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Matthias Smalbrugge compares modern images to plays without a script: while they appear to refer to a deeper identity or reality, it is ultimately the image itself that truly matters. He argues that our modern society of images is the product of a destructive tendency in the Christian notion of the image in general, and Augustine of Hippo's in particular. This insight enables him to decode our current 'scripts' of image. As we live in an increasingly visual culture, we are constantly confronted with images that seem to exist without a deeper identity or reality – but did this referential character really get lost over time? Smalbrugge first explores the roots of the modern image by analysing imagery, what it represents, and its moral state within the framework of Platonic philosophy. He then moves to the Augustinian heritage, in particular the Soliloquies, the Confessions and the Trinity, where he finds valuable insights into images and memory. He explores within the trinitarian framework the crossroads of a theology of grace and a theology based on Neoplatonic views. Smalbrugge ultimately answers two questions: what happened to the referential character of the image, and can it be recovered?
This work considers the fundamentally “oppositional” structure of reality, viewing Augustine as a “Christian Heraclitus” and focusing on his conception of dialectic. Matthew W. Knotts situates Augustine's anthropology within a classical Roman philosophical context, while characterizing his intellect by continuous questioning. In this way, the book grounds a constructive philosophical-theological enquiry in an historical-critical study of the sources and their context.
"Matthias Smalbrugge compares modern images to plays without a script: while they appear to refer to a deeper identity or reality, it is ultimately the image itself that truly matters. He argues that our modern society of images is the product of a destructive tendency in the Christian notion of the image in general, and Augustine of Hippo's in particular. This insight enables him to propose a new 'script'. As we live in an increasingly visual culture, we are constantly confronted with images that seem to exist without a deeper identity or reality ? but did this referential character truly get lost over time? Smalbrugge first explores the roots of the modern image by analysing imagery, what it represents, and its moral state within the framework of philosophy and pelagianism. Smalbrugge then discusses the work of Plato and Plotinus, homing in on their notion of being human. This brings him to Augustine's Confessions and De Trinitate , where he finds valuable insights into images and memory. He explores the theologian's relationship with Petrach, nominalism, and Foucault. Smalbrugge ultimately answers two questions: what happened to the referential character of the image, and can it be recovered?."--
This book revives what was unique, strange and exciting about the variety of performances that took place in the realms of the French kings and Burgundian dukes. Laura Weigert brings together a wealth of visual artifacts and practices to explore this tradition of late medieval performance located not in 'theaters' but in churches, courts, and city streets and squares. By stressing the theatricality rather than the realism of fifteenth-century visual culture and the spectacular rather than the devotional nature of its effects, she offers a new way of thinking about late medieval representation and spectatorship. She shows how images that ostensibly document medieval performance instead revise its characteristic features to conform to a playgoing experience that was associated with classical antiquity. This retrospective vision of the late medieval performance tradition contributed to its demise in sixteenth-century France and promoted assumptions about medieval theater that continue to inform the contemporary disciplines of art and theater history.
In the last few decades, there are few concepts that have rivaled "collective memory" for attention in the humanities and social sciences. Indeed, use of the term has extended far beyond scholarship to the realm of politics and journalism, where it has appeared in speeches at the centers of power and on the front pages of the world's leading newspapers. Seen by scholars in numerous fields as a hallmark characteristic of our age, an idea crucial for understanding our present social, political, and cultural conditions, collective memory now guides inquiries into diverse, though connected, phenomena. Nevertheless, there remains a great deal of confusion about the meaning, origin, and implication of the term and the field of inquiry it underwrites. The Collective Memory Reader presents, organizes, and evaluates past work and contemporary contributions on collective memory. Combining seminal texts, hard-to-find classics, previously untranslated references, and contemporary landmarks, it will serve as a key reference in the field. In addition to a thorough introduction, which outlines a useful past for contemporary memory studies, The Collective Memory Reader includes five sections-Precursors and Classics; History, Memory, and Identity; Power, Politics, and Contestation; Media and Modes of Transmission; Memory, Justice, and the Contemporary Epoch-comprising ninety-one texts. A short editorial essay introduces each of the sections, while brief capsules frame each of the selected texts. An indispensable guide, The Collective Memory Reader is at once a definitive entry point into the field for students and an essential resource for scholars.
"Examines the artwork of Hammatt Billings, George Cruikshank, Winslow Homer, Eastman Johnson, Henry Ossawa Tanner, and Thomas Satterwhite Noble to show how, as Uncle Tom's Cabin gained popularity, visual strategies were used to coax the subversive potential of Stowe's work back within accepted boundaries that reinforced social hierarchies"--Provided by publisher.
* Examines visual representations of the Holocaust in film, architecture, painting, photography, memorials, and monuments * Provides a context for reconsidering the processes of art making and the cultural significance of artistic images
Despite the recent history of violence and destruction, Bosnia-Herzegovina holds a positive place in history, marked by a continuous interweaving of different religious cultures. The most expansive period in that regard is the Ottoman rule that lasted here nearly five centuries. As many Bosnians accepted Islam, the process of Islamization took on different directions and meanings, only some of which are recorded in the official documents. This book underscores the importance of material culture, specifically gravestones, funerary inscriptions and images, in tracing and understanding more subtle changes in Bosnia’s religious landscape and the complex cultural shifts and exchange between Christianity and Islam in this area. Gravestones are seen as cultural spaces that inscribe memory, history, and heritage in addition to being texts that display, in image and word, first-hand information about the deceased. In tackling these topics and ideas, the study is situated within several contextual, theoretical, and methodological frameworks. Raising questions about religious identity, history, and memory, the study unpacks the cultural and historical value of gravestones and other funerary markers and bolsters their importance in understanding the region’s complexity and improving its visibility in global discussions around multiculturalism and religious pluralism. Drawing upon several disciplinary methods, the book has much to offer anyone looking for a better understanding of the intersection of Christianity and Islam, as well as those with an interest in death studies.
Die Reihe Europäisch-Jüdische Studien repräsentiert die international vernetzte Kompetenz des »Moses Mendelssohn Zentrums für europäisch-jüdische Studien« (MMZ). Der interdisziplinäre Charakter der Reihe, die in Kooperation mit dem Selma Stern Zentrum für Jüdische Studien Berlin-Brandenburg herausgegeben wird, zielt insbesondere auf geschichts-, geistes- und kulturwissenschaftliche Ansätze sowie auf intellektuelle, politische, literarische und religiöse Grundfragen, die jüdisches Leben und Denken in der Vergangenheit beeinflusst haben und noch heute inspirieren. Mit ihren Publikationen weiß sich das MMZ der über 250jährigen Tradition der von Moses Mendelssohn begründeten Jüdischen Aufklärung und der Wissenschaft des Judentums verpflichtet. In den BEITRÄGEN werden exzellente Monographien und Sammelbände zum gesamten Themenspektrum Jüdischer Studien veröffentlicht. Die Reihe ist peer-reviewed.
The Image and the Witness: Trauma, Memory and Visual Culture is a timely interdisciplinary collection of original essays concerning the ethical stakes of the image in our visually-saturated age. It explores the role of the material image in bearing witness to historical events and the visual representation of witnesses to collective trauma. In arguing for the agency of the image, this unique collection debates post-traumatic memory, documentary ethics, embodied vision, and the recycling of images. It discusses works by Chris Marker, Errol Morris, Derek Jarman, Doris Salcedo, Gerhard Richter, and Boris Mikhailov, along with images from popular culture, including websites and home movies.