WORD & IMAGE最新文献_第8页

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

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 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

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

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