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Libros sobre el tema "Material and Immaterial Culture"

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Autor: Grafiati
Publicado: 14 de marzo de 2023

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1

Art Gallery of New South Wales., ed. Material immaterial. Sydney: Art Gallery of New South Wales, 1997.

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2

Bertocci, Stefano, Marco Bini y Saverio Mecca, eds. Documentation for conservation and development. Florence: Firenze University Press, 2006. http://dx.doi.org/10.36253/8884534933.

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Documentation for conservation and development. New heritage strategy for the future collects the contributions to the 11th International Seminar (Florence 11-15 september 2006). The seminar showed the research realized on specific themes regarding the analysis, documentation and exploitation of both architectural properties and material and immaterial heritage with the purpose of its conservation and future development. Scientific knowledge, work and documentation about architecture and urban environment, the relationship with territory, as well as material and immaterial heritage, become formidable instruments for the comprehension and exploitation of the universe of data and signs given by history and culture, regarding in substance human life that founds and takes place in a certain geographic area.
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3

Sdegno, Emma, Martina Frank, Pierre-Henry Frangne y Myriam Pilutti Namer. John Ruskin’s Europe. A Collection of Cross-Cultural Essays With an Introductory Lecture by Salvatore Settis. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-487-5.

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Ruskin’s work is strongly inscribed in the great European context, marking an important moment in the movement for the establishment of a community culture and spirit. The essays collected here intend to place the theme of Ruskin’s fruitful and essential relationship with Europe at the centre of a critical reflection, presenting themselves as opportunities for an in-depth study and a discussion on issues related to aesthetics, the protection of material and immaterial heritage, cultural and literary memory. By bringing to the attention of the scientific community the multiple aspects – geographic, historical-artistic, critical-aesthetic, literary, socio-political – of Ruskin’s work from inter- and transcultural perspectives, the volume aims to (re)discover a deliberately European Ruskin and to stimulate new research routes.
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4

1954-, Kuma Kengo, ed. Material/immaterial: The new work of Kengo Kuma. New York: Princeton Architectural Press, 2009.

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5

El-Moawen, Amir. Material and immaterial motivational instruments: A future-orientated analysis. London: LSE, 1999.

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6

Il gioco e i giochi nel mondo antico: Tra cultura materiale e immateriale. Bari: Edipuglia, 2013.

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7

Kontou, Tatiana, Victoria Mills y Kate Nichols. Victorian Material Culture. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315400266.

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8

Kontou, Tatiana, Victoria Mills y Richard Menke. Victorian Material Culture. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315400303.

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9

Kontou, Tatiana, Victoria Mills y Adelene Buckland. Victorian Material Culture. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315400143.

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10

Buck, Peter Henry. Samoan material culture. Millwood, N.Y: Kraus Reprint, 1988.

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11

Pearce, Susan. Researching Material Culture. Leicester: School of Archaeological Studies (University of Leicester), 2000.

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12

M, Pearce Susan y University of Leicester. School of Archaeological Studies, eds. Researching material culture. Leicester: School of the Archaeological Studies, University of Leicester, 2000.

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13

Asian material culture. Amsterdam: Amsterdam University Press, 2009.

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14

Jo, Arnoldi Mary, Geary Christraud M y Hardin Kris L, eds. African material culture. Bloomington: Indiana University Press, 1996.

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15

1950-, Martinez Katharine, Ames Kenneth L, Henry Francis du Pont Winterthur Museum. y Winterthur Conference, eds. The material culture of gender, the gender of material culture. Winterthur, Del: Henry Francis du Pont Winterthur Museum, 1997.

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16

Buchli, Victor. Archaeology of the Immaterial. Taylor & Francis Group, 2015.

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17

Archaeology of the Immaterial. Taylor & Francis Group, 2015.

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18

Buchli, Victor. Archaeology of the Immaterial. Taylor & Francis Group, 2015.

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19

Buchli, Victor. Archaeology of the Immaterial: The Ascetic Object, Disengaging the Material World. Taylor & Francis Group, 2015.

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20

Winfield, Pamela y Steven Heine, eds. Zen and Material Culture. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469290.001.0001.

