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Journal articles on the topic 'Umbanda (Cult) in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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1

Wood, Marcus. "The Museu do Negro in Rio and the Cult of Anastácia as a New Model for the Memory of Slavery." Representations 113, no. 1 (2011): 111–49. http://dx.doi.org/10.1525/rep.2011.113.1.111.

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The following analysis concerns the figure of Anastácia, a mythical African princess who was supposedly enslaved and then tortured to death on a Brazilian plantation. She has become the focus for a wide variety of devotional activity within northeastern Brazil. The ways in which she is worshipped and displayed suggest that the syncretic religions of Umbanda and Candomblé may offer dynamic new ways for thinking about the traumatic memory of Atlantic slavery.

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2

Karla Alves Vieira, Wellida. "Jurema Sagrada em sala de aula: desafios e prática no Ensino Religioso." Religare: Revista do Programa de Pós-Graduação em Ciências das Religiões da UFPB 15, no. 1 (January 19, 2019): 197–216. http://dx.doi.org/10.22478/ufpb.1982-6605.2018v15n1.39955.

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O presente artigo surge a partir das reflexões feitas durante e após a conclusão de nossa dissertação no Programa de Pós graduação em Ciências das Religiões da UFPB, Brasil. Temos como objetivo apresentar a relevância da abordagem das temáticas afro-indígenas em sala de aula, dando ênfase ao culto da Jurema Sagrada, manifestação religiosa muito presente no Nordeste brasileiro, vinculada diretamente as matrizes indígenas, com representação significativa na Umbanda. Buscamos situar a temática a partir da lei 11.645 de 10 de março de 2008; da Declaração Sobre os Direitos das Pessoas Pertencentes a Minorias Nacionais ou Étnicas, Religiosas e Linguísticas, aprovada pela resolução 47/135 da Assembleia Geral da ONU de 18 de dezembro de 1992; e o Art. 33 da LDBEN (Lei de Diretrizes e Bases Nacionais). Nos remeteremos ainda a outros referenciais como o PCENER do FONAPER, que articulam e norteiam a necessidade dessas inserções temáticas no cotidiano escolar. A partir do trabalho de campo feito tanto no espaço escolar quanto no espaço religioso, buscamos refletir sobre as metodologias para a efetivação dessas abordagens na sala de aula e propomos aqui uma ação didática como uma forma sugestiva de ação educativa efetiva aos docentes do Ensino Fundamental.

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3

Silva, Jaime Rodrigues da, Cláudia Regina Cardoso Rodrigues da Silva, and Bárbara Regina Cardoso Rodrigues da Silva. "Macumba em escola pública no interior sergipano Tranca Rua visita escola de ensino médio em tempo integral." Revista Docência e Cibercultura 5, no. 2 (July 12, 2021): 199–216. http://dx.doi.org/10.12957/redoc.2021.56720.

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A pesquisa foi construída pela contestação que um grupo de alunos, praticantes do culto afro-brasileiro da Umbanda e do Candomblé, fizeram sobre a discriminação que sofriam em uma escola pública de EMTI no interior sergipano, após a implantação de um “Clube de Protagonismo”, intitulado “Clube da Bíblia”. Ocorre que a escola, apesar de ser um ambiente democrático e plural, não deve estimular a propagação de manifestações de uma ou outra religião, visto que a opção do país é de ser um Estado Laico (art. 5º da Constituição Federal de 1988, inciso VI). Nesse sentido, apresentamos a comunidade escolar o “Sr. Tranca Rua”, “entidade/divindade” tantas vezes marginalizada e erroneamente associada ao diabo pelos neopentecostais. Para facilitar a abordagem dos fatos e a sua análise, utilizamos Foucault (1979; 2005), Caputo (2012) e Bogdan e Biklen (1994). Perseguimos dois objetivos: o de levar para a comunidade escolar a oportunidade de conhecer – pela ótica não dominante – alguns “atores” do culto afro-brasileiro, como “Tranca Rua”; propor a reflexão da necessidade de se discutir sobre a inclusão/exclusão de seres humanos, que precisaram negar a sua crença religiosa para serem aceitos, tolerados ou ignorados por um grupo social majoritário. Iniciamos a pesquisa com a coleta das impressões que os estudantes traziam de suas interações com a divindade intitulada como “Sr. Tranca Rua”. Após a coleta e análise (abordagem qualitativa), propomos uma pesquisa bibliográfica. Apresentamos o filme Besouro e fizemos diversos encontros para estimular a oralidade dos estudantes. Novas problemáticas surgiram nos encontros, mostrando a necessidade de continuar pesquisando sobre o assunto.

