Iconoclasm

This chapter explores the intricate process of mediation and negotiation between the central royal authority and local administrations within the Spanish Monarchy, a process crucial for restoring allegiance and obedience to the Crown, especially in border regions facing contentious issues. Focusing on the dynamic relationship between Guipúzcoa and the Spanish Monarchy during the tenure of the Count-Duke of Olivares, this study examines both formal and informal scenarios of negotiation. It
scrutinizes the roles of various mediators herein, especially those of the local ‘Corregidor’ and the nuncio, as well as their influential patronage networks, which facilitated consensus‑building in the Basque Lands during this era.

During the Syrian war, Aleppo was a focal point of intense warfare, where experiencing loss was the daily routine. Amidst this turmoil, various groups actively engaged at the front lines in East Aleppo, endeavouring to translocate cultural artifacts and document built heritage, in order to reconstruct the old city after the war. This paper examines how these individuals negotiated experiences of loss concerning the old city and the ensuing debates on reconstruction, both during the conflict and in exile. I argue that these individuals were in Aleppo in a state of exception, characterized by existential fear and the threat of arbitrary death. The activists sought to conceptualize and materialize a lasting legacy of the old town to contrast the high probability of their death. They strived to localize their grief, anxiety, and loss by subjectivizing the old city as an eternal object. Far away from Aleppo in their exile, their efforts to localize the loss continued.

Die wissenschaftlichen Beiträge im Bericht der Römisch-Germanischen Kommission unterliegen dem peer-review-Verfahren durch auswärtige Gutachterinnen und Gutachter. Contributions to the Bericht der Römisch-Germanischen Kommission are subject to peer review by external referees Tous les textes présentés à la revue «Bericht der Römisch-Germanischen Kommission» sont soumis à des rapporteurs externes à la RGK.

در‌حالی‌که پژوهش‌های قابل‌توجّهی دربارۀ نقّاشی‌های نسخه‌های خطّی و تصاویر شمایلی در سنن اسلامی انجام شده، ساز و کارهای دقیق ـ‌ و شواهد مادّیِ ‌ـ رفتارها و واکنش‌های عاطفی ناظران به تصاویر نقّاشی‌شده حیطه‌ای است که عمدتاً غیرمکشوف مانده‌است. پرسش‌های بسیاری قابل طرح هستند؛ برای مثال، آیا بینندگانْ تخریب نقّاشی‌ها را تنها به این علّت «به‌جا می‌آوردند» که تصویر شمایلی حرام پنداشته می‌شد، یا از سر ترسی که از زنده شدن احتمالی تصاویر بازنمودی داشتند؟ آیا واکنش احساسی و عینی افراد به تصاویر شمایلی می‌توانست دلایل عاطفی دیگری داشته‌باشد؟ آیا برخی افراد قصد تنبیه و انتقام داشتند؟ آیا اعمال مخرّب می‌توانست به‌قصد محافظت یا احترام به فرد تصویرشده، که شاید مقدّس یا متبرّک به شمار می‌رفت، انجام شده‌باشد؟ و سرانجام، آیا نشانه‌های محو و معیوب کردن دالّ بر تمایلات متناقض ـ تخریب و حفظ یک کلّ مصوّرـ است؟ اگرچه منابع متنی دربارۀ این مسائل به سکوت مایلند، اما تعدادی از نقّاشی‌های نسخه‌های ‌خطّی ایرانی و ترکی قرون هشتم تا یازدهم هجری دربردارندۀ شواهدی از اقدامات تعمّدیِ مختلفی هستند که پاسخ‌های بالقوّه‌ای به این پرسش‌ها ارائه می‌کنند. این جستار ترجمۀ فارسی مقاله‌ای از کریستین گروبر است که تلاش می‌کند بر اساس شواهد مادی به این پرسش‌های اساسی پاسخ‌های محتملی دهد.

Isidor Isou: Traité de bave et d'éternité ("Traktátus nyálról és örökkévalóságról", 1951) és Guy Debord: Sur le passage de quelques personnes á travers une assez courte unité de temps ("Néhány alak áthaladása meglehetősen rövid egységnyi idő alatt", 1959) című filmjének rövid elemzése. Megjelent a Partizán Szabadidő Filmklub "Szabadidő" című kiadványában (Partizán Média-2024, szerk. Babos Anna, Petri Lukács Simon).

This article is a revised version of an inaugural lecture given at the Collège des Bernardins, in Paris, on 12 September 2022, reproposed in the context of the licentiate seminar in systematic theology at the Theological Faculty of Milan. It bears the same title of the book published in French by the author: Manifesté dans la chair, proclamé en images. Fonder l'art dans le Christ avec Nicée II et Balthasar, Cerf, Paris 2022.

