drawing.” He thus surmised that drawing in the sand, which after all requires no tools, must have emerged as the first recourse when gesture or vocal mimicry no longer sufficed to communicate. For Steinen’s metropolitan readers, this communicational theory of art put forward a potent new account of","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"77-78 1","pages":"15 - 30"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49487475","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Myth, ritual, and the Classic-period Maya sweat bath 神话，仪式，古典时期玛雅人的汗浴

Res: Anthropology and Aesthetics Pub Date : 2022-01-01 DOI: 10.1086/723449

M. E. Clarke

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Emerging from stupor 从昏迷中苏醒

Res: Anthropology and Aesthetics Pub Date : 2022-01-01 DOI: 10.1086/721447

Nicola Gess

{"title":"Emerging from stupor","authors":"Nicola Gess","doi":"10.1086/721447","DOIUrl":"https://doi.org/10.1086/721447","url":null,"abstract":"When thunder strikes, Papageno cries out and drops to the ground: “A terrible chord with all instruments. Thunder, lightning, and banging; at the same time two powerful thunderclaps . . . Papageno: ‘Alas! Alas! Alas!’ He falls to the ground.” When asked to get up, he refuses: “I am lying in a faint!” Tamino, however, remains unshaken. Thunder and lightning, fear and terror—nothing can turn the hero of Mozart’s The Magic Flute (1791) from the course of virtue and wisdom. This article will tell the Enlightenment’s story of humanity’s emergence from thunder: from a terrible thunder storm in the German town of Greifswald to despotic rulers on the opera stage and finally to the spectacles of the so-called thunder house. Thunder is not a single acoustic event but an interplay of several sounds that can be distinguished as bangs, rollings, and echoes. The actual thunderclap, which suddenly startles us, is produced by an explosion. When lightning passes through humid air, it heats up very quickly and expands in a shock wave. These shocks can occur in quick succession, and individual components of their frequency travel at various speeds to create the characteristic rumbling of thunder that invites anthropomorphization (as a roar, for instance). This unique sound quality is central to the cultural history of thunder, as is its multimodality: thunder is necessarily preceded by lightning, with its enormous destructive potential. Thus, thunder appears as an acoustic indicator of impending destruction. Even","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"77-78 1","pages":"120 - 132"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44883711","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Roberto Calasso and Robert Farris Thompson, in memoriam Roberto Calasso和Robert Farris Thompson，纪念

Res: Anthropology and Aesthetics Pub Date : 2022-01-01 DOI: 10.1086/723544

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Raphael’s global philosophy 拉斐尔的全球哲学

Res: Anthropology and Aesthetics Pub Date : 2022-01-01 DOI: 10.1086/722276

A. Nagel

{"title":"Raphael’s global philosophy","authors":"A. Nagel","doi":"10.1086/722276","DOIUrl":"https://doi.org/10.1086/722276","url":null,"abstract":"Raphael’s fresco of Philosophy was painted in about 1510 in what was then Pope Julius II’s library (fig. 1). Since an authoritative description was offered in 1695 it has erroneously been called The School of Athens, but in fact it shows philosophers from different lands and schools (and times) conversing in clusters of philosophical inquiry. Of the figures that are more or less identifiable, Socrates, Pythagoras, Plato, and Aristotle were Greek, though not all from Athens; Diogenes was from Asia Minor; Archimedes was from Sicily; and Ptolemy was Egyptian. The turbaned figure behind Pythagoras is often identified as Averroes, a Muslim from Córdoba. And though we may not agree that the figure holding the celestial globe is Zoroaster, as Vasari says, it is telling that he believed a Persian philosopher belonged in the assembly. From a European point of view, the fresco attempted a global sweep of philosophical wisdom. Although this article focuses on the Philosophy fresco, it proceeds from the premise that it is impossible to understand any element in isolation from the decorations throughout the room as a whole. I propose that the new world explorations were essential to the conceptualization and design of Raphael’s Philosophy fresco and its relation to the room it decorates. A basic feature of the fresco’s conception was a spherical understanding of the nature of philosophical inquiry,","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"77-78 1","pages":"267 - 282"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45651919","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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