Search Results

You are looking at 1 - 10 of 173 items for :

  • All: "belief" x
  • Brill | Rodopi x
  • Art History x
  • Chapters/Articles x
Clear All Modify Search

Series:

Carter Vaughn Findley

equates the Arabic names of the three “parts” above with i‘tiqadat, ‘ibadat , and mu‘amelat . 27 The first term, i‘tiqadat , comes from the same Arabic root as al-Nasafi’s title, ‘Aqa’id , both terms signifying matters of faith and belief. ‘Ibadat is the normal term for the obligatory acts of

Series:

Carter Vaughn Findley

the origins of the Quraysh, the tribe of Muhammad, and adding to his genealogy the succession to leadership in the Muslim community. As noted, the belief that Selim I acquired the caliphate upon the conquest of Cairo in 1517 is wrong as history. As Ottoman dynastic propaganda, however, the

Bilha Blum

Dismantling the conventional plot-character-space unity that characterises drama in general, and neglecting the role of narrative embedded in it, has lately become the axis of postmodern performance practice. Defined by Hans-Thies Lehmann as ‘postdramatic theatre’ and by Elinor Fuchs as the kind of theatre in which character is dead or dying, it emphasises the conspicuous prioritising of the visual over the textual typical of this era. Among its main qualities, realised by means of visual constructs which include the replacement of the dramatic character by a body in space, is the cancellation of the focused referential frame or logocentric logic often offered by drama, thus becoming presentational: i.e., presenting the elements of performance as themselves, rather than as re-presentational of the real. Followed by a multiplication of frames or, alternatively, by the abandonment of frames altogether, the result is the emergence of a multifarious range of possible ‘looking standpoints’ that leave the spectators’ expectations for coherence and integration unfulfilled. The specific case of staging canonical plays, which presupposes not only the presence of a written text in performance but one that is also at the very core of accepted cultural practices and beliefs, problematises the issues of visualisation and looking, placing them at a conflicting crossroads. Seen as ‘the true art of memory,’ as defined by Harold Bloom, staged canonical plays would seem to retain their representational status and their evocative power despite postdramatic visualising strategies. The question thus arises as to whether the visual signs of such performances, intertwined with representational attributes, can nonetheless function as non-referential autonomous entities and objectify the spectators’ gaze. Thomas Ostermeier’s 2005 production of Ibsen’s Hedda Gabler and Lee Breuer’s 2003 production of Mabou Mines’ DollHouse serve here as my main examples in engaging with these issues.

Bilha Blum

Dismantling the conventional plot-character-space unity that characterizes drama in general and neglecting the role of narrative embedded in it has lately become the axis of postmodern performance practice. Defined by Hans-Thies Lehmann as ‘postdramatic theatre’ and by Elinor Fuchs as the kind of theatre in which character is dead or dying, it emphasizes the conspicuous prioritizing of the visual upon the textual typical of this era. Among its main qualities, realized by means of visual constructs which include the replacement of the dramatic character by a body in space, is the cancellation of the focused referential frame or logocentric logic often offered by drama, thus becoming presentational, i.e. presenting the elements of performance as themselves, rather than re-presentational of the real. Followed by a multiplication of frames, or rather by the annulment of frames altogether, the result of this cancellation is the emergence of a multifarious range of possible ‘looking standpoints’ that leave the spectators’ expectations for coherence and integrality unaccomplished. The specific case of staging canonical plays, which presupposes not only the presence of a written text in performance but one that is at the very core of accepted cultural practices and beliefs, problematizes the issues of visualization and looking, placing them at a conflicting crossroads. Seen as ‘the true art of memory,’ as defined by Harold Bloom, staged canonical plays would seem to retain their representational status and their evocative power despite postdramatic visualizing strategies. The question is then, whether the visual signs of such performances, intertwined with representational attributes, can nonetheless function as unreferential autonomous entities and objectify the spectators’ look. Thomas Ostermeier’s version of Ibsen’s Hedda Gabler (2005) and Mabou Mines’ DollHouse, directed by Lee Breuer (2003) will serve as my main examples in dealing with these issues.

Inga Merkyte and Klavs Randsborg

A series of excavated graves and grave inventories from the area around Abomey-Bohicon in Bénin, dating to the days of the Dahomean kingdom, are presented by the BDArch team, Bénin-Denmark Archaeology Project. They are among the very few documented burials from this region of the world and have yielded unprecedented insight into social performance and ritual behaviour at death, in addition to their unique archaeological documentation.

A. Bredius

or by EDOUARD IVIICHEL. Contrary to the theory stated by Mr. Renders in his book: "La Solution du probleme Van der Weyden-Flemalle-Campin", the writer of the above article holds to his belief in the existence of two distinct persons, viz. the Master of F16malle and Rogier van der Weyden, in the

Harry Schmidt

monatlichem Kostgeld und Pension fur das halbe Jahr, ist anzunehmen, dass der gesammte Betrag sich auf 60 Taler fur das halbe Jahr belief. 3) Der Ausdruck scheint zu bedeuten, dass das Gewand kein ganz prichtiges Galakleid, aber auch kein einfaches Gewand war, sondern ein Kleid, mit dem man zu Hofe gehen

Nyree Finlay

it bears witness to one of the few genuine stone-using communities left in the world. Adopting a theoretical approach that draws directly on indigenous ontologies and beliefs, the Etta Woga of the Boreda Gamo, Weedman Arthur advocates against the tautology of western scholarship, seeking

Hugo Pinto, Will Archer, David Witelson, Rae Regensberg, Stephanie Edwards Baker, Rethabile Mokhachane, Joseph Ralimpe, Nkosinathi Ndaba, Lisedi Mokhantso, Puseletso Lecheko and Sam Challis

where figures’ outlines are smudged, and scratching and chipping attest to modern traditional healers’ beliefs that San rock art paint can be collected and used as a powerful medicine. This practice constitutes possibly one of the last connections between the beliefs of modern farmers and the San, from