4,153 research outputs found
The Beginning of Wisdom: Imagining fear in French Romanesque portal sculpture, c.1080-1140
This thesis examines the role of fear in the design and function of Romanesque portal sculptures c.1090-1140 to understand how representations of the majestas Domini, Last Judgment and Hell were intended to guide their audiences towards an emotional state of terror and wonder that would lead to wisdom. It focuses on a small collection of important sites in Burgundy and the regions of Aveyron and Tarn-et-Garonne in south-western France to examine the development of monumental sculpture as a means of conveying and formulating theological concepts to lay and monastic audiences. Through an analysis of their iconography and composition in relation to exegetical and literary interpretations of divine majesty, judgment and eternal damnation, it offers new perspectives on pre-Scholastic art and thought, and contributes to current scholarship on affective devotion and emotional response in the context of Romanesque and Gothic sculpture. The new imagery created for the medium of portal sculpture is contextualised within the iconographic traditions which developed from Late Antiquity and continued to evolve over the early Middle Ages.
The role of emotions, particularly fear, in the devotional cultures of the early twelfth century also presents new insights into the nature of visuality and spiritual sight in the Middle Ages. Portal sculptures were designed to prompt their audiences to develop the fearful attitude shared by the prophets, and which would remain even after the Last Judgment. Representations of response and the replication of divinely-created images encouraged those viewing the sculpture to imagine them as if they were real to participate in the visionary experience of the prophets or terror of the resurrected dead at the Last Judgment
“MUSICA FATTA SPIRITUALE”: AQUILINO COPPINI, CLAUDIO MONTEVERDI, AND MADRIGAL CONTRAFACTS IN EARLY SEVENTEENTH-CENTURY MILAN
Between 1607 and 1609, the Milanese professor of rhetoric, Aquilino Coppini (d. 1629), published three volumes of spiritual contrafacts, mostly of madrigals by Claudio Monteverdi (1567–1643). Musicologists have already noted some of the ingenuities of Coppini’s close readings of Monteverdi’s music, but have treated them as an interesting yet inconsequential footnote. My dissertation offers a necessary reappraisal of Coppini’s approach to contrafacts both by contextualizing his project within post-Tridentine spiritualities in Milan under its new archbishop, Cardinal Federico Borromeo, and by reading his texts and their musical consequences far more carefully than has hitherto been the case. Informed by archival research and interdisciplinary approaches to music, literature, art, and religious studies, my close reading of these works demonstrates new intertextualities that connect a network of Humanists linked by a highly elaborate form of Milanese syncretism joining the sacred and the secular. Coppini’s contrafacts place Monteverdi’s music within a Milanese constellation of texts (musical, artistic, and literary) that sought to confront the rapidly changing world of the early seventeenth century. I argue that they provide a first-hand account of how Monteverdi’s madrigals were heard by reading them through the lens of Coppini’s rhetorical and poetic practices based on his own syncretic sense of religious affectivity. He catered both to secular audiences and to those in religious institutions, not least convents. It also becomes clear that Coppini must reconstruct texts that Monteverdi first deconstructed, which requires attention to musical rhetoric and not just oratory, prompting new analytical readings of the original madrigals themselves. My approach challenges the typical narratives of “Counter Reformation” contrafacts as didactic instruments of power to create a more nuanced view of works that served not just Coppini’s personal and professional needs, but also broader communities seeking new ways to perform their spiritual lives.Doctor of Philosoph
Sounding the dead in Cambodia: cultivating ethics, generating wellbeing, and living with history through music and sound
This dissertation rethinks the ethics of history and trauma in post-genocide Cambodia by examining how Cambodians use a broad repertoire of sounded practices to form relations of mutual care with ancestors, dead teachers, deities, and other predecessors. At its root, the dissertation is the study of an ethical-religious-aesthetic system by which Cambodians recall predecessors’ legacies, care for the dead, and engage ancestors and deities as supportive co-presences. Traditional and popular musics, Buddhist chants and incantations, whispers, and the non-acoustic practice of “speaking in the heart” (niyāy knung citt) are among the primary sounded practices that Cambodians use to engage the dead. Parts One and Two detail those sounded practices and their social implications. I discuss how previous approaches have misinterpreted the nature and capacities of Cambodian music and other ritualized sounds through historicist, colonialist, and secular epistemologies, which cast those sounds as “culture” or “performance” and ignore their capacities as modes of ethics and exchange with the dead. Instead, by rethinking those sounded practices as Cambodian-Buddhist ethics and exchange, I examine how Cambodians fulfill an obligation to care for the ancestors who have supported themselves. I suggest fulfilling that obligation generates personal wellbeing and provides a new model for what living with history can sound like and feel like. Taken together, in Parts One and Two, I detail the non-linear temporalities, types of personhood, ethics, exchange with the dead, and the intergenerational mode of living with history that Cambodians bring into being through music and sound.