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4

Schepers, Talitha M. G. "The Magi: Legend, Art and Cult." Folklore 128, no. 1 (January 2, 2017): 108–9. http://dx.doi.org/10.1080/0015587x.2016.1220718.

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5

Ensemble, Critical Art. "Performing a Cult." TDR/The Drama Review 44, no. 4 (December 2000): 167–73. http://dx.doi.org/10.1162/10542040051058555.

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The Critical Acts Ensemble, CAE for short, is a tightly knit group of artists exploring intersection between art, technology, critical theory, and political activism. We have given CAE a big chunk of space to present and explain their work. Added to that is a critical essay by TDR Contributing Editor Rebecca Schneider.

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6

Cherry, Rachael I. "The Cult of Art in Nazi Germany." History: Reviews of New Books 33, no. 1 (January 2004): 25–26. http://dx.doi.org/10.1080/03612759.2004.10526413.

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7

Vergo, Peter. "Art, music and the cult of modernism." Art History 26, no. 4 (September 2003): 586–92. http://dx.doi.org/10.1111/j.0141-6790.2003.02604005_3.x.

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8

Goodwin, Janet R., Susan C. Tyler, and Allan G. Grapard. "The Cult of Kasuga Seen through Its Art." Journal of the Association of Teachers of Japanese 27, no. 2 (November 1993): 275. http://dx.doi.org/10.2307/488930.

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9

Roller, Lynn E., and H. A. Shapiro. "Art and Cult under the Tyrants in Athens." American Journal of Archaeology 95, no. 2 (April 1991): 352. http://dx.doi.org/10.2307/505736.

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10

Pilgrim, Richard B., and Susan C. Tyler. "The Cult of Kasuga Seen Through Its Art." Monumenta Nipponica 47, no. 3 (1992): 428. http://dx.doi.org/10.2307/2385122.

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11

Parker, Joseph D., and Susan C. Tyler. "The Cult of Kasuga Seen Through Its Art." Asian Folklore Studies 54, no. 1 (1995): 152. http://dx.doi.org/10.2307/1178236.

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12

Guth, Christine, and Susan C. Tyler. "The Cult of Kasuga Seen through Its Art." Journal of Japanese Studies 19, no. 1 (1993): 252. http://dx.doi.org/10.2307/132892.

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13

Geroulanos, Stefanos. "The Cult of Art in Nazi Germany (review)." MLN 119, no. 5 (2004): 1115–20. http://dx.doi.org/10.1353/mln.2005.0007.

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14

Gurska, L. V. "Cult music of Ancient Rus." Ukrainian Religious Studies, no. 16 (December 5, 2000): 65–71. http://dx.doi.org/10.32420/2000.16.1115.

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Ancient Rus church music is one of the brightest pages of spiritual and artistic culture. It is included in the synthesis of arts along with construction, monumental and fresco painting, icon painting, fine plastics, applied art, literature.

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15

Leuchak, Rebecca. "The Cult of Art in Nazi Germany ? Eric Michaud." Religious Studies Review 32, no. 3 (July 2006): 187. http://dx.doi.org/10.1111/j.1748-0922.2006.00089_14.x.

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16

Hewitson, Mark. "The Violent Art: Caricatures of Conflict in Germany." Cultural History 6, no. 1 (April 2017): 57–79. http://dx.doi.org/10.3366/cult.2017.0135.

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War furnishes a – perhaps the – classic case of ‘black humour’, which is understood here in the broad sense, not merely as the humour of the gallows or the cheating of death, but humour deriving from a confrontation with suffering or death, either as a victim or a perpetrator. War cartoons relied on the manipulation of images for comic effect, which – at least until the absurdist experiments of the Dada and Surrealist movements during and after the First World War – appeared impossible in photography, painting and cinematography. Caricature permitted artists simultaneously to conjure up, simplify and undermine reality. The selection and exaggeration of character traits and circumstantial detail, which was fundamental to caricature, revealed graphically how cartoonists perceived the social and political world in which they lived. This chapter examines how such selection and exaggeration worked in extreme conditions during wartime.

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17

Simon, Erika. "Rachel Rosenzweig: Worshipping Aphrodite. Art and Cult in Classical Athens." Gnomon 79, no. 5 (2007): 432–35. http://dx.doi.org/10.17104/0017-1417_2007_5_432.

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18

Bondarchuk, Yaroslava. "Display of the Ancient Religious Bone Cults in the Late Acheulean–Mousterian Art." NaUKMA Research Papers. History and Theory of Culture 4 (June 15, 2021): 35–45. http://dx.doi.org/10.18523/2617-8907.2021.4.35-45.

