Res: Anthropology and Aesthetics最新文献_第10页

Shoes 鞋子

Res: Anthropology and Aesthetics Pub Date : 2019-01-01 DOI: 10.1086/704948

F. Jacobs

引用次数: 9

Their way of memorizing 他们的记忆方式

Res: Anthropology and Aesthetics Pub Date : 2019-01-01 DOI: 10.1086/706117

Carlo Severi

引用次数: 0

Confessions of a child of the century 世纪之子的自白

Res: Anthropology and Aesthetics Pub Date : 2019-01-01 DOI: 10.1086/706986

Roberto Calasso

{"title":"Confessions of a child of the century","authors":"Roberto Calasso","doi":"10.1086/706986","DOIUrl":"https://doi.org/10.1086/706986","url":null,"abstract":"Nine minutes before Brenton Tarrant killed fifty-one people in two mosques in Christchurch, a seventy-fourpage document titled “The Great Replacement” was sent to New Zealand’s prime minister, Jacinda Ardern, and to seventy or so other addresses. One can’t help acknowledging that it was one of the most effective publishing launches to date. In just a few hours, “The Great Replacement” was quoted and commented on, online and in print, as well as on TV, in every part of the world. Somerset Maugham believed that a book’s launch was to be measured in inches. The launch of Tarrant’s little book could be measured in tens of thousands of inches a few hours after the book, which takes on the appearance of a manifesto, came out. But The Communist Manifesto by Karl Marx was also a booklet compared to the ponderous Das Kapital. And Mao Zedong had relied on The Little Red Book to launch a cultural revolution. Two little books that went a long way. Of course, a little book demands stringent formulations, and skips detailed elaborations. Tarrant knew this. But Tarrant, too, had once been a conscientious author who wanted to hold forth. He, too, had his “complete works”: a manuscript numbering approximately 240 pages. Tarrant reports that in this work he “spoke on many issues and went into much depth, but in a moment of unbridled self-criticism I deleted the entire work and started again, two weeks before the attack itself.” The booklet we are reading now, in rushed and feverish form, is therefore what remains of a broader argument. Let’s start with the cover, as one would with any other book. At the center is a circle divided into eight wedges that converge into a smaller circle, ridged by crooked black lines reminiscent of Ordine Nuovo or of certain Nordic sects. Every wedge has a name. From the top, clockwise: anti-imperialism, environmentalism, responsible markets, addiction-free community, law and order, ethnic autonomy, protection of heritage and","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"71-72 1","pages":"344 - 348"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/706986","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44763103","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}

引用次数: 0

On Correggio, frames, and the borders of the Renaissance image 关于Correggio，框架和文艺复兴时期图像的边界

Res: Anthropology and Aesthetics Pub Date : 2019-01-01 DOI: 10.1086/706118

G. Periti

{"title":"On Correggio, frames, and the borders of the Renaissance image","authors":"G. Periti","doi":"10.1086/706118","DOIUrl":"https://doi.org/10.1086/706118","url":null,"abstract":"In 1530, Antonio Allegri, better known as Correggio, brought to completion an altarpiece featuring the rest on the return from Egypt, a work traditionally identified as the Madonna della Scodella in reference to the bowl (scodella) that the Madonna holds in her right hand (fig. 1). Painted for a Parmese confraternity of lay individuals devoted to Saint Joseph, this picture was considered by Giorgio Vasari to be “a divine example of a panel painting” and hence a model to be studied. The image’s combined registers of sacred and domestic moments shaped an experience of proximity to the divine for the local community. An unusually mature Christ child stands between the Virgin and Saint Joseph with his back to the viewer and slightly off-center, connecting his parents through his outstretched arms. His gesture simultaneously reminds us of his ultimate destiny and empowers the diagonal structure of the composition. On the right, Joseph has placed one foot on a ledge to reach the dates hanging from a palm tree, passing them with a downward gesture to Jesus. Underlined by a beam of light, his dynamic actions are registered in the folds of his orange cloak as if an electric charge has passed through them. Joseph’s animation and towering position in the image has brought him closer to heaven, where frolicking angels seem about to collide with the saint. His virility and athletic prowess, unusual for representations of Joseph, who is often depicted as a retiring elderly figure, contrast with the calm attitude of the smiling Virgin Mary seated on rocky ground. The altarpiece is enclosed within its original monumental gilded wooden frame designed to evoke a triumphal arch. Its architecture comprises a massive base, fluted columns, an elegant frieze, and a cornice of equal proportion to the base, and it defines and vertically orients the painted subject. The inscription on the central plaque of the base bears the date 1530 and celebrates the Parmese devotees’","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"71-72 1","pages":"145 - 161"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/706118","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45921833","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}

