Num ensaio de 1992 Benjamin Buchloh considerou o famoso Erased De Kooning Drawing (1953) de Robert Rauschenberg como o primeiro gesto inaugurador, e emblema, do acto apropriacionista pós-moderno. ...Pela nossa parte, entendemos que o seu gesto deve ser distinguido das práticas apropriacionistas correntes, e propomos neste artigo o conceito de apropriação paradamnativa para classificá-lo, assim como a outros gestos posteriores, de outros artistas, que podem invocar o seu exemplo, e que analisamos no seguimento. Antes dessa análise, fazemos uma introdução ao aparecimento e desenvolvimento da Appropriation Art, surgida no contexto do denominado pós-modernismo, além de invocarmos alguns antecedentes históricos desta prática artística; ainda, por necessidade de contextualizar o conceito que introduzimos, e a análise sequente, abordamos as origens e o emprego da locução latina damnatio memoriae, desde a antiga civilização romana até às políticas modernas e contemporâneas.
An inscription recently discovered at Tamuda and published in 2018 mentions enemies on the run (fugatis • họstibus) and a procurator, also called praeses, whose name has been erased. The ...interpretations of the first editors of the inscription concerning the form and the chronology are re-examined here, in order to understand better the military and political context of the province of Mauretania Tingitana in the 3rd century A.D.
Résumé : L’article, à partir du cas des honneurs athéniens pour les Antigonides, essaie de comprendre comment les inscriptions étaient lues dans l’Antiquité : quel était leur contenu, leur but et ...même, étaient-elles lues ? On essaiera de montrer que les inscriptions honorifiques n’avaient qu’un but moral : elles n’étaient pas destinées à informer la population, mais à les faire agir d’une certaine manière. Par conséquent, le contenu des inscriptions est vague et ne pouvait rien apprendre aux lecteurs. Enfin, l’étude de la répartition des effacements lors de la damnatio memoriae de 200 av. J.-C. témoigne d’une lisibilité très contrastée des inscriptions. Bref, les inscriptions honorifiques à Athènes n’étaient pas lues. Si quelqu’un les lisait, il n’apprenait rien. S’il apprenait quelque chose, c’était surtout des notions vagues. Summary : This paper, relying on the honours given by Athens to the Antigonids, tries to understand how the inscriptions were read in Ancient Greece. What was their content, their purpose and were they even read? We will try to show that honorary inscriptions only had a moral purpose: they were not designed to inform the populations, but to make them act in a certain way. Therefore, the inscriptions’ content is rather vague, and could not teach anything. Finally, the distribution of the 200 BC damnatio memoriae erasures demonstrates that the inscriptions legibility was very contrasted. In short, honorary inscription in Athens were rarely read. Should someone read them, they would learn almost nothing. And if the reader did learn something, it was mostly general notions about the polis.
W niniejszym artykule przedstawiono informacje o Krystynie, świętej, eremicie i późniejszej przełożonej w Markyate, która w XII wieku mieszkała w Anglii. Opracowanie ma na celu przybliżenie osoby ...świętej, tak mało znanej w Polsce. Aby zachęcić do lektury „Żywotu”, autor obok szkicu biografii świętej omawia rolę kobiet w średniowieczu oraz nawiązuje do niezwykłej przyjaźni Krystyny z opatem jednego z najbardziej wpływowych klasztorów z XII-wiecznej Anglii – Geoffreya z Gorham – który po swojej śmierci stał się przyczyną damnatio memoriae.
Nel 135 a.C., il ginnasio di Omboi (Alto Egitto) approvò un decreto che fissava su pietra la corrispondenza concernente alcuni benefici concessi da Tolemeo VIII, Cleopatra II e Cleopatra III. ...Pochissimi anni dopo, il dossier fu manomesso e i nomi dei sovrani – a eccezione di quello di Cleopatra II – rimossi (damnatio memoriae). L’iscrizione è stata quindi interpretata come una testimonianza epigrafica della guerra civile fra Tolemeo VIII (affiancato da Cleopatra III) e Cleopatra II. Nonostante il suo stato di conservazione, le vicende del dossier di Omboi consentono alcune riflessioni, cui si aggiungono alcune proposte testuali.
