scholarly journals Kristus i de dødes rige - et maleri og dets kontekst

2001 ◽  
Vol 52 (1) ◽  
pp. 94-114
Author(s):  
Peter Nørgaard Larsen
Keyword(s):  
Expressive Power ◽  
Modern World ◽  
Vase Painting ◽  
Anglo Saxon ◽  
The Public ◽  
History Of ◽  
The Dead ◽  
The Veil ◽  
Short Time ◽  
Historical Transition

Joakim Skovgaard: Christ in the Realm of the DeadBy Peter Nørgaard LarsenWithout in any way pretending to envelop Joakim Skovgaard’s huge painting Christ in the Realm o f the Dead (1891-94) in an exhaustive monograph, the article attempts, in three main sections, origin, meaning, reception, to approach an understanding of the art-historical models and inspirations for the work, its possible meaning, and, finally, its reception and its chequered course through the history of Danish art.OriginThe encounter with the archaic, .austere style. in both architecture, scuplture and in vase painting was of crucial significance for Skovgaard’s work. The simplicity in both the composition, the movements and expressions of the figures and also the frieze-like coordination of the figures characteristic of the .austere style. and to a large extent of the early Italian Renaissance - another important source of inspiration for Skovgaard’s art - has left crucial traces in Christ in the Realm o f the Dead. It can be seen in the grandiose simplicity of the composition, in its gesticulations and expressive power and in the powerful balance struck between the vertical and the horizontal, between figure and space. Joakim Skovgaard was very reticent with regard to lifting the veil on the thoughts and choices behind his magnum opus. Thus, the picture receives only few mentions in the artist’s letters. And here as in later interviews his virtually sole comment is that the motif was taken from his mother’s favourite hymn, Grundtvig’s rewriting from 1837 of Caedmon’s Anglo-Saxon poem, .The Harrowing of Hell: This night there was a knocking on the gates of Hell..MeaningOne thing that constantly makes itself felt is the vast size of the painting (351,5 x 489 cm). Had it been a commissioned work, most likely in the form of an altarpiece, this would explain the format. But as the painting was done on the artist’s own initiative and at his own expense, we can talk of a unique project in Danish art.Skovgaard clearly conceived of his work as an artist as a calling, and the task was to make great art work as convincingly as possible for God and the spreading of Christianity.As a deeply rooted personal testimony and as a reply to the materialism and and religious doubt of the time and the profanation of the figure of Christ, Skovgaard was re-installing Christ as the almighty, awesome power that can fight titanic battles for the sake of mankind. Skovgaard managed not only to create a picture with a rare power of conviction, but also to let his hero stand as a statement of how, on the threshold of the modern world, art is still able to generate an artistic statement that is both contemporary and relevant. The realm of the dead with the anonymous host of corpse-like beings, who after an age spent in spiritless darkness are forcing their way forward towards a liberating light, is perhaps Skovgaard’s allegory of the time’s doubt and uncertain groping for a spiritual base in the historical transition between tradition and modernity.ReceptionAmong most young artists and critics, Skovgaard’s painting was pointed out as a milepost in Danish art, which set new standards for the strivings and potential of Danish art. The critics of the painting maintained that the work was unrealistic. The figures were far too rough and stiff and the out-pouring of emotion too overwhelming.After it had been moved around for several years, spending a short time in the Immanuel Church in Copenhagen, being accorded an enthusiastic reception in the Paris World Fair in 1900, and subsequently hanging in St.Olai Church in Helsingør (Elsinore), Statens Museum for Kunst decided to purchase the painting in 1911.The painting was exhibited in Statens Museum for Kunst until 1965, when, as a result of the re-building of the museum, it was rolled up and moved out along with the rest of the collection. When the museum reopened in 1970 it was not included among the works hung. Instead it was condemned to obscurity, i.e. kept rolled up in storage. Here it remained for 30 years until a major conservation project in 2000 gave the public and the art historians an opportunity to join in the debate on this epoch-making and much discussed painting.

scholarly journals Introduction

2017 ◽  
Vol 42 (3) ◽  
pp. 323-326
Author(s):  
BISHNUPRIYA DUTT
Keyword(s):  
Educational Institutions ◽  
The Public ◽  
National Theatre ◽  
Research Areas ◽  
National School ◽  
History Of ◽  
The Common ◽  
The Public Sphere ◽  
Historical Transition ◽  
Indian Theatre

