Iconoclasm

Modern Iconoclasm

by Jose Maria Duran

A slightly different version of this paper was presented at the Sixth Annual Meeting of the Cultural Studies Association, NYU, May 22-24, 2008, New York.
Another version has been published by Rethinking Marxism: “Ideology, Iconoclasm and the Wunderkammer of Berlin”, Rethinking Marxism, 21, 3, (2009).

The Literary Nature of the Constantine V’ Arrogationes, as Preserved in Apologeticus atque Antirrhetici of Nicephorus of Constantinople

by Lev Lukhovitskiy

Vizantijskij Vremennik. 2011. Vol. 70 (95). P. 124–138; in Russian with English summary; proofs only, the published version has minor corrections.

The paper deals with a lost iconoclastic work by Constantine V, as preserved in Apologeticus atque Antirrhetici by... more The paper deals with a lost iconoclastic work by Constantine V, as preserved in Apologeticus atque Antirrhetici by Nicephorus of Constantinople. The examination of this treatise shows that a) the most plausible title for Constantine’s works is not Πεύσεις but Προβλήματα; b) these texts are to be distinguished from other works ascribed to Constantine; c) Problemata combine genre features of a theological treatise and a political apology; d) Nicephorus did not possess the complete text of Problemata; e) the 3rd Problema is less coherent and more aggressive in comparison with the 1st and the 2nd.

Rhetorical devices in "Apologeticus atque Antirrhetici", an anti-iconoclastic treatise by Nicephorus of Constantinople

by Lev Lukhovitskiy

Voprosy filologii / Journal of Philology. 2007. Vol. 3. P. 85-93.
In Russian with English summary.

On “radical theology” of Constantine V: Philological remarks

by Lev Lukhovitskiy

Indo-European linguistics and classical philology: 13th I. M. Tronsky memorial conference. St. Petersburg, 2009. P. 402–409
In Russian with English summary

History of the first iconoclasm and contemporary politics in "Apologeticus atque Antirrhetici" of Patriarch Nicephorus

by Lev Lukhovitskiy

Vizantijskij vremennik. 2009. Vol. 68. P. 59–74.
In Russian.

Byzantine Iconoclasm – a dispute about terms?

by Lev Lukhovitskiy

Indo-European Linguistics and Classical Philology: 14th I. M. Tronsky memorial conference. St. Petersburg, 2010. Vol. 2. P. 155–163.
In Russian with English summary

A Medieval Monument and Its Modern Myths of Iconoclasm: The Enduring Contestations over the Qutb Complex in Delhi, India

by Mrinalini Rajagopalan

From Dale Kinney and Richard Brilliant, eds., Reuse Value: Spolia and Appropriation in Art and Architecture from Constantine to Sherrie Levine (Ashgate Publishing Limited, 2011).

Le mythe ovidien de Pygmalion trouverait l’une de ses origines dans la Berbérie préhistorique. - Les Cahiers de l'AARS, 15, 2011: 19-25.

by Julien d'Huy

http://aars.fr/

Résumé : Deux récits, l’un grec, l’autre kabyle, racontent le trouble érotique suscité par une statue, l’animation de... more Résumé : Deux récits, l’un grec, l’autre kabyle, racontent le trouble érotique suscité par une statue, l’animation de cette dernière, et posent la question d’un mariage entre l’image et son créateur. Nous montrerons que ces deux récits forment un groupe de transformation, et que l’un ne peut être pensé sans l’autre, puis nous chercherons à déterminer lequel des deux fut premier. Le récit kabyle est probablement antérieur à l’expansion musulmane et à son iconoclasme. Or, à cette époque, le mythe ovidien, qui ne se développe réellement qu’à partir du Moyen Âge européen, n’était pas suffisamment célèbre pour être adopté en Afrique du Nord via l’influence romaine. Ajoutons que le judaïsme, religion iconoclaste, était alors très répandu parmi les Berbères. Les seules périodes ayant permis un transfert de mythe grâce à un contact régulier, direct ou non, entre la culture grecque et les Berbères sont la Cyrénaïque et la civilisation carthaginoise ; cette époque, entre le VIIe et le Ier siècle BCE, précède l’écriture des Métamorphoses. Le récit berbère serait donc premier, et aurait essaimé par la suite en Grèce. Nous serions ici face à un mythe préhistorique, susceptible d’éclairer certains aspects de l’art rupestre saharien.

