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Manipulation of the past and forced erasure of memories have been
global phenomena throughout history, spanning a varied repertoire
from the destruction or alteration of architecture, sites, and
images, to the banning or imposing of old and new practices. The
present volume addresses these questions comparatively across time
and geography, and combines a material approach to the study of
memory with cross-disciplinary empirical explorations of historical
and contemporary cases. This approach positions the volume as a
reference-point within several fields of humanities and social
sciences. The collection brings together scholars from different
fields within humanities and social science to engage with
memorialization and damnatio memoriae across disciplines, using
examples from their own research. The broad chronological and
comparative scope makes the volume relevant for researchers and
students of several historical periods and geographic regions.
The phenomenon of iconoclasm, expressed through hostile actions
towards images, has occurred in many different cultures throughout
history. The destruction and mutilation of images is often
motivated by a blend of political and religious ideas and beliefs,
and the distinction between various kinds of 'iconoclasms' is not
absolute. In order to explore further the long and varied history
of iconoclasm the contributors to this volume consider iconoclastic
reactions to various types of objects, both in the very recent and
distant past. The majority focus on historical periods but also on
history as a backdrop for image troubles of our own day.
Development over time is a central question in the volume, and
cross-cultural influences are also taken into consideration. This
broad approach provides a useful comparative perspective both on
earlier controversies over images and relevant issues today. In the
multimedia era increased awareness of the possible consequences of
the use of images is of utmost importance. 'Iconoclasm from
Antiquity to Modernity' approaches some of the problems related to
the display of particular kinds of images in conflicted societies
and the power to decide on the use of visual means of expression.
It provides a deeper understanding of the mechanisms of the
phenomenon of iconoclasm. Of interest to a wide group of scholars
the contributors draw upon various sources and disciplines,
including art history, cultural history, religion and archaeology,
as well as making use of recent research from within social and
political sciences and contemporary events. Whilst the texts are
addressed primarily to those researching the Western world, the
volume contains material which will also be of interest to students
of the Middle East.
The phenomenon of iconoclasm, expressed through hostile actions
towards images, has occurred in many different cultures throughout
history. The destruction and mutilation of images is often
motivated by a blend of political and religious ideas and beliefs,
and the distinction between various kinds of 'iconoclasms' is not
absolute. In order to explore further the long and varied history
of iconoclasm the contributors to this volume consider iconoclastic
reactions to various types of objects, both in the very recent and
distant past. The majority focus on historical periods but also on
history as a backdrop for image troubles of our own day.
Development over time is a central question in the volume, and
cross-cultural influences are also taken into consideration. This
broad approach provides a useful comparative perspective both on
earlier controversies over images and relevant issues today. In the
multimedia era increased awareness of the possible consequences of
the use of images is of utmost importance. 'Iconoclasm from
Antiquity to Modernity' approaches some of the problems related to
the display of particular kinds of images in conflicted societies
and the power to decide on the use of visual means of expression.
It provides a deeper understanding of the mechanisms of the
phenomenon of iconoclasm. Of interest to a wide group of scholars
the contributors draw upon various sources and disciplines,
including art history, cultural history, religion and archaeology,
as well as making use of recent research from within social and
political sciences and contemporary events. Whilst the texts are
addressed primarily to those researching the Western world, the
volume contains material which will also be of interest to students
of the Middle East.
The forms by which a deceased person may be brought to rest are as
many as there are causes of death. In most societies the disposal
of the corpse is accompanied by some form of celebration or ritual
which may range from a simple act of deportment in solitude to the
engagement of large masses of people in laborious and creative
festivities. In a funerary context the term ritual may be taken to
represent a process that incorporates all the actions performed and
thoughts expressed in connection with a dying and dead person, from
the preparatory pre-death stages to the final deposition of the
corpse and the post-mortem stages of grief and commemoration. The
contributions presented here are focused not on the examination of
different funerary practices, their function and meaning, but on
the changes of such rituals - how and when they occurred and how
they may be explained. Based on case studies from a range of
geographical regions and from different prehistoric and historical
periods, a range of key themes are examined concerning belief and
ritual, body and deposition, place, performance and commemoration,
exploring a complex web of practices.
This book is based on an investigation of more than five hundred
recarved portraits. It includes analyses of different recarving
methods, some of which can be attributed to geographically
localised workshops. The different recarving methods have made it
possible to suggest classifiable categories, which together
underpin a hypothesis that the late-antique portrait style is a
consequence of the many recarved portraits at the time. The
practice of portrait recarving emerged due to economic, political,
religious and ideological factors, and was influenced by the
cultural-historical changes of Late Antiquity. The conclusion gives
a new understanding of how wide-ranging, culturally and politically
encoded and comprehensive the practice of recarving was.
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