Philippe Major aims to achieve what appears to be impossible-to demonstrate that New Confucianism in Republican China was an antitradition, which was not conservative but iconoclastic. Major provides a close textual analysis of the two most successful texts of modern Confucianism-Eastern and Western Cultures and Their Philosophies (1921; hereafter Eastern and Western Cultures), written by Liang Shuming (梁漱溟), and New Treatise on the Uniqueness of Consciousness (1932; hereafter New Treatise), written by Xiong Shili (熊十力)-with particular attention paid to their discourse on the role of tradition in human liberation and to the discursive techniques they employed to legitimize their discourse. By doing so, Major shows that modern Confucians emerged in the 1920s as a reaction against the May Fourth wholesale rejection of Confucianism. They owed much of their influence to their ability to adapt to the discursive milieu set up by May Fourth radicals that centered on the pursuit of human liberty, the ideal of philosophical systems, and the claim of scientific objectivity. And they owed much of their appeal to their readers' recognition of the authority of the classical texts they referred to. For me, the most important contribution of this book is the distinction Major makes between "tradition-as-history" and "tradition-as-value," "which made it possible to reject Confucianism's historical manifestations (tradition-as-history) and its enmeshment in state power as a deviation from the true spirit of the tradition, while simultaneously abstracting from the past a number of values purified from history (tradition-as-value)" ( ). Major makes this insightful observation by examining how Liang Shuming and Xiong Shili circumvented May Fourth iconoclasm, which presented Confucianism as emblematic of China's two thousand years of imperial rule and prevailing social evils. Modern Confucians admitted the defeat of Confucianism-as-history but claimed that Confucian tradition as they defined it-ideals imagined and lived by Confucius and a handful of individuals-could enable humankind to reach a universal future of rationality and emancipation that the May Fourth hegemony attempted to monopolize. This book is divided into two parts, with an "interlude" in between. Chapter 1, "Reviving the Spirit of Confucius," looks at how Liang Shuming, in the lectures he delivered amid the widespread disillusionment with Euro-American civilization following the First World War, integrated the desirability of Western liberal goals and the relevance of Chinese culture. Eventually becoming Eastern and Western Cultures, these lectures provided a metanarrative that contrasted a Eurocentric "West" and a Confucian "East." The latter was reduced to Confucius's ideal and spirit, which historical Confucianism never lived up to in practice. The ideal could not be preserved or inherited but had to be revived in the modern age as a cure for both the "East" and the "West" (55). Chapter 2, "Returning to the Origin," examines the "Confucian-Buddhist syncretism" created by Xiong Shili in his New Treatise. Any sign that would situate this syncretism temporarily or spatially seemed to have been erased from it. It was created, however, to present Chinese thought in a systematic way to fulfil Western and May Fourth criteria for "philosophy" and to transform the Chinese citizenry in certain ways to "answer to the national issues that

Овој труд ги засегнува прашањата поврзани со византиското законодавство од VIII век. Специфичниот фокус е на преамбулата
на Еклогата и нејзините карактеристични особености, како во однос на правото воопшто, така и во однос на претставувањето на византиската империјална идеологија. Секако, сублимативно се наведени и новитетите што Еклогата интегрално ги донела со себе. Преамбулата е избрана како посебна единица поради неколку причини. Прво, таа обезбедува сеопфатен увид во матрицата на владеење што византиските императори се стремеле да ја спроведат. Второ, сметаме дека одредени аспекти на преамбулата можат ефикасно да се обработат во концизен научен формат како овој. Целта во ова истражување не е да се спроведат длабоки правни анализи или да се откријат претходно непознати информации. Наместо тоа, сакаме да ги нагласиме феномените и трендовите поврзани со законодавството на Исавриската династија. Со иследување на овие аспекти, добиваме вредни сознанија за основните рамки што го обликувале планираното функционирање на византискиот поредок. Како додаток на овој труд ќе биде приложен првиот превод на преамбулата на македонски, базиран на критичкото издание на Л. Бургман.

... and places, particularly those linked to twentieth-century wartime and civil upheavals, remaincontested. ... their use by the Nazis as po-litical propaganda, their importance to Holocaust remembrance, and ... Moreover, it could be erected in a cemetery or public space at night in an ...