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The relevance of research. One of the most important unsolved problems of cultural studies, religious studies, art history, and history is to determine the time of the origin of religious ideas: that of the beginning of the spiritual evolution of the mankind, which at a certain stage of development begins to master not only the material world but also tries to comprehend the supernatural transcendent reality. The views of scholars regarding the time of the birth of religious beliefs is divided into two opposing points of view. According to one of them, expressed in the works of R. Marett, F. Ratzel, V. Kabo, A. Zubov, religious representations were inherent in the primitive man since the beginning of existence. A serious argument against this version is the fact that art the site of Olduvai culture no object was found that did not have a utilitarian purpose and that could be interpreted as a cult object. However, this fact can be explained by the fact that the rational awareness of the highest supernatural power was preceded by its subconscious (intuitive) sensation, which did not require objectivation in cult objects. Religious ideas were primitive so that they did not need any cult objects. According to other scholars, one can speak of the emergence of religious ideas only from the moment when the cult artefacts appeared; the pre-religious period had lasted until the end of the Mousterian era. However, the discovery of a number of archaeological sites in the second half of the 20th century at the beginning of the 21st century makes it possible to move the beginning of the appearance of Religious beliefs back until the period of the late Acheulean–beginning of Mousterian era.The purpose of the article: to establish the time of the origin and evolution of the earliest religious beliefs associated with the cult of bones, based on the analysis of the most ancient artefacts currently known, which testify to the ritual activities of the primitive man. The considered artefacts lead to the conclusion that the most ancient evidence of the cults of bones belongs to the era of the late Acheulean and Mousterian. Animal bones were among the first objects that the primitive man singled out from the environment as sacred, and endowed with a supernatural ability to revive the lives of animals and humans. Symbolic compositions of bones and signs carved in them became sacred attributes used for magical rites. The first acts of the ritual symbolization marked the emergence of sacred art and magic, which, radically different from the directly useful work, passed into a special plane of connection of men with the supernatural force. The earliest monuments (Torralba, Ambrona, Azykh), which testify to magical actions with bones, date back to about 400–200 thousand years BC. Thus, more than 2 million years passed from the appearance of man (ca. 2.7 million years ago) to the emergence of religious ideas, which required objectification in cult items and the performance of certain rituals. Although it cannot be denied that the intuitive subconscious sense of the supernatural power has been inherent in man since the beginning of his existence, purposefully by cultic magical actions that called on higher powers for help, he began to practice from the period of the late Acheulean. In the Mousterian era, in addition to the cult of bones, the cult of the skull arose as a container of special energy capable of renewing human life. Despite the fact that there are only a few examples of skull burials in the Mousterian period, apart from Mount Circeo, in Zhoukoudian (1929), Ngandonga (1931–1933) and Steingheim (1933), it can be assumed that about 70–50 thousand years ago, along with burials, an undissected body could be another rite of separation of the skull, which as a container of a special vital energy of man was buried in some parts of the caves on piles of bones and stones, just as at about the same time separately buried the skulls of bears in stone boxes and niches in caves of Regurdu, Azykh, Drachenloh, Wildenmannlisloch, and others. Later, with the development of ideas about the soul, the cult of skulls is further developed, based on the realization of the power of the extracorporeal spiritual essence of the revered dead (= ancestors), the concentration of which requires a magical container.

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Maurício, Jani. "The Parallel Circulation of Portuguese Modern Art during Salazar's Dictatorship (1956–61)." Cultural History 5, no. 1 (April 2016): 51–80. http://dx.doi.org/10.3366/cult.2016.0109.

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Researching the subject of art's distribution under the New State dictatorship of the 1950s, this article focuses on the practices developed by two informal organizations of artists that carried out innovatory activities of modern art's socialization, which resulted in the creation of a parallel distribution system. Through an approach centred in the social and cultural aspects of the parallel distribution, the phenomenon's interpretation emphasizes the facilitating role of social relations and ethical values. Considering the exhibition and discursive practices developed by the artists’ collectives, this study defends that the existence of shared values and solidarity relationships, established within and outside the artistic sector, were deciding factors for the emergence and maintenance of a participatory behaviour attached to an important faction of the modern artistic sector.

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20

Burke, Peter. "The Jesuits and the Globalization of the Renaissance." Cultural History 9, no. 2 (October 2020): 156–70. http://dx.doi.org/10.3366/cult.2020.0219.

