In the current American iconoclash, certain monuments are subject to vandalism and municipal removal from their pedestals. Phrases such as “the erasure of history” and “damnatio memoriae” point to concerns that iconoclasm is an attempt to censor history or even remove certain individuals from public memory altogether. Because these phrases beckon the past, this wave of iconoclasm calls for a close examination of previous image-breaking to establish motives. Drawing first from art history, we analyze Byzantine iconoclasm and (...) anxieties over the nature of icons’ power, before contextualizing these findings within image destruction from the Paleolithic to the present day. Each comparison is suggestive of an enduring aesthetic principle: that what appears inanimate is not always inert. Next, drawing from cultural anthropology, we argue that principles of sympathetic magic are at the heart of contemporary iconoclasms, but not in the way media outlets often suggest. Instead, the fear of history’s erasure betrays a deeply rooted equivalence between the representation and the represented. In perceiving their fates as shared, sympathetic magic is seen to persist in the way humans create, interpret, and desecrate images. We conclude with the speculative realist proposition that iconoclasm can produce new, original artworks, which carries implications for the autonomy of art and its distribution between artist and artwork. (shrink)

Gaston Bachelard occupies a unique position in the history of European thinking. As a philosopher of science, he developed a profound interest in genres of the imagination, notably poetry and novels. While emphatically acknowledging the strength, precision and reliability of scientific knowledge compared to every-day experience, he saw literary phantasies as important supplementary sources of insight. Although he significantly influenced authors such as Lacan, Althusser, Foucault and others, while some of his key concepts are still widely used, his oeuvre tends (...) to be overlooked. And yet, as I will argue, Bachelard’s extended series of books opens up an intriguing perspective on contemporary science. First, I will point to a remarkable duality that runs through Bachelard’s oeuvre. His philosophy of science consists of two sub-oeuvres: a psychoanalysis of technoscience, complemented by a poetics of elementary imagination. I will point out how these two branches deal with complementary themes: technoscientific artefacts and literary fictions, two realms of human experience separated by an epistemological rupture. Whereas Bachelard’s work initially entails a panegyric in praise of scientific practice, he becomes increasingly intrigued by the imaginary and its basic images, such as the Mother Earth archetype. (shrink)

Metaphors allow us to come to terms with abstract and complex information, by comparing it to something which is structured, familiar and concrete. Although modern science is “iconoclastic”, as Gaston Bachelard phrases it, scientists are at the same time prolific producers of metaphoric images themselves. Synthetic biology is an outstanding example of a technoscientific discourse replete with metaphors, including textual metaphors such as the “Morse code” of life, the “barcode” of life and the “book” of life. This paper focuses on (...) a different type of metaphor, however, namely on the archetypal metaphor of the mandala as a symbol of restored unity and wholeness. Notably, mandala images emerge in textual materials related to one of the new “frontiers” of contemporary technoscience, namely the building of a synthetic cell: a laboratory artefact that functions like a cell and is even able to replicate itself. The mandala symbol suggests that, after living systems have been successfully reduced to the elementary building blocks and barcodes of life, the time has now come to put these fragments together again. We can only claim to understand life, synthetic cell experts argue, if we are able to technically reproduce a fully functioning cell. This holistic turn towards the cell as a meaningful whole also requires convergence at the “subject pole”: the building of a synthetic cell as a practice of the self, representing a turn towards integration, of multiple perspectives and various forms of expertise. (shrink)

The iconoclasm of Jacques Ellul toward our modern technique-based civilization forces us out of the comfortable intellectual homes of our specialties that insulate us from ourselves and our world. It tends to provoke strong reactions that either confirm or negate our deepest intuitions. This is further explored by first examining the structure of Ellul's writings as reflecting an iconoclasm toward the way we know the world through science and, second, by examining the content of his work as reflecting (...) an iconoclasm toward the way we act on and live in the world through technique. The analysis concludes by evaluating the influence of technique on education to show the essential role icono clasm must play to ensure a human future. Ellul's analysis is a call to freedom to all those possessed by the technical spirit of our age. (shrink)

