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A RHINO REMEMBERED István Orosz
CEEOL copyright 2016 A RHINO REMEMBERED On the 500th Anniversary of a Shipwreck István Orosz s there anyone who has not heard of the terrible tempest on the Ligurian Sea which claimed the life of Percy Bysshe Shelley? In almost precisely the Isame place, near the mouth of Spezia Bay off the coast of Porto Venere, another storm had wrecked a vessel three centuries before – O Wild West Wind! The tragedy took place on 25 January 1516, almost exactly five hundred years ago. The most famous victim on board – pace Shelley – was an animal, an Indian rhinoceros to be precise, to whom this essay is dedicated. We will find out shortly what on earth this beast was doing on the boat, tossed about by the raging sea. But let us first have a look at his curriculum vitae and a modest presumption which I hope will explain why I accord such significance to an odd-toed ungulate that found a watery grave, and perhaps even what he might have to do with me or, rather, with my professional interests. The beast probably hailed from Gujarat in Northwest India. Sultan Muzaffar II is on record to have given a gift of the by then fully grown rhino bull he called Ganda to the Portuguese military commander Diego Fernandes de Beja, in commemoration of “establishing mutually beneficial diplomatic contact” – politicalese for the sultan’s polite rejection of Portugal’s overtures aimed at colonisation. Beja received the gift on 18 May 1514, and the animal landed in Goa on 15 September, after the commander, bent on getting rid of this evidence of his failed mission, had dispatched it to Afonso de Albuquerque, Viceroy of the Portuguese territories in India. -
Hitler's Germania: Propaganda Writ in Stone
Bard College Bard Digital Commons Senior Projects Spring 2017 Bard Undergraduate Senior Projects Spring 2017 Hitler's Germania: Propaganda Writ in Stone Aaron Mumford Boehlert Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2017 Part of the Architectural History and Criticism Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Boehlert, Aaron Mumford, "Hitler's Germania: Propaganda Writ in Stone" (2017). Senior Projects Spring 2017. 136. https://digitalcommons.bard.edu/senproj_s2017/136 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Hitler’s Germania: Propaganda Writ in Stone Senior Project submitted to the Division of Arts of Bard College By Aaron Boehlert Annandale-on-Hudson, NY 2017 A. Boehlert 2 Acknowledgments This project would not have been possible without the infinite patience, support, and guidance of my advisor, Olga Touloumi, truly a force to be reckoned with in the best possible way. We’ve had laughs, fights, and some of the most incredible moments of collaboration, and I can’t imagine having spent this year working with anyone else. -
Antichrist As (Anti)Charisma: Reflections on Weber and the ‘Son of Perdition’
Religions 2013, 4, 77–95; doi:10.3390/rel4010077 OPEN ACCESS religions ISSN 2077-1444 www.mdpi.com/journal/religions Article Antichrist as (Anti)Charisma: Reflections on Weber and the ‘Son of Perdition’ Brett Edward Whalen Department of History, The University of North Carolina at Chapel Hill, CB# 3193, Chapel Hill, NC, 27707, USA; E-Mail: [email protected]; Tel.: +1-919-962-2383 Received: 20 December 2012; in revised form: 25 January 2013 / Accepted: 29 January 2013 / Published: 4 February 2013 Abstract: The figure of Antichrist, linked in recent US apocalyptic thought to President Barack Obama, forms a central component of Christian end-times scenarios, both medieval and modern. Envisioned as a false-messiah, deceptive miracle-worker, and prophet of evil, Antichrist inversely embodies many of the qualities and characteristics associated with Max Weber’s concept of charisma. This essay explores early Christian, medieval, and contemporary depictions of Antichrist and the imagined political circumstances of his reign as manifesting the notion of (anti)charisma, compelling but misleading charismatic political and religious leadership oriented toward damnation rather than redemption. Keywords: apocalypticism; charisma; Weber; antichrist; Bible; US presidency 1. Introduction: Obama, Antichrist, and Weber On 4 November 2012, just two days before the most recent US presidential election, Texas “Megachurch” pastor Robert Jeffress (1956– ) proclaimed that a vote for the incumbent candidate Barack Obama (1961– ) represented a vote for the coming of Antichrist. “President Obama is not the Antichrist,” Jeffress qualified to his listeners, “But what I am saying is this: the course he is choosing to lead our nation is paving the way for the future reign of Antichrist” [1]. -
Download Press Release
