{"title":"Strategies of legitimization in Mesoamerica","authors":"J. Testard","doi":"10.1086/717940","DOIUrl":"https://doi.org/10.1086/717940","url":null,"abstract":"Despite the abundant quantity of greenstone artifacts found in Teotihuacan, to the best of our knowledge, only one example of a figurative plaque has ever been recovered from the site. This plaque (British Museum, Am1938,1021.25) was recovered from an unknown and probably intrusive context within the Pyramid of the Feathered Serpent, deposited long after its construction (Digby 1972, 30; Nagao 2006, 420; Sugiyama and López Luján 2006, 145). By contrast, in CacaxtlaXochitécatl (Tlaxcala) and Xochicalco (Morelos), several Epiclassic figurative plaques have been found in archaeological contexts (fig. 1). How can we explain their appearance in the central Mexican highlands? What were their uses and functions? What can be said about them in terms of sociopolitical processes? The present study converges with Solar Valverde’s (2002) and Nagao’s (2006, 2014) previous works on greenstone figurative plaques but seeks to add examples and deepen considerations regarding seventeen figurative plaques from the Cacaxtla-Xochitécatl and Xochicalco archaeological sites: seven from CacaxtlaXochitécatl (A to G) and ten from Xochicalco (H to Q) (fig. 2). I will evaluate their contexts, uses, and","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"75-76 1","pages":"118 - 136"},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43054983","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}
{"title":"Did the early moderns believe in their art?","authors":"Patricia A. Emison","doi":"10.1086/716468","DOIUrl":"https://doi.org/10.1086/716468","url":null,"abstract":"A searing description of how a work of art might function in the early fifteenth century has come down to us from the Ricordi of Giovanni di Pagolo Morelli of Florence, who describes his dying ten-year-old son Alberto embracing and pleading to an image of the Virgin with such fervidness that onlookers winced. Slightly over a century later, in 1522, and north of the Alps, in Wittenberg, Andreas Karlstadt would decry a similar practice: “I absolutely cannot advise the mortally ill to cling to carved or painted crucifixes.” Alberto Morelli believed implicitly in the image; Andreas Karlstadt was equally assured that images threatened the primacy of sacred text. This challenge by a radical Reformation thinker to the traditional role of religious images is stated in particularly arresting language: “Scripture clearly states that God hates the pictures which the papists call books and is jealous of them.” Do these contrasting sentiments primarily reflect the difference between a young boy, dying and fearful, and a crusty, combative man resisting the sway of Italian hegemony in Germany? Or was some erosion in the faith directed at images the sine qua non for the enhanced role they played in intellectual life by the sixteenth century? The idea that Karlstadt so objects to—that images are like books—was a familiar one for Christians. Yet texts themselves were less reliable authorities than once they had been. In a landmark triumph of humanist philology, Lorenzo Valla’s debunking of the Donation of Constantine in 1440 proclaimed the potential fragility of long-accepted tenets. New philological sophistication began to chip away even at Jerome’s Vulgate. The","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"75-76 1","pages":"195 - 206"},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48606571","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}
{"title":"Liquid holy sites","authors":"M. Bacci","doi":"10.1086/714327","DOIUrl":"https://doi.org/10.1086/714327","url":null,"abstract":"2. M. Eliade, Patterns in Comparative Religion, 2nd ed. (Lincoln, NE, 1996), 188–215. More recent works on the political, religious, and symbolic functions of water in human experience from a comparative viewpoint include H. Böhme, ed., Kulturgeschichte des Wassers (Frankfurt, 1988); R. H. W. Wolf, Mysterium Wasser: Eine In the Holy Land, the material foci of cultic phenomena are grafted onto the soil: they are portions of ground deemed to be hallowed by their contact with the key figures of biblical history. These memorial signifiers of sacred events, unlike other Christian cult objects, are topographical in nature, spots embedded on the earth’s surface. In order to demonstrate their exceptional status as holy sites, they can be framed within architectural structures, made either easily or hardly accessible, or staged via various forms of ritual performance and mise-en-scène, but they cannot be moved or involved in kinetic ceremonies. It can therefore be wondered to what extent liquid sites, being by definition formless and instable, can be experienced as manifestations of holiness, and questions can be raised as to whether and under what circumstances they may have given shape to some form of religious materiality in the context of pilgrimage to Jerusalem. In the argumentation that follows, I will not tackle the issue of the use of water and oils in the performance of rituals, whose symbolic efficacy assuredly made a significant impact on the perception of such liquids at all levels of religious experience. I take this for granted, as my basic aim is to focus on those forms of devotion that were considered, in a more or less conscious way, to provide believers with a nonsacramental, nonliturgical, objectoriented, and site-bound access to the divine sphere. In this respect, I use the term “holy,” as conceptually distinct from “sacred,” to describe an experience of the supernatural dimension perceived as inherent and active in matter, independently from the mediation of any human activity.","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"75-76 1","pages":"101 - 113"},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44092024","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}