In the summer of 1985 my children, Laura and Aurélien, then seven and five, knelt before a Barbie doll standing at the foot of a Ken doll on an imaginary cross. I remember vividly the scene because I took a picture of it. We were vacationing in Ticino and visiting the local churches, so I assumed that this play imitated the iconography to which they were being exposed. After reading Moshenska's Iconoclasm as Child's Play, however—whose cover shows “Josh McBig,” (...) a bearded version of Ken with outstretched arms and severed legs, photographed by the Jackson sisters as part of their “Doll Games” project—I have to wonder: was there not in this play an element of parody or blasphemy, of iconoclasm even, prompted perhaps by my working at the time on contemporary “vandalism”? Or, on the contrary, was there an element of devotion, of faith produced by mimicking the ritual? I am now faced with the conundrum of “the adult's imagination of the child's imagination,” to borrow a phrase (from Michael Taussig) that resonates through Moshenska's strange and fascinating book.Sometime in the 1530s, in Redcliffe Cross in Bristol, in the west of England, a preacher named Roger Edgeworth denounced what he regarded as a current upsurge of impiety and singled out as evidence that “many Images” taken from the dissolved monasteries “haue bene caryed abrod, and gyuen to children to playe wyth all,” so that when their parents ask them what it is that they are playing with, they make them laugh by answering: “I haue here myne ydoll.” “Ydoll” is a portmanteau word—as Lewis Carroll would have said—combining “doll” and “idol,” and Moshenska finds “scattered but definite evidence... that holy things were made into playthings with sufficient frequency for it to be considered an established and recognized part of iconoclastic practice in the early modern period.” He analyzes a few other examples, but Edgeworth's sermon supplies him with the primal scene of his book: he admits to “having been seduced by this passage..., caught up in its folds, brought back to it time and again,” so that Iconoclasm as Child's Play bears some structural resemblance to Henry James's novella The Turn of the Screw. Consistently—and at times obtrusively—self-reflective, it also wonders whether its approach can be regarded as “a kind of iconoclasm” or is intended “as a form of play”—lusus serius, naturally.Iconoclasm as Child's Play explores with great ingenuity the complex relationships between the Christian rite, iconoclasm, and child's play: a Byzantine empress enables her icons to survive the Quarrel of Images by calling them her “dolls”; Protestants trivialize the Roman Catholic ritual by comparing it to “trifles” and the “mere playing of children”; in The Praise of Folly, Erasmus embraces the “foolishness” of Christianity, centered on the figure of a broken body that renders attacks against its images and iconoclastic theory itself—as Bruno Latour has shown—deeply equivocal. A further turn of the screw takes place in the missionary and mercantile context of Malacca, where the Dutch settlers impute childishness both to the Portuguese Jesuits who preceded them and to the local religions. The notions of “fetish” and “fetishism,” as Moshenska shows, charge their targets with a misattribution to objects of agency, responsibility, and desires.The object of Moshenska's inquiry, which he claims less convincingly to include “art-things,” is “polysemic and polychronic,” and a leitmotif of the interpretations he proposes is the instability of the status and meaning of what is interpreted, be it a thing, an action, or a word. Among the many epistemic virtues he attributes to iconoclasm as child's play is the questioning of “the sharp... divisions between modern and premodern” implied by historical narratives such as Max Weber's account of the Reformation as the “expulsion of play” and “disenchantment” of the world. A long meditation on the temporality of play concludes by pointing out the “toy potential of all things” and referring to James Gibson's notion of “affordance.” Indeed, child's play, whatever adults want to do with it, often consists in multiplying and inventing affordances, and it is capable of turning not only “idols” into “dolls,” but also “dolls” into “idols.”. (shrink)

