Remaking Tank Man, in China

2017 ◽  
Vol 16 (2) ◽  
pp. 127-166 ◽  
Author(s):  
Margaret Hillenbrand
Keyword(s):  
Political Cartoons ◽  
Iconic Status ◽  
Digital Artists

Tank Man, the image of the lone protestor who faced down the tanks near Tian’anmen Square in 1989, leads a vibrant afterlife in political cartoons, memes, and YouTube remixes. In an era when staying memorable increasingly means being searchable online, these digital remakes have helped to keep his image fresh – outside China anyway. In China itself, though, Tank Man is a famously verboten image, mostly policed out of online sight. The digital artists who have repurposed his image are typically so harried by the censors that their work cannot hope to endow Tank Man with mass viral visibility, let alone the iconic status he possesses abroad. But precisely because of their fugitive character – which produces audiences who are alert, amused, and on the qui vive – these repurposings ensure that Tank Man remains the grit in the clam of public secrecy about 1989.

Challenges facing the farmers of Central Otago

2014 ◽  
Vol 76 ◽  
pp. 25-28
Author(s):  
D.R. Stevens ◽  
J.P. Garden
Keyword(s):  
New Zealand ◽  
Valley Floor ◽  
History Of ◽  
Iconic Status

The Central Otago region, with its cold winters and hot summers, and valley floors with uplift mountains is definitely "a world of difference". At the NZGA conference in Alexandra in 1966 John Hercus stated "Central Otago has a lure which sets it apart from the rest of New Zealand. Its characteristics of geology, topography and climate, its history of occupation and exploitation, its scenery at once forbidding and yet strangely fascinating - these features combine to cast a spell which few who have been exposed, can ever fully escape" (Hercus 1966). The region and its high country have an iconic status epitomised by the "Southern Man" stereotype. This places Central Otago deep in the psyche of the nation. With this goes a unique and significant set of conditions under which farming must take place. Not only does the region have the biophysical challenges of soils, water and climate to contend with, but a wider set of values, often imposed from elsewhere. Fifty years after that first conference we remain challenged. What are the opportunities in front of us and how should we best accommodate the challenge of maintaining a viable enterprise and at the same time, respecting the intense public and customer interest in our use of land and livestock? Central Otago and the associated high country of the Lakes district and McKenzie basin can be divided into three farming types. These are the valley floor irrigable type, the flat and downland dryland regions, and the high country. Each of these has challenges that are at times unique, but often overlap with problems faced in other regions.

Liszt at the Piano: The Impact of Iconography on mid-Nineteenth Century Musicology

2014 ◽  
Vol 55 (1-2) ◽  
pp. 131-144
Author(s):  
Suzanne Marie Francis
Keyword(s):  
Nineteenth Century ◽  
Music History ◽  
Collective Identities ◽  
Cultural Contexts ◽  
Maximum Benefit ◽  
Starting Point ◽  
The Social ◽  
Iconic Status ◽  
The Impact

By the time of his death in 1827, the image of Beethoven as we recognise him today was firmly fixed in the minds of his contemporaries, and the career of Liszt was beginning to flower into that of the virtuosic performer he would be recognised as by the end of the 1830s. By analysing the seminal artwork Liszt at the Piano of 1840 by Josef Danhauser, we can see how a seemingly unremarkable head-and-shoulders bust of Beethoven in fact holds the key to unlocking the layers of commentary on both Liszt and Beethoven beneath the surface of the image. Taking the analysis by Alessandra Comini as a starting point, this paper will look deeper into the subtle connections discernible between the protagonists of the picture. These reveal how the collective identities of the artist and his painted assembly contribute directly to Beethoven’s already iconic status within music history around 1840 and reflect the reception of Liszt at this time. Set against the background of Romanticism predominant in the social and cultural contexts of the mid 1800s, it becomes apparent that it is no longer enough to look at a picture of a composer or performer in isolation to understand its impact on the construction of an overall identity. Each image must be viewed in relation to those that preceded and came after it to gain the maximum benefit from what it can tell us.

Possessing the Iconic Book

2012 ◽  
Vol 6 (1-3) ◽  
pp. 309-329
Author(s):  
Claudia V. Camp
Keyword(s):  
Second Century ◽  
Religious Literature ◽  
Ben Sira ◽  
The Core ◽  
The Bible ◽  
Iconic Status ◽  
The Voice ◽  
Woman Wisdom ◽  
Martin Marty

I propose that the notion of possession adds an important ideological nuance to the analyses of iconic books set forth by Martin Marty (1980) and, more recently, by James Watts (2006). Using the early second century BCE book of Sirach as a case study, I tease out some of the symbolic dynamics through which the Bible achieved iconic status in the first place, that is, the conditions in which significance was attached to its material, finite shape. For Ben Sira, this symbolism was deeply tied to his honor-shame ethos in which women posed a threat to the honor of his eternal name, a threat resolved through his possession of Torah figured as the Woman Wisdom. What my analysis suggests is that the conflicted perceptions of gender in Ben Sira’s text is fundamental to his appropriation of, and attempt to produce, authoritative religious literature, and thus essential for understanding his relationship to this emerging canon. Torah, conceived as female, was the core of this canon, but Ben Sira adds his own literary production to this female “body” (or feminized corpus, if you will), becoming the voice of both through the experience of perfect possession.