引用次数: 0

Muisca cloth and image in early New Granada 新格拉纳达早期的音乐布和图像

Res: Anthropology and Aesthetics Pub Date : 2019-01-01 DOI: 10.1086/705778

A. Frassani

{"title":"Muisca cloth and image in early New Granada","authors":"A. Frassani","doi":"10.1086/705778","DOIUrl":"https://doi.org/10.1086/705778","url":null,"abstract":"The Virgen de Chiquinquirá, the most important religious image of Colombia, is a painting of the Virgin of the Rosary flanked by Saints Anthony and Andrew (fig. 1). It was painted by a Spaniard in the town of Tunja, Boyacá, in the Eastern Cordillera, in the mid1500s. Only a few years after its execution, the image became the focus of a devoted cult. Since then, the Virgen de Chiquinquirá has played a role in the Colombian imaginary similar to that of other Marian images throughout the continent: it is reputed to have cured the sick in times of pestilence and has served as the Patroness of Colombia since the country’s independence (Arizmendi Posada 1986). The image, however, is almost unknown to both scholars and Catholic devotees outside of the country, and consequently studies of it tend to have a rather narrow and regional focus. In the interest of opening the field of inquiry of colonial New Granada (Nuevo Reino de Granada) outside national borders, the following analysis aims to situate the Virgen de Chiquinquirá within the wider context of indigenous and colonial South America by attending primarily to methodological concerns. I focus on the material and formal qualities of the object and image, which will be analyzed through recent approaches from the social sciences, namely new materialism and perspectivism. New materialism (Joyce 2015) seeks to retrieve the agency of objects by analyzing how their material, formal, and technical characteristics shape the way in which humans interact with them. In this perspective, new materialism questions the dichotomy between object and subject, nature and culture, and highlights interdependence and relationality in the creation of meaning. Perspectivism, derived from Amazonian anthropology, is closely related to the paradigmatic and epistemological changes invoked by new materialism, but based on direct ethnographic experience (Viveiros de Castro 1998). Perspectivism posits that for Amazonian people, bodies as matter are unstable and easily change from one form to another, from animal to animal or from animal to plant. Consequently, the world can be experienced differently and in fact enhanced by one’s capacity to travel from one state to another. One’s point of view (hence the term “perspectivism”) shapes the way one relates to the world and acts upon it. Although perspectivism is a relatively new proposition in South American anthropology, it shares a basic tenet that has long been applied in Colombian anthropology, that of shamanism. Since the foundational work of Austrian émigré Gerhard Reichel-Dolmatoff, Colombian social scientists interested in the country’s civilizations have fruitfully applied concepts derived from the ethnography of the Amazonian lowlands to archaeology, which is mostly conducted in the highlands (Botero et al. 2003; Pineda Camacho 2003). Finally, new materialism and perspectivism find a counterpart in the so-called iconic turn in the field of visual studies, which calls for a","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"71-72 1","pages":"113 - 130"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/705778","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47951428","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}

引用次数: 0

Luke, Lena, and the chiaroscuro of the sacred 卢克、莉娜和神圣的明暗对照

Res: Anthropology and Aesthetics Pub Date : 2019-01-01 DOI: 10.1086/706034

E. Lingo

{"title":"Luke, Lena, and the chiaroscuro of the sacred","authors":"E. Lingo","doi":"10.1086/706034","DOIUrl":"https://doi.org/10.1086/706034","url":null,"abstract":"1. For the most complete overviews of the older literature on the painting, the catalogue entries by Mia Cinotti and Maurizio Marini remain fundamental: M. Cinotti, Michelangelo Merisi detto il Caravaggio: Tutte le opere (Bergamo, 1983), 524–25; M. Marini, Caravaggio “pictor praestantissimus”: L’iter artistico completo di uno dei massimi rivoluzionari dell’arte di tutti i tempi, 4th ed. (Rome, 2005), 487–90. The documentation regarding the pilgrimage of the confraternity members to Loreto was published by M. Pupillo, “La Madonna di Loreto di Caravaggio: Gli scenari di una committenza,” in Caravaggio nel IV centenario della Cappella Contarelli, ed. C. Volpi (Città di Castello, 2002), 105–21. Alessandro Zuccari noted Pupillo’s findings in an important earlier essay, “Caravaggio, sus comitentes y el culto lauretano,” in Caravaggio, ed. C. Strinati and R. Vodret, exh. cat. (Madrid, 1999), 63–73, now republished in Italian as “Caravaggio, i suoi committenti e il culto lauretano,” in A. Zuccari, Caravaggio controluce: Ideali e capolavori (Milan, 2011), 187–203, with updated bibliography. A sustained consideration of the painting is offered by P. M. Jones, “The Place of Poverty in Seicento Rome: Bare Feet, Humility, and the Pilgrimage of Life in Caravaggio’s Madonna of Loreto (ca. 1605–06) in the Church of S. Agostino,” in Altarpieces and Their Viewers in the Churches of Rome from Caravaggio to Guido Reni (Aldershot, 2008), chap. 2. Cavalletti’s will and the documents relating to the concession of the chapel and the disposal of the earlier Caravaggio’s Madonna di Loreto was painted sometime between 1604 and 1606 for the altar of the Cavalletti Chapel in the church of Sant’Agostino in Rome, where, happily, it remains today (fig. 1). Its subject was determined by the devotional inclinations of Ermete Cavalletti, an aristocratic Roman citizen of Bolognese origin and a member of the Roman Archconfraternity of the Most Holy Trinity of Pilgrims and Convalescents. The confraternity’s primary charitable mission was ministering to the needs of the poor on pilgrimage in Rome, who arrived in great numbers particularly during jubilee years. In 1602, the confraternity members undertook their own pilgrimage to the Holy House of the Virgin, enshrined in the city of Loreto in the Italian Marches. Archival records confirm Cavalletti’s participation in the preparatory meetings for the trip, but since the final list of participants does not survive, it remains unclear if he ultimately made the journey, which took place between April 12 and May 3. It is known that by July 19 of the same year, the forty-six-year-old Cavalletti was gravely ill and prepared his will, dying two days later. In his testament Cavalletti expressed his desire to be buried in Sant’Agostino in a family chapel he wished to establish. His wife and two executors saw that his wishes were carried out, acquiring the first chapel in the left aisle in September 1603. Cavalletti’s will specified that the chap","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"71-72 1","pages":"162 - 177"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/706034","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49625389","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}