Em todos os tempos, as dissidências políticas deixaram marca visível em monumentos epigráficos. Referem-se, neste ensaio, exemplos de damnatio memoriae da época romana, com destaque para a revisão de ...um conhecido testemunho de Conimbriga.
Ovidij je nedvomno med vsemi avgustejskimi pesniki eden najbolj izrazitih oporečnikov v odnosu do avtokratskega režima cesarja Oktavijana Avgusta. Medtem ko je na primer Vergilij na Avgustov ukaz ...spremenil zaključni del druge knjige Georgik, tako da je izbrisal iz nje laudes Galli, ki ga je zadela damnatio memoriae, pa se Ovidij niti v svoji mladostni zbirki Amores niti v žalostinkah iz izgnanstva (Tristia) ni bal proslavljati tragično preminulega pesnika, ki velja za začetnika rimske elegije. Zato se ne smemo čuditi, da je tudi Ovidija zadela nekaka damnatio memoriae, saj so morale biti vse njegove pesniške zbirke, ne le spotakljiva Ars amatoria, odstranjene iz rimskih javnih knjižnic (Tristia, 3.1.63–80). Tudi v največjo umetnino, Metamorfoze, je Ovidij zasejal nekaj domiselnih in iskrivih protiavgustovskih bodic. Tako je na primer že v eni prvih epizod, v zgodbi o preobrazbi Likaona, še izraziteje pa v zadnji epizodi, kjer katasterizmu, tj. preobrazbi Julija Cezarja v zvezdo in podobni preobrazbi, ki po smrti čaka Avgusta, dodal za sklep še zaostreno poanto, da bo njegovo ime po smrti povzdignjeno še višje, visoko nad (super!) zvezde (torej še višje kot Cezarjeva in Avgustova zvezda): super alta perennis / astra ferar (Metamorfoze, 15.875–6).
Elite Romans periodically chose to limit or destroy the memory of a leading citizen who was deemed an unworthy member of the community. Sanctions against memory could lead to the removal or ...mutilation of portraits and public inscriptions. Harriet Flower provides the first chronological overview of the development of this Roman practice--an instruction to forget--from archaic times into the second century A.D. Flower explores Roman memory sanctions against the background of Greek and Hellenistic cultural influence and in the context of the wider Mediterranean world. Combining literary texts, inscriptions, coins, and material evidence, this richly illustrated study contributes to a deeper understanding of Roman political culture.
•Introduces the paradox of public relations erasure as a theoretical concept.•Establishes a foundation to critique the practice of strategic erasure in public relations.•Uses narrative inquiry ...methods to study statues, monuments, and artifacts in Rome as visual rhetorical public relations.
Public relations scholars study how organizations co-create meaning with engaged stakeholders. Not well understood is how and why such co-creation modifies shared meaning, amplifies change, and even “erases” some piece of memory from the public record with the purpose of redirecting and redefining societal narratives. To help establish erasure as a concept for studying public relations, we draw from Freud’s theory of memory to establish a foundation upon which to critique strategic erasure. We adapt Freud’s theory of memory into the intersecting critique of visual rhetoric as public relations by analyzing, via narrative inquiry, remnants of Imperial Rome that have been modified, amplified, but even erased to present Rome’s modern identity. For centuries, even during Imperial Rome, leaders practiced damnatio memoriae —a modern Latin phrase that means “condemnation of memory.” We use this concept to interrogate the public relations identity process Rome’s leaders have used to modify for emphasis and even obliterate Roman elites’ names and images from the texts of public records by destroying, mutilating and modifying statues and monuments as a means for co-creating new public memory. Such analysis reveals how damnatio memoriae helps elites to redefine the “memory” of the Eternal City.
Scholars have understood the anonymity of the Egyptian kings in Exodus in various ways. Some argue that the Israelite author intentionally anonymized the foreign kings for possible rhetorical ...effects. Others believe that the anonymity was a simple case of inadvertent forgetting. Although these approaches have merit in contributing to a more robust understanding of the anonymity of Pharaohs, a different approach may also have something to offer in grasping a fuller understanding of the absence of the Pharaonic names. In this regard, this article seeks to examine the anonymity in conversation with the Egyptian practice of damnatio memoriae (i.e., damnation of memory). According to this method, the proto-Israelite transmitters of the Exodus traditions deliberately obliterated the names of the Egyptian kings for the purpose of terminating their existence and memory from the proto-Israelite community.
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