scholarly journals David Morgan, The Embodied Eye. Religious Visual Culture and the Social Life of Feeling

2015 ◽  
pp. 85-88
Author(s):  
Marie Lezowski
Keyword(s):  
Visual Culture ◽  
Social Life ◽  
The Social ◽  
David Morgan

scholarly journals The Way of the Firang: Illustrating European Social Life and Customs in Mughal Miniatures (1580 CE -1628 CE)

2020 ◽  
Vol 12 (5) ◽  
Author(s):  
Soujit Das ◽  
◽  
Ila Gupta ◽  
Keyword(s):  
Sixteenth Century ◽  
Visual Culture ◽  
Social Life ◽  
Cross Cultural ◽  
Mughal Empire ◽  
The Social ◽  
Social Landscape ◽  
Cultural Alienation ◽  
Cultural Dialogue ◽  
First Time

During the sixteenth century, along with the rise of the Mughal Empire, the social landscape of India changed drastically with the advent of the European colonial powers. In 1580 CE, following the First Jesuit Mission to the Court of Emperor Akbar, a new cross-cultural dialogue was initiated that not only impacted the socio-economic and political fabric but also the artistic productions of the time. The growing presence of the European traders, ambassadors, soldiers, and missionaries in the Mughal world also lead to several curious narratives that were widely circulated. These tales also gave birth to cultural misconceptions as the Europeans on several occasions were seen as social evils. They were often collectively addressed as Firang/Farang or ‘Franks’ and were perceived as ‘strange and wonderful people’ or ‘ajaib-o-ghara’ib’. It was during the Mughal reign when for the first time in Indian visual culture, a conscious attempt was made to document the life and customs of the European people. This paper attempts to understand how the processes of cultural alienation and Occidentalism had influenced the representation of Europeans in Mughal miniatures. It also argues how Mughal artists innovate new iconographic schemes to represent and perpetuate a sense of the ‘other’. How artists used these identity markers to establish notions of morality as well as of Islamic cultural superiority. The select illustrations also attempt to elucidate how these representations of Europeans were culturally appropriated and contributed to the Mughal ‘fantasy excursions’.

Cinehistory and Experiments on Film

2012 ◽  
Vol 11 (3) ◽  
pp. 288-306 ◽  
Author(s):  
Hanna Rose Shell
Keyword(s):  
Visual Culture ◽  
Social Life ◽  
Visual Media ◽  
Theory And Practice ◽  
Physical Sciences ◽  
Video Installation ◽  
Culture Studies ◽  
Visual Culture Studies ◽  
The Social ◽  
Film And Video

This article considers what time-based audio-visual media can bring to historical scholarship in science and visual culture studies. The author argues that the history and critical analysis of cinematography and other time-based optical research methods used in the social, life and physical sciences, are productively accomplished through a simultaneously theory- and practice-bound model of multimedia history. She introduces the concept and term cinehistory through analysis of her own film and video installation work, focusing specifically on her Experiments on Film project (2004–2011), a series of multisensory, filmic histories of physiologist and inventor Étienne-Jules Marey’s development of underwater chronophotography in the 1890s.

Refashioning vagrancy: a tale of Law's narrative of its imagination

2015 ◽  
Vol 11 (3) ◽  
pp. 320-340 ◽  
Author(s):  
Prashan Ranasinghe
Keyword(s):  
Visual Culture ◽  
Public Space ◽  
Social Life ◽  
Social World ◽  
Urban Public Space ◽  
The Social ◽  
The Law ◽  
Public Disorder

AbstractThis paper explicates the relation between vagrancy and public disorder, a relation constituted by a dialecticism that is at once (dis)continuous and (dis)connected. This relationship is important not only to appreciate the place of public disorder vis-à-vis contemporary urban public space and social life, but historical vagrancy as well. The paper examines the refashioning of vagrancy, paying attention to the semantic legal reformatting of its constitution and how this process permits the regulation of essentially the same historical problems and concerns by translating them into legally sound language, visible in the shift from vagrancy to public disorder. This shift was necessary not simply to preserve the vestiges of vagrancy, now conspicuous in public disorder, but for the preservation of the images of, and imaginations about, Law, including its claims to justice. Loosely taking its cue from the visual culture movement which pays homage to the place of images in the ordering of the social world, the paper invokes (and, then, conflates) the concepts of image and imagination and explicates the manner in which the images of, and imaginations about, Law spearheaded the transmutation of the legal category of vagrancy by re-imagining the vagrant, a re-imagining which itself was the product not just of the Law's imagination, but, imaginations about the Law as well. The paper concludes by locating the place of the image and imagination to propounding a narrative of, and about, Law.

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