Search Results

Diane Apostolos-Cappadona

the discourse into the early decades of the twenty-first century. Given the methodologies and disciplinary vocabulary applied to the study of religion and the arts, there is the recognition of the lenses through which the audience or viewer perceives/experiences the arts. So, for example, consider the

Media inter Media

Essays in Honor of Claus Clüver

Series:

Edited by Stephanie A. Glaser

This interdisciplinary volume explores, analyzes, and celebrates intermedial processes. It investigates the dynamic relations between media in contemporary artistic productions such as digitalized poetry and installations or musical scores by Walter Steffens and Hugh Davies; in texts like Dieter Roth’s diaries, Ror Wolf’s guidebooks, Charles Baudelaire’s art criticism, or Lewis Carroll’s Alice books; and in inherently intermedial pieces like Stéphane Mallarmé’s Un Coup de Dés and Augusto de Campos’s poetry. Through distinct and diverse methodological approaches to intermedial inquiry, the contributors probe multiple forms of interaction between media: adaptation, appropriation, transposition, transfer, recycling, grafting, recontextualization, intertextualization, transmedialization, and transcreation. In so doing, they offer perspectives which refine our understanding of the term ‘medium’ and demonstrate ways in which intermedial creations engage their audiences and stimulate creative responses.
Written in honor of Claus Clüver, a groundbreaking leader in intermediality studies, the essays participate in and broaden the scope of current discourses in the international forum. The range of their subjects and methodologies will interest literary scholars, art historians, musicologists, scholars of new media as well as those working in intermediality studies, word and image or word and music studies, and anyone whose interests cross traditional disciplinary boundaries.

Series:

Diane Apostolos-Cappadona

In Religion and the Arts: History and Method, Diane Apostolos-Cappadona presents an overview of the 19th century origins of this discrete field of study and its methodological journey to the present-day through issues of repatriation, museum exhibitions, and globalization. Apostolos-Cappadona suggests that the fluidity and flexibility of the study of religion and the arts has expanded like an umbrella since the 1970s - and the understanding that art was simply a visual exegesis of texts - to now support the study of material, popular, and visual culture, as well as gender. She also delivers a careful analysis of the evolution of thought from traditional iconographies to the transformations once scholars were influenced by response theory and challenged by globalization and technology. Religion and the Arts: History and Method offers an indispensable introduction to the questions and perspectives essential to the study of this field.

Art History and Visual Studies in Europe

Transnational Discourses and National Frameworks

Series:

Edited by Matthew Rampley, Thierry Lenain, Hubert Locher, Andrea Pinotti, Charlotte Schoell-Glass and C.J.M. (Kitty) Zijlmans

Reflection on the history and practice of art history has long been a major topic of research and scholarship, and this volume builds on this tradition by offering a critical survey of many of the major developments in the contemporary discipline, such as the impact of digital technologies, the rise of visual studies or new initiatives in conservation theory and practice. Alongside these methodological issues this book addresses the mostly neglected question of the impact of national contexts on the development of the discipline. Taking a wide range of case studies, this book examines the impact of the specific national political, institutional and ideological demands on the practice of art history. The result is an account that both draws out common features and also highlights the differences and the plurality of practices that together constitute art history as a discipline.

Signs of Change

Transformations of Christian Traditions and their Representation in the Arts, 1000–2000

Series:

Edited by Nils Holger Petersen, Claus Clüver and Nicolas Bell

Signs of Change: Transformations of Christian Traditions and their Representation in the Arts, 1000–2000 focuses on the changing relationships between what gradually emerged as the Arts and Christianity, the latter term covering both a stream of ideas and its institutions. The book as a whole is addressed to a general academic audience concerned with issues of cultural history, while the individual essays are also intended as scholarly contributions within their own fields. A collaborative effort by twenty-five European and American scholars representing disciplines ranging from aesthetics to the history of art and architecture, from literature, music and the theatre to classics, church history, and theology, the volume is an interdisciplinary study of intermedial phenomena, generally in larger cultural and intellectual contexts. The focus of topics extends from single concrete objects to sets of abstract concepts and values, and from a single moment in time to an entire millennium. While Signs of Change acknowledges the importance of synthesizing efforts essential to hermeneutically informed scholarship, in order to counterbalance generalized historical narratives with detailed investigations, broad accounts are juxtaposed with specialized research projects. The deliberately unchronological grouping of contributions underlines the effort to further discussion about methodologies for writing cultural history.

Hell-bent for Heaven in Tateyama Mandara

Painting and Religious Practice at a Japanese Mountain

Series:

Caroline Hirasawa

Hell-bent for Heaven in Tateyama mandara treats the history, religious practice, and visual culture that developed around the mountain Tateyama in Toyama prefecture. Caroline Hirasawa traces the formation of institutions to worship kami and Buddhist divinities in the area, examines how two towns in the foothills fiercely fought over religious rights, and demonstrates how this contributed to the creation
of paintings called Tateyama mandara.
The images depict pilgrims, monks, animals, and supernatural beings occupying the mountain’s landscape, thought to contain both hell and paradise. Sermons employing these paintings taught that people were doomed to hell in the alpine landscape without cult intervention—and promoted rites of salvation. Women were particular
targets of cult campaigns. Hirasawa concludes with an analysis of spatial practices at the mountain and in the images that reveals what the cult provided to female and male constituents.
Drawing on methodologies from historical, art historical, and religious studies, this book untangles the complex premises and mechanisms operating in these pictorializations of the mountain’s mysteries and furthers our understanding of the rich complexity of pre-modern Japanese religion.

Relational Designs in Literature and the Arts

Page and Stage, Canvas and Screen

Series:

Edited by Rui Carvalho Homem

This collection focuses on texts that address the other arts – from painting to photography, from the stage to the screen, and from avant-garde experiments to mass culture. Despite their diversity of object and approach, the essays in Relational Designs coalesce around the argument that representations are defined by relations and dynamics, rather than intrinsic features. This rationale is supported by the discourses and methodologies favoured by the book’s contributors: their approaches offer a cross section of the intellectual and critical environment of our time. The book illustrates the critical possibilities that derive from the broad range of modes of inquiry - poststructuralist criticism, gender studies, postcolonial studies, new historicism – that the book’s four sections bring to bear on a wealth of intermedial practices. But Relational Designs compounds such critical emphases with the voice of the practitioner: the book is rounded off by an interview in which a contemporary novelist discusses her attraction to the other arts in terms that extend the book’s insights and bridge the gap between academic discourse and artistic practice.