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Following a brief discussion of comparative and entangled history, and of the extension of studies of the Renaissance to the world beyond Europe, this article focusses on the Jesuits as carriers of the ideas and forms of the European Renaissance to their mission stations in Asia and the Americas. In their attempts to adapt or ‘accommodate’ Christianity to the cultures of the peoples that they were attempting to convert, Jesuit missionaries made use of Renaissance humanism, rhetoric, grammar and the concern with manners and customs that was later known as ethnography. The missionaries also made use of art and architecture in the Renaissance style to reinforce the Christian message. Their use of local craftsmen had the unintended consequence of introducing new elements into this western style, producing a hybrid art. However, without wanting it or even knowing it, the Jesuits prepared the way for the later reception of western art in India, China and Japan.

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21

Pandey, Anjali. "WOMEN AS GODDESS IN INDIAN ART." International Journal of Research -GRANTHAALAYAH 4, no. 3 (March 31, 2016): 205–8. http://dx.doi.org/10.29121/granthaalayah.v4.i3.2016.2804.

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In India, we find the worship of great mother in varying forms. The Female figures from Indus civilization indicate the fertility cult. , the early records of terracotta sculpture are the evidences. Since IInd century A.D. Devi Durga, Lakshmi and Matraka are remain popular and worshipped. The goddess on a lion depicted first time in Kushan Period. Some of the goddess is the anthromorphic personification of nature. The Yakshis are the nature goddess. In Folk societies, socialization, education, recreation and communication of new ideas moral values and knowledge are inculcated by the women. They are the active bearer of oral tradition in India.

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22

Golovushkin, Dmitrii Aleksandrovich, and Irina Ravkatovna Gumarova. "Expanding or limiting the boundaries of the “allowable”: to the problem of outlining the concept of “religious art”." Человек и культура, no. 5 (May 2020): 76–88. http://dx.doi.org/10.25136/2409-8744.2020.5.31638.

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Religious art is one of the most complex and controversial phenomena in the history of art. The attempts to conceptualize this phenomenon are relatively recent, and are carried out mostly in the context of the existence of confessional, ecclesiastical/nonecclesiastical, cult/atheistic art. Therefore, religious art within the Russian humanities traditionally receives ambivalent interpretation. In a narrow sense, religious art implies a combination of artworks with dogmatic, doctrinal, and liturgical meaning. In a broad sense, religious art represents a set artworks that reveal religious themes from ideological and figurative perspectives, reflect religious worldview, faith and experience, but do not carry sacred statues, nor intended for reverence, worship, liturgical practices.  The author concludes that neither definition describes the distinctness and novelty of the religious art. The appropriate interpretation describes religious art as d both, ecclesiastical/non-ecclesiastical and cult / atheistic art. This leads to a terminological confusion, and doubts the need for introducing the concept of “religious art” and the phenomenon itself. The key towards understanding this phenomenon and a new definition of the concept of “religious art” can be their context – the European and Russian secularization. It is not coincidental that the first was addressed, and the second was deliberately formulated at the turn of the XIX – XX centuries. Religious art mainstreams during the historical periods when the boundaries of secularization/religion become flexible, initiating struggle for them.

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23

Михайлова, Р. Д., and Р. І. Петрук. "ІКОНА ЯК ПРЕДМЕТ ЖИТЛОВОГО ІНТЕР’ЄРУ." Art and Design, no. 2 (September 21, 2020): 83–91. http://dx.doi.org/10.30857/2617-0272.2020.2.7.

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To identify the things-meaning role of the icon in modern housing interior as an object of cult and religious purpose, a work of art, a cultural artifact. General scientific methods of research have been applied, including chronographic, historical-comparative as well as those relating to art studies – figurative-stylistic, semantic, iconographic. Theoretical and art terminological constructions have been used for determining the conceptual apparatus of design. There have been analysed the peculiarities of the location of the icon in the living interior as a cult object, a work of art,a symbolic object,a household object according to its purpose as: a) a subject of religious worship, b) a collector's item, c) a cultural object that embodies religious, national-historical , myth ‒ poetic, figurative ‒ artistic meanings and reveals the possibilities of their implementation in design practice;the icon as a cult object and a work of art embodies the property of an object as a phenomenon, process, action, state, practical or theoretical human activity. It was studied out that the use of the icon in the interior takes into account that the imagery of the icon as an "internal form" of art highlights the place of the image in the overall structure of artistic reproduction of spiritual content and material external form, the point of embodiment of one in another – materialization of spiritual and spiritualization of material. It is concluded that the use of the icon in the interior involves understanding its objective meaning as two aspects of existence – material and spiritual. The scientific novelty consists in determining the place and meaning of the icon as a household item in terms of content, compositional and aesthetic filling of the residential environment. The proposed materials expand the understanding of the possibility of forming a modern residential interior; the results can be used in residential design practice.

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24

Tsitsovits, Ioannis. "Neoliberalism’s “official crap art”?" English Text Construction 13, no. 2 (December 10, 2020): 109–31. http://dx.doi.org/10.1075/etc.00037.tsi.

