This book offers a new and surprising perspective on the evolution of cities across the Roman Empire in late antiquity and the early Middle Ages (third to ninth centuries AD). It suggests that the ...tenacious persistence of leading cities across most of the Roman world is due, far more than previously thought, to the persistent inclination of kings, emperors, caliphs, bishops, and their leading subordinates to manifest the glory of their offices on an urban stage, before crowds of city dwellers. Long after the dissolution of the Roman Empire in the fifth century, these communal leaders continued to maintain and embellish monumental architectural corridors established in late antiquity, the narrow but grandiose urban itineraries, essentially processional ways, in which their parades and solemn public appearances consistently unfolded. Hendrik W. Dey's approach selectively integrates urban topography with the actors who unceasingly strove to animate it for many centuries.
Between the sixteenth and the nineteenth centuries, the west central African kingdom of Kongo practiced Christianity and actively participated in the Atlantic world as an independent, cosmopolitan ...realm. Drawing on an expansive and largely unpublished set of objects, images, and documents, Cecile Fromont examines the advent of Kongo Christian visual culture and traces its development across four centuries marked by war, the Atlantic slave trade, and, finally, the rise of nineteenth-century European colonialism. By offering an extensive analysis of the religious, political, and artistic innovations through which the Kongo embraced Christianity, Fromont approaches the country's conversion as a dynamic process that unfolded across centuries.The African kingdom's elite independently and gradually intertwined old and new, local and foreign religious thought, political concepts, and visual forms to mold a novel and constantly evolving Kongo Christian worldview. Fromont sheds light on the cross-cultural exchanges between Africa, Europe, and Latin America that shaped the early modern world, and she outlines the religious, artistic, and social background of the countless men and women displaced by the slave trade from central Africa to all corners of the Atlantic world.
Flowers are beautiful. People often communicate their love, sorrow, and other feelings to each other by offering flowers, like roses. Flowers can also be symbols of collective identity, as cherry ...blossoms are for the Japanese. But, are they also deceptive? Do people become aware when their meaning changes, perhaps as flowers are deployed by the state and dictators? Did people recognize that the roses they offered to Stalin and Hitler became a propaganda tool? Or were they like the Japanese, who, including the soldiers, did not realize when the state told them to fall like cherry blossoms, it meant their deaths? Flowers That Kill proposes an entirely new theoretical understanding of the role of quotidian symbols and their political significance to understand how they lead people, if indirectly, to wars, violence, and even self-exclusion and self-destruction precisely because symbolic communication is full of ambiguity and opacity. Using a broad comparative approach, Emiko Ohnuki-Tierney illustrates how the aesthetic and multiple meanings of symbols, and at times symbols without images become possible sources for creating opacity which prevents people from recognizing the shifting meaning of the symbols.
The present study seeks to analyze the growing role / use of the image in relation to the contemporary conditions of society in late modernity, and particularly the visual representations (meanings) ...extracted from the image of crime and social control as cultural products loaded with meaning, tensions, etc., the power of these images and visual multiples (styles), how we can focus on the lenses (images) of the transgression and the control agencies, and the ways in which these lenses are manipulated by the media, in order to generate a stylized and spectacular culture around these issues. In order to achieve this research intention, Cultural Criminology seeks to understand, both methodologically and theoretically, the symbolic and cultural impact of these conditions of modern society on the institutions of control, and on the very circular meaning of the terms crime and social control, in the sense of defy Criminology by turning its kaleidoscope beyond the economic and social analyzes of Orthodox Criminology to focus on or better identify the flawed side of the image of crime and social control seen in every aspect of our existence and designed by a culture of style, which celebrates and promotes its seductive side.
The present study seeks to analyze the growing role / use of the image in relation to the contemporary conditions of society in late modernity, and particularly the visual representations (meanings) ...extracted from the image of crime and social control as cultural products loaded with meaning, tensions, etc., the power of these images and visual multiples (styles), how we can focus on the lenses (images) of the transgression and the control agencies, and the ways in which these lenses are manipulated by the media, in order to generate a stylized and spectacular culture around these issues. In order to achieve this research intention, Cultural Criminology seeks to understand, both methodologically and theoretically, the symbolic and cultural impact of these conditions of modern society on the institutions of control, and on the very circular meaning of the terms crime and social control, in the sense of defy Criminology by turning its kaleidoscope beyond the economic and social analyzes of Orthodox Criminology to focus on or better identify the flawed side of the image of crime and social control seen in every aspect of our existence and designed by a culture of style, which celebrates and promotes its seductive side. Keywords: Image; Crime and Social Control; Cultural Criminology; Visual representations. O presente estudo busca analisar o crescente papel/uso da imagem em relacao as condicoes contemporaneas da sociedade na modernidade tardia e, particularmente, as representacoes visuais (significados) extraidas da imagem do crime e do controle social enquanto produtos culturais carregados de sentido, de interpretacoes, de tensoes, etc., o poder dessas imagens e desses multiplos visuais (estilos), de que forma podemos focalizar as lentes (imagens) da transgressao e das agencias de controle, e as maneiras pelas quais essas lentes sao manipuladas pelos meios de comunicacao, a fim de gerarem uma cultura estilizada e espetacularizada em torno dessas questoes. Para a concrecao dessa intencao de pesquisa, a Criminologia Cultural procura compreender, tanto metodologica quanto teoricamente, o impacto simbolico e cultural dessas condicoes da sociedade moderna frente as instituicoes de controle, e ao proprio significado circular dos termos crime e controle social, no sentido de desafiar a Criminologia, fazendo girar o seu caleidoscopio para alem das analises economicas e sociais da Criminologia ortodoxa, para focalizar ou melhor identificar o lado impreciso da imagem do crime e do controle social vistas em cada aspecto de nossa existencia, e projetadas por uma cultura de estilo, que festeja e promove o seu lado sedutor. Palavras-chave: Imagem; Crime e Controle social; Criminologia Cultural; Representacoes visuais.
St. Jacob's is the only church to survive intact from Antwerp's Counter Reformation (1585-1794). Jeffrey Muller wreathes together the testimony of masterpieces and archives in Rubens's parish church ...to reconstruct art's integral role in religion and the transformation of society.
The city, as locus of the urban conflicts, demands the recognition of the heterogeneity of agents, interests and capitals involved in its construction, which are manifestations of the different ...degrees of power that define the predominant senses of action in the territory. Access to urban land is one of the most conflictive processes in the achievement of a decent habitat and inclusion in the city, so consider the representations and interaction networks of the agents involved, favors the understanding of their physical and symbolic production.
an interpretation of early Netherlandish paintings with devotional portraits according to which many of these images act as visualisation of the spiritual process of the sitters.
This book focuses on apse mosaics in Rome, which were commissioned by a series of popes between the sixth and ninth centuries CE. Through a synchronic approach that challenges current conceptions ...about how works of art interact with historical time, Erik Thunø proposes that the apse mosaics produce an inter-visual network that collapses their chronological succession in time into a continuous present in which the faithful join the saints in the one living body of the Church of Rome. Throughout, this book situates the apse mosaics within the broader context of viewership, the cult of relics, epigraphic tradition, and church ritual while engaging topics concerned with intercession, materiality, repetition and vision.
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