In his Lectures on the Philosophy of Religion, Hegel argues that the development of the religions of the world leads up to Christianity, which is the one true religion. One key element which separates Christianity from the other religions, for Hegel, concerns the issue of alienation. He claims that the previous religions all contain some form of alienation, which can be found in their conceptions of the divine. I wish to examine Hegel's view that Christianity alone overcomes religious alienation. What is it that makes Christianity so special in this regard? This is a particularly important issue given that the question of alienation is so central in the post-Hegelian thinkers such as Feuerbach, Bauer, and Marx, who all insist that, far from overcoming alienation, Christianity is guilty of causing it. I argue that this issue provides new insight into the old criticism of Hegel as a thinker of abstraction.

Biblical iconoclasm is any biblical text that describes the disruption of religious observances by physical violence against cult materials. This can include removing cult objects from their appointed places, god- napping divine bodies, outright destruction, cult reform, etc. Biblical iconoclasm, understood this way, is one component of the Hebrew Bible’s iconic politics. Other components of biblical iconic politics – like Idol Parodies, Bildersverbot, and aniconism – have been well studied in the past thirty years. Biblical iconoclasm has not shared the popularity of its collaborators in this respect. This dissertation is necessary because no extended study of iconoclasm in the Hebrew Bible has yet been completed; even though iconoclasm is present throughout this corpus. This dissertation, about biblical iconoclasm, begins to fill that gap. The questions that will guide my work on biblical iconoclasm are: What is the literary contribution of biblical iconoclasm to the final form of the HB? Does biblical iconoclasm have a specific literary purpose in the HB? If so, what is it?

To summarize my conclusions, biblical iconoclasm appears in a wide range of biblical texts and is used for various literary purposes within the iconic politics of these scrolls. It appears in various genres and sub-genres, is enacted by a host of characters, and occurs as a major plot point or a minor event, and everywhere in-between. Yet, while there are a variety of usages for the hundred-plus biblical iconoclasms, the majority of the instances of biblical iconoclasm attack Yahweh’s divine rivals. These attacks are not all the same, and in this dissertation I explain how these attacks work within the iconic politics of a number of HB texts.

What is the overall, literary impact of biblical iconoclasm? Biblical iconoclasm is a form of iconic politics that can be used to champion Yahweh as the victorious, or supreme, deity of the HB, among other purposes. In this dissertation, then, I will provide a close-reading (i.e., synchronic criticism) of a selection of biblical iconoclasm texts to demonstrate how biblical iconoclasms are used to attack Yahweh’s divine rivals. Thus, I will demonstrate both the dominant, literary purpose of biblical iconoclasms and some of its variety. This form of presentation, I hope, will provide the reader with a meaningful sample of biblical iconoclasm as a whole.

This study examines the Thomas/twin motif in the Gospels of John and Thomas, which plays a significant role in each. By analyzing the motif’s meaning, deployment, and development in the two Gospels against Mesopotamian models, this study brings a fresh perspective to the much-debated topic of the Gospel of Thomas’s place of origin. This study demonstrates that Thomas betrays a knowledge of cuneiform polyvalence and argues that this corroborates the historical tradition that it originated in Mesopotamia. The findings also support the claim that the work is theologically sophisticated despite its disarming surface appearance. Similarly, Mesopotamian hermeneutics shed light on some enigmas of the Fourth Gospel’s symbolism, esotericism, and theology conveyed in the rhetorical and symbolic role of Thomas called Didymos. This study concludes that, in both Gospels, the figure of Thomas/twin is paradigmatic for every adherent of Jesus, but the Gospels have drawn on Mesopotamian sources in different ways.

В статье исследуется история путешествия императорского спафария Льва Исавра, будущего императора Льва III, на Кавказ, которая сохранилась в составе «Хронографии» Феофана. Автор опирается на гипотезу Д. Е. Афиногенова, исходя из которой история одиссеи Льва Исавра представляет собой фрагмент военных мемуаров будущего императора или кого-то из офицеров его штаба. Автор исследует военно-политический контекст путешествия и приходит к выводу о его военно-дипломатическом значении для организации борьбы империи против Арабского халифата. В статье делаются важные выводы о развитии византийского военно-морского флота в период VIII-X вв.