These three essays on distinct research areas and case studies cover a broad history of educational institutions in India, their focus on theatre and cultural education, and their role in creating citizens active in the public sphere and civic communities. The common point of reference for all the three essays is the historical transition from pre- to post-independence India, and they represent three dominant genres of Indian theatre practice: the amateur progressive theatre emerging out of sociopolitical movements; the State Drama School, which has remained at the core of the state's policy and vision of a national theatre; and college theatre, which comprises the field from which the National School of Drama sources its acting students, as well as new audiences for urban theatres.

The Netherlands and European Integration

2019 ◽  
Author(s):  
Mathieu Segers
Keyword(s):  
The Netherlands ◽  
European Integration ◽  
Polished Surface ◽  
Constitutional Treaty ◽  
The Public ◽  
History Of ◽  
The Hague ◽  
Fortress Europe ◽  
The Veil ◽  
The Eu

Why did the Netherlands take part in the process of European integration from the beginning? How did that happen, and what consequences did it have? At present, questions like these linger immediately beneath the polished surface of the official narratives of economic rationalism and idealistic instrumentalism that dominate narratives about the Netherlands’ role as founding member of European integration. The clear no-vote in the 2005 referendum on the constitutional treaty for the EU and the outbreak of the Euro-crisis in 2010 have pulled the veil away from these underlying issues. As one of the founders of today’s European Union, the Netherlands has been a key player in the process of European integration. The Dutch like to think of themselves as shapers of European integration—matching their image in historiography—but the history of their participation in the European project often tells a very different story. Yes, as founders of the EU, the Dutch actively co-shaped European integration, but often in ways not unveiled in the official and rather consistent post facto narratives. In the past decades, governments in The Hague often steered an erratic course in European integration, trying to reconcile high hopes for instrumental free trade arrangements and transatlantic community with a deep-seated anxiety over the potential emergence of a small, continental, and politicized “fortress Europe.” This is a story that is both less known to the public and less prominent in the existing historiography.

scholarly journals Worldly Portent of Face Uncovering and Women’s Dilapidation: A Comparative Study in Context with Quranic Injunctions

rahatulquloob ◽  
2019 ◽  
pp. 27-39
Author(s):  
Dr. Syed Aftab Alam ◽  
Dr. Naseem Akhter ◽  
Shumaila Rafiq
Keyword(s):  
Whole Body ◽  
Human Society ◽  
Greek Literature ◽  
Anglo Saxon ◽  
Roman Culture ◽  
History Of ◽  
The Veil ◽  
Religious Book ◽  
Head Covering ◽  
Full Body

Assyrian Text is witnessed that women used veil for face covering with an additional piece of cloth about 13 centuries before the Christ. Then history of mankind displays veil in Egyptian society that was transparent and normally white in color. We found a handful evidences in Greek literature regarding veiling of face. History travels to Anglo-Saxon age and witnessed that women used veil to cover their hair of head. The head covering shows a biological reasoning also. Roman culture was the culture of fantasy, the veils were full of colorful, and multi designed veil arranged by flowers and different beautiful substantial. In Roman, veil developed from only head covering to shoulder covering and then from head to back covering. British regime also enrich the history of veil. There was beautiful designed, decorated with net clothes and covered with beautiful embroidery. The veil was empowered by elite community in England. Later it was popularized as a fashion in colonial communities. Through this thorough historic discussion, it is approved that veil used by women has a long history as the human history. In religious context, Hinduism is understood as the oldest religion on globe, it is found that in Harappan times about 2500 BC, Aryan women used to wear full body covering single cloth from head covering to foot, which was preached in Hindu religious book Vedas also, later the single cloth was known as Sari. And after the introduction of Christianity, Veil was introduced as a compulsory symbol of religion. Veil of whole body with strict rules can be seen in the form of Christian nun. Later, Islam explained veil of women in public as an obligatory sign. Islam is the youngest religion on earth, it was published rapidly and the implication of its rules are practiced prominently. After a thorough historic and religious discussion, it if proved in this article that veil was a compulsory part of human society and religions before Islam had also preached for veiling.  