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Abstract British writer Tom McCarthy has repeatedly taken aim at what he calls a “sentimental humanism” and the contemporary cult of the “authentic self”. This article investigates his work through the lens of that critique. Extrapolating from McCarthy’s public statements, I endeavour to delineate sentimental humanism as a mode of cultural production and flesh out his linking of it to a neoliberal political economy. I show how his antagonism manifests itself in his work, particularly his debut novel, Remainder. By contrast, his latest novel, Satin Island, marks a turning point in that trajectory. Although implicitly framed by its author as a way of thematising the challenges with which Big Data has confronted literature, Satin Island more specifically reveals that his anti-humanist agenda has also reached an impasse. Much of the logic behind the critique of sentimental humanism mounted by Remainder, I argue, is in a sense pre-empted or assimilated by the kinds of corporate digital environments described in Satin Island.

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25

Lee, Jennifer. "Portable Prototypes: Canterbury Badges and the Thomasaltar in Hamburg." Arts 10, no. 3 (July 27, 2021): 51. http://dx.doi.org/10.3390/arts10030051.

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Pilgrims’ badges often depicted works of art located at a cult center, and these cheap, small images frequently imitated monumental works. Was this relationship ever reversed? In late medieval Hamburg, a painted altarpiece from a Hanseatic guild narrates the life of Thomas Becket in four scenes, two of which survive. In 1932, Tancred Borenius declared this altarpiece to be the first monumental expression of Becket’s narrative in northern Germany. Since then, little scholarship has investigated the links between this work and the Becket cult elsewhere. With so much visual art from the medieval period lost, it is impossible to trace the transmission of imagery with any certainty. Nevertheless, this discussion considers badges as a means of disseminating imagery for subsequent copying. This altarpiece and the pilgrims’ badges that it closely resembles may provide an example of a major work of art borrowing a composition from an inexpensive pilgrim’s badge and of the monumental imitating the miniature.

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26

Davenport, Nancy. "The Cult of St. Philomena in Nineteenth Century France: Art and Ideology." Religion and the Arts 2, no. 2 (1998): 123–48. http://dx.doi.org/10.1163/156852998x00106.

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27

Kaniari, Assimina. "Steven Connor (2010), The Matter of Air: Science and Art of the Ethereal, London: Reaktion Books." Cultural History 1, no. 1 (April 2012): 142–45. http://dx.doi.org/10.3366/cult.2012.0012.

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28

Johansson, Perry. "Resistance and Repetition: The Holocaust in the Art, Propaganda, and Political Discourse of Vietnam War Protests." Cultural History 10, no. 1 (April 2021): 111–32. http://dx.doi.org/10.3366/cult.2021.0233.

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The Western European protest movement against the American War in Vietnam stands out as something unique in contemporary history. Here finally, after all the senseless horrors of the twentieth century, reason speaks, demanding an end to Western atrocities against the poor South. But in the rosy fog of humanistic idealism and youthful revolution lies the unanswered question, why did this and not any other conflicts, before or after, render such an intense, widespread reaction? Taking Sweden as a case in point, this article employs the concepts of resistance, trauma, memory, and repetition to explore why the Vietnam movement came into being just as the buried history of the Holocaust resurfaced in a series of well-publicized trials of Nazi war criminals. It suggests that the protests of the radical young Leftists against American “imperialism” and “genocide” were informed by repressed memories of the Holocaust. The Swedish anti-war protests had unique and far-reaching consequences. The ruling Social Democratic Party, in order not to lose these younger Left wing voters to Communism, also engaged actively against the Vietnam War. And, somewhat baffling for a political party often criticized for close ties to Nazi Germany during WWII, its messaging used the same rhetoric as the Far Left, echoing Nazi anti-Semitic propaganda.

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29

Nianchen, Ren. "METALLIC ARCHITECTURE OF CHINA IN LATE MIDDLE AGES: TYPOLOGY AND ARTISTRY." Architecton: Proceedings of Higher Education, no. 4(72) (December 28, 2020): 12. http://dx.doi.org/10.47055/1990-4126-2020-4(72)-12.

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The article considers the use of copper-alloy and iron casting technology in China from the Song dynasty (960–1279 AD) to the Qing dynasty (1644–1912 AD) inclusive. The architectural typology covers cult buildings – Buddhist and Tibetan-Buddhist pagodas, Taoist temples, and secular park pavilions. The specifics of the technology and artistic expressiveness distinguishing Chinese metallic architectural structures are identified based on concrete examples using the formal stylistic method of art analysis and technical analysis method. It is concluded that the metallic architecture did not work out new structural and art forms, the casting technique reproducing the structures and décor of wooden prototypes. This was associated with both the conservatism of visual perception and centuries-long standardized forms of cult and palace architecture. The casting technology potentialities enabled the structural and decorative features of wooden prototypes to be reproduced in every detail.

