scholarly journals Lo Bue Erberto & John Bray (eds.), Art and architecture in Ladakh. Cross-cultural transmission in the Himalayas and Karakorum

2016 ◽  
Author(s):  
Patrick Kaplanian
Keyword(s):  
Cultural Transmission ◽  
Cross Cultural ◽  
Art And Architecture

Sartor Resartus and the Rhetoric of Translation

2011 ◽  
Vol 20 (1) ◽  
pp. 61-78 ◽  
Author(s):  
Tom Toremans
Keyword(s):  
Cultural Transmission ◽  
German Idealism ◽  
Cross Cultural ◽  
Philosophical Argument

As the fictional account of a British Editor's attempt at translating a German philosophical manuscript, Thomas Carlyle's Sartor Resartus has persistently frustrated critical analyses of its awkward combination of philosophical argument and rhetorical experimentation. This paper examines the highly paradoxical position that translation occupies in the work, arguing that Sartor Resartus is a self-subverting text that disarticulates its organicist aesthetic in the process of translation. Sartor Resartus emerges as a culminating critique of a key episode in the British Romantic attempt at cross-cultural transmission of German Idealism to Britain.

scholarly journals Globality in Teaching Art and Architectural History: A Case Study of the Glossary Assignment

2021 ◽  
Vol 20 ◽  
pp. 109
Author(s):  
Pat Seeumpornroj
Keyword(s):  
A Priori ◽  
Research Problem ◽  
Analytical Framework ◽  
Cross Cultural ◽  
Still Life ◽  
Western Art ◽  
Cultural Comparisons ◽  
Visual Impact ◽  
Art And Architecture ◽  
Architecture History

In consideration of the research problem associated with the need for globality and inclusive vision in art and architecture history pedagogy, this research proposes an alternative research framework that entails the globality and inclusion of non-Western content in studying and teaching art and architecture history, as well as the use of interpretive-historical research methodology in conducting cross-cultural and comparative studies for a glossary assignment. This research provides a glossary assignment in which students conduct cross-cultural and comparative investigations of Western and non-Western art and architecture. The study approaches, tactics, and themes employed by students to do cross-cultural comparisons are systematically examined. Common glossary terms from conventional Western art and architecture history, namely, composite image, ziggurat, contrapposto, and still life, are critically used to demonstrate that they are universal and also existent in Southeast Asian art and architecture. Inductive rather than a priori analytical framework reveals new themes derived from cross-cultural comparisons. By juxtaposing original redrawn images of art and architecture from Western traditions and non-Western contexts, this research creates a significant visual impact on the usage of illustrations as tactics that transcend conventional maps and timelines. Application of the alternative study framework reveals the universality of the human desire to create art and architecture that transcends chronology and cultural boundaries.

On Memory, Transmission and the Practice of Building in the Crusader Mediterranean

2012 ◽  
Vol 18 (4-5) ◽  
pp. 481-517 ◽  
Author(s):  
Heather E. Grossman
Keyword(s):  
Thirteenth Century ◽  
Creative Process ◽  
Cultural Memory ◽  
Cultural Transmission ◽  
Eastern Mediterranean ◽  
Cross Cultural ◽  
Practical Skills ◽  
History Of ◽  
The Cross ◽  
Architectural Knowledge

Abstract Memory played a key role in the cross-cultural transmission of medieval architectural knowledge amongst patrons, designers, ateliers and audiences from different religious, cultural and architectural traditions. Two aspects of architectural memory are here posited as playing a role in the dissemination of architectural forms and styles: a “cultural memory” that evoked specific, earlier sites of ideological or other significance to patrons; and a “pragmatic memory” of learned, practical skills that was transmitted amongst masons themselves. These interlocking yet distinct aspects of memory in architecture are not unique to cross-cultural transmission, but they had particular impact when deployed by patrons and masons across physical or conceptual borders. Whether introduced by practical means or for associative reasons, new forms further moved across regions with artisans, who proffered (and learned) new modes of working while traveling. Examination of the Cistercian Monastery of Zaraka in Stymphalia, Greece and other churches of the thirteenth-century, post-Crusade Peloponnese and greater Eastern Mediterranean demonstrate how both aspects of architectural memory can be read in the physical architectural record. This methodology also re-inscribes masons into a history of the cross-cultural creative process, showing that builders were vital in the processes of transmitting and interpreting forms.

scholarly journals The promise of media archeology

2015 ◽  
Vol 7 (2) ◽  
pp. 67-74
Author(s):  
Nadežda Čačinovič
Keyword(s):  
Cultural Transmission ◽  
Deep Time ◽  
History Of ◽  
The Media ◽  
The Senses ◽  
The Difference ◽  
Art And Architecture

Media archeology offers a new and necessary tool in dealing with the plurality of phenomena we so indiscriminately - anachronistically or in other ways - recognize as art and classify as artworks. The paper tries to stress the difference in comparison with related viewpoints: the theories of cultural transmission, of the materiality of culture, of the logic of aesthetic regimes etc. One might call it "media before media" (and follow Kittler) or delve with Zielinski into the "Deep Time of the Media" with a good connection to the "history of the senses approach" or go straight with Jussi Parikka and Erkki Huhtamo and use "media archeology": it is always an acknowledgment of the protean nature of art and architecture.