È fascista la Madonna del fascio? Arte e architettura a Predappio tra conservazione e polemica politica

by Maria Elena Versari

Fascismo senza fascismo? Indovini e revenants nella cultura popolare italiana (1899-1919 e 1989-2009), ed. By Luciano Curreri and Fabrizio Foni (Cuneo: Nerosubianco 2011).

- Policante, A. “Franciscan Profanators: or the radical pacifism of a broken window”, Nyx: A nocturnal, Issue 5, 2011.

by Amedeo Policante

Concerning THE MONSTROUS, this issue brings together artists, visionaries, rogue philosophers and hip photographers,... more Concerning THE MONSTROUS, this issue brings together artists, visionaries, rogue philosophers and hip photographers, poets, ravers and dreamers to describe the darkest of fantasies and phantasms.

The issue features exclusive interviews with street-artist Stik, K-punk theorist Mark Fisher, alongside theories of the weird by Eugene Thacker at the New School and a theoretical defence of genocide by Nick Land, now based in Shanghai. Sofia Himmelblau, firebrand of the University for Strategic Optimism, revisits race and class in the 2011 riots clean-up alongside artwork by Laura Oldfield Ford. Amedeo Policante finds in today’s black bloc a spectral echo of Franciscan profanators, whilst Yari Lanci tears through Amy Winehouse, Andre Breivik and the superheroes of contemporary comic-books what it means to be a vigilante.

Side-stepping theory, Lara Choksey offers a new story on the deathliness of old family bedrooms, and Dan Taylor documents a case of Cordyceps contamination amongst a limited human population. Phil Sawdon pieces together the correspondence of demonologists, madmen and creatures even more unnameable in a Monstrum Impuissant, Marcin Kolodziejczyk goes on a cheeseburger zombie safari whilst Becky Ayre discovers a new alphabet amongst genetic oddities. izabela Lyra begins a sequence of new stories about Jade, sick with gems, containing all the contradictions of the modern world.

This monster finally contains numerous pieces of work by up-and-coming artists like Abigail Jones’ ‘A Taste of Perfection’ series, a freakish desecration of Lady Gaga and others by Nuala C. Murphy, a criminal badge of honour by Peter Willis, the beasts and ice cream inside the mind of Christy Taylor, disquieting new sketches of the female forms by Julia Scheele, and a cosmophilosophical comic-strip by Emix Regulus. Lucy Pepper shares with Nyx her reflections on the viciously observant Trolls catalogue, whilst we leave with an apocalyptic photo-essay on strung-out ravers by the anthropological eyes of Sinikka Heden and Nicholas Gledhill.

Symbols of Power in Rituals of Violence: The Personality Cult and Iconoclasm on the Soviet Empire’s Periphery (East Germany, 1945–61)

by Alexey Tikhomirov

published in: Kritika: Explorations in Russian and Eurasian History, Volume 13, Number 1, Winter 2012, pp. 47-88.

STATUARIA PAGANA E CRISTIANESIMO A GORTINA

by isabella Baldini

IDEOLOGIA E CULTURA ARTISTICA TRA ADRIATICO
E MEDITERRANEO ORIENTALE (IV-X SECOLO)
IL RUOLO DELL’AUTORITÀ ECCLESIASTICA
ALLA LUCE DI NUOVI SCAVI E RICERCHE
Atti del Convegno Internazionale
Bologna-Ravenna, 26-29 Novembre 2007
a cura di
Raffaella Farioli Campanati, Clementina Rizzardi,
Paola Porta, Andrea Augenti, Isabella Baldini Lippolis
Bologna 2009

Iconoclasm, Byzantine and Postmodern: Implications for Contemporary Theological Anthropology

by Christopher Denny

“Iconoclasm, Byzantine and Postmodern: Implications for Contemporary Theological Anthropology," Horizons 36/2 (Fall 2009): 187-214.

Medieval Byzantine debates regarding icons included fine distinctions between image, prototype, and symbol as these... more Medieval Byzantine debates regarding icons included fine distinctions between image, prototype, and symbol as these terms related to personhood. Iconodules and iconoclasts differed regarding the ability of art to represent the person. Must artistic representations of a person, to be justified, be consubstantial with the person represented and thus circumscribed, as iconoclasts believed? Or is it sufficient to refer to artistic representations as being symbolic of their human subjects? Embracing the victorious iconodule distinction between a person and artistic representations of the person raises questions regarding the manner in which an image can reveal a human being. Post-structuralist philosophers Maurice Blanchot and Kevin Hart have inverted this problematic. They begin the interpretation of icons and personhood not from the traditional understanding of the honor or worship paid to Christian icons. Instead, they examine the icon’s deconstruction of the viewer. What results is an iconodule defense of a post-Cartesian “anthropological iconoclasm.”