Iconophobia, literally the fear of religious images, usually occurs in proportion to the powers attributed to them by their believers. In the worst cases, these fears have led to, or coincide with, a cycle of violence that may involve the actual destruction of images (iconoclasm) and of human life. Semiotics helps interpret the interconnectedness of these seemingly separate events. Most iconoclasm involves confusion between the image or sign (such as a statue) and its referent (the actual subject), and (...) a re-encoding of the signified (the meanings assigned to the sign). This article explores four case studies. In the aftermath of iconoclasm, fragments and ruins can be trans-valued as relics, and thus inspire hatred of the perpetrator and sympathy for the group whose sacred precincts have been violated. Or, broken statues may be preserved by a re-encoding as `art'. Yet not only do historical models warn of recurring conditions in which violence may be perpetrated against people and objects, but the more recent examples indicate that even great works of art that capitalist society deems world treasures cannot be taken out of the currency of iconoclastic exchange. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:ICONOCLASM in the OLD AND NEW TESTAMENTS Peter Goldman Westminster State College ofSalt Lake City Acentral problem for any monotheistic religion is distinguishing worship of the one true God from idolatry in all its forms. René Girard's pioneering interpretation ofthe Judeo-Christian scriptures clarifies this distinction by recourse to an ethical conception ofthe sacrificial: False religion or idolatry is essentially sacrificial, while the Judeo-Christian tradition opposes the sacrificial in (...) all its myriad forms. As Girard explains, the Passion narrative makes clear that the sacrificial or scapegoat victim, Christ, is innocent. The violence inflicted upon Christ is human, not divine. The Gospels thus reveal the violence that hides behind the sacred. Religious practices that further sacrificial violence are idolatrous, worshiping violence in the guise ofthe sacred.1 The ethical simplicity of the Girardian distinction between true faith and idolatry is complicated, however, by the issue of representation. According to the Old Testament, the one true God cannot be represented by images or figures of any kind, while idols typically take figurai form. From a biblical perspective, therefore, the question ofform is central to an understanding of idolatry. The Old Testament ban on images has never been investigated from a Girardian perspective. In this essay I apply Rene Girard's anthropological insights to the subject oficonoclasm in the Old and New Testaments. More specifically I address the second command-ment, the famous ban on "graven images," and the problem of representing God. From the per- ' For a fuller treatment ofGirard's interpretation ofChristianity in relation to the sacrificial, see his Things Hidden since the Foundation ofthe World 84Peter Goldman spective ofGirard's "fundamental anthropology" there are two basic issues in this regard. The first is the ethical function of the ban on images; how does the second commandment function ethically to preserve the human community in the Bible? Second, is the ban on images sacrificial as understood in Girardian terms? Or is it anti-sacrificial and therefore ethically progressive? The second commandment reads: "Thou shalt not make unto thee any graven image, or any likeness of any thing that is in heaven above, or that is in the earth beneath, or that is in the water under the earth : Thou shalt not bow down thyself to them, nor serve them: for I the Lord thy God am a jealous God" (KJV, Exod. 20.4-5). At first glance, this commandment might appear as an expression ofthe most primitive form ofreligious taboo. A specific cultural activity is arbitrarily forbidden under threat of punishment. The taboo on images, unlike the law against murder for example, has no obvious moral dimension. Images of any kind must be violently expelled —sacrificed, as it were—for no immediate reason. According to the second commandment, any attempt to represent God or his creation by images is a profane violation of his "jealous" nature; the second commandment therefore often finds expression in the violent destruction ofsocalled idolatrous images. Acts oficonoclasm directed againstthe images of foreign gods are quite common in the Old Testament. Nevertheless, I argue here thatthe second commandment is in practical terms ethically progressive and anti-sacrificial. It actually questions and underminesthe whole sacred-profane dichotomy. Indeed, the ban on images is ultimately a secularizing influence crucial for the development of modernity. I also address the Christian acceptance of divine images, which has often been understood as a reversal of the Judaic ban on figurai representations. In the interpretation of iconoclasm that I am proposing here, however, the image ofChrist on the cross can be seen as a logical development of the second commandment rather than its contradiction. I. The second commandment in context In the Old Testament, the giving of the second commandment is associated with the Exodus from Egypt and the Hebrew rejection of Egyptian religion and culture. In Herbert Schneidau's book Sacred Discontent, he argues persuasively that Hebrew monotheism is first of all a reaction against pagan polytheism. Schneidau writes, "The JudeoChristian tradition defines itselfas opposed to a pagan world which it sees Iconoclasm in the Old and New Testaments85 as essentialIy mythological"(12). Further, "TheHebrews habitually defined themselves negatively, by their differences from their neighbors" (51). Schneidau explains: We find... (shrink)

In the history of Jewish, Christian and Muslim culture, religious identity was not only formed by historical claims, but also by the usage of certain images: “images of God”, “images of the others”, “images of the self.”This book includes a discussion of the role of these images in society and politics, in theology and liturgy, yesterday and today.