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30

Rampley, Matthew. "Eric Storm, The Discovery of El Greco: The Nationalization of Culture versus the Rise of Modern Art." Cultural History 7, no. 1 (April 2018): 115–16. http://dx.doi.org/10.3366/cult.2018.0166.

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31

Huzhalouski, Alexander A. "Formation of Stalin’s сult in Soviet Belarus in 1934–1939." Journal of the Belarusian State University. History, no. 3 (July 31, 2019): 57–67. http://dx.doi.org/10.33581/2520-6338-2019-3-57-67.

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Оn the basis of archival sources, periodicals and contemporary research works, сonsolidation of Stalin’s cult in Soviet Belarus is presented in the article. The few works that appeared during the two waves of de-Stalinization – in the second half of the 1950 – 1960s and in the second half of the 1980 – 1990s – did not reveal the phenomenon of the cult of the leader in Soviet Belarus. They only indicated the contours of this problem, without clarifying its essence, specific forms and consequences. The author gives an opportunity to a reader to examine the period from the 17th Congress of the CPSU(b), when the cult began to actively develop until the 60th anniversary of Stalin, when he reached his zenith. Supplemented by unlimited violence, the cult of Stalin was as effective as the Marxist doctrine to mobilize the society for support of Soviet totalitarian regime. The cult origin was rooted in a traditional, archaic society. It had irrational nature, what reflected the entire Soviet political culture. The main tool for leader’s cult construction was the party bureaucracy, true ruling class of Soviet society. The cult was introduced through the propaganda machine and was essentially a state religion with its own sacred texts, dogma, rituals, rites, holidays, and shrines. Under the direction and control of the party leadership, the image of a charismatic leader – the father, the teacher, the creator of a brighter future was purposefully formed during the second half of the 1930s with the help of media, literature, art, and educational institutions.

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32

Stahl, Devan. "The Prophetic Challenge of Disability Art." Journal of the Society of Christian Ethics 39, no. 2 (2019): 251–68. http://dx.doi.org/10.5840/jsce2019102312.

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For many persons with chronic illness and disability, medical images can come to represent their stigmatized “otherness.” A growing group of artists, however, are transforming their medical images into works of visual art, which better represent their lived experience and challenge viewers to see disability and illness differently. Although few of these artists are self-professed Christians, they challenge the Church to live into the communion to which it has been called. Using a method of correlation, Christian ethicists can find within this art the potential for: (1) creative resistance to modern deployments of biopower, (2) a celebration of divine poiesis, (3) opportunities for communion, and (4) prophetic challenges to the cult of normalcy. Disability art encourages a new ethic of communion in which embodied vulnerabilities are shared, celebrated, and reoriented toward the ground of being.

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33

Panov, Maxim. "A Document Relating to the Cult of Arsinoe and Philotera." Journal of Egyptian History 10, no. 1 (April 11, 2017): 43–49. http://dx.doi.org/10.1163/18741665-12340033.

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This brief article deals with a unique seal impression currently housed in the Metropolitan Museum of Art (mma 10.130.1563). Dating to the Ptolemaic Period, it belonged to a priest of the cults of Arsinoe and Philotera, but until now has not been analyzed in detail. The hieroglyphic text, transliteration, and translation is presented here along with a discussion of its date.

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Faulkner, Charles H. "A Study of Seven Southeastern Glyph Caves." North American Archaeologist 9, no. 3 (January 1989): 223–46. http://dx.doi.org/10.2190/u6dq-q24v-wgrf-v27h.

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The ceremonial use of caves by prehistoric Indians in the Southeast was firmly established by the discovery and study of Mud Glyph Cave in Tennessee which contained hundreds of drawings including several Southern Cult motifs. This study of seven additional petroglyph and mud glyph caves in the Southeast has confirmed Mississippian religious activities in certain caves and suggests that, although at least one of these caves may have been the setting for ceremonial art as early as the Late Archaic period, caves during this earlier period appear to have been primarily explored and used for mineral extraction. While the meaning of the later Mississippian glyphs will continue to elude us until more decorated caverns are found, the discovery of Southern Cult motifs in caves dating as early as A.D. 1000–1300 in remote areas of the Southeast suggests an early dispersal of this art and association with underground ceremonialism.

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Ha, Byeongwon. "Nam June Paik’s Unpublished Korean Article and His Interactive Musique Concrète Projects." Leonardo Music Journal 29 (December 2019): 93–96. http://dx.doi.org/10.1162/lmj_a_01071.

