scholarly journals La lógica estético-sacramental de la fiesta religiosa

2021 ◽  
Vol 2 (53) ◽  
pp. 65-88
Author(s):  
Federico Aguirre
Keyword(s):  
Material Culture ◽  
New Material ◽  
Estudios Culturales

En el presente artículo se busca describir el rol fundamental que juega la experiencia estética en los procesos de significación de lo que se suele denominar “religión popular”. Para esta labor, tomamos como objeto de estudio la fiesta religiosa que, junto con hacer referencia a una determinada realidad empírica, nos provee de dos mediaciones conceptuales para el desarrollo de nuestro análisis: la fiesta y la imagen. De este modo, después de contextualizar nuestra reflexión en el marco de los estudios culturales y la estética, procedemos a definir la lógica estético-sacramental de la fiesta religiosa a partir de los conceptos de “fiesta” e “imagen”, abordados desde el enfoque de la New Material Culture.

Gustav Klemm, Cultural History, and Kulturwissenschaft

2017 ◽  
Author(s):  
Peter N. Miller
Keyword(s):  
Nineteenth Century ◽  
Material Culture ◽  
Cultural History ◽  
German Culture ◽  
High Culture ◽  
History Of ◽  
New Material ◽  
Cultural Science ◽  
History Of Culture

This chapter examines a new material-based history of German culture and looks at how a study of material culture had since evolved into “cultural history.” It traces the history of culture in nineteenth-century Germany, at the same time puzzling out the ambiguity of such a category as it was applied during the period. Encompassing both high culture and low, the popular and the elite, cultural history has often seemed borderless and indefinite—leading even its admirers to “search” for it or to see it as a “problem.” The chapter then turns to a study of Gustav Friedrich Klemm (1802–1867), the most important of the cultural historians of the 1840s and 1850s. His General Cultural History (1843–1852) and General Cultural-Science (1855) are both significant works in the field.

Mistrust traditions, consider innovations? The Mesolithic-Neolithic transition in southern Scandinavia

2007 ◽  
Author(s):  
Lars Larsson
Keyword(s):  
Material Culture ◽  
Physical Environment ◽  
Future Research ◽  
New Techniques ◽  
Neolithic Transition ◽  
Prime Concern ◽  
Southern Scandinavia ◽  
The World ◽  
New Material ◽  
Ways Of Thinking

For the individuals participating in the Mesolithic–Neolithic transition, one question must have recurrently emerged as a prime concern: ‘Should I mistrust traditions and consider innovations’? This concern encompassed the introduction of new material culture and new techniques of obtaining food. It also involved new ways of conceiving the world and people's place in it. And it was affected by important – sometimes catastrophic – changes in the physical environment. It must be emphasized that the question of whether to mistrust traditions and consider innovations is not only a matter of concern for prehistoric actors. It is also important for those who are making prehistory today. As is presented in this chapter, the facts presented for south Scandinavia have been variously interpreted as indicating the rapid introduction of a ‘Neolithic’ package with new ways of thinking and acting, as well as reflecting a mixture of traditions and gradually incorporated innovations. Future research into the transition should focus on combining new problem-oriented excavation with fresh ideas about how the transition from the Mesolithic to the Neolithic occurred.

The Cadusii in Archaeology? Remarks on the Achaemenid Period (Iron Age IV) in Gilan and Talesh

2013 ◽  
Vol 17 (2) ◽  
pp. 115-151
Author(s):  
Christian Konrad Piller
Keyword(s):  
Material Culture ◽  
Iron Age ◽  
Caspian Sea ◽  
Point Of View ◽  
Armed Conflicts ◽  
The South ◽  
The Caspian Sea ◽  
Material Basis ◽  
South West ◽  
New Material

