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The birth of Masaniello: poverty, society, and the visual in Naples and beyond 马萨涅洛的诞生:那不勒斯及其他地区的贫困、社会和视觉

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2023-04-03 DOI: 10.1080/02666286.2022.2113732

Graylin Harrison

{"title":"The birth of Masaniello: poverty, society, and the visual in Naples and beyond","authors":"Graylin Harrison","doi":"10.1080/02666286.2022.2113732","DOIUrl":"https://doi.org/10.1080/02666286.2022.2113732","url":null,"abstract":"Abstract This article demonstrates the role of the visual arts, alongside literature, in mythologizing Masaniello (d. 1647) as hero and martyr, despite the limited role he played in the so-called “Revolt of Masaniello” (1647–1648). In addition to printed accounts of the revolt in a variety of languages, Masaniello imagery circulated on paper and canvas, in marble and wax. His likeness was illustrated in chronicles of the uprising, but he also appeared in the “fine” and performing arts, where artists of varied media continuously refashioned his persona, from 1647 well into the nineteenth century. Comparisons are made between a red chalk portrait of Masaniello by Aniello Falcone and several “Old Master” predecessors, such as Leonardo da Vinci and Michelangelo Buonarotti, to reveal how Neapolitan artists consciously inserted the rebel into a visual vernacular that transcended his historical specificity. This, combined with the international circulation of Masaniello print imagery, helped to consolidate the iconography of the Neapolitan peasant, the lazzaro, during and after the Grand Tour. The birth of Masaniello brings to light the quintessential elements of Neapolitan culture: its artistic heritage and political instability, its poverty and popular culture, its spiritual fervor and alleged danger.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"27 1","pages":"154 - 175"},"PeriodicalIF":0.3,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79331440","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

‘The Constantin Guys of the atomic era’: on the poetic reception of Robert Rauschenberg by Alain Jouffroy and Surrealism “原子时代的康斯坦丁人”:论阿兰·朱弗罗伊对罗伯特·劳森伯格的诗意接受与超现实主义

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2023-04-03 DOI: 10.1080/02666286.2022.2118491

G. Parkinson

{"title":"‘The Constantin Guys of the atomic era’: on the poetic reception of Robert Rauschenberg by Alain Jouffroy and Surrealism","authors":"G. Parkinson","doi":"10.1080/02666286.2022.2118491","DOIUrl":"https://doi.org/10.1080/02666286.2022.2118491","url":null,"abstract":"Abstract Robert Rauschenberg is not usually thought to have had much contact with Surrealism and even spoke openly about his disdain for the movement on some occasions. However, through the period 1958–69, the Surrealists showed great enthusiasm for the ‘poetic’, ‘metaphorical’ resonance of Rauschenberg’s work, a positive response that has since largely been lost. In place of that history, the interpretation of Rauschenberg by John Cage as a ‘literalist’ or ‘factualist’ gained ground and even came to define the artist’s œuvre in some quarters, a reading that Rauschenberg himself approved. Caught in the middle of these two versions of Rauschenberg are the largely untranslated texts of French poet, critic, and ex-Surrealist Alain Jouffroy (1928–2015), which form the substance of this article. Jouffroy pioneered the positive critical reception of Rauschenberg in France from 1961 while he continued to be influenced by his Surrealist past, to the point that his writings on Rauschenberg reveal consistent contradiction under close reading. The highest point of tension was reached across 1963–64 when Jouffroy wrote eulogistic poems devoted to Rauschenberg’s massive silkscreen painting Barge (1962–63) and to Surrealism in L’Antichambre de la nature (1966, written in 1964), alongside key texts of art criticism on Rauschenberg. Culminating in an analysis of the silkscreen and poems, this article argues that while Jouffroy’s writings seem ostensibly to further the Cagean interpretation of the artist, they are riven by an awkward dual loyalty that can be read in support of a ‘poetic’ ‘Surrealist Rauschenberg’.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"3 1","pages":"176 - 191"},"PeriodicalIF":0.3,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81847798","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Woman in a turban: Domenichino’s Sibyl, Staël’s Corinne, and the image of female genius 戴头巾的女人:多梅尼基诺的西比尔，Staël的科琳娜，以及女性天才的形象

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2023-04-03 DOI: 10.1080/02666286.2023.2166319