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Nam June Paik was a pioneering creator of interactive sound art before he became a cult figure in the field of video art. While Paik gradually developed interactive sound art in West Germany, he wrote several articles about contemporary music in Europe. Specifically, a musique concrète article for Korean readers is significant as a seed of his interactive projects. This study examines the content of the music article and articulates the relationship between musique concrète and Paik’s interactive sound projects: Record Shashlik (1963) and Random Access (1963).

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Kantor, Tadeusz. "Art Is a Kind of Exhibitionism." New Theatre Quarterly 6, no. 21 (February 1990): 64–69. http://dx.doi.org/10.1017/s0266464x00003985.

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Although now in his seventy-fifth year, the Polish director and artist Tadeusz Kantor is still regarded in the west as a startlingly experimental director, in the bleak, highly personal mould that has marked his work since the creation of the Cricot 2 Theatre in 1955. Such productions as The Water Hen, The Dead Class, Wielopole, Wielopole, and Let the Artists Die have earned him a strong cult following, but he has rarely chosen to explain his views and approach to theatre in the discursive form of an interview. We are therefore particularly pleased to be able to print here a translation of an interview which first appeared in the journal Polityka, No. 39 (November 1988), which took place during the visit of Kantor's most recent work, I Shall Never Return, to New York earlier in the same year. The translation is by Piotr Kutriwczak.

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Dudley, Lauren. "Alexandra Stara, The Museum of French Monuments in Paris 1795–1816: ‘Killing Art to Make History’ (Farnham: Ashgate, 2013)." Cultural History 4, no. 2 (October 2015): 219–21. http://dx.doi.org/10.3366/cult.2015.0101.

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Rodríguez Barral, Paulino. "Purgatory and Cult of Saints in Catalan art during the later Middle Ages." Locus Amoenus 7 (December 1, 2004): 35. http://dx.doi.org/10.5565/rev/locus.138.

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Garfinkel, Alan P. "Paradigm Shifts, Rock Art Studies, and the “Coso Sheep Cult” of Eastern California." North American Archaeologist 27, no. 3 (July 2006): 203–44. http://dx.doi.org/10.2190/a334-6127-h785-6716.

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Taws, R. "Funerary Art and Tomb Cult: Living with the Dead in France, 1750-1870." French History 27, no. 3 (April 11, 2013): 474–76. http://dx.doi.org/10.1093/fh/crt029.

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Wadlington, Will. "The Death of Art: On Kuspit's The Cult of the Avant-Garde Artist." Creativity Research Journal 9, no. 2-3 (April 1996): 291–94. http://dx.doi.org/10.1080/10400419.1996.9651185.

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Wadlington, Will. "The Death of Art: On Kuspit's The Cult of the Avant-Garde Artist." Creativity Research Journal 9, no. 2 (April 1, 1996): 291–94. http://dx.doi.org/10.1207/s15326934crj0902&3_19.

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Clunas, Craig. "The Cult of Happiness: Nianhua, Art, and History in Rural North China (review)." China Review International 12, no. 1 (2005): 97–99. http://dx.doi.org/10.1353/cri.2005.0123.

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Brennan, Robert. "The art exhibition between cult and market: The case of Dürer’s Heller Altarpiece." Res: Anthropology and aesthetics 67-68 (November 2017): 111–26. http://dx.doi.org/10.1086/693453.

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Croizier, Ralph C. "The Cult of Happiness: Nianhua, Art, and History in Rural North China (review)." University of Toronto Quarterly 75, no. 1 (2006): 345–47. http://dx.doi.org/10.1353/utq.2006.0042.

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Mason, Brett. "A Profane Look at the Cult of Privacy: Where Art Thou Professor Arndt?" Australian Quarterly 65, no. 2 (1993): 60. http://dx.doi.org/10.2307/20635721.

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Doherty, Brigid. "Between the Artwork and its ‘Actualization’: a Footnote to Art History in Benjamin's ‘Work of Art’ Essay." Paragraph 32, no. 3 (November 2009): 331–58. http://dx.doi.org/10.3366/e0264833409000637.

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This article analyses a footnote to the third version of the ‘Work of Art’ essay in which Walter Benjamin presents an account of ‘a certain oscillation’ between ‘cult value’ and ‘exhibition value’ as typical of the reception of all works of art. Benjamin's example in that footnote is the Sistine Madonna (1512–13), a painting by Raphael in the Dresden Gemäldegalerie that has played an important part in German aesthetics since Winckelmann. Benjamin's footnote on the Sistine Madonna, along with his critique of Hegel's aesthetics in that context, demand to be understood in relation to his remarks on Dada elsewhere in the artwork essay, and to his claim that technological reproducibility leads to the ‘actualization’ of the original reproduced. In that connection, the article concludes with an analysis of Kurt Schwitters's 1921 montage picture Knave Child Madonna with Horse.