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The stereotype of Zen Buddhism as a primarily minimalistic or even immaterial meditative tradition persists in the Euro-American cultural imagination. By contrast, this volume calls attention to the vast range of “stuff” in Zen by highlighting the material abundance and iconic range of the Sōtō, Rinzai, and Ōbaku sects in Japan. Chapters on beads, bowls, buildings, staffs, statues, rags, robes, and even retail commodities in America all shed new light on overlooked items of lay and monastic practice in both historical and contemporary perspectives. Nine authors from the cognate fields of art history and religious studies as well as the history of material culture analyze these “Zen matters” in all four senses of the phrase: the interdisciplinary study of Zen matters (objects and images) ultimately speaks to larger Zen matters (ideas, ideals) that matter (in the predicate sense) to both male and female practitioners, often because such matters (economic considerations) help to ensure the cultural and institutional survival of the tradition. Zen and Material Culture expands the study of Zen Buddhism, art history, and Japanese material/visual culture by examining the objects and images of everyday Zen practice, not just its texts, institutions, or elite masterpieces. As a result, this volume is aimed at multiple audiences whose interests lie at the intersection of Zen art, architecture, history, ritual, tea ceremony, women’s studies, and the fine line between Buddhist materiality and materialism.
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21

Myths and Legends from Korea: An Annotated Compendium of Ancient and Modern Materials. RoutledgeCurzon, 2000.

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22

Voswinckel Filiz, Esther, ed. Aziz Mahmud Hüdayi in Istanbul - Biographie eines Ortes. Ergon – ein Verlag in der Nomos Verlagsgesellschaft, 2022. http://dx.doi.org/10.5771/9783956509902.

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Aziz Mahmud Hüdayi (1541-1628) is a famous Ottoman Sufi saint whose mausoleum (türbe) in Üsküdar (Asian side of Istanbul) has not ceased to be a a point of attraction up to the present. In her "biography" of this vibrant pilgrimage site, Esther Voswinckel Filiz explores the multi-layered materialities of this place and the transitions between seemingly distinct categories such as "place" and "person," "text" and "textile," between things and living beings, and between the material and immaterial. The book is both a vividly written ethnography of Islamic saint veneration and a meticulous examination of the material culture of Ottoman and contemporary Sufism in Istanbul.
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23

Irvin, Sherri. Immaterial. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780199688210.001.0001.

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Contemporary art can seem chaotic: it may be made of toilet paper, or candies you can eat, or meat that is thrown out after each exhibition. Some works fill a room with obsessively fabricated objects, while others purport to include only concepts, thoughts or language. I argue, through many examples, that disparate developments in installation art, conceptual art, time-based media art, and participatory art can be understood in terms of custom rules. Many artists articulate custom rules governing artwork display, preservation of material elements, and interactivity or audience participation. Rules are established through the artist’s sanction: the creative act of designating the material elements and rules that constitute the work’s structure. Rules serve as medium: they are part of the work’s structure and help to constitute its meanings. Rules are meaningful in themselves, and they help to activate the expressive potential of material objects. Museum practice should include providing information about the rules; otherwise, audiences can’t fully appreciate the work. Contemporary art conservation involves preserving information: loss of information about the rules, like loss of a chunk of marble, can seriously damage the work. Rules are trickier to pin down than material objects and are subject to violation, so we’ll examine the effects on the work’s integrity and authenticity when things go wrong in various ways. Is the emergence of custom rules a positive development? Some artists have used rules to powerful effect. But rules aren’t always used well: bad art can take any form.
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24

Bognar, Botond. Material Immaterial: The New Work of Kengo Kuma. Princeton Architectural Press, 2009.

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25

Swaim, Gary D. y Karla Morton. Perhaps Line: Poetry of the Material and Immaterial Worlds. Wipf & Stock Publishers, 2014.

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26

Swaim, Gary D. y Karla Morton. Perhaps Line: Poetry of the Material and Immaterial Worlds. Wipf & Stock Publishers, 2014.

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27

Swaim, Gary D. y Karla Morton. Perhaps Line: Poetry of the Material and Immaterial Worlds. Wipf & Stock Publishers, 2014.

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28

Bailey, Doug. Incomplete. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190614812.003.0008.

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Holes are paradoxes of visual culture and human behavior. Difficult to define, alive with consequence, holes affect behavior in significant ways. This chapter examines holes as slippery, elusive, material, always absent, and as parasites (to surfaces). Starting with the author’s excavation of 8,000-year-old pit-houses from the Neolithic site at Măgura (Romania), this chapter investigates the complexities of holes and surfaces as philosophic entities, and then examines the cutting work of the late twentieth-century artist Gordon Matta-Clark. The approach taken is to juxtapose otherwise disparate examples and analyses from within archaeology, art, and beyond. Though immaterial objects, holes have relations and properties. They disrupt at subconscious levels, altering understandings of our place(s) in the world, and our relations with other people, objects, and institutions. By unpacking and closely redefining holes, one gains new perspectives and analytic tools for the study of human behavior, and the traces it leaves behind, that are applicable across the humanities and social sciences, from archaeology to art history, from anthropology to design and material culture studies.
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29

Buchli, Victor. Material Culture. Taylor & Francis Group, 2004.

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30

Kieschnick, John. Material Culture. Editado por John Corrigan. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780195170214.003.0013.