{"title":"Fictions of the archive","authors":"Jessica Berenbeim","doi":"10.1086/713770","DOIUrl":"https://doi.org/10.1086/713770","url":null,"abstract":"1. Museums, archives, and libraries are often invoked collectively but less often comparatively theorized. Some notable exceptions are: A. Blair and J. Milligan, “Introduction,” Archival Science 7 (2007): 292–94; A. Walsham, “The Social History of the Archive: RecordKeeping in Early Modern Europe,” Past & Present 230, suppl. 11 (2016): 30–35. These articles preface two journal special issues on the history of archives, edited by the articles’ authors. See also the introductory essays for two further such special issues: A. Blair, “Introduction,” Archival Science 10 (2010): 195–200; F. de Vivo and M. P. Donato, “Scholarly Practices in the Archives, 1500–1800,” Storia della Storiografia 68 (2015): 15–20. There are also several excellent individual studies in all four issues. 2. D. Preziosi, “Collecting/Museums,” in Critical Terms for Art History, ed. R. S. Nelson and R. Shiff, 2nd ed. (Chicago, 2003), 407–8. See also especially S. Bann, The Clothing of Clio: A Study of the Representation of History in Nineteenth-Century Britain and France How does an archive transform an object? Everything in an archive is an object; even preserved digital codes have a physical existence. Charters, seals, rolls, registers: all of these have a material and formal character that is critical to their meaning. The objects I have in mind here, however, are of a particular kind: those without writing, not created as records, but that have somehow found their way into the archives. While medieval rulers kept some documents in their treasuries, modern states conversely sometimes keep paintings, sculpture, jewelry, and textiles in their archives. My purpose here is, first, to consider the effect of this archival incorporation on the “unwritten object.” What happens, conceptually, to nontextual objects integrated into an archive’s ostensibly textual environment? Second, it is to consider the effect of such unwritten objects on an archive. What part do they play in the archive as a representational whole (and, hence, in its epistemic scheme)? The discussion that follows therefore involves both structural analysis of the archive as a functional context and the formal analysis of individual objects. I hope these two lines of inquiry will contribute to understanding how an object’s meaning can be constructed by different kinds of institutions, as well as how different kinds of objects affect the production of historical knowledge. Museums, of course, hold many objects like the ones I describe. Both museums and archives, and the ways their respective keepers have structured their contents, often figure in discussions of the construction of","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"75-76 1","pages":"221 - 232"},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42802297","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}
{"title":"Specters of influence","authors":"Erhan Tamur","doi":"10.1086/716833","DOIUrl":"https://doi.org/10.1086/716833","url":null,"abstract":"Ezra Pound urged poets to “have the decency either to acknowledge the debt outright, or to try to conceal it.” Many ignored the call and left it to scholars to determine their influences. For many scholars, however, studies of influence appeared to conceal more than they reveal. Edward Said regarded influence as a “linear (vulgar) idea”; Julia Kristeva rejected using the term she herself coined—intertextuality—when she noticed that it was understood “in the banal sense of ‘study of sources’”; Michel Foucault considered individual originality and point of creation two of the notions that dominated the traditional history of ideas; and Paul Valéry viewed influence as the vaguest “among all the vague notions that compose the phantom armory of aesthetics.” What was so objectionable? First, studies of influence were associated with conservative models of knowledge transfer that predominantly focused on continuities, exemplified by Ernst Robert Curtius’s proclamation that","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"75-76 1","pages":"207 - 220"},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45282031","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}
{"title":"Parmigianino’s Madonna of the Rose","authors":"A. Nagel","doi":"10.1086/717460","DOIUrl":"https://doi.org/10.1086/717460","url":null,"abstract":"","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"75-76 1","pages":"291 - 303"},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48564841","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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