Possession and Repetition

2012 ◽  
Vol 6 (1-3) ◽  
pp. 243-259 ◽  
Author(s):  
Yohan Yoo
Keyword(s):  
First Century ◽  
Daily Lives ◽  
Modern Times ◽  
Sacred Texts ◽  
New Methods ◽  
Wide Range ◽  
Lay Buddhists ◽  
Iconic Status ◽  
And Function ◽  
To Receive

This article demonstrates the need for the iconic status and function of Buddhist scripture to receive more attention by illuminating how lay Korean Buddhists try to appropriate the power of sutras. The oral and aural aspects of scripture, explained by Wilfred Cantwell Smith, provide only a limited understanding of the characteristics of scripture. It should be noted that, before modern times, most lay people, not only in Buddhist cultures but also in Christian and other traditions, neither had the chance to recite scriptures nor to listen to their recitations regularly. Several clear examples demonstrate contemporary Korean Buddhists’ acceptance of the iconic status of sutras and their attempt to appropriate the power and status of those sacred texts. In contemporary Korea, lay Buddhists try to claim the power of scriptures in their daily lives by repeating and possessing them. Twenty-first century lay believers who cannot read or recite in a traditional style have found new methods of repetition, such as internet programs for copying sacred texts and for playing recordings of their recitations. In addition, many Korean Buddhists consider the act of having sutras in one’s possession to be an effective way of accessing the sacred status and power of these texts. Hence, various ways of possessing them have been developed in a wide range of products, from fancy gilded sutras to sneakers embroidered with mantras.

scholarly journals EGYPTIAN COMICS AND THE CHALLENGE TO PATRIARCHAL AUTHORITARIANISM

2017 ◽  
Vol 49 (1) ◽  
pp. 111-131 ◽  
Author(s):  
Jacob Høigilt
Keyword(s):  
Arab World ◽  
Political Cartoons ◽  
Gender Dynamics ◽  
Art Forms ◽  
Depth Study ◽  
Arab Societies ◽  
Cultural Movement

AbstractAdult comics are a new medium in the Arab world. This article is the first in-depth study of their emergence and role within Arab societies. Focused on Egypt, it shows how adult comics have boldly addressed political and social questions. Seeing them as part of a broader cultural efflorescence in Egypt, I argue that, against patriarchal authoritarianism, adult comics have expressed an alternative ideology of tolerance, civic rights and duties, individualism, creativity, and criticism of power. Specifically, they present a damning critique of Egypt's authoritarian order, as well as of the marginalization of women and broader gender dynamics in Egyptian society. Through frank humor, a playful style, and explicit graphics, they give voice to the concerns of young Egyptians. Connecting comics to other art forms such as music, graffiti, and political cartoons, I situate them within a critical cultural movement that came to the fore with the Egyptian uprising of 2011.

The Free Republican Party in the political cartoons of the 1930s

2015 ◽  
Vol 53 ◽  
pp. 93-136
Author(s):  
Gökçen Başaran İnce
Keyword(s):  
Thematic Analysis ◽  
Republican Party ◽  
Party System ◽  
Historical Memory ◽  
Political Cartoons ◽  
The Political ◽  
Political Messages ◽  
People's Party ◽  
The Social ◽  
Kemal Ataturk

AbstractThe Free Republican Party (FRP; Serbest Cumhuriyet Fırkası), founded and dissolved in 1930, represented the second attempt to transition to a multi-party system in Turkey, following the formation of the Progressive Republican Party (Terakkiperver Cumhuriyet Fırkası) in 1924. In contrast to the oppositional establishment of the latter, the FRP seemed to be a state-originated project whose establishment was decided upon by the elites of the day, led by Mustafa Kemal Atatürk. Its representation in contemporary cartoons is deemed important today given the political cartoon’s ability to simplify complex political messages into understandable symbols and metaphors and to address or reach those who may not be literate. Taking into account the social structure of society during this period, this aspect of the reach of cartoons becomes particularly important. Political cartoons’ ability to both support the text in a newspaper and penetrate historical memory through stereotypes is also significant in terms of the representation of personalities and events. This article will attempt to analyze the formation of the FRP and the depiction of its elites through newspaper cartoons. Three prominent and pro-Republican People’s Party (Cumhuriyet Halk Partisi) newspapers of this period—namely Cumhuriyet, Milliyet, and Vakit—will provide the material for the content and thematic analysis of the study.

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