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Attention to material culture reveals generally shared responses across cultures to size, light, and representations of the human form. Even without specific cultural knowledge, monumental sculpture tends to provoke a sense of awe and small dark spaces a sense of foreboding and mystery. For this reason, whether for small-scale studies of individual practices or events or for comparative religion on a grander scale, attention to material culture has great explanatory potential. Before returning to the value of an appreciation of objects for understanding emotion and religion, this article presents a brief introduction to the term “material culture” and problems specific to the study of the material culture of religion. It then looks at intense emotions in extraordinary contexts, including the ecstasy of a shaman in trance, the anger of a crowd driven to violence, the weeping of saints, and the wonder of devotees in the presence of the miraculous. The article also considers objects that play a role in more pedestrian, though not necessarily less important, feelings.
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31

Material Culture. Jovis Verlag GmbH, 2017.

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32

Buchli, Victor. Material Culture. Taylor & Francis Group, 2004.

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33

Glassie, Henry. Material Culture :. Indiana University Press, 1999.

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34

Buchli, Victor. Material Culture. Taylor & Francis Group, 2004.

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35

Material Culture. Taylor & Francis Group, 2004.

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36

Buchli, Victor. Material Culture. Taylor & Francis Group, 2004.

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37

Nichols, Kate y Victoria Mills. Victorian Material Culture. Taylor & Francis Group, 2022.

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38

Buckland, Adelene. Victorian Material Culture. Taylor & Francis Group, 2022.

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39

Nichols, Kate y Victoria Mills. Victorian Material Culture. Taylor & Francis Group, 2022.

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40

Kontou, Tatiana y Victoria Mills. Victorian Material Culture. Taylor & Francis Group, 2020.

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41

Victorian Material Culture. Taylor & Francis Group, 2022.

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42

Victorian Material Culture. Taylor & Francis Group, 2022.

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43

Smith, Christopher J. Minstrelsy’s Material Culture. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037764.003.0004.

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This chapter examines the material culture of blackface minstrelsy, and particularly of instrumental dance music in the “creole synthesis,” using evidence drawn from William Sidney Mount's four paintings: Just in Tune (1849), Right and Left (1850), Just in Tune () and The Banjo Player and The Bone Player (1856). Three of the four images in the portraits are most likely of dance musicians (both fiddlers and the bones player), while the fourth (the banjo player) could be imagined to accompany singing but equally likely completes the dance-band instrumentation—fiddle, banjo, and bones representing three-fourths of the iconic ensemble of minstrelsy. All of these works provide confirmation of Mount's expertise in and admiration for the details of African American vernacular music. This chapter analyzes the relationship between Mount's “private” pencil sketching and his “public” oil painting, as well as the complex layers of racial, economic, and political symbolism in his work. It also explores the musical detail of each of the four paintings and their significance to our understanding of the roots of minstrelsy.
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44

Spencer, John R., Robert A. Mullins y Aaron J. Brody, eds. Material Culture Matters. Penn State University Press, 2014. http://dx.doi.org/10.1515/9781575068787.

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45

Murphy, Anne. Sikh Material Culture. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199699308.013.010.

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46

Wynne-Jones, Stephanie. A Material Culture. Oxford University Press, 2016. http://dx.doi.org/10.1093/oso/9780198759317.001.0001.

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A Material Culture focuses on objects in Swahili society through the elaboration of an approach that sees both people and things as caught up in webs of mutual interaction. It therefore provides both a new theoretical intervention in some of the key themes in material culture studies, including the agency of objects and the ways they were linked to social identities, through the development of the notion of a biography of practice. These theoretical discussions are explored through the archaeology of the Swahili, on the Indian Ocean coast of eastern Africa. This coast was home to a series of "stonetowns" (containing coral architecture) from the ninth century AD onwards, of which Kilwa Kisiwani is the most famous, considered here in regional context. These stonetowns were deeply involved in maritime trade, carried out among a diverse, Islamic population. This book suggests that the Swahili are a highly-significant case study for exploration of the relationship between objects and people in the past, as the society was constituted and defined through a particular material setting. Further, it is suggested that this relationship was subtly different than in other areas, and particularly from western models that dominate prevailing analysis. The case is made for an alternative form of materiality, perhaps common to the wider Indian Ocean world, with an emphasis on redistribution and circulation rather than on the accumulation of wealth. The reader will therefore gain familiarity with a little-known and fascinating culture, as well as appreciating the ways that non-western examples can add to our theoretical models.
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47

Buckland, Adelene. Victorian Material Culture. Taylor & Francis Group, 2022.

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48

Korean material culture. [London]: British Association for Korean Studies, 1994.

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49

C, Tilley. Intro Material Culture. Taylor & Francis Group, 1997.

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50

Menke, Richard. Victorian Material Culture. Taylor & Francis Group, 2022.

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