scholarly journals Understanding Jerusalem and its Cross-Cultural Dilemmas in Guy Delisle’s Jerusalem: Chronicles From the Holy City

2015 ◽  
Vol 7 (1) ◽  
pp. 133-144
Author(s):  
Ana-Maria Gavrilă
Keyword(s):  
Cultural Transmission ◽  
Historical Context ◽  
Cross Cultural ◽  
Christian Communities ◽  
History Of ◽  
Physical Barriers ◽  
Mind Set ◽  
Narrative Techniques ◽  
National Stereotypes ◽  
Holy City

Abstract Guy Delisle’s Jerusalem: Chronicles from the Holy City (2011) is a nonfictional graphic novel which narrates the experiences during a year that the Canadian artist and his family spent living far from home, in the occasionally dangerous and perilous city of the ancient Middle East. Part humorous memoir filled with “the logistics of everyday life,” part an inquisitive and sharp-eyed travelogue, Jerusalem is interspersed with enthralling lessons on the history of the region, together with vignettes of brief strips of Delisle’s encounters with expatriates and locals, with Jewish, Muslim, and Christian communities in and around the city, with Bedouins, Israeli and Palestinians. Since the comic strip is considered amongst the privileged genres able to disseminate stereotypes, Jerusalem tackles cultural as well as physical barriers, delimiting between domestic and foreign space, while revealing the historical context of the Israeli-Palestinian present conflict. Using this idea as a point of departure, I employ an imagological method of interpretation to address cross-cultural confusions in analysing the cartoonist’s travelogue as discourse of representation and ways of understanding cultural transmission, paying attention to the genre’s convention, where Delisle’s drawing style fits nicely the narrative techniques employed. Through an imagological perspective, I will also pay attention to the interaction between cultures and the dynamics between the images which characterise the Other (the nationalities represented or the spected) and those which characterise - not without a sense of irony - his own identity (self-portraits or auto-images). I shall take into account throughout my analysis that the source of this graphic memoir is inevitably a subjective one: even though Delisle professes an unbiased mind-set from the very beginning, the comic is at times coloured by his secular views. Delisle’s book is a dark, yet gentle comedy, and his wife’s job at the Doctors Without Borders paired with his personal experiences are paradoxically a gentle reminder that “There’ll always be borders.” In sum, the comic medium brings a sense of novelty to the imagological and hermeneutic conception of the interpretation of cultural and national stereotypes and/or otherness in artistic and literary works.

Mickey, Yahweh, and Zeus

2020 ◽  
Author(s):  
Will M. Gervais
Keyword(s):  
Cultural Transmission ◽  
Rites Of Passage ◽  
Cross Cultural ◽  
Scientific Study ◽  
Diverse Range ◽  
Evolutionary Account ◽  
The Cross ◽  
Key Questions ◽  
Ritual Practices

Religions are complex and multifaceted. People engaged in the scientific study of religion may explore a diverse range of topics, ranging from supernatural agent beliefs to ritual practices to rites of passage to notions of eschatology and the afterlife. Recent decades have seen a flourishing of evolutionary theorizing on religion. This chapter poses six key questions for emerging theories, focusing on (1) the ubiquity of supernatural agent concepts across cultures, (2) the cross-cultural recurrence of common supernatural agent themes, (3) the fact that most people believe in only a select few mentally representable supernatural agents, (4) the fact that people tend to only believe in a subset of the gods currently worshiped worldwide, (5) the existence of atheists, and (6) the cultural success of some specific religions. I argue that modern approaches to cultural transmission and gene-culture coevolution are necessary components of any comprehensive evolutionary account of religion.

scholarly journals Ptolemaic Cavalrymen on Painted Alexandrian Funerary Monuments

Arts ◽  
2019 ◽  
Vol 8 (2) ◽  
pp. 58
Author(s):  
Sara E. Cole
Keyword(s):  
Material Culture ◽  
Cultural Transmission ◽  
Cross Cultural ◽  
Northern Greece ◽  
Funerary Practices ◽  
Funerary Monuments ◽  
Geographic Origins ◽  
Mediterranean World ◽  
The Mediterranean ◽  
Military Status

The multiethnic environment of Ptolemaic Alexandria resulted in cross-cultural transmission of funerary practices and associated material culture that introduced many traditions to Egypt from the Mediterranean world. Along with an influx of mercenaries serving in the Ptolemaic army came cultural and artistic knowledge from their places of origin, which they (or their families) incorporated into their burials. One motif, which appears on late 4th–3rd-century painted funerary monuments from Alexandria, is that of a soldier on horseback, alluding to images of the heroic hunter or warrior on horseback found in tombs in the regions of northern Greece. These Alexandrian monuments commemorated members of the Ptolemaic cavalry, some of whom are identified as Macedonian or Thessalian by accompanying Greek inscriptions. The image of a soldier astride his rearing horse not only emphasized the deceased’s military status, but also established a link with Macedonian and Ptolemaic royal iconography. This type of self-representation served a number of purposes: to signal the deceased’s cultural and geographic origins, demonstrate his elite role in Ptolemaic society and imply connections to the Ptolemaic court, all of which were important to the immigrant inhabitants of early Alexandria as they sought to express their identity in a new geographical, cultural, and political setting.

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