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Speaking sign or acting device? Reading and using the Christogram in Byzantium 说话标志还是行动装置?阅读和使用拜占庭的基督文字

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2023-01-02 DOI: 10.1080/02666286.2023.2168111

H. Maguire

{"title":"Speaking sign or acting device? Reading and using the Christogram in Byzantium","authors":"H. Maguire","doi":"10.1080/02666286.2023.2168111","DOIUrl":"https://doi.org/10.1080/02666286.2023.2168111","url":null,"abstract":"Abstract The Christogram, the sign combining the letters chi with a rho, an iota, or a cross, became extremely common in Early Christian art, in both the East and the West, where it was freighted with multiple and overlapping meanings, whether theological, imperial, or both. The Christogram’s capacity to create meaning through letters and words was elaborated upon in later medieval art in the West, in a way that had no counterparts in Byzantium. In the medieval West, the sign of the Chi Rho sometimes assumed the status of an intellectual puzzle, the solution of which could lead to spiritual understanding. There was nothing comparable in the art of Byzantium. Following the crisis of iconoclasm in the East, the type of Christogram that combined the chi or the cross with a rho, creating a loop at the top of the vertical bar, almost completely disappeared from the monumental decoration of Byzantine churches, even while other types survived. One major problem was that the rho made the Christogram resemble ring signs, which were ubiquitous in Eastern magic from antiquity to the end of the Middle Ages. The issue of magic had become particularly sensitive in the Byzantine Church as a result of the iconoclastic dispute, in which both sides, the supporters and the opponents of images, accused the other of sorcery. In the Byzantine East, the removal of the loop from the upright letter stripped the Christogram not only of its more overt magical associations but also of many possibilities for word-play and meaning that were exploited by artists in the West.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"14 1","pages":"3 - 18"},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87012268","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 images as an act of interpreting: notes on Erwin Panofsky’s studies on medieval subjects and the problem of language in and of art history 作为一种解释行为的图像书写:欧文·帕诺夫斯基关于中世纪主题和艺术史中的语言问题的研究述评

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2023-01-02 DOI: 10.1080/02666286.2023.2168472

G. Targia

引用次数: 0

The terminus in Late Byzantine literature and aesthetics 晚期拜占庭文学和美学的终点

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-10-02 DOI: 10.1080/02666286.2022.2046912

Justin Willson

引用次数: 0

‘The word’s challenging opposite’: the visual language of Lorcan Walshe’s The Artefacts Project and Museum Pieces “挑战世界的对立面”:洛坎·沃尔什的《文物项目和博物馆藏品》的视觉语言

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-10-02 DOI: 10.1080/02666286.2021.2013681

M. Otto

{"title":"‘The word’s challenging opposite’: the visual language of Lorcan Walshe’s The Artefacts Project and Museum Pieces","authors":"M. Otto","doi":"10.1080/02666286.2021.2013681","DOIUrl":"https://doi.org/10.1080/02666286.2021.2013681","url":null,"abstract":"Abstract The work of Dublin-based painter Lorcan Walshe is particularly concerned with the relationship between inscription in its broadest sense and the visual image. His two related series, The Artefacts Project (2007) and Museum Pieces (2008), engage with Ireland’s precolonial past in search of personal artistic, as well as broader cultural, roots during a period when national narratives were being challenged and reconfigured as a result of an increasingly diverse Irish society. The Artefacts Project and Museum Pieces reflect on whether the art of the precolonial past can still be read in a meaningful way in a postcolonial present in which Ireland finds itself part of a globalized world. Reaching across the chasm of history, Walshe’s works emphasize that our reading of the past must always involve an act of translation in order to retain significance in the present: the meaning of the artefact is created anew as it is translated not only from one historical moment into another, but also from one artistic medium into another. This article argues that Walshe’s The Artefacts Project and Museum Pieces question the hierarchical division between writing and the visual image by reading the artefacts of Ireland’s past as visual texts. In this context, drawing and painting themselves emerge as forms of inscription that are part of the process of reading and acts of translation. As a result, the artefact becomes a palimpsest of translations and inscriptions.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"33 1","pages":"348 - 360"},"PeriodicalIF":0.3,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78425036","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: 1

Illuminating the sunbeam through glass motif 透过玻璃图案照亮阳光

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-10-02 DOI: 10.1080/02666286.2022.2033595

Maile Hutterer

引用次数: 0

Socio-metaphysical void: Yves Klein’s textual and imagistic performance of Théȃtre du vide 社会形而上学的空虚:伊夫·克莱因对《幻影》的文本与意象表现

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-10-02 DOI: 10.1080/02666286.2021.2016328

