What Bone Shall Speak for Me? Seeking the Language of Bones: a Photographic Investigation
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Heritage Ethics and Human Rights of the Dead
genealogy Article Heritage Ethics and Human Rights of the Dead Kelsey Perreault ID The Institute for Comparative Studies in Literature, Art, and Culture, Carleton University, Ottawa, ON K1S 5B6, Canada; [email protected] Received: 1 May 2018; Accepted: 13 July 2018; Published: 17 July 2018 Abstract: Thomas Laqueur argues that the work of the dead is carried out through the living and through those who remember, honour, and mourn. Further, he maintains that the brutal or careless disposal of the corpse “is an attack of extreme violence”. To treat the dead body as if it does not matter or as if it were ordinary organic matter would be to deny its humanity. From Laqueur’s point of view, it is inferred that the dead are believed to have rights and dignities that are upheld through the rituals, practices, and beliefs of the living. The dead have always held a place in the space of the living, whether that space has been material and visible, or intangible and out of sight. This paper considers ossuaries as a key site for investigating the relationships between the living and dead. Holding the bones of hundreds or even thousands of bodies, ossuaries represent an important tradition in the cultural history of the dead. Ossuaries are culturally constituted and have taken many forms across the globe, although this research focuses predominantly on Western European ossuary practices and North American Indigenous ossuaries. This paper will examine two case studies, the Sedlec Ossuary (Kutna Hora, Czech Republic) and Taber Hill Ossuary (Toronto, ON, Canada), to think through the rights of the dead at heritage sites. -
Text Kostnice En A4
Printed commentary – RETURN please! Cemetery Church of All Saints with the OSSUARY Dear visitors, you are at a memorial site, a final resting place of 60,000 people. On behalf of the Roman Catholic parish - an administrator of the site, we thank you for keeping the reverence and respect in the area of the cemetery. Cemetery Church was a part of the oldest Cistercian monastery in Bohemia founded in 1142. Also a unique Cathedral of the Assumption of Our Lady and St. John the Baptist near by (a UNESCO-listed site since 1995) and a former baroque convent (a seat of a tobacco factory since 1812) were preserved. Church of All Saints was built in the late 14th century and is an important monument of the High Gothic style. Architecturally it is a Gothic charnel house with an upper chapel and an underground Ossuary. According to the legend, one of the local abbots was sent by the Czech king to Jerusalem around the year 1278. The Abbot brought a handful of soil from Golgotha and scattered it over the Sedlec cemetery. The soil from the Holy Land was used for consecrating and healing. Also people from Europe desired to be buried in Sedlec. (Similar Holy fields were also in e. g. Rome, Pisa or Paris). The cemetery was considerably extended during great epidemics in 14th century - 30,000 deceased were buried there. In the spring of 1421 the Hussite troops captured Kutná Hora. They also attacked Sedlec, plundered and burnt the cathedral and the monastery. The cemetery Church of All Saints was also devastated. -
Unearth Exhibition Catalog
UNEARTH | JUDY ONOFRIO The Rochester Art Center “This work is celebrating the ongoing cycle of ever-changing life, filled with expectation, anticipation, and the unknown. Through my intuitive studio practice, I seek to move beyond a specific narrative, and reach toward a universal experience of beauty that speaks to the transitory nature of life.” -JUDY ONOFRIO 4 TABLE OF CONTENTS Materiality, Texture and Form: A Lived Practice in Unearth Foreword the Work of Judy Onofrio Works in the Exhibition O6 10 21 “...I was so much Unearthing Materiality and older then Meaning in the Work of I’m younger than Judy Onofrio that now.” Artist's Resume 86 98 104 Acknowledgments Colophon 111 112 5 FOREWORD Megan Johnston Rochester Art Center Executive Director With this exhibition, Unearth by Rochester- an intentional turn towards being more open based, nationally recognized artist Judy and engaging. While we celebrate 70 years of Onofrio, Rochester Art Center is proud fostering creativity in our community, with to announce the celebration of our 70th more than 1 million people served, we are also anniversary. registering eleven years sited on the banks of the Zumbro River and at the heart of a city. The exhibition highlights RAC’s commitment to presenting signature solo shows by artists In this context, the exhibition Unearth by Judy regionally, nationally and internationally. Onofrio not only highlights this change but For more than 25 years I have worked closely also a re-connection to our specific context. with artists on significant new bodies of For many of us in Rochester and Minnesota, work, creating space for risk and support. -
Ossuarius Eva Bujalka