引用次数: 0

Profane illuminations 世俗的灯饰

Res: Anthropology and Aesthetics Pub Date : 2019-01-01 DOI: 10.1086/704702

Christina T. Halperin

引用次数: 4

The rhetoric of Hello Kitty 凯蒂猫的花言巧语

Res: Anthropology and Aesthetics Pub Date : 2019-01-01 DOI: 10.1086/707410

J. Cheng

引用次数: 1

The end of the Neolithic? (Part 2) 新石器时代的终结?(第2部分)

Res: Anthropology and Aesthetics Pub Date : 2019-01-01 DOI: 10.1086/706916

Rémi Labrusse

{"title":"The end of the Neolithic? (Part 2)","authors":"Rémi Labrusse","doi":"10.1086/706916","DOIUrl":"https://doi.org/10.1086/706916","url":null,"abstract":"ions. To say ob-ject is to say that reality is offered up to be seen, or “thrown before” the eyes of an observer. From the objectification of our immediate environment to the contemplation of essences (according to the etymology of the Greek notion of theory), sight is always primary in the metaphysical approach to being. Consequently, the critique of metaphysics is just as much a critique of image-worlds as it is a critique of the technological apparatus. Indeed, the rise of conceptual abstraction with respect to the perceived world, that is to say, the increasingly systematic reduction of moving reality to countable, geometric coordinates capable of being 2. Translator’s note: The French objet, like the English word “object,” comes from the Latin objectus (thrown in front; ob 1 jaceō, jacēre, from 1 to throw). Similarly, the French word jeter (to throw) comes from the Latin jaceō, jacēre. apprehended technologically, has been accompanied by a proliferation of images. This increase has accelerated through our current moment to the point where the ubiquitous spectacles of postmodernity can be considered as the contemporary culmination of humanity’s gradual attempt to replace life’s inner vibration within the whole fabric of the real by a succession of stable, objective, and rationally delimited abstractions. As a leap forward out of the immediate experience of things, we effortlessly pass from the world of tools to the world of machines and then on to the world of spectacles (and also of specters), as described by Guy Debord in 1967, in the second paragraph of The Society of the Spectacle: “The spectacle in its generality is a concrete inversion of life, and, as such, the autonomous movement of non-life” (Debord 1994, 12). As such, the theorist of Situationism agrees with Marx, for whom post-Hegelian speculative philosophy was essentially the “first wholesale production of ghosts” (Marx and Engels 1968, 179 [erste Gespensterfabrikation im Grossen]; see also Derrida 1993, 214; Vioulac 2015, 245). Like Marx, he places this spectral condition in the wake of the entire history of Western philosophy, a project he defines as “an attempt to understand activity by means of the categories of vision” (Debord 1994, 17). The specificity of the society of the spectacle, though, can be found in the layering of alienation by consumption upon alienation by labor. Moving from the proletariat to the society of consumption (consommariat), the human masses are submerged in a universe of mechanical products. And their capacity for productive control (or the unity between knowing and doing), which determines their power of revolution, is in turn spectralized. As such, what occurs is not only the rational fulfillment but also the collapse of theoretical contemplation, that original invention of metaphysics, which attains its purest essence but also loses any establishing capability within the image-world of mechanized consumption. For Heidegger, the inaugural moment of","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"71-72 1","pages":"333 - 343"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/706916","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46677964","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}

引用次数: 0

A gift no more 不再是礼物

Res: Anthropology and Aesthetics Pub Date : 2019-01-01 DOI: 10.1086/707128

J. Willson

引用次数: 0