E. Barker

{"title":"Woman in a turban: Domenichino’s Sibyl, Staël’s Corinne, and the image of female genius","authors":"E. Barker","doi":"10.1080/02666286.2023.2166319","DOIUrl":"https://doi.org/10.1080/02666286.2023.2166319","url":null,"abstract":"Abstract The heroine of Germaine de Staël’s Corinne, or Italy (1807) makes her first appearance in the novel ‘dressed like Domenichino’s Sibyl’, wearing an Indian shawl wound into a turban. The aim of this essay is to highlight the contribution that the tradition of Sibylline iconography made to the characterization of the heroine of Corinne by locating Staël in a long line of artists, writers, and patrons, particularly female ones, who adapted and appropriated this iconography for their own purposes over the previous two centuries. A crucial breakthrough was made in the early seventeenth century by Domenichino, who provided the prototype for later generations of artists by painting a freestanding picture of a generic (not, as often said, the Cumaean) Sibyl wearing a turban. Domenichino’s composition nevertheless remained exceptional in its insistence on the primacy of Sibylline inspiration, which helps to account for its role in Corinne as well as for its appeal to other early nineteenth-century writers. Staël’s direct predecessors included the artists Angelica Kauffman and Élisabeth-Louise Vigée Le Brun, both of whom portrayed female sitters in more or less Sibylline guise, but the most important was Emma Hamilton, from whose famous Attitudes Staël almost certainly derived the motif of the turban fashioned out of an Indian shawl. Staël herself adopted the turban as her characteristic headdress, as did other literary and artistic women after her; its great advantage lay in the way it enabled them to lay claim to Sibylline authority whilst also disavowing any such intent.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"76 1","pages":"235 - 259"},"PeriodicalIF":0.3,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81059222","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Introduction: Iconographiae. Writing images in the medieval world 介绍:Iconographiae。中世纪世界的文字形象

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2023-01-02 DOI: 10.1080/02666286.2023.2168110

Beatrice Daskas, G. Targia

引用次数: 0

How to write about images from the medieval world: André Grabar and his Byzantium—the case of L’Empereur dans l’art byzantin (1936) 如何书写来自中世纪世界的图像:安德烈·格拉巴尔和他的拜占庭——以拜占庭艺术皇帝为例(1936)

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2023-01-02 DOI: 10.1080/02666286.2023.2168474

Ivan Foletti

引用次数: 0

Invoking, seeing, and touching God during Byzantine Iconoclasm 在拜占庭的圣像破坏运动中召唤、看见和触摸上帝

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2023-01-02 DOI: 10.1080/02666286.2023.2168471

F. Dell’Acqua

{"title":"Invoking, seeing, and touching God during Byzantine Iconoclasm","authors":"F. Dell’Acqua","doi":"10.1080/02666286.2023.2168471","DOIUrl":"https://doi.org/10.1080/02666286.2023.2168471","url":null,"abstract":"Abstract This article focuses on pectoral crosses, which functioned as relic containers and amulets and were characterized by a blend of figural imagery and inscriptions. Arguably produced between the late eighth and the early ninth centuries, the geographical origins of the crosses are still contested between Byzantium and Rome, while other alternatives have yet to be fully considered. Some of these pectoral crosses bear inscriptions in Greek which have been interpreted as ‘incorrect’, but may reflect the conventions of spoken language in an evolving hellenophone Mediterranean. It is possible that their owners read the text during private prayer and meditation while holding the pendant. In particular, this paper considers a now lost enkolpion, the inscriptions of which, in Latin and Greek, reveal that it was intended for an audience familiar with both languages, at least in religious practices. One of its inscriptions quotes a well-known liturgical hymn sung at Mass before the celebration of the Eucharist. Thus, there is scope for a wider investigation into the function as well as cultural origins of pectoral crosses. The combination of figural illustrations and inscriptions and the variety of precious materials and relics on such pectoral crosses may have been intended to elicit a sort of ‘tactile prayer’, suggesting the use of synesthetic ways to apprehend the Incarnate Logos.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"34 1","pages":"74 - 87"},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90206275","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Allusion and elusion: writing on the Cloisters Cross 典故与逃避:在修道院十字架上的书写

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2023-01-02 DOI: 10.1080/02666286.2023.2168117

Vincent Debiais

引用次数: 0

Writing in gold: on the aesthetics and ideology of Carolingian chrysography 金字书写:论加洛林王朝金字印刷的美学与意识形态

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2023-01-02 DOI: 10.1080/02666286.2023.2168116