"Visual Spectacularism and Iconoclastic Justice in Late Medieval and Early Modern Europe"

by Allie Terry-Fritsch

Paper to be presented on the panel, “Bent, Broken and Shattered: European Images of Death and Torture, 1300-1650,” at the Annual Meeting of the Renaissance Society of America, Washington, DC, March 2012.

A key strategy of late medieval and early modern criminal prosecution in Europe was the systematic objectification of... more A key strategy of late medieval and early modern criminal prosecution in Europe was the systematic objectification of the criminal body. This aim is no better illustrated than by the use of effigies—recorded from the thirteenth century—to stand in for the convicted when physical presence was not possible. In situations such as criminal escape, premature death, or inconclusive identification, artists were hired to create a free-standing, portable effigy of the missing criminal-subject, which was tried, tormented and executed before crowds of witnesses. If the image was punished properly, then justice was served and the populace assuaged. That is, the image-substitute for the criminal body attained the same efficacy as “the real thing” in spectacles of punishment. This essay examines the punishment of effigies as acts of judicially-sanctioned iconoclasm in late medieval and early modern Europe, and seeks to theorize the visual spectacularism of the image-execution as a means of creating an image of the community.

REVIEW “Luther, Cranach, and the Disenchantment of Art.” Review essay on Joseph L. Koerner, The Reformation of the Image (Chicago, 2004) Bookforum, Fall 2004.

by Stephen J. Campbell

Le Récit du "Chasseur adroit’’ : un Mythe Kabyle à remonter le Temps ? - Almogaren, XLII, 2011 : 37-42.

by Julien d'Huy

Preprint. The final paper is not available because of copyright reasons.
http://www.almogaren.org/

Résumé:
Dans cet article, nous montrerons que le conte du chasseur adroit, recueilli au printemps 1914 par Léo... more Résumé:
Dans cet article, nous montrerons que le conte du chasseur adroit, recueilli au printemps 1914 par Léo Frobenius, remonte à une période pré-islamique, et conserve peut-être une ancienne crainte de l'animation des images.

Abstract:
In this paper we will demonstrate that the tale of the skillful hunter, collected in 1914 by Léo Frobenius, goes back to a pre-Islamic period, and may preserve an ancient fear of the animation of images.

Zusammenfassung:
In diesem Aufsatz wollen wir darstellen, dass die Erzählung des "Geschickten Jägers", die 1914 von Leo Frobenius aufgezeichnet wurde, auf präislamische Zeiten zurückgeht und möglicherweise eine uralte Angst vor der Beseelung von Bildern widerspiegelt.

Prisposablivat’sia, dogovarivat’sia, soprotivliat’sia: k voprosu o strategiiakh zhizni cheloveka sovetskogo tipa [Accommodating, Negotiating, Opposing: On the Question of the Everyday Life Strategies of “Soviet People”]

by Alexey Tikhomirov

published in: Boldyrev R., Bonwetsch B. (ed.), Vlast’ i obshchestvo v usloviiakh diktatury: istoricheskii opyt SSSR i GDR, 1945-1965 [Power and Society under Dictatorship: The Historical Experience of the USSR and the GDR], Archangelsk: Pomorskii University Press, 2009, pp. 259-274.

“Unedited Slavonic Translation of the ‘Apology on the Cross and on the Holy Icons’ Attributed to Patriarch Germanus of Constantinople (CPG 8033).”

by Vladimir Baranov

published in: Universum Hagiographicum. Mémorial R.P. Michel van Esbroeck, s.j. (1934–2003). Eds. A.V. Mouraviev and V.M. Lourie. St. Petersbourg: Byzantinorossica, 2006 [=Scrinium 2]. 7–40.

[с Л.Л. Гигинейшвили]. "Неизданный славянский перевод антииконоборческого полемического трактата «Слово о Кресте и святых иконах»"

by Vladimir Baranov

опубликована в: История и теория культуры в вузовском образовании. Вып. 3 / Под ред. Е.М. Тазиевой. Новосибирск: Издательство Новосибирского государственного университета, 2006. С. 167–188.

Review of Die ikonoklastische Synode von Hiereia 754. Einleitung, Text, Übersetzung und Kommentar ihrer Horos. T. Krannich, C. Schubert, and C. Sode. Studien und Texte zu Antike und Christentum, 15. Mohr Siebeck, Tübingen 2002.

by Vladimir Baranov

published in: Cristianesimo nella storia 27 (2006): 670–73.