04078nam 2200673 450 99623483710331620210510222223.01-5015-0226-31-5015-0230-110.1515/9781501502262(CKB)3710000000495437(EBL)4006775(SSID)ssj0001516461(PQKBManifestationID)12536121(PQKBTitleCode)TC0001516461(PQKBWorkID)11495036(PQKB)10120307(MiAaPQ)EBC4006775(DE-B1597)450316(OCoLC)923337053(DE-B1597)9781501502262(Au-PeEL)EBL4006775(CaPaEBR)ebr11101711(CaONFJC)MIL838162(PPN)20201438X(EXLCZ)99371000000049543720151113h20152015 uy 0engur|n|||||||||txtccrThe materiality of divine agency /edited by Beate Pongratz-Leisten and Karen Sonik ; with contributions from Kim Benzel [and five others]Boston, [Massachusetts] ;Berlin, Germany :De Gruyter,2015.©20151 online resource (258 pages) illustrations, photographsStudies in Ancient Near Eastern Records ;Volume 8Description based upon print version of record.1-5015-0227-1 1-5015-1068-1 Includes bibliographical references at the end of each chapters and index.Front matter --Acknowledgments --Preface --Contents --Abbreviations --List of Illustrations --Contributors --Between Cognition and Culture: Theorizing the Materiality of Divine Agency in Cross- Cultural Perspective --The Animation and Agency of Holy Food: Bread and Wine as Material Divine in the European Middle Ages --“What Goes In Is What Comes Out” – But What Was Already There? Divine Materials and Materiality in Ancient Mesopotamia --Imperial Allegories: Divine Agency and Monstrous Bodies in Mesopotamia’s Body Description Texts --Divine (Re-)Presentation: Authoritative Images and a Pictorial Stream of Tradition in Mesopotamia --Seeing and Socializing with Dagan at Emar’s zukru Festival --The Voice of Mighty Copper in a --IndexTwo topics of current critical interest, agency and materiality, are here explored in the context of their intersection with the divine. Specific case studies, emphasizing the ancient Near East but including treatments also of the European Middle Ages and ancient Greece, elucidate the nature and implications of this intersection: What is the relationship between the divine and the particular matter or physical form in which it is materially represented or mentally visualized? How do sacral or divine "things" act, and what is the source and nature of their agency? How might we productively define and think about anthropomorphism in relation to the divine? What is the relationship between the mental and the material image, and between the categories of object and image, image and likeness, and likeness and representation? Drawing on a broad range of written and pictorial sources, this volume is a novel contribution to the contemporary discourse on the functioning and communicative potential of the material and materialized divine as it is developing in the fields of anthropology, art history, and the history and cognitive science of religion.Studies in ancient Near Eastern records ;Volume 8.Religion and cultureMaterialismReligious aspectsReligion and culture.MaterialismReligious aspects.202/.117Pongratz-Leisten BeateSonik KarenBenzel KimMiAaPQMiAaPQMiAaPQBOOK996234837103316The materiality of divine agency2420832UNISA03338nam 22006371 450 991096993490332120171009095604.0978135000419113500041979781350004160135000416210.5040/9781350004191(CKB)4340000000213381(MiAaPQ)EBC4939398(OCoLC)1000048121(UtOrBLW)bpp09261140(PPN)233131728(UtOrBLW)BP9781350004191BC(Perlego)804756(iGPub)BLOM0009975(EXLCZ)99434000000021338120171025d2017 uy 0engurcnu||||||||rdacontentrdamediardacarrierExpanded painting ontological aesthetics and the essence of colour /Mark Titmarsh[New York] :Bloomsbury Academic,2017.1 online resource (228 pages)9781350101999 1350101990 9781350004177 1350004170 Includes bibliographical references and index.Chapter 1. The Presence of Paint -- Chapter 2. Expanded Painting -- Chapter 3. Post Aesthetics -- Chapter 4. An Ontology of Colour -- Chapter 5. The Painting of Being -- Notes -- Bibliography."The relevance of painting has been questioned many times over the last century, by the arrival of photography, installation art and digital technologies. But rather than accept the death of painting, Mark Titmarsh traces a paradoxical interface between this art form and its opposing forces to define a new practice known as 'expanded painting' giving the term historical context, theoretical structure and an important place in contemporary practice. As the formal boundaries tumble, the being of painting expands to become a kind of total art incorporating all other media including sculpture, video and performance. Painting is considered from three different perspectives: ethnology, art theory and ontology. From an ethnological point of view, painting is one of any number of activities that takes place within a culture. In art theory terms, painting is understood to produce objects of interest for humanities disciplines. Yet painting as a medium often challenge both its object and image status, 'expanding' and creating hybrid works between painting, objects, screen media and text. Ontologically, painting is understood as an object of aesthetic discourse that in turn reflects historical states of being. Thus, Expanded Painting delivers a new kind of saying, a post-aesthetic discourse that is attuned to an uncanny tension between the presence and absence of painting."--Bloomsbury Publishing.AestheticsArtPhilosophyColor in artOntologyPaintingPhilosophyPhilosophy: aestheticsAesthetics.ArtPhilosophy.Color in art.Ontology.PaintingPhilosophy.745.723Titmarsh Mark1861395UtOrBLWUtOrBLWBOOK9910969934903321Expanded painting4467494UNINA