D. Ganz

{"title":"Writing in gold: on the aesthetics and ideology of Carolingian chrysography","authors":"D. Ganz","doi":"10.1080/02666286.2023.2168116","DOIUrl":"https://doi.org/10.1080/02666286.2023.2168116","url":null,"abstract":"Abstract Writing in gold has almost completely escaped the attention of art historical manuscript studies. Whereas the semantics and the materiality of gold used in works of goldsmithery as well as in illuminations and panel paintings have been frequently discussed, the fact that gold has been also applied to embellish texts, be they single initials and titles or entire chapters and volumes, has drawn relatively sparse comment. This article is part of a larger research project on Western chrysography. Its scope is to investigate the specific reasons for the use of gold as writing material in the Western Middle Ages. This implies a critical re-evaluation of the standard explanations of the phenomenon in previous research. To approach the issue, it is fruitful to look at single manuscripts and analyse their specific places and ways of application of chrysography. One case that plays a prominent role in this paper is the Golden Psalter from St Gall: an illuminated manuscript that was begun at the court of Charles the Bald and later completed at the monastery of St Gall. In studying this and other examples, the particular and somehow contradictory colour and light effects of chrysography will be emphasized. On the one hand, gold script has the potential to attract visual attention at a long range, especially under the artificial illumination of candlelight; and, on the other, pages with gold script resist a fast, transparent reading of written notation. They draw the reader’s attention to the forms and arrangement of the letters, to the weave of the lines, to the oscillation between emphasis and fade-out on the page, and to reflections that dissociate the graphemes from their material carrier, provoking an optical state of suspense. In short, writing in gold constitutes a specific model of ‘Schriftbildlichkeit’ or ‘Iconographia’, defying the disappearance of the single graphemes behind the text which for a long time has been considered the most characteristic feature of writing.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"72 1","pages":"19 - 32"},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76304949","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Competing ‘iconographies’: Hagia Sophia, ideology, and the construction of a cultural icon then and now 竞争的“图像”:圣索菲亚大教堂，意识形态，以及当时和现在的文化图标的建设

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2023-01-02 DOI: 10.1080/02666286.2023.2168467

Beatrice Daskas

{"title":"Competing ‘iconographies’: Hagia Sophia, ideology, and the construction of a cultural icon then and now","authors":"Beatrice Daskas","doi":"10.1080/02666286.2023.2168467","DOIUrl":"https://doi.org/10.1080/02666286.2023.2168467","url":null,"abstract":"Abstract Besides their undoubted aesthetic value, monuments possess an ideological function. They are meaningful forms built to commemorate significant deeds or events or to celebrate individuals who are prominent within a community. Monuments become essential for the articulation of cultural identity and memory, through which political powers and intellectual élites seek legitimation and support. As historical objects operating in fluid and transformative cultural environments, their significance is constantly renegotiated to suit new ideological agendas. Rhetoric, and in particular rhetorical descriptions or ekphraseis, may offer insights into the way in which monuments have been seen and communicated over the course of time. While representing selective verbal–visual narratives, these texts can convey specific conceptions of the monuments and encourage interpretations that are distant from the original intentions of those who had them installed. On this premise, this paper proposes a more comprehensive interpretive framework for the analysis of Hagia Sophia in Istanbul, a Byzantine monument recently brought to international attention by the Turkish government’s decision to change back its status from museum to mosque. This framework resorts to rhetoric and its unique capacity to unveil, across time and space, how the monument has been perceived, expressed, appropriated, reframed, and negotiated by people as an indivisible component of their culture.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"32 1","pages":"63 - 73"},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74471412","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Writing in the sky: the late antique astronomical illustrations of MS Harley 647 在天空中书写:MS哈雷647的晚期古董天文插图

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2023-01-02 DOI: 10.1080/02666286.2023.2168118

Fabio Guidetti

{"title":"Writing in the sky: the late antique astronomical illustrations of MS Harley 647","authors":"Fabio Guidetti","doi":"10.1080/02666286.2023.2168118","DOIUrl":"https://doi.org/10.1080/02666286.2023.2168118","url":null,"abstract":"Abstract This paper engages with MS Harley 647 in the British Library, London, a manuscript produced probably at the imperial court in Aachen during the reign of Louis the Pious (814–40 CE), which contains the surviving portion (about four hundred and eighty lines) of Cicero’s Latin translation of the Greek poem Phaenomena, written by Aratus of Soli between 275 and 250 BCE. The poem is a description of the night sky based on the earliest celestial globe, manufactured by the astronomer Eudoxus of Cnidus in the first half of the fourth century BCE. The text itself, however, is not the most important element of the manuscript: in fact, its dominant feature are the full-page images of constellations, to which Cicero’s text, at the bottom of each page, functions as a caption. This article examines the interaction between words and images in the astronomical illustrations of the manuscript, showing how their scientific content is conveyed to the user (at the same time viewer and reader) through the unity of the verbal and the visual. The long-debated question of the originality of their peculiar layout is also addressed, with conclusive evidence supporting the theory of a late Roman model. Finally, the insertion of the text within the illustrations will be interpreted as an allusion to the idea, presented in the proem of the Phaenomena, that the constellations are God’s message ‘written’ in the sky to help humans in their basic activities, above all agriculture: a key concept in Stoic theology that could also appeal to a Christian audience.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"37 1","pages":"43 - 54"},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77886983","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0