Part Three zooms further out to discuss how sounded relations with the dead have consequences for national and international politics, which leads to larger critiques of the Cambodian government’s politicization of Khmer Rouge remembrance and international humanitarian efforts that attempt to help Cambodians heal from trauma. Since at least the mid-1990s, a plurality of international activists, scholars, volunteers, and development workers have concluded that Cambodians perpetuate a silence about the Khmer Rouge era that furthers their traumatization. Most observers suggest that Cambodians need to provide public testimony about that violent past in order to heal. This dissertation contests those conclusions, following work in anthropology and trauma studies that problematizes the universalization of the Western psychotherapeutic notion of biomedical trauma and its treatments. I suggest that those calls for a testimonial voice presuppose historicist modes of remembrance and knowledge production that naturalize liberal Western models of personhood, citizenship, justice, wellness, and political agency. To move away from those models, I argue that Cambodian sounded and ritual practices generate what I term “modes of being historical” and “ways of living with history” that are intimate, familial, intergenerational, engage national pasts, and can be a mode of political action. Those “modes of being historical” include but are not limited to telling stories of others’ struggles and deaths. I illustrate how Cambodians have long used a multitude of sounded practices to engage the past, grapple with life’s difficulties, and care for themselves and their ancestors.
This dissertation posits that sound studies and ethnomusicology can further the emerging scholarly shifts toward the culturally specific ways people cope with difficult pasts. I propose a new approach to post-violence ethics and history by arguing for the decolonizing possibilities of emphasizing the modes of being historical, ethical relations of mutual care, and ontological entanglements with the dead that Cambodians generate through music and sound
Life Styles, Death Styles, and Posthumous Portraiture: Elite Female Burials in Iron Age Europe
This dissertation analyzes the grave good assemblages in 222 burial contexts from HallstattD (c. 600-400 BCE) tumulus cemeteries in west-central Europe to test the hypothesis that certain combinations of grave goods were associated with particular categories of persons based on an intersectional marking of gender, status, age and social role. The primary data set consists of high-status graves – male, female, ungendered/pre-gendered subadults, and those of indeterminate gender – in the Heuneburg interaction sphere in southwest Germany. The results of this analysis are compared to a secondary data set of comparable burials from other west-central European locations, to determine whether discernible patterns are due to regional traditions or may reflect deeper conceptions of gender ideology. The posthumous portraiture provided by these mortuary contexts is discussed in relation to identity and role, including gender, age, kin relations, and childbearing status. The distinction between lifestyles and deathstyles in identity marking and the relevance of these costume elements for accessing gender ideology in this preliterate society are presented using a visual body mapping approach that reveals the complexity of archaeologically accessing intersectional identities in the past
Designs of Blackness
Across more than two centuries Afro-America has created a huge and dazzling variety of literary self-expression. Designs of Blackness provides less a narrative literary history than, precisely, a series of mappings—each literary-critical and comparative while at the same time offering cultural and historical context. This carefully re-edited version of the 1998 publication opens with an estimation of earliest African American voice in the names of Phillis Wheatley and her contemporaries. It then takes up the huge span of autobiography from Frederick Douglass through to Maya Angelou. "Harlem on My Mind," which follows, sets out the literary contours of America’s premier black city. Womanism, Alice Walker’s presiding term, is given full due in an analysis of fiction from Harriet E. Wilson to Toni Morrison. Richard Wright is approached not as some regulation "realist" but as a more inward, at times near-surreal, author. Decadology has its risks but the 1940s has rarely been approached as a unique era of war and peace and especially in African American texts. Beat Generation work usually adheres to