Why is the urge to lose the iconic image relevant to reformation and modernism? A question so central in a society built more than ever on visual media dependency. Is that relevant to sceptical questioning of the essence of reality, and if the image is a reflection of reality in the era of new technology of image creating and manipulating? As iconoclasts began deliberately destroying images at the alter as a sign of reformation, modern art was no longer bound by (...) truthful representations of iconic reality; from shift in colour as a medium to a scientific light reflection, to pushing colour boundaries in reality, to losing the object for the absolute representation of abstract and supermatist visual, to deliberate losing of intended visual representation to materials, then to the empty frame, and to the empty gallery … on goes the iconoclastic gesture of modern art. Followed by a transitional shift from iconic representation all the way to resonance in visual communications, exploring with the possibilities of different referential functions of signs, and thru to minimalism and replacing visual by verbal referential codes. This article studies actions and motives of deliberate loss of iconic image, examining the factors associated with the development and process, criss-crossing the boundaries of two image dependant yet very different domains; art and visual communication. (shrink)

The expression ‘Fake News’ inside Internet memes engenders significant online virulence, possibly heralding an iconoclastic emergence of weaponized propaganda for assaulting agencies reared on public trust. Internet memes are multimodal artifacts featuring ideological singularities designed for ‘flash’ consumption, often composed by numerous voices echoing popular, online culture. This study proposes that ‘Fake News’ Internet memes are weaponized iconoclastic multimodal propaganda discourse and attempts to delineate them as such by asking: What power relations and ideologies do Internet memes featuring the expression (...) ‘fake news’ harbor? How might those manifestations qualify as WIMP discourse? A multimodal critical discourse analysis of a small pool of ‘fake news’ Internet memes drawn from four popular social media websites revealed what agencies were often targeted and from what political canons they likely emerged. Findings indicate that many Internet memes featuring ‘fake news’ are specifically directed, revealing an underlying hazard that WIMP discourse could diminish democratic processes while influencing online trajectories of public discourse. (shrink)

In this essay, I argue that the apparent historical inaccuracies contained within Lewis Nordan’s Wolf Whistle represent a systematic repeal of the controversial history surrounding the murder of Emmett Till in 1955. Nordan reconstitutes the principle characters to function as iconoclasms of the historical record. As iconoclasms, these representations undermine our culture’s accepted model of history, what Hayden White terms the “historical account”.