Exhibition facts Press conference 13 September 2012, 10:00am Opening 13 September 2012, 6:30pm Duration 14 September 2012 – 6 January 2013 Venue Bastion hall Curators Marie Luise Sternath and Eva Michel Catalogue Emperor Maximilian I and the Age of Dürer Edited by Eva Michel and Maria Luise Sternath, Prestel Publishing Autors: Manfred Hollegger, Eva Michel, Thomas Schauerte, Larry Silver, Werner Telesko, Elisabeth Thobois a.o. The catalogue is available in German and English at the Albertina Shop and at www.albertina.at for 32 € (German version) and 35 € (English version) Contact Albertinaplatz 1, A-1010 Vienna T +43 (0)1 534 83–0 [email protected] , www.albertina.at Museum hours daily 10:00am–6:00pm, Wednesdays 10:00am–9:00pm Press contact Mag. Verena Dahlitz (department head) T +43 (0)1 534 83-510, M +43 (0)699 121 78 720, [email protected] Mag. Barbara Simsa T +43 (0)1 534 83-512, M +43 (0)699 109 81 743, [email protected] Sarah Wulbrandt T +43 (0)1 534 83-511, M +43 (0)699 121 78 731, [email protected] The Albertina’s partners Exhibition sponsors Media partner Emperor Maximilian I and the Age of Dürer 14 September 2012 to 6 January 2013 Emperor Maximilian I was a "media emperor", who spared no efforts for the representation of his person and to secure his posthumous fame. He employed the best artists and made use of the most modern media of his time. Many of the most outstanding works produced for the propaganda and commemoration of Emperor Maximilian I are preserved in the Albertina. -
Underground Berlin
chapter 15 Underground Berlin Illustration 15.1 Untitled, Umbo (c. 1935) Berlinische Galerie © Bildrecht, Wien, 2015 Auch du, vielstädtiges Berlin/ Unter und über dem Asphalt geschäftig Berthold Brecht, “Über Deutschland” If Americans’ first literary visions of Berlin were of Fay’s “ample squares; level streets; long lines of sculptured facades, temples, palaces, churches, statues, columns, porticoes, and bridges, in a stately order” (37), a century later Isherwood added a further touch to this architecture so “carefully arranged” in “grand international styles,” Berlin’s “self-conscious civic centre” asserting its “dignity as a capital city – a parliament, a couple of museums, a State bank, a cathedral, an opera, a dozen embassies, a triumphal arch,” nothing forgotten, all seeming “so very correct”—until one learns to recognize the “flash of that hysteria which flickers always behind every grave, gray Prussian façade” (1954: 370). If Isherwood was “a camera with its shutter open,” recording Berlin of those days (1), Alan Balfour has described how period photos of Berlin, from today’s perspective, seem to reveal a “reality below the surface of things,” hinting at “often unacknowledged forces below the surface of experience, which may erupt when least expected” (46). Clearly, as Katherine Anne Porter and Thomas Wolfe suggested, by the 1930s, something ominous flickered below the city’s orderly surfaces with a brighter hysteria than that of the night life Isherwood made famous. As Wilhelm Gauger writes, from the Second World War’s begin- ning until shortly afterward, Berlin is depicted in Anglophone literature as a place contrasting a beautiful surface with the hollow demonism of Nazism © koninklijke brill nv, leiden, ���6 | doi �0.��63/97890043��098_0�7 <UN> 232 chapter 15 below.1 Howard K. -
Albrecht Dürer: “The Apelles of Black Lines”
Albrecht Dürer: “The Apelles of Black Lines” Background Notes Dr Gillian White - 9 January 2019 Albrecht Dürer, Peasant Couple Dancing, 1514 Copperplate engraving Winchester Art History Group www.wahg.org.uk 1 Albrecht Dürer: “The Apelles of Black Lines” Introduction Towards the end of the fifteenth century there was a revolution in communication. The emergent printing press created a desire for the printed word and in its wake came a growing interest in illustration. At first the simple woodcut was used but, as the market for print grew, the techniques became more sophisticated and publishers included complex engravings with their works. From there it was a simple step to the emergence of the art print, the individual sheet or series to be collected as a work of art in its own right. The print became a major force for the circulation of ideas, whether in association with or independent from the word. Foremost amongst the print artists was Albrecht Dürer (1471-1528), whose works illustrate the restless religious and philosophical world of the early sixteenth century. His prints are some of the most extraordinary and technically proficient ever produced and caused Erasmus to describe the artist as ‘the Apelles of black lines’. Albrecht Dürer Dürer was born in Nuremberg in 1471, the son of a successful goldsmith whose family origins were in Hungary. After basic schooling he was apprenticed to his father but, as he himself put it, was ‘more inclined towards painting’ and his father sent him to the successful workshop of Michael Wolgemut, where the boy could learn a broad range of techniques. -
Leda Wilkins Johnson
