The Mirror of the Self

Bartsch, Shadi

doi:10.7208/chicago/9780226377308.001.0001

Cited by 229 publications

(11 citation statements)

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“…Similarly, varying production shares increase the return for investors when resource finds are small, but limit the upside when they are large. 9 In the development business, risks are overwhelmingly left with recipient countries. In the worst case, recipient countries are suffering from unintended negative effects of development projects, while their governments pay loan interest and principal for a decade or more.…”

Section: Developing Solutions: Bringing Outcomes Into the Contracts Imentioning

confidence: 99%

Creating a market for outcomes: shopping for solutions

Gaarder

Bartsch

2015

Journal of Development Effectiveness

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Section: Developing Solutions: Bringing Outcomes Into the Contracts Imentioning

confidence: 99%

Creating a market for outcomes: shopping for solutions

Gaarder

Bartsch

2015

Journal of Development Effectiveness

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“…The monastic basilica is a witness to the early medieval 'civilization of spectacle', wherein body techniques of ritual (chanting, reading, processing, bowing, circumambulating, venerating relics) are subject to intense scrutiny (and the perils of the Evil Eye) as to their proper virile ('hot') performances. 105 Therefore, it is possible to read the virtual basilica depicted on the Plan from the perspective of the monks who etched the design into the vellum page and promulgated it as a statement of monastic power. More satisfying to the gender theorist, however, is to read against the ascetic vision of the space to recover the agency of women, who may have had more control over the inner workings of basilicas than the historical record allows us to imagine.…”

mentioning

confidence: 99%

Somatic Styles of the Early Middle Ages

Coon

2008

Gender & History

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‘Somatic Styles’ examines how classical modes of gender played significant roles in carving out competitive arenas between clerical and lay elites, c.600–900 CE. The paper explores the hermeneutical obstacles standing between the contemporary theorist of gender and the complex nature of the early medieval texts under scrutiny. The analysis reconstructs classicising techniques of gender deployed by early medieval churchmen, and it does so in a way that both challenges the stranglehold of the ‘one‐sex’ model on pre‐modern understandings of gender and heals the ‘rupture’ between the ‘Ancient’ and the ‘Dark Age’. Finally, the essay maps early medieval somatic and gendered styles onto an architectural space where lay and consecrated bodies met – a ninth‐century monastic basilica.

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“…They applied plaster to the wall surface followed by pigments in chosen designs. 7 Roman wall painting was largely an artisan tradition in which trained and skilled craftsmen applied materials to walls according to the prescription of their patrons. 8 The artisan model relied on collective creation, copying, and the division of labor in the form of workshops, which Lawrence…”

Section: Paintings As Evidencementioning

confidence: 99%

“…7 Vitr., De arch, VII.1; for an overview of materials and techniques consult the chapters in H. Béarat,Roman Wall Painting: Materials,Techniques,Analysis and Conservation. Proceedings of the International Workshop,Fribourg,[7][8][9] March 1996 (Fribourg University: Institute of Mineralogy and Petrography, 1997); for plaster analysis see P. Baraldi, A. Bonazzi, N. Giordani, F. Paccagnella, and P. Zannini. "Analytical Characterization of Roman Plasters of the 'Domus Farini" in Modena," Archaeometry 48, no.…”

Section: Paintings As Evidencementioning

confidence: 99%

“…515 BC), Empedocles (492-432 BC), and Democritus (460-370 BC) all questioned sensory faculties, of which sight was only one factor. 7 Because as Lucretius explains, "touch and nothing but touch is the essence of all our bodily sensations" vision was considered, along with the other senses, to be the result of a tactile force. 8 Sight was compared to other, more physically tactile senses, in particular, touch, which involves direct contact between sensory organs (e.g., hand, foot, etc.)…”

Section: Vision: Sensory Perceptionmentioning

confidence: 99%

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Roman Wall Painting and the Art of Vision

Molacek¹

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This study uncovers ways in which the Roman obsession with the sense of sight is translated into its visual culture. The dissertation has two main goals: to examine the pictorial language of internal viewers in mythological wall paintings from ca. AD 20-79 and suggest ways in which these representations could interact with their audience, provoking or initiating reactions. Although the presence of and emphasis on internal gazes in Roman paintings has been repeatedly noted in prior scholarship, this motif has occupied a marginal place in the wider study of wall painting, which has focused primarily on the representation of supernumerary, or spectator figures, as compositional signposts. This study departs from earlier work in examining multiple types of viewers and treating these motifs as more than meaningless formal elements. An iconographic approach is used to look at the behavior, context, and gestures of the internal audience to identify and distinguish different types of viewers while concurrent cultural notions of vision help inform the potential reception of these images. Drawing from both art historical evidence and ancient scientific theory on optics and catoptrics, this study offers further insight into how Romans visualized different ways of seeing and potentially interacted with these representations.Representations of sight and viewing experience are found in a variety of mythological scenes and the accompanying catalogue includes over 200 examples. Based on the evidence, there appear to be three overarching motifs: spectators; reflections, mirrors, and the figures who look at them; and lovers. Each of these motifs is distinguished by a formulaic iconography including gesture, relationship with other figures, and physical position within the composition. In addition, the motifs are discussed in relation to the contemporary scientific theories of optics and cultural traditions of spectatorship to suggest ways in which these internal figures may act as more than compositional signposts. In accordance with the first century AD trend towards more active spectators as well as the noted popularity of tactile, physical vision, one can argue that the painted internal viewers, reflections, and lovers offer different modes of meaning for the external viewer not connected to mythological narrative. Based on this conclusion, the wall paintings and the motif of internal viewers signal new methods of visual communication which blur the divide between painting and viewer, virtual and real space.

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The Mirror of the Self

Cited by 229 publications

References 0 publications

Creating a market for outcomes: shopping for solutions

Creating a market for outcomes: shopping for solutions

Somatic Styles of the Early Middle Ages

Roman Wall Painting and the Art of Vision

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