Christian Fundamentalism in America

2017 ◽  
Author(s):  
Margaret Bendroth
Keyword(s):  
Analytical Framework ◽  
Modern World ◽  
Political Movements ◽  
American Christianity ◽  
The Public ◽  
The Bible ◽  
American Protestantism ◽  
History Of ◽  
Specific Meaning ◽  
The 1960S

Fundamentalism has a very specific meaning in the history of American Christianity, as the name taken by a coalition of mostly white, mostly northern Protestants who, in the late 19th and early 20th centuries, united in opposition to theological liberalism. Though the movement lost the public spotlight after the 1920s, it remained robust, building a network of separate churches, denominations, and schools that would become instrumental in the resurgence of conservative evangelicalism after the 1960s. In a larger sense, fundamentalism is a form of militant opposition to the modern world, used by some scholars to identify morally absolutist religious and political movements in Islam, Judaism, Christianity, and even Hinduism and Buddhism. While the core concerns of the movement that emerged within American Protestantism—defending the authority of the Bible and both separating from and saving their sinful world—do not entirely mesh with this analytical framework, they do reflect the broad and complex challenge posed by modernity to people of faith.

Introduction

2015 ◽  
Vol 9 (1) ◽  
pp. 3-12
Author(s):  
Leo Douw
Keyword(s):  
East Asia ◽  
Multiple Identities ◽  
Modern World ◽  
Business Networks ◽  
Japanese Colonialism ◽  
Japanese Occupation ◽  
State Institutions ◽  
The Public ◽  
History Of ◽  
Historical Issues

This special issue contains a selection of articles, produced from papers presented at a workshop under the title Border Societies, Chinese descendants in East Asia under Japanese colonialism, 1895–1945, convened in Macao on 25 June 2013. Its purpose is to contribute to the writing of a global history of East Asia, as a counterpoise to the contestations over historical issues, which at present dominate the public debate in the region and keep the involved nations divided. To achieve this purpose, the historical exploration of controversial themes is required such as the existence and uses of multiple identities, the apparent dividedness of state institutions, and the possibility of ambiguous loyalties among citizens when these have vital interests in more than one national state. The Chinese cross-border business networks and the migrations of people in the region provide the vantage point for such a study in this issue. It tackles on questions as, how did commodities, people, capital and ideas flow transnationally during the Japanese occupation period, and how did these flows become embedded in the local societies? They thoroughly transformed the relationships among the nations involved, and contributed to the region’s rise in the modern world. (This article is in English.)

scholarly journals Science and the New Age. Pseudo-Pulaʼs alchemists in Croatian New Age trans- mutation into gold: about the book Croatian Alchemists through the Centuries by Snježana Paušek-Baždar

2018 ◽  
pp. 61-173
Author(s):  
Miodrag Kalčić
Keyword(s):  
Historical Analysis ◽  
New Age ◽  
Point Of View ◽  
Christian Mysticism ◽  
The Public ◽  
Modern Times ◽  
Ethnic Affiliation ◽  
History Of ◽  
Early Modern Times ◽  
Short Time

In the Middle Age and the Early Modern Times alchemy (transmutation into gold or chrysopoeia) was a widespread art and a popular craft of creating artificial gold. Because if failed to produce any practical results it shifted from the initial experimental practice (proto-chemistry) ever more to mysticism and spirituality. In Snježana Paušek-Baždar’s Croatian Alchemists through the Centuries alchemy is seen almost exclusively from this supernatural and super-sensory point of view, ignoring the history of natural sciences, and especially chemistry. Cited sources and the preference for Christian mysticism and esotericism clearly revealthe authorʼs unscientific approach to alchemy, one that is best suited for the pro-Western syncretic and eclectic social movement (and ideology) of improvised merging of the various incomparable beliefs, orientations, cosmic teachings and contemporary sciences, the New Age and the plethora of deriving pseudosciences, where modern alchemy appears to have found its home. Nine alchemists are represented in this highly acclaimed (both from the public and Croatian scientific community) book Croatian Alchemists through the Centuries: Barbara of Cilli, Daniel Justinopolitanus, Pietro Buono, John the Cleric, Frederik Grisogono, Giulio Camillo Delminio, Giovanni Bratti, Ivan Leopold Payer and Ignjat Martinović. Critical, scientific and historical analysis of these alleged Croatian alchemists determined that none of them deserve the epithet ʼCroatian Alchemistʼ: they either were not alchemists in the true sense of the word, or do not belong to the Croatian ethnical corps. According to Paušek-Baždar, three of them were from Pula (Daniel Justinopolitanus, Pietro Buono and Giovanni Bratti), which is a historical fabrication since only Pietro Buono spent a short time in Pula. Moreover their ethnic affiliation was certainly not Croatian. The other five men and one woman may have sporadically dabbled in alchemy, so they can, at best, be considered quasi- or semi-alchemists. Again, the Croatian nationality of than a some of these is rather questionable. The New Age approach of Croatian Alchemists Through the Centuries is alchemically unconvincing and ethnically (Croatian) manipulative, full of esoteric mists, astrological shadows, Christian mysteries, gnostic spectres, hermetic gloom, historical fictions, superficial interpretations, and tendentious explanations. In conclusion, the book is a historically arbitrary and scientifically unfounded New Age, pseudo-science.