Objective Semiotica is published in six annual issues, in two languages (English and French). From time to time, Special Issues, devoted to topics of particular interest, are assembled by Guest Editors. The publishers of Semiotica offer an annual prize, the Mouton d'Or, to the author of the best article each year. The article is selected by an independent international jury. Topics We welcome papers reporting results of research in all branches of semiotic studies. Article formats Research articles, in-depth reviews, guest (...) editorials, reports Mouton D’Or Winner 2022 "Semiotricité et corps en jeu", Parlebas, Pierre, 248, 9-35. The judges commented: "The Committee members made this decision based on many appreciations. First, the article contains a concise theory on semiotics of movement, synthesizing decades of research of the author. It opens an exciting framework for the contribution of many other authors. The theoretical grounds of semiotircity are built on the most classical semiotic approaches and represent a genuine development. Second, the article refreshes semiotics methodology in very original way, by engaging the applied semiotics for furtive and instantaneous activities analysis. Third, the article is pretty clear and well structured, written in very comprehensible French. The theoretical frame it opens is thorough and far reaching. Fourth, the semiotic theory of movement comes in a very special moment when the whole world is football, but it covers also many other areas of applicability which reflect major trends such as the general gamification of life thanks to new media and digital technologies. It is crucial for semiotic theory to open its theoretic scope towards significant cultural trends and become more attractive for young researchers." Les membres du comité ont pris leur décision en fondant leur appréciation sur quatre éléments principaux. Premier élément : l'article, en peu de mots, en prenant appui sur des décennies de recherche de la part de l'auteur, déploie de manière précise les termes d'une sémiotique du mouvement. Les fondements théoriques de la sémiotricité sont construits sur des approches sémiotiques bien établies et représentent un véritable développement dans le domaine. En cela, le texte ouvre un cadre passionnant pour les contributions de nombreux autres chercheurs. Deuxièmement, l'article renouvelle la sémiotique appliquée de manière très originale, l'engageant dans une approche efficace des actions instantanées et furtives; la méthodologie sémiotique en général en tire donc aussi profit. Troisième point, en plus d'être profond, avec un cadre théorique d'ampleur et de grande portée, l'article est particulièrement bien structuré et écrit dans un français très compréhensible, ce qui est un véritable gain pour sa diffusion. Enfin, quatrièmement, s'il est indéniable que le texte pourrait bénéficier d'une visibilité complémentaire due à la ferveur liée au contexte récent de la coupe du monde de football au Qatar, il couvre surtout de nombreux autres domaines d'applicabilité qui reflètent des tendances majeures telles que la gamification générale de la vie, portée par les nouveaux médias et les technologies numériques. L'on y voit une belle opportunité pour la théorie sémiotique d'ouvrir son champ à la faveur de tendances culturelles significatives; ceci est une garantie pour continuer à attirer de nouvelles générations de chercheurs. (shrink)

Although philosophers have characteristically taken the view that art is a vehicle of some universal meaning or truth, art historians emphasize the concrete, historical location of the individual work of art. Is aesthetics capable of sustaining these two approaches? Or, as Michael Kelly argues: Is art actually determined by its historical particularity? His book covers the views of four philosophers--Heidegger, Adorno, Derrida, and Danto--ultimately iconoclasts, despite their significant philosophical engagement with the arts.

This article presents a detailed reconsideration of the well-established and canonized theory of “Sasanian iconoclasm” postulated by Mary Boyce in 1975. The Sasanians did not develop any prohibition against anthropomorphic representations of the gods, and in the surviving Zoroastrian literature and inscriptions there is no evidence of either theological disputes over idols or of a deliberate eradication of them by the Persian kings. Sasanian cult was aniconic, but the historical and archaeological evidence clearly demonstrates that Sasanian visual culture was (...) anything but iconoclastic. It seems that the Persian iconoclastic identity was constructed in the early Sasanian period as a response to the challenges posed by Christianity. By joining the common monotheistic discourse against idolatry, the Zoroastrian clergy adopted the conventions of the world in which they lived. Attacks against “idols” and “idolatry” should be understood in the context of internal and external polemical discourse against beliefs deemed to be erroneous by the Zoroastrian priesthood. (shrink)

I argue that in Julia Kristeva’s concept of negativity, conceived of as the recuperation, through transformation, of a traumatic remnant of the past, we can find a parallel to what Theodor Adorno, following Walter Benjamin, calls a mimesis that in its emphasis on non-identity is able to remain faithful to the ban on graven images interpreted materialistically rather than theologically. A connection between negativity and the theological ban on images is suggested in Adorno’s claim that a ban on positive representations (...) of utopia leads to a practice of negating the negative, that is, of exposing the injustices of modern life. Both Adorno and Kristeva discern in contemporary art a capacity to critique modernity and envision a better world, but insist that this art must not represent what it indicates. I also examine Benjamin’s writings on photography in order to argue that a mimesis that respects the ban on graven images moves us beyond the systematic optimism of the Hegelian dialectic, and extends the philosophy of history into the unknown of the unconscious. (shrink)