Ossuarius Eva Bujalka Sedlec, Kutná Hora, the 1870th year of Our Lord Jesus Christ. The Schwarzenberg family—a family of Franconian and Bohemian aristocrats—has commissioned Czech woodcarver František Rint with an intriguing task. See these bones lying here in the Sedlec Ossuary? See these bones, organized by a sixteenth-century, half-blind monk? See these bones? Make something of these bones. Look at the Church of the Assumption of Our Lady and Saint John the Baptist. Look there at the bejeweled and clothed relics of the saints. But do not bejewel or clothe these bones. No. Instead, make something of these bones. And Rint, quite literally, makes something of them. But Rint’s craft leads him to produce something altogether different from the winding walls-of-bones pathways of the Catacombs de Paris, different from the ‘archway- altarpiece’ in Faro’s Capela dos Ossos, different, also, from the circular geometric bone-designs at Lima’s Convento de San Francisco catacombs, different, also, from the ornate bone- adornments of Rome’s Santa Maria della Concenzione dei Cappuccini crypt. It is possible that no one would have ever heard of František Rint or his crafts had he not, rather fortuitously, been commissioned to further elaborate on the work of his predecessors at the Kostnice v Sedleci. There is little remaining documentation of his employment there, and even less about his life and work. When Karl Joseph Adolf von Schwarzenberg hired him for the task, Rint was met with what had already been eight-hundred years of death—a veritable history of decay. -
Soulsabbath.Pdf
SOUL SABBATH SYNOPSIS Even as a child, Mieszko’s parents knew there was something not quite right about the boy, and when they saw him drawing a picture of a woman with wolf-like characteristics, they were convinced he was “unsound” and handed him over to the local Benedictine monastery, abandoning him forever. Mieszko would spend the rest of his life in that monastery until one day he simply vanished without a trace. Though he took his vows very seriously, he could no longer maintain his silence when an epiphany came to him that certain scriptures were not gospel at all – an offense that exposed him as a heretic. Mieszko’s revelation concerned the redemption of mankind, and such heresy shook the monastery to its very foundation. Though this was a crime punishable by death, Mieszko was able to bargain for his life, but it could be argued that the punishment delivered was, in fact, worse than death. The bricks were gathered, the mortar poured, and Mieszko was confined in the tiny scriptorium and assigned the task of scribing the greatest book of his time – The Codex Gigas. Even as Mieszko dropped to his knees to enter the tomb, he could not repent of the truth he had been shown, and he began the monumental chore, not to find forgiveness, but to pay homage to his convictions. Although he was writing possessed, Mieszko knew in his heart that he could never complete this impossible task alone – not in his current form. Still, he labored, and with each stroke of the quill, he became more a part of the book, until he was absorbed into the very book itself. -
Sample Itinerary
800 223 4664 www.maestro-performance.com featuring Prague, Kutna Hora, Jihlava, Krakow, Wieliczka, Auschwitz, Warsaw, and Zelasowa Wola – Begin your 9-day European Performance Tour with today’s overnight trans-Atlantic flight. – The Czech Republic welcomes you! Arrive at the airport, and meet your full-time bilingual tour manager. Begin sightseeing right away, as a local guide joins you for a panoramic tour of Prague, to familiarize you with this exciting city, including a visit to the Dvorak Museum, a baroque summer house featuring an exhibition of one of the greatest composers in the Czech Republic. Check-in to your hotel this afternoon, and refresh from your journey. This evening, enjoy a walk with your tour manager to enjoy the unforgettable Krisik’s Musical Fountain, constructed at the beginning of the 20th century and featuring a fantastic performance of water, light, and music! Dinner is served at a local restaurant. – Breakfast is served at the hotel, and each morning for the remainder of your tour. A local guide joins you this morning for a sightseeing tour of Prague. Begin with the monumental Prague Castle and its interiors to learn of its rich history; visit the St. Vitus Cathedral while inside. Afterwards walk through Lesser Town and cross the Charles Bridge into Old Town, where the square is dominated by the Church of Our Lady, and the Town Hall where the world-famous Astronomical Clock is found. There is free time this afternoon, for lunch under your own arrangements, and to relax or further explore on your own or with your tour manager’s assistance; you may wish to visit the Czech Museum of Music, representing musical instruments as both evidence of skill in craft and art, and as a fundamental mediator between human beings and music. -
Rule Technische Universiteit