According to some classical authors, the region south-west of the Caspian Sea was inhabited by the large tribe of the Cadusians (Greek Καδουσιοι, Latin Cadusii). During the Achaemenid Period, several armed conflicts between the Imperial Persian forces and the warlike Cadusians occurred. Of particular importance is the disastrous defeat of Artaxerxes II in 380 B.C. From the archaeological point of view, little has been known about the material culture of the Achaemenid Period (Iron Age IV) in Talesh and Gilan. Until recently, only a few burial contexts from the South of Gilan could be dated to the period between the 6th and 4th centuries B.C. However, during the last two decades, Iranian archaeologists excavated numerous Bronze and Iron Age graveyards in the Talesh Region. A number of burial contexts at sites, such as Maryan, Mianroud or Vaske can securely be dated to the Achaemenid Period. With this new material basis, it was possible to subdivide the Iron Age IV into different subsequent phases. Furthermore, it is likely that the material culture described in this article could be at least partially attributed to the Cadusians.

Objects of Embodiment: A “Post-Material Turn” in Exhibiting Lost Material Culture

2020 ◽  
pp. 249-274
Author(s):  
Tanja Zimmermann
Keyword(s):  
Material Culture ◽  
Large Scale ◽  
Religious Art ◽  
Bodily Experience ◽  
Avant Garde ◽  
The Past ◽  
Historical Objects ◽  
New Material ◽  
Material Turn ◽  
Image Projections

Exhibiting lost material culture goes beyond documenting, preserving, reconstructing, and staging material traces of the past. Museums, possessing modest collections of original historical objects, have to search for new ways of exhibiting material culture thereby replacing facts (original objects, documents, documentary media) by bodily experience similar to that evoked by mystical religious art addressing different human senses beyond the vision. Bodily sensations can be evoked by ambiences, following expressionist or constructivist architecture, by sculptural displays in tradition of the avant-garde, by soundscapes and large scale image projections evoking illusion and immersion. The “post-material turn” comprises thus not only virtual culture, but also new material approaches to the memory of the past, shifting from original historical artifacts to reproductions and substitutes, evoking an intense bodily experience. Although history gets space for embodiment, such ambiences evoke a strong sense of loss, because they avoid immediate contact with traces of the past by virtual and material “doubles”. The “post-material turn” will be discussed with the example of The Jewish Museum and Tolerance Center in Moscow, relating it to other contemporary “postdocumentary” and “post-factual” phenomena in memorial culture.

Regionality under the new order: The seventh to tenth centuries

2018 ◽  
Author(s):  
Stephen Rippon
Keyword(s):  
Material Culture ◽  
Eighth Century ◽  
Seventh Century ◽  
New Order ◽  
Cultural Tradition ◽  
Final Phase ◽  
Roman World ◽  
Group Identities ◽  
New Material ◽  
Grave Goods

Around the late sixth century dress styles and burial practices started to change, with regionally distinctive sets of grave goods giving way initially to the greater uniformity seen in ‘final phase’ cemeteries before the regular deposition of artefacts ceased altogether in the late seventh century. It has been argued that this reflects how a common identity had started to emerge across Anglo-Saxon society, and that the change in the character of grave goods away from those expressing a strongly Germanic identity to ones with a more Romano-Byzantine character reflects how kings sought to legitimize their power through association with the Roman world (e.g. Geake 1997, 133–5; 1999b). This hypothesis, however, presents something of a paradox because, just as the archaeologically visible and regionally distinctive group identities expressed in material culture such as dress accessories disappeared, a new form of territoriality was emerging in the form of relatively stable kingdoms within which one might imagine the expression of identity was just as important. Indeed, many have argued that changes in the character of grave goods being deposited in ‘final phase’ cemeteries had less to do with secular identity and kingship and was instead associated with the spread of Augustinian Christianity, which was both a unifying cultural tradition and one with strong associations with the Roman world (e.g. Crawford 2004; Hoggett 2010, 107). It seems inherently unlikely that group identities will have disappeared just as stable kingdoms started to emerge, and it is therefore likely that identity was expressed in other ways. This is in fact exactly what we see if we look beyond the burial record: while eighth-century and later graves contain few expressions of identity, as Christianity dictated a uniform burial practice, the circulation of new forms of material culture, such as coinage and mass-produced pottery, was closely tied to particular political territories. This new material culture was associated with specialist forms of settlement that were closely involved in the circulation of coinage both in coastal emporia and in inland places that archaeologists have termed ‘productive sites’.