Bones Without Barriers: The Social Impact of Digging the Dead

2016 ◽  
Author(s):  
Faye Sayer ◽  
Duncan Sayer
Keyword(s):  
Social Impact ◽  
Human Remains ◽  
Public Archaeology ◽  
Anglo Saxon ◽  
The Public ◽  
Starting Point ◽  
The Social ◽  
The Dead ◽  
Public Context ◽  
The Impact

The excavation of human remains is one of the most contentious issues facing global archaeologies today. However, while there are numerous discussions of the ethics and politics of displaying the dead in museums, and many academic studies addressing the repatriation and reburial of human remains, there has been little consideration of the practice of digging up human remains itself (but see Kirk and Start 1999; Williams and Williams 2007). This chapter will investigate the impact of digging the dead within a specific community in Oakington, Cambridgeshire, during the excavation of an early Anglo-Saxon cemetery in 2010 and 2011. The analysis of impact was enabled by applying a double-stranded methodology of collecting quantitative and qualitative social data within a public archaeology project. This aimed to explore the complexity of local people’s response to the excavation of ancient skeletal material. These results will provide a starting point to discuss the wider argument about screening excavation projects (see also Foreword this volume; Pearson and Jeffs this volume). It is argued that those barriers, rather than displaying ‘sensitivity’ to local people’s concerns, impede the educational and scientific values of excavation to local communities, and fosters alienation and misunderstandings between archaeologists and the public. The professionalization of British archaeology has taken place within Protestant modernity, and we will argue that it is this context which drives the desire to screen off human remains from within the industry, rather than the need to protect the public or the dead from one another. In England, Wales, and Northern Ireland, it is a condition of the Ministry of Justice licence to remove human remains that modern excavation is screened from public gaze. For many projects, particularly those carried out in an urban or public context, this condition manifests as the erection of barriers to block lines of sight. However, this has not always been standard practice. Archaeological projects have often involved a public engagement element, even before public archaeology was formally recognized. Large excavation projects, such as Whithorn, a Scottish project carried out in the late 1980s, included a viewing platform so members of the visiting public could see the excavation, including burials, from the edge of the trench (Rick Peterson, pers. comm.).

scholarly journals Inorganic Collections: Atmospheric distributions of the sensible and regimes of public space

2014 ◽  
Author(s):  
Carl Douglas
Keyword(s):  
Public Space ◽  
Urban Culture ◽  
The Public ◽  
Civic Spaces ◽  
History Of ◽  
Technical Systems ◽  
Inorganic Waste ◽  
Private Matter ◽  
Short Time ◽  
The City