( Technische Universiteit Eindhoven rUle University of Technolog Path of life in mixed reality Proposed by: Prof. G.W.M. Rauterberg September 2012 - June 2013 By Kiarash Irandoust [email protected] Coach: Lucian Reindl, ©K. Irandoust 2013 2 This report is a brief overview of my master graduation project "Path of life in It is worth mentioning that the information and knowledge that I gained in this mixed reality"; a project which intends to create an interactive installation that stage are the foundation of the final design. enable visitors to experience deeply rooted cultural dimensions based on seven My reason for choosing this topic was due to my vision on creating societal stages in life. i The design challenge is drawing on results from different disci changes and the responsibility that I feel as a designer. My intension was to in plines: religion, sociology, design, and engineering sciences 1. form people and invite them to re-think about issues which are inseparable part of our life and consciously/unconsciously have a great impact on our life. I started this project by looking at various definitions of culture. What is cul ture? And how does culture manifest itself in life? Subsequently, I looked at the Second iteration, conceptualization and validation: the conceptualization pro meaning of life; what does life mean? And how do different cultures look at life cess was through idea generation and model making. It was an iterative process (seven stages of life). Furthermore, I looked at the concept of death from differ in which the final concept shaped gradually. -
Aspects of Cyclic Myth in Chinese and Western Literature
ASPECTS OF CYCLIC MYTH IN CHINESE AND WESTERN LITERATURE ROBERT SHAN-MU CHEN B.A., Soochow University, 1969 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE DEGREE OF MASTER OF ARTS in the Programme of Comparative Literature We accept this thesis as conforming to the required standard THE UNIVERSITY OF. BRITISH COLUMBIA September, 197? Robert Shan-mu Chen, 1977 i In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Robert Shan-mu Chen Department of Comparative Literature The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 Datp October 20, 1977- J /ABSTRACT This thesis is a comparative study of the history and literary form of the cyclic myth in Chinese and Western European culture. The cyclic myth is seen as a complex of discrete myths and rituals which tend to identify man with the periodic regeneration of nature and celestial bodies in order to ensure personal duration against the flux of time. By comparing the origins and transformations of the cyclic myth in both cultures the essential distinctions between Chinese and Western literature will be re• vealed as both cosmological and ontological. -
Contemporary Graffiti's Contra-Community" (2015)
Maine State Library Maine State Documents Academic Research and Dissertations Special Collections 2015 Anti-Establishing: Contemporary Graffiti's Contra- Community Homer Charles Arnold IDSVA Follow this and additional works at: http://digitalmaine.com/academic Recommended Citation Arnold, Homer Charles, "Anti-Establishing: Contemporary Graffiti's Contra-Community" (2015). Academic Research and Dissertations. Book 10. http://digitalmaine.com/academic/10 This Text is brought to you for free and open access by the Special Collections at Maine State Documents. It has been accepted for inclusion in Academic Research and Dissertations by an authorized administrator of Maine State Documents. For more information, please contact [email protected]. ANTI-ESTABLISHING: CONTEMPORARY GRAFFITI’S CONTRA-COMMUNITY Homer Charles Arnold Submitted to the faulty of The Institute for Doctoral Studies in the Visual Arts in partial fulfillment of the requirements for the degree Doctor of Philosophy April, 2015 Accepted by the faculty of the Institute for Doctoral Studies in the Visual Arts in partial fulfillment of the degree of Doctor of Philosophy. _______________________________ Sigrid Hackenberg Ph.D. Doctoral Committee _______________________________ George Smith, Ph.D. _______________________________ Simonetta Moro, Ph.D. April 14, 2015 ii © 2015 Homer Charles Arnold ALL RIGHTS RESERVED iii It is the basic condition of life, to be required to violate your own identity. -Philip K. Dick Celine: “Today, I’m Angéle.” Julie: “Yesterday, it was me.” Celine: “But it’s still her.” -Céline et Julie vont en bateau - Phantom Ladies Over Paris Dedicated to my parents: Dr. and Mrs. H.S. Arnold. iv ACKNOWLEDGEMENTS The author owes much thanks and appreciation to his advisor Sigrid Hackenberg, Ph.D. -
![Dough[Tiness]: Introduction and Notes for a Translation of the Ma-Wang-Tui Manuscripts of the Lao Tzu [Old Master]](https://docslib.b-cdn.net/cover/2195/dough-tiness-introduction-and-notes-for-a-translation-of-the-ma-wang-tui-manuscripts-of-the-lao-tzu-old-master-2482195.webp)
Dough[Tiness]: Introduction and Notes for a Translation of the Ma-Wang-Tui Manuscripts of the Lao Tzu [Old Master]
