Landscapes of the Itza: Archaeology and Art History at Chichen Itza and Neighboring Sites. LINNEA WREN, CYNTHIA KRISTAN-GRAHAM, TRAVIS NYGARD, and KAYLEE SPENCER, editors. 2017. University Press of Florida, Gainesville. xii+306 pp. $110.00 (hardcover), ISBN 978-0-8130-5496-4.

2018 ◽  
Vol 29 (3) ◽  
pp. 635-636
Author(s):  
William M. Ringle
Keyword(s):  
Art History ◽  
Chichen Itza ◽  
Neighboring Sites

Introduction

2017 ◽  
Author(s):  
Cynthia Kristan-Graham ◽  
Linnea Wren
Keyword(s):  
Social Interaction ◽  
Visual Culture ◽  
Art History ◽  
Interaction Ritual ◽  
Trading Network ◽  
Chichen Itza

The introduction discusses the importance of Chichen Itza as a Maya capital, hub of a trading network, and home to a unique art tradition. Landscape is a unifying theme, and its geographical, philosophical, and theoretical associations are explored. Some chapters focus on recent archaeology of Chichen Itza and related sites in Yucatan while others offer new interpretations of the Castillo-sub, Osario, Mercado, and Upper Temple of the Jaguars. Each chapter is summarized, with specific attention paid to points of interconnection between chapters, historiography, chronology, visual culture, social interaction, ritual, rulership, and the disciplines of archaeology and art history.

Art History as Genetic Epistemology

1985 ◽  
Vol 30 (12) ◽  
pp. 962-964
Author(s):  
Pavel Machotka
Keyword(s):  
Art History ◽  
Genetic Epistemology

Resonance in Dhvani Aesthetics and the Deleuzian Logic of Sensation

2018 ◽  
Vol 12 (1) ◽  
pp. 29-44
Author(s):  
Srajana Kaikini
Keyword(s):  
Art History ◽  
Visual Art ◽  
Normative Theory ◽  
Close Reading ◽  
Literary Interpretation ◽  
Sanskrit Poetics ◽  
Comparative Framework ◽  
Time Image

This paper undertakes an intersectional reading of visual art through theories of literary interpretation in Sanskrit poetics in close reading with Deleuze's notions of sensation. The concept of Dhvani – the Indian theory of suggestion which can be translated as resonance, as explored in the Rasa – Dhvani aesthetics offers key insights into understanding the mode in which sensation as discussed by Deleuze operates throughout his reflections on Francis Bacon's and Cézanne's works. The paper constructs a comparative framework to review modern and classical art history, mainly in the medium of painting, through an understanding of the concept of Dhvani, and charts a course of reinterpreting and examining possible points of concurrence and departure with respect to the Deleuzian logic of sensation and his notions of time-image and perception. The author thereby aims to move art interpretation's paradigm towards a non-linguistic sensory paradigm of experience. The focus of the paper is to break the moulds of normative theory-making which guide ideal conditions of ‘understanding art’ and look into alternative modes of experiencing the ‘vocabulary’ of art through trans-disciplinary intersections, in this case the disciplines being those of visual art, literature and phenomenology.

Un/Becoming Claude Cahun: Zigzagging in a Pack

2018 ◽  
Author(s):  
renée c. hoogland
Keyword(s):  
Literary Criticism ◽  
Art History ◽  
Gender Politics ◽  
High Modernism ◽  
Claude Cahun

Considered odd, obscene, a genius nonetheless, at the time she created her best-known works, French photographer and writer Claude Cahun (1894-1950) cuts a particularly unruly figure in literary criticism and art history. Her recalcitrant faux autobiography Aveux non avenus, [Disavowals, or, Cancelled Confessions] (1930), a book of essays and recorded dreams illustrated with photomontages, have encouraged the artist’s association with High Modernism and Surrealism while her photographic self-portraits have been claimed for an affirmative (feminist) gender politics. However, the proliferous and mercurial nature of Cahun’s disavowed confessions and self-stagings defy easy “domestication.” Instead she constructs a continuously shifting configuration of fragments and collages: assemblages of singularities that are always in a multiplicity, in a pack. Escaping dominant forms of expression, Cahun’s work has nothing to do with recognition or imitation, nor does it constitute a relation of representation. The chapter argues instead that Cahun presents us in both her writing and in her photographic work with the successful experience of becoming in the absence of any final term or form. A becoming-animal that moves beyond destruction into the zone of indiscernibility where a work, or, perhaps, an oeuvre comes into view—an oeuvre that nonetheless remains decidedly outlandish.

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