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 monograph book offers a new interpretation of northern European art of the fifteenth century. The author presents it as a conglomerate of objects-things which act on the recipient in a specific ...– material and spatial – way. He analyzes macro-scale objects that impose movement on the viewer, and micro-scale objects that encourage manipulation. Inspired by the anti-anthropocentric concept of “returning to things” (B. Latour, A. Gell and others), the author searches for the “agency of things” in late-medieval art objects, which evoke specific liturgical, devotional, propaganda-political behaviors, or establish the status of social owner of the object that once co-created the network of material and spiritual culture. This methodologically innovative approach is part of the latest research in early art in Western Europe and the United States.
Baroque art flourished in seventeenth-century Seville during a tumultuous period of economic decline, social conflict, and natural disasters. This volume explores the patronage that fueled this ...frenzy of religious artistic and architectural activity and the lasting effects it had on the city and its citizens.
Amanda Wunder investigates the great public projects of sacred artwork that were originally conceived as medios divinos —divine solutions to the problems that plagued Seville. These commissions included new polychromed wooden sculptures and richly embroidered clothing for venerable old images, gilded altarpieces and monumental paintings for church interiors, elaborate ephemeral decorations and festival books by which to remember them, and the gut renovation or rebuilding of major churches that had stood for hundreds of years. Meant to revive the city spiritually, these works also had a profound real-world impact. Participation in the production of sacred artworks elevated the social standing of the artists who made them and the devout benefactors who commissioned them, and encouraged laypeople to rally around pious causes. Using a diverse range of textual and visual sources, Wunder provides a compelling look at the complex visual world of seventeenth-century Seville and the artistic collaborations that involved all levels of society in the attempt at its revitalization.
Vibrantly detailed and thoroughly researched, Baroque Seville is a fascinating account of Seville’s hard-won transformation into one of the foremost centers of Baroque art in Spain during a period of crisis.
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