D. Ben-Shaul

{"title":"Socio-metaphysical void: Yves Klein’s textual and imagistic performance of Théȃtre du vide","authors":"D. Ben-Shaul","doi":"10.1080/02666286.2021.2016328","DOIUrl":"https://doi.org/10.1080/02666286.2021.2016328","url":null,"abstract":"Abstract Yves Klein’s conceptual project Theatre of the Void is associated with two well-known works: the single appearance of the newspaper Dimanche, which Klein published on 27 November 1960 with a declaration that the world is voided for twenty-four hours; and the iconic image Leap into the Void, which appears in it for the first time. This article reframes the project—by offering an inclusive, structural, and theoretically contextualized reading of its interrelated components. Seen as one level of action embedded within another, the simulated newspaper infiltrated the city; within the urban site it constitutes a declaratory performative act of total voiding; responding to the declaration, the leap is the agency of the total transformation into the voided world; and this world is potentially established and reflected by the interdisciplinary scenarios printed in Dimanche. Within this framework, the article discusses the project’s conceptual “socio-metaphysical” duality. One aspect of this duality is the project’s conception of total voiding as a metaphysical endeavor aiming at transcendence. The other is the insight that the project qualifies existence itself as a voided socio-political fabrication.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"7 1","pages":"361 - 374"},"PeriodicalIF":0.3,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78888473","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: 1

Uroscopy diagrams, judgment, and the perception of color in late medieval England 中世纪晚期英国的泌尿镜检查图、判断和对颜色的感知

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-10-02 DOI: 10.1080/02666286.2021.1946374

Carly B. Boxer

{"title":"Uroscopy diagrams, judgment, and the perception of color in late medieval England","authors":"Carly B. Boxer","doi":"10.1080/02666286.2021.1946374","DOIUrl":"https://doi.org/10.1080/02666286.2021.1946374","url":null,"abstract":"Abstract Late medieval English uroscopy diagrams depict twenty colors of urine in bright, often garish, colors and gold leaf, arranged in correspondence to digestive states. This article argues that the use of color in these diagrams reveals medieval ideas about the perception of color more broadly, and that the images themselves could train practices of comparative looking and visual judgment. Appearing in multiple formats, these images facilitated the theorization and practice of uroscopy—the diagnosis of an ailment by the appearance of a patient’s urine—and survive in large numbers from late medieval England. Diagrams accompany treatises that describe at length the humoral causes, physical symptoms, and particular appearances of different colors of urine. Medieval digestive theory held that changes in the relative proportion of heat, cold, moisture, and dryness in the blood caused qualitative changes in the look of substances such as urine. Accounts of the appearance of bodily evidence in uroscopy treatises, however, relied on a slippery network of color descriptions and comparisons of colors of urine with other colorful objects. Diagrams made these relationships not only legible but also instructive. In juxtaposing text and image, this article incorporates uroscopy—perhaps the best documented medieval practical application of ideas about color—into broader discussions of medieval color theory.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"8 1","pages":"327 - 347"},"PeriodicalIF":0.3,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86113004","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

Poetic matters: Giovanni Aurelio Augurello (1441–1524), materiality, and the visual arts 诗歌:乔瓦尼·奥雷里奥·奥古列罗(1441-1524)、物质性和视觉艺术

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-10-02 DOI: 10.1080/02666286.2022.2045171

Chriscinda Henry, M. Soranzo

引用次数: 0

Capturing images: Baudelaire’s account of Meryon’s etchings 捕捉图像:波德莱尔对梅里恩蚀刻版画的描述

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-10-02 DOI: 10.1080/02666286.2022.2025731

Timothy Raser

{"title":"Capturing images: Baudelaire’s account of Meryon’s etchings","authors":"Timothy Raser","doi":"10.1080/02666286.2022.2025731","DOIUrl":"https://doi.org/10.1080/02666286.2022.2025731","url":null,"abstract":"Abstract Letters written over the course of 1859–60 tell of an effort on Charles Baudelaire’s part to republish Charles Meryon’s Vues sur Paris, augmented with descriptive texts by the poet. The collaboration failed and, ever since, readers have wondered what would have come of it. At the same time, Baudelaire was “courting” Victor Hugo, sending him new and not-quite-new poems dedicated to him. At the very end of 1859, Baudelaire includes his Salon description of Meryon’s etchings in a letter to Hugo, one Walter Benjamin qualifies as among Baudelaire’s best prose pieces. Further, Baudelaire cites Hugo in his description of Meryon’s etchings, and declares that the etchings would certainly please him. Was the promise of more texts about the etchings nothing more than the tail end of an effort to please Hugo? Whatever the case, the project’s failure is not simply to be laid to the account of Meryon, afflicted by “délire mélancolique compliqué d’hallucination,” and dying at Charenton the year following Baudelaire’s own death. Baudelaire’s decisions are difficult to understand, and seem as influenced by Hugo as by other considerations. In particular, in his description of Meryon’s etchings, Baudelaire seeks to “inscribe” something on them, much as Hugo sought to inscribe his father’s name in his representation of the Arc de Triomphe. In fact, Baudelaire imposes the story of a dispute between father and son, or more exactly, God and man, on the etchings, a story modeled on his own relations to Hugo. Later accounts of Meryon follow the same pattern, insisting on finding narratives in images that they all acknowledge as monumental. This insistence on finding diachrony in synchronic images is the madness that afflicted Meryon.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"15 1","pages":"375 - 393"},"PeriodicalIF":0.3,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84249898","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

‘Both a poet and a painter’: typography and textual images in Christopher Logue’s War Music “既是诗人又是画家”:克里斯托弗·罗格的《战争音乐》中的排版和文本图像

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-10-02 DOI: 10.1080/02666286.2022.2028524

Megan Dyson

引用次数: 0