Inorganic collections, kerbside collections of inorganic waste that cannot be recycled or disposed of by the regular means, are held in most parts of Auckland twice yearly. In practice, proscribed items are abundant, piles reach gargantuan proportions, and footpaths are disrupted. Salvaging from these piles is common, and accounts for the fondness many Aucklanders feel towards these collections. As of July 1, 2015 they will cease, to be replaced by “community recycling hubs” and booked waste collections. Soon be part of the history of Auckland’s urban culture, inorganic collections are also a significant moment for discerning the configuration of its public space. I employ inorganic collections as a probe for mapping the regime of public space at work in Auckland’s suburban streets. Baron von Haussmann’s Paris serves as a model for the administrative rationalisation of cities, according to which streets cease to be civic spaces, and become conduits for bundled technical systems. The production of atmosphere as phantasmagoria or spectacle is essential as part of the policing of a regime in which everything has its place and its proper conduits. Atmospheres are seen as technostructures for subjects. The handling of urban waste is symptomatic of this atmotechnics, seamlessly and invisibly whisking away waste away. The public space of the administratively rationalised city relies on the careful construction and laborious physical and symbolic maintenance of an interior and an exterior; a finite ‘here’ of desirable or useful things moving in orderly synchronicity, and an infinite ‘away’ which absorbs and isolates us from the undesirable or redundant which cannot be made to move in sync. Waste passes across the horizon between these two spaces, through a porous and sometimes leaky membrane that purports to selectively permit and prevent affects from passing between here and away.In the administratively rationalised city, waste is siphoned away from public space, no longer permitted to perform in the relation between me and my neighbour. Inorganic collections, however, undermine or overflow this waste regime. Momentarily, when the inorganic collection takes place, the policed order of the street is disrupted. For a short time waste is not a private matter handled invisibly between myself and the city; but something that activates relationships (disputes, perhaps, but also potentially exchanges or discoveries of things in common or intriguing differences) with my neighbours.

The Immortals: Prehistoric Individuals as Ideological and Therapeutic Tools in our Time

2016 ◽  
Author(s):  
Nina Nordström
Keyword(s):  
Human Remains ◽  
Modern World ◽  
Contemporary Society ◽  
Early Medieval ◽  
Full Picture ◽  
Biographical Approach ◽  
History Of ◽  
The Dead ◽  
Therapeutic Tools ◽  
The One

Archaeologists have begun to look more closely at the history of displaying the dead in museums. One important reason for this is a growing awareness of the fact that, apart from deepening our understanding of certain events in prehistory, the evidence, such as bodies in different states of decay as well as grave-goods, reflects changing attitudes towards death and what it means to be human. One example is Howard Williams’s appeal for the need to look at how early medieval graves are displayed in British museums. He points out that we must be more aware of the seductive and even misleading reconstructions that we can see today, but he also suggested that we should focus more on ‘the bigger picture’: the broader contexts of factors and influences affecting how we display the archaeological dead. This concerns the question: ‘What do the early medieval dead ever do for us?’ He suggests that currently we pay too much attention to the two ‘fringe groups’: those who either stand for the scientific value alone of human remains on the one hand or those who object to the display of the dead on ethical or religious grounds on the other (Williams 2010). Instead, he proposes we focus more on the social roles of the archaeological dead in contemporary society. For several years I have worked on similar issues, mainly with the purpose of understanding why some individuals from the past become famous and ‘immortal’ whereas others are more or less forgotten in their showcases (Nordström 2006a,b, 2007, 2010). I have adopted a biographical approach to human remains in museums in order to afford a full picture of these individuals’ ideological and therapeutic value in contemporary society. What do they, as individuals, as timeless renowned characters, mean to us today? It is important to understand their role in our modern world both as evidence for the human past and as famous objects in museums today. Last but not least, it is vital to recognize that the mass media—newspapers, documentaries, and the like—play an important role in how these individuals’ stories are told and retold.

Unveiling the European Woman

2018 ◽  
Author(s):  
Fatima Tofighi
Keyword(s):  
Reception History ◽  
Modern Literature ◽  
European Identity ◽  
1 Corinthians ◽  
The Public ◽  
Biblical Scholarship ◽  
High Prevalence ◽  
History Of ◽  
The Veil ◽  
European Woman

In recent years, many biblical scholars have tried to uncover the unethical readings of scriptures. Despite the relatively high prevalence of ethical exegesis, the ramifications of biblical scholarship for people outside Judaism and Christianity have yet to be taken into account. In this essay, I will focus on the interpretation of the veil in ecclesiastical literature and what it entails for both European self-understanding and the exclusion of the veil from the public. I will start by a survey of the reception history of 1 Corinthians 11:5–16, where Paul admonishes women to cover their heads veil praying or prophesying. Then, I will show how the reinterpretation of this passage in modern literature was tantamount to the exclusion of the veil as foreign to European identity.

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