Propaganda and Ideology: The Architecture of the Third Reich By Leda Wilkins Johnson “In a solemn ceremony, representatives of four Arizona Indian tribes, resentful at Nazi ‘sets of oppression,’ foreswore use of the swastika design in native basket and blanket weaving. The Indians placed a blanket, a basket, and some hand-decorated clothing, all bearing swastikas, in a pile, sprinkled them with colored sand and set them afire.”1 This simple example illustrates how the trademark of Nazism, the swastika, became an international symbol for hatred and autocracy. Even today, more than fifty years after the fact, our sensibilities still recoil at the mere mention of the word. Yet, for millennia, the swastika was seen as a “token of good fortune” and various groups such as architects, militarists, and the scientific community used the symbol to signify peace and/or luck.2 This being the case, it is curious how such a benign image could transform into something that causes worldwide revulsion.3 In fact, our disgust has nothing to do with the actual design of the swastika; the form and figuration of the emblem have not changed throughout its long history. The only element of the swastika that altered after 1920 was the ideology affiliated with it. Thus, our aversion to this four-armed charm is not its depiction but the ideology it has come to represent.4 In like manner, National Socialist architecture is regarded by many as unnatural, adverse, and/or grotesque. Some fear to describe it with any “unwarranted luster” and refuse even to study Nazi -
Sensory Reality As Perceived Through the Religious Iconography of the Renaissance
Sensory reality as perceived through the religious iconography of the Renaissance Maria Athanasekou, Athens In Della pittura, Leon Battista Alberti wrote: “No one would deny that the painter has nothing to do with things that are not visible. The painter is concerned solely with representing what can be seen.”1 What Alberti does not mention is that during the Trecento, as well as in his own time, painted surfaces were populated with things that are not visible, with saints and angels, seraphims and cherubims, even the Madonna, Jesus and the Almighty God. The reality of all religious paintings of the Renaissance is virtually inhabited by heavenly and otherworldly creatures, taking the viewer onto a metaphysical level of experience and mystical union with the celestial cosmos. Physical space is intertwined with the supernatural environment that holy fig- ures occupy, and religious paintings systematically form another ac- tuality, a virtual reality for the viewer to experience and sense. In most cases this dynamic new world is the result of the com- bined efforts of the artist and the client (or patron), as specific details regarding the execution, content, materials, cost and time of delivery were stipulated in contracts. Hence, the scenographic virtuality of sa- cred images was produced by real people who wished to construct an alternative sensory reality in which they are portrayed alongside holy men and women. During the period ranging from the later Middle Ages to the end of the seventeenth century, Europeans believed that their heads contained three ventricles. In these, they were told, their faculties were processed, circulated and stored the sensory 1 Alberti 1967, 43. -
How the World's Religions View Apocalypticism
HOW THE WORLD’S RELIGIONS VIEW APOCALYPTICISM By: Patrick J. Kiger More than 2,500 years ago, the Persian holy man Zoroaster taught his followers that someday, the world as humans know it will end badly. As humans succumb to temptation and become increasingly lawless and deceitful, society will break down, with families splitting up in hatred and the slaves brazenly defying nobles. Nature itself will begin to shut down, with the sun becoming smaller and clouds increasingly darkening the sky and pelting the land with foul-smelling rain. Crops and trees will wither away. Finally, an army of long-haired demons who are “powerful and most skilled in smiting,” will invade from the east. But that menacing horde will be met by another army, one composed of holy warriors, who will engage in one last epic battle to defend goodness and purify the holy places that the demons have desecrated. Zoroaster wasn’t the only one to make such a dramatic prophecy. Since ancient times, many religions have harbored a belief that God has already written the last chapter of history, and that it will end in a cataclysmic confrontation between good and evil. Such end-of-the-world beliefs are known as apocalypticism. Here are some of the apocalyptic beliefs of various faiths: Christianity: Some Christians believe that the New Testament’s book of Revelation, isn’t just metaphorical, but a literal description of a final battle on Earth between God and the forces of Satan. Before that happens, there is a series of horrific events—including an earthquake, lightning, and a fiery hailstorm that burns up a third of the trees on Earth and turns part of the sea to blood. -
Eva-Michel.Pdf