SINO-PLATONIC PAPERS Number 20 October, 1990 [The] File [on the Cosmic] Track [and Individual] Dough[tiness]: Introduction and Notes for a Translation of the Ma-wang-tui Manuscripts of the Lao Tzu [Old Master] by Victor H. Mair Victor H. Mair, Editor Sino-Platonic Papers Department of East Asian Languages and Civilizations University of Pennsylvania Philadelphia, PA 19104-6305 USA [email protected] www.sino-platonic.org SINO-PLATONIC PAPERS is an occasional series edited by Victor H. Mair. The purpose of the series is to make available to specialists and the interested public the results of research that, because of its unconventional or controversial nature, might otherwise go unpublished. The editor actively encourages younger, not yet well established, scholars and independent authors to submit manuscripts for consideration. Contributions in any of the major scholarly languages of the world, including Romanized Modern Standard Mandarin (MSM) and Japanese, are acceptable. In special circumstances, papers written in one of the Sinitic topolects (fangyan) may be considered for publication. Although the chief focus of Sino-Platonic Papers is on the intercultural relations of China with other peoples, challenging and creative studies on a wide variety of philological subjects will be entertained. This series is not the place for safe, sober, and stodgy presentations. Sino-Platonic Papers prefers lively work that, while taking reasonable risks to advance the field, capitalizes on brilliant new insights into the development of civilization. The only style-sheet we honor is that of consistency. Where possible, we prefer the usages of the Journal of Asian Studies. Sinographs (hanzi, also called tetragraphs [fangkuaizi]) and other unusual symbols should be kept to an absolute minimum. -
Cabineta Quarterly of Art and Culture Issue 28 Bones Us $12 Canada $12
A QUARTERLY OF ART AND CULTURE ISSUE 28 BONES CABINET US $12 CANADA $12 UK £7 cabinet Cabinet is a non-profit 501 (c) (3) magazine published by Immaterial Incorpo- 181 Wyckoff Street rated. Our survival is dependent on support from foundations and generous Brooklyn NY 11217 USA individuals. Please consider supporting us at whatever level you can. Contribu- tel + 1 718 222 8434 tions to Cabinet are fully tax-deductible for those who pay taxes to Uncle Sam. fax + 1 718 222 3700 Donations of $25 or more will be acknowledged in the next possible issue, and email [email protected] those above $100 will be acknowledged for four consecutive issues. Checks www.cabinetmagazine.org should be made out to “Cabinet” and sent to our office address. Please mark the envelope, “See? Wishbones do work!” Winter 2007–2008, issue 28 Cabinet wishes to thank the following visionary foundations and individuals Editor-in-chief Sina Najafi for their support of our activities during 2007. Additionally, we will forever be Senior editor Jeffrey Kastner indebted to the extraordinary contribution of the Flora Family Foundation from Editor Christopher Turner 1999 to 2004; without their generous support, this publication would not exist. UK editor Brian Dillon We would also like to thank the Orphiflamme Foundation for a recent generous Managing editor Colby Chamberlain grant and David Walentas/Two Trees for their donation of an editorial office. Associate editor & graphic designer Ryo Manabe Art director Jessica Green Website directors Luke Murphy, Kristofer Widholm, Isaac Overcast, Ryan O’Toole $50,000 Editors-at-large Saul Anton, Mats Bigert, Brian Conley, Christoph Cox, The Andy Warhol Foundation for the $500 or under Jesse Lerner, Jennifer Liese, Frances Richard, Daniel Rosenberg, David Serlin, Visual Arts Monroe Denton, Hugh Raffles, James Debra Singer, Margaret Sundell, Allen S. -
Dating the Origin of Chinese Writing: Evidence from Oracle Bone Inscriptions Kuang Yu Chen, Ph.D. Rutgers University ABSTRACT T
Dating the Origin of Chinese Writing: Evidence from Oracle Bone Inscriptions Kuang Yu Chen, Ph.D. Rutgers University ABSTRACT The convergence of a visual sign containing semantic value with an audio symbol signifies the creation of writing. Writing was independently created at least four times in human history, hence, Sumerian, Egyptian, Chinese and Olmec/Mayan are considered the four original or pristine writings. The four pristine writings are all logographic and logosyllabic, containing both visual and phonetic elements. Among them, Chinese remains viable and logographic, the other three died out hundreds or thousands year ago. The dating of the origin of both Sumerian and Egyptian writing to about 3200 BCE is supported by strong archeological evidence. The Mayan writing clearly was derived from the earlier Olmec writing, which could be dated with archaeological evidence to about 600 BCE or earlier. Although Chinese is the only surviving pristine writing, its origin has not been definitively dated. The earliest Chinese writing available today is OBI of late Shang (ca. 1300-1046 BCE), which was already a fully mature writing system. Clearly, the origin of Chinese would have to be much earlier than the time of late Shang. In the absence of definitive archaeological evidence, we propose two alternative approaches for dating the origin of Chinese writing, one based on the structural continuity of Chinese script, from OBI to modern Chinese, and the other based on the pre-Dynastic personal names identified in OBI. The role of taowen (pottery signs) in dating the origin of Chinese is also discussed. 1. DEFINITION OF WRITING SYSTEM In contrast to spoken language, which is temporal and physiological, written language, expressed with scripts, is atemporal and mechanical, and requires material medium and space.