Le travail de Christian Marclay, artiste multiforme, improvisateur et performer, explore systématiquement un espace au confluent des arts sonores et visuels (vidéo, photos, installations, sculptures). Comment réfléchir sur le son à travers les objets tangibles et les représentations visuelles qui le réifient ? Comment produire – par une pratique musicale de platiniste notamment – de nouveaux sons et de nouveaux rapports à la musique ? Ce double axe d’interrogation rencontre nécessairement la question de l’instrument. Iconoclasme musical dans la double lignée (...) du mouvement punk et de Fluxus ? Ou /et interrogation sur le fonctionnement de l’instrument dans la pratique vive d’une musique à réinventer ? On voudrait suggérer qu’une telle approche esthétique peut nourrir l’approche ontologique de l’instrument et, en paraphrasant Nelson Goodman, poser la question « quand y a-t-il instrument ? ». (shrink)

Name der Zeitschrift: Der Islam Jahrgang: 94 Heft: 1 Seiten: 5-56.

The iconoclastic controversy of the eighth and ninth centuries was of fundamental importance for the history of Europe. The Byzantine aspects of iconoclasm have been extensively studied; however, with the exception of the Libri Carolini, its manifestations in western Europe are not fully understood. Yet western authors of many types of texts were interested in iconoclasm, both for its political consequences and for its theological aspects, and mentions of iconoclastic issues in these texts have often gone unnoticed. In (...) this essay I will discuss the curiously oblique references to iconoclasm in one text, the Liber pontificalis ecclesiae Ravennatis by Andreas Agnellus, and will consider the implications of these discoveries both for the meaning of Agnellus's text and for our understanding of iconoclasm's impact in the West. (shrink)

It is now forty years since the publication of one of the defining papers on early-medieval art, Ernst Kitzinger's “The Cult of Images in the Age before Iconoclasm.” This article remains a deeply influential study on early-medieval attitudes toward visual culture, arguing, as it does, that the political crises of the later sixth century helped produce a turn toward a new function for religious imagery as belief in the political and military strength of the Byzantine Empire crumbled. The implications (...) of the subsequent rise in the cult of images have been exhaustively discussed in numerous further papers. In a footnote to his paper Kitzinger introduces the interesting question of a turn to iconoclastic activities at this period by the Jews of Palestine. He suggests that this physical action, including the deliberate destruction of some images, might be linked to a Jewish reaction against the growth in the use of images by Christianity, a reaction attested in a form of Christian-Jewish polemic that developed in the middle years of the seventh century. Kitzinger's central concern in this essay is the cult of images in the Byzantine Empire, and he does not develop this hypothesis. Taking his footnote as my starting point, I will directly address some possible causes of Jewish iconoclasm. In so doing, I will examine how attitudes toward religious imagery played a role in the construction of cultural identity at this period. Images and their cults are not simply a matter for Byzantine Christianity, for the points drawn from a discussion of Jewish iconoclasm carry wider implications for the analysis of the place of images in early-medieval society. (shrink)

The main themes and aims of this book are understanding aesthetics, contemporary art and the end of the avant-garde not from the traditional viewpoint of the metaphysics of the beautiful and the sublime but rather thru close connection to the techno-genesis of virtual worlds. This book tackles problems in contemporary art theory such as the body in space and time of digital technologies, along with other issues in visual studies and image science. Further intentions exhibit the fundamental reasons for the (...) disappearance of the picture in the era of virtual reality starting from the notion of contemporary art as realized iconoclasm; art has no world for its "image". The author argues that the iconoclasm of contemporary art has severe consequences. This text appeals to philosophers of art and those interested in contemporary art theory. (shrink)

Pamela D. Winfield offers a fascinating juxtaposition and comparison of the thoughts of two pre-modern Japanese Buddhist masters, Kukai (774-835) and Dogen (1200-1253) on the role of imagery in the enlightenment experience.

This paper explores the transformation which Adorno’s conception of history undergoes from his texts of the 1930s to those of the 1960s. This transformation involves a change in the role played by Hölderlin’s figure of transience. In the texts of the ’30s, Hölderlinian transience (in its Benjaminian interpretation) amounts to a moment of negative content within Adorno’s conception of history. In the texts of the ’60s, such transience becomes the very form of Adornian philosophical history. As such, his thinking of (...) history changes from a tragic conception (emphasizing a “negative absolute”) to an iconoclastic one (emphasizing “absolute negativity”). (shrink)

Journal of Philosophy of Education, EarlyView.