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Kirillova, Anna Nikolaevna, and Arsenii Anatolevich Belomytsev. "Semantic oscillations of supporting music of the ancient cult as the foundation of metamodernism elements in the works of contemporary opera directors." Культура и искусство, no. 8 (August 2021): 11–19. http://dx.doi.org/10.7256/2454-0625.2021.8.36335.

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In recent decade, modernism as one of the varieties of post-postmodernism, draws interest of the researchers. It is suggested that modern culture has transgressed the situation of postmodernism, gravitating towards conceptual and semantic sustainability. As a language of self-description of the new era, the foundations of metamodernism are reflected in various forms of art. The opera house, overcoming the inertia of conservatism, perceives these trends, refracting them in a characteristic oscillation between the extreme semantic poles, which formed during the period of antiquity. The subject of this research is the correlation between the ancient musical heritage and metamodernistic trends in the modern opera theater. It is determined that translation of the principles of musical score of the ancient cult within the framework of the works of modern opera directors implies the characteristic to the supporting music of the cult forms of Ancient Greece and Rome oscillation between the poles of monophony – polyphony, instrumentality of accompaniment – a cappella, improvisational – preset of musical pieces. Paradigmatic assimilation of the fluctuations inherent to the cult of antiquity, as well as the absence of intentionality in their manifestations (which partially reflects the religious-ecstatic procedurality of art), largely determine the specific attributes of metamodernism, emphasized in the works of R. Castellucci, P. Sellars, R. Wilson, and D. Chernyakov.

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Kantarbaeva-Bill, Irina. "Vasily V. Vereshchagin (1842–1904): Vae victis in Asia and in Europe." Cultural History 6, no. 1 (April 2017): 21–36. http://dx.doi.org/10.3366/cult.2017.0133.

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Vasily Vereshchagin (1842–1904) was one of the most well-known Russian artists of the second half of the nineteenth-century and the beginning of the twentieth century. Strongly influenced by the popular French Neo-Classicist and Orientalist Jean-Léon Gérome, Vereshchagin's was constantly in pursuit of new subjects for his art. Instead of construing the east as a place of backwardness, lawlessness or barbarism, enlightened and tamed by Occidental rule, Vereshchagin's engagement with progress and humanism evolved in the course of his numerous expeditions and travels, shaping themes and images of human pathos, uncontrollable force and emotional extremes engendered by the war violence unfolding before his eyes. This article will trace Vereshchagin's life and works and their place in the development of the arts in the nineteenth century, when genre painting, the prevalent form of Orientalist art, gradually evolved into battle scenes. Vereshchagin selected the facts of human existence to transfer them to his drafts and studies as if he were attempting to discover the roots of cultural contradictions between the beauty and diversity of human creativity and the poverty, cruelty and barbarity of human life. His method of juxtaposing the traditional form of battle painting and the real tragedy of war whose victims had neither voice nor identity would challenge generals, tsars, governments and the orthodoxies of his time but would also bring him fame and respect.

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Scheid, John. "Myth, cult and reality in Ovid's Fasti." Proceedings of the Cambridge Philological Society 38 (1993): 118–31. http://dx.doi.org/10.1017/s0068673500001644.

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The relation of Ovid's Fasti to Roman religion has been discussed many times, but has never been dealt with properly. Despite a radical re-evaluation, in recent years, of Ovid's literary sophistication, scholars of Roman religion still tend to offer a negative judgment on Ovid's value. Criticisms have been varied. Ovid's unseriousness – frivolous tales in a context so solemn–has been considered exasperating. He has been accused (for example by Fr. Altheim) of lacking any religious sense whatsoever and of destroying respect for religion. Others, like Wissowa, have judged him to possess neither wide scholarship nor even the capacity of bringing his analyses to any proper conclusion. And it is not just authorities of the past who talk in these terms of moral outrage. Even today many historians of religion ignore or even reject the Fasti as any kind of reliable ‘source’. His causae are, they say, incomplete and incoherent; and he is further criticized for being unable to make a final decision between all the explanations he offers. In the camp of the Ovidiomastiges, shocked by the poet's amateurishness, one also finds those interested in Rome's mythology: evidence earlier than the Fasti being missing in most of the cases, the mythologists deeply resent Ovid's elusive art which frustrates their expectations. I will not here reconsider all the criticism nor will I offer a final defence or condemnation of the author of the Fasti, I will simply claim that there is no case to answer.

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