Continuous Page: Scrolls and Scrolling from Papyrus to Hypertext Edited by Jack Hartnell With contributions by: Luca Bochicchio Stacy Boldrick Rachel E. Boyd Pika Ghosh Jack Hartnell Katherine Storm Hindley Michael Hrebeniak Kristopher W. Kersey Eva Michel Judith Olszowy-Schlanger Claire Smith Rachel Warriner Michael J. Waters Series Editor: Alixe Bovey Managing Editor: Maria Mileeva Courtauld Books Online is published by the Research Forum of The Courtauld Institute of Art Vernon Square, Penton Rise, King’s Cross, London, WC1X 9EW © 2019, The Courtauld Institute of Art, London. ISBN: 978-1-907485-10-7. Courtauld Books Online is a series of scholarly books published by The Courtauld Institute of Art. The series includes research publications that emerge from Courtauld Research Forum events and Courtauld projects involving an array of outstanding scholars from art history and conservation across the world. It is an open-access series, freely available to readers to read online and to download without charge. The series has been developed in the context of research priorities of The Courtauld Institute of Art which emphasise the extension of knowledge in the fields of art history and conservation, and the development of new patterns of explanation. For more information contact [email protected] All chapters of this book are available for download courtauld.ac.uk/research/courtauld-books-online Every effort has been made to contact the copyright holders of images reproduced in this publication. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. All rights reserved. CONTENTS INTRODUCTION 0. The Continuous Page Jack Hartnell (University of East Anglia) HISTORY 1. -
Century Germany Miranda K. Metcalf MA
1 When the Lion Lies Down with the Lapdog: Artists, Saints, Dogs and Men in Sixteenth- Century Germany Miranda K. Metcalf MA student, Art History, University of Arizona Canines have been companions to humans for somewhere between 15,000 and 20,000 years and are the earliest domesticated species.1 Despite dogs’ prominent presence during the development of human civilization, they have received little attention from historians. As Dorothee Brantz points out, “This omission may, however, reveal more about history as an academic discipline than it does about the past itself. After all, how could human societies have survived without the food, materials, labor and entertainment that animals supplied?”2 While there are those who question the importance of studying the presence of animals in the art and literature of the past, it is likely that this recent interest in the lives of animals is part of a steady broadening of the historical lens. This broadening expands beyond the once exclusionary focus on white, landowning men to include women, racial minorities, the impoverished, non- westerners, religious minorities, and eventually non-human animals.3 In recent years, several scholars have contributed significant research on the historical roles and the lives of animals. Erica Fudge is perhaps the most prolific contributor to this field.4 For over a decade she has published work and edited collections dedicated to the lives of animals and the way in which humans have perceived them in the early modern period. Fudge states in her publications that a history written by humans is primarily a history of humans and therefore 1 Evan Ratliff, “Mix, Match, Morph: How to Build a Dog,” National Geographic (February 2012), 39-48. -
Spotlights Albrecht Dürer and the Renaissance North of the Alps
Spotlight: The New Apelles Albrecht Dürer and the Renaissance North of the Alps DR. JÖRN GÜNTHER · RARE BOOKS AG Manuskripte unD seltene Bücher [email protected] www.guenther-rarebooks.com How is it possible that the son of an ordinary – successful, but not outstanding – goldsmith became not only Germany’s most celebrated ar:st but also an interna:onal leading figure in Europe’s cultural life? Centuries of reflec:on, studies, and research on the topic of Albrecht Dürer have brought to light new insights and discoveries about the ar:st and his works. Moreover, Dürer – and his father before him – have passed down a family chronicle that tells us about the personal history of the ar:st and his next of kin. But s:ll, many ques:ons about the great ar:st remain open and Albrecht Dürer, Self-portrait at 13 years, unanswered. silverpoint, Vienna, Graphische Sammlung, Alber:na His father, as we can deduce from his own self portrait, was a very talented draughtsman, who apparently learned the best part of his craft during his years of travel in the Netherlands, where he became familiar with the celebrated works of the “great masters” (Jan van Eyck, Rogier van der Weyden, and others), as his son would later call them in his chronicle. The young Albrecht Dürer learned his outstanding mastery in silverpoint pen and burin during his apprenticeship in his father’s workshop. Albrecht the Elder must have been very proud of his son and eager to hand the family business over to him one day.