Ginsberg and Kerouac, but black Beat writing invites its own chapter in the names of Amiri Baraka, Ted Joans and Bob Kaufman. The 1960s has long become a mythic change-decade, and in few greater respects than as a black theatre both of the stage and politics. In Leon Forrest African America had a figure of the postmodern turn: his work is explored in its own right and for how it takes its place in the context of other reflexive black fiction. "African American Fictions of Passing" unpacks the whole deceptive trope of "race" in writing from Williams Wells Brown through to Charles Johnson. The two newly added chapters pursue African American literary achievement into the Obama-Trump century, fiction from Octavia Butler to Darryl Pinkney, poetry from Rita Dove to Kevin Young
Jews in East Norse Literature
This book explores the portrayal of Jews and Judaism in medieval Danish and Swedish literary and visual culture. Drawing on over 100 manuscripts and incunabula as well as runic inscriptions and religious art, the author describes the various, often contradictory, images ranging from antisemitism and anti-Judaism to the elevation of Jews as morally exemplary figures. It includes new editions of 54 East Norse texts with English translations
Mismarked Flesh: The Interpretability of the Male Body in Julio-Claudian Literature
This dissertation studies the increasing failure of the elite Roman male body to serve, as it had done for centuries, as an easily interpretable sign of social identity. The socio-political shift from Republic to Empire led to general disorientation and a crisis of male elite identity that found expression through depictions of the male body. Through Ovid’s Metamorphoses, Petronius’ Satyrica, and Senecan drama, I study this preoccupation in light of the Roman socio-historical context and modern theories of bodily identity found in Kristeva, Spillers, and Scarry, among others. I argue that we can trace the frequent scenes of misrecognition and confusion and the preponderance of wounded, marked, and dismembered non-slave bodies to this identity crisis. The mutilated male body in Julio-Claudian literature becomes a nodal point for multiple intersecting anxieties about gender, class, and status in an uncertain world. Chapter One reviews the socio-political context of the early empire and contemporary theories of embodied identity, and surveys the scholarship on embodied masculinity in early imperial literature. Chapter Two shines light on the confusion of bodily signifiers in the disorienting worlds of Ovid’s Metamorphoses and of Augustan Rome, showing through such stories as Actaeon and Pyramus that failure to interpret signs or to act as an interpretable signifier can be disastrous. Chapter Three examines the new vulnerability of elite men in Augustus’ Rome through the mutilated and dehumanized male bodies of the Metamorphoses, including Marsyas and Hippolytus. Chapter Four connects the confusion of bodily signifiers with a larger failure of the body in Petronius’ Satyrica and in Neronian Rome: whether they do not display legible social identities, fail to perform sexually, or are assaulted, bodies in Petronius’ novel are problems. Chapter Five connects the abject bodies of Seneca’s Oedipus, Thyestes, and Phaedra to the violence of Nero’s reign, reading them as broken signifiers whose misinterpretation spells disaster for their onlookers. Chapter Six offers concluding thoughts, as well as case studies of Pompey’s head in Lucan’s Bellum Civile and Hercules’ suffering in the pseudo-Senecan Hercules Oetaeus.Doctor of Philosoph
Museums as Complex Systems in the Face of the War
Peer reviewedPublisher PD
Frontiers of Humanity and Beyond: Towards new critical understandings of borders. Working Papers
UIDB/04666/2020
UIDP/04666/2020publishersversionpublishe
Making a Homeland: Roots and Routes of Transnational Armenian Engagement
Ties to the homeland have always been a central focus of global diaspora and migration studies. How and why do the descendants of migrants maintain their attachment to the ancestral homeland? To what extent do emotional ties bind second and later generations of migrants to that place? Tsypylma Darieva examines various actors, channels and sites of transnational Armenian engagement that generate new pathways of diasporic ›roots‹ mobility. Drawing on long-term ethnographic observations in Armenia and in the USA, she examines transnational flows of people, money and ideas to show the social and political significance that roots mobility acquires when the mythical 'homeland' becomes a real place
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