scholarly journals RAFTS AND TRADES RELATED TO WOOD PROCESSING IN RUSSIAN VILLAGES OF STANS 3 AND 4 OF ZLATOUSTOVSKY DISTRICT OF UFA PROVINCE

2017 ◽  
Vol 13 (4) ◽  
pp. 74-88
Author(s):  
Е Е Nechvaloda
Keyword(s):  
Material Culture ◽  
Birch Bark ◽  
Wood Processing ◽  
The North ◽  
Republic Of Bashkortostan ◽  
Russian North ◽  
New Material ◽  
Wood Carving ◽  
The Republic ◽  
Artistic Images

The article is based on the data of the field researches carried out by the author in the north-eastern regions of the Republic of Bashkortostan (Duvansky, Mechetlinsky and Belokotaysky Districts) in 2011-2014. In late 19th - early 20th centuries, this territory was part of stans 3 and 4 of the Zlatoustovsky District of the Ufa Province. Most of the Russian population of this area were the “Kunguryaks”, the descendants of immigrants from the northern lands (the former Perm and Vyatka Provinces). The author of the article considers the traditions of wood processing that existed in the Russian villages within the area under study in late 19th - early 20th centuries. Most objects required in the household and in everyday life were made from wood: there were many carved, chiselled, bent objects as well as those braided from rod, birch bark, and bast in the peasant’s house, they were daily used in all spheres of life. Many crafts and trades were connected with wood processing: carpentry, cooperage, joinery, etc. In the villages, there were wood carvers and “painters”, who turned wooden objects into pieces of decorative and applied arts. The traditions of wood processing were brought by the “Kunguryaks” from their historical homeland and they have much in common with the traditions of the Russian North. Among the artistic images of wood carving, there are both ancient amulets - images of ducks, horses, the sun, and Christian symbols - images of a cross, a chalice with grape bunches. In the painting on wood, both the Ural and Vyatka traditions are notable. The article fills in the gaps in the studies of the traditional culture of the Russian ethnos that for now is investigated unevenly in various regions, and the author introduces new material on its material culture into scientific use.

New Light on Medieval Nubia

1965 ◽  
Vol 6 (3) ◽  
pp. 263-273 ◽  
Author(s):  
P. L. ◽  
M. Shinnie
Keyword(s):  
Material Culture ◽  
Sufficient Information ◽  
Nile Valley ◽  
Artistic Development ◽  
Domestic Life ◽  
New Information ◽  
History Of ◽  
New Material ◽  
Medieval Nubia ◽  
New Evidence

The importance of the Christian states of Nubia in medieval times has hitherto been under-estimated by historians of Africa. There is now sufficient information to show that they played a significant part in the history of the Nile valley for some 800 years. Not only did the existence of Christian states impose a barrier to the expansion of Islam, but the Dongola kingdom at least was at times an important force in the politics of the area.The recent campaign of excavations made necessary by the building of the Aswan dam has provided much new information about the material culture of the period, and shows a much higher artistic and social development than earlier emphasis on ecclesiastical monuments had suggested. Nubia is now seen to have had a highly developed civilization with considerable urban development. Detailed study of the pottery has made possible more precise dating of buildings and objects, as well as showing periods of increased and decreased trade with Egypt.The discovery of important frescoes in the cathedral at Faras makes it possible to study the artistic development, and also adds new material for a study of the eastern, particularly Persian, influences already suspected in Nubian art. Information about domestic life is made available by the excavations at Debeira West, the first predominantly domestic site to have been excavated, whose material remains provide new evidence on diet, crafts and agriculture.

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