Let texted de Nietzsche se caractérise par l'usage de métaphors ed d'images multiples. Nietzshce affirme que nous n'avons accès à rien de plus qu'a des images. Il repense à la fois, de façcon polémique et contre tout dualisme, le statut de l'image, et la «connaissance» dont nous sommes susceptibles. L'image n'est alors que l'autre nom de l'«interprétation», nom qui permet de préciser en quel sens celle-ci doit être entendue. En conséquence, la tâche d'une philosophie neuve ne doid consister qu'a produier (...) de meilleures images, qui permettent de faire advenir un plus haut degré de culture - l'image apparaissant alors comme l'un des pivots essentiels du double versant, généalogique et créateur, de la pensée de Nietzsche.Nietzsche's text is characterized by the constant use of metaphors and images of various sorts; and he contends that we can know nothing more than images. He rethinks both the very concept of "image" in a controversial way and so the "knowledge" we are capable of. "Image" then is nothing but the other demonmination of "interpretation", a denomination which must be read as an enlightenment on how "interpretation" should be understood. Consequently, the task of a new philosophy should consist only in discovering better images, in order to create new values and a higher degree of culture - so that the image can indeed finally be understood as an essential axis of the two sides of Nietzsche's thought.Nietzches Text zeichnet sich durch den Gebrauch von vielfaltigen Bildern und Metaphoren aus, und er behauptet, dass wir nur zu Bildern Zugang haben. Er überdenkt - in oft polemischer und eindimensionaler Weise - den Stellenwert des Bildes und damit auch die "Erkenntnis", zu der wir imstande sind. Das Bild ist somit ein anderer Begriff für "Interpretation"; mit ihm interpertiert Nietzsche, wie "Interpretation" zu verstchen ist. Die Aufgabe einer neuen Philosophie kann so nur darin bestehen, bessere Bilder zu schaffen. Um ein höhere Kulturstufe zu erreichen, erscheint das Bild damit als ein esssentieller Dreh- und Angel-unkt von Nietzches zwischen Genealogie und Genialität angesiedeltem Denken. (shrink)

This is a review of Michael Kelly's _Iconoclasm in Aesthetics_.

This article considers Frances Yates’s famous attribution of “inner iconoclasm” to the rhetorical and logical innovations of Petrus Ramus (1515–1572), particularly as exemplified in the theological writings of the Elizabethan preacher William Perkins (1558–1602). According to Yates, the rejection, by Ramists such as Perkins, of the imagistic art of memory practised by Raymond Lull (c.1232–c.1315) and Giordano Bruno (1548–1600) was tied directly to Ramists’s commitment to the Calvinist rejection of religious images. For Yates, the rejection of images in religious (...) contexts motivated Ramists, including Perkins, to reject all images, both physical and imaginary. Contra Yates, this article suggests that there is little warrant to connect the rejections of mnemonic and religious imagery. Furthermore, Yates’s implicit suggestion that both Ramism and Calvinism constitute rejections of the human imagination tout court is contested through a detailed engagement with the philosophical theories of the imagination articulated by Ramists, Calvinists and proponents of the art of memory. The article concludes with an exposition of Perkins’s account of imagination, and its connection to his treatment of religious images, arguing that Perkins retained an important place for the imagination even within his theology. (shrink)

L'A. analyse quatre miniatures de la Bible de Léon, personnage de la cour byzantine vers 940, et particulièrement celle de Moïse sur le mont Sinaï. La démarche semble intéressante puisque c'est la première expression d'une nouvelle iconographie amorcée après la crise iconoclaste. L'A. suit l'évolution exégétique de la révélation sur le mont Sinaï à travers le discours des théologiens iconodules dans le contexte plus large du texte et de l'image. A la lumière de ce développement, il est possible d'entrevoir dans (...) la Bible de Léon un écho visuel de la théologie post-iconoclaste. (shrink)