Contracapa: Sobre o conceito de História, de Walter Benjamin


Theodor Adorno, em uma carta a Max Horkheimer, escrita menos de um ano após o suicídio de Walter Benjamin (26/09/1940) em sua fuga dos nazistas, anotou com relação ao último trabalho de seu amigo, as suas teses Sobre o conceito de História:

“Trata-se da última concepção de Benjamin. A sua morte torna supérflua qualquer questão associada ao ser provisório do trabalho. Não pairam dúvidas sobre a grande força do todo. Acrescente-se a isso: que nenhum outro trabalho de Benjamin se mostra mais próximo de nossas próprias intenções. Isso refere-se sobretudo à concepção de história como permanente catástrofe, à crítica ao progresso e ao domínio da natureza e à posição da cultura.” (Adorno, 12/06/1941)

Este presente volume reúne pela primeira vez em tradução ao português as quatro principais versões dessas teses, que lançam uma luz totalmente inusitada sobre este texto escrito há oitenta anos: a versão do “manuscrito de Hannah Arendt”, a que havia sido conservada por Georges Bataille (recuperada por Giorgio Agamben em 1981), a versão francesa e a versão final, transcrita em 1942 por Gretel Adorno.

While instances of both reuse and iconoclasm are well known from several medieval buildings in South Asia, the conjunction of these two related-but-distinct processes have seldom been analyzed. In this article, I present two architectural case studies from Daulatabad, a major fortified city in Deccan India, that include unexamined cases of reuse and iconoclasm: its principal eastern gate and the shrine of the Sufi shaykh Ganj-i Rawan. Although occurring within an Islamic context, the instances of reuse and iconoclasm within these palimpsestic spaces are not coeval with what is seen in early Indian mosques—the structures through which issues of reuse and iconoclasm have been most extensively analyzed in existing scholarship. Nor can stereotypical ideas of “Islamic iconoclasm” explain the complex iconographic program of the city gate or the unexpected rituals at the Sufi shrine. I argue that reuse and iconoclasm at the city gate served a political purpose, whereas that at the Sufi shrine had a religious significance. I also propose a way to collectively examine instances of reuse and iconoclasm in the built environment. While the logic of these two processes appears to be in an inherent tension, I theorize that the deployment of reuse and iconoclasm in the built environment served to reinforce a particular agenda—in the current case, a political and a religious one, respectively—and was not guided by disparate concerns. Alongside, I develop the concept of “ideational reuse,” in which later occupant(s) of a site creatively reused narratives and rituals associated with earlier occupant(s).

This paper aims to analyze the discursive strategies of Mexican digital media used to portray the actions and protagonists of the feminist protests in the context of the current administration of the Mexican federal government, known as “The 4T” (“The Fourth Transformation”). It reviews the coverage of feminist protests on emblematic dates (International Women’s Day, Global Day of Action for the Legalization of Abortion, International Day for the Elimination of Violence against Women) of five digital media during the first three years of the 4T (2019-2021) from a Critical Discourse Analysis (cda) approach. The results reveal how these strategies reconfigure the object of the protest and create two opposite hubs of significance: either to validate or to sanction women’s actions in the public space.

An altarpiece is a structure located behind or above the altar table. Typically featuring painted or sculpted figural images, it provides a foil for the liturgy performed on the altar. Having no liturgical function of its own, it played an important role as a ‘book for the unlettered’, providing moral examples and stimulating devotion. The altarpiece genre originated in the thirteenth century, but in the fifteenth and sixteenth centuries it came to particular prominence as an effective cult image and highly valued artwork. Both painted panel winged altarpieces of Netherlandish masters such as Jan van Eyck or Roger van der Weyden, and serially produced wooden carved altarpieces of Southern Netherlandish workshops (especially Antwerp) were sought after both by local and foreign members of the public. The appreciation for the artistic qualities of these works contributed to their spreading across Europe. However, the emancipation and to some extent also the secularisation of the image contributed to a severe crisis of the altarpiece in Northern Europe during the Reformation. Questioning of the validity of images in the Christian cult, especially by more radical movements of the Reformation (e.g. Calvinism), caused in the best case an abstinence from commissions or in the worst case a destruction of images by iconoclasts (the campaign of 1566 in the Low Countries was particularly severe). Consequently, in the lands where the Reformation was successful, the number of altarpiece foundations either initially dropped (in Lutheran lands) or practically disappeared (in Reformed lands as the Northern Netherlands). From c. 1540 onwards there was a quest for a new formula of altarpiece in the Lutheran countries. Depicting biblical or contemporary scenes, acceptable within the new denomination, both traditional winged altarpieces and more ‘modern’ retables in an architectural form all’antica gained new acceptance. In countries which remained Catholic (Poland) or were re-Catholicised (e.g. the Southern Netherlands, Bohemia), a new wave of altarpiece erections ensued soon after 1570. As postulated by the Council of Trent, their task was to contribute to the revival of the cult of Eucharist, Virgin Mary and saints. The concept of a new, early Baroque retable in the form of monumental portico with a painting in its central field was developed by influential artists such as Peter Paul Rubens.

The eighth century of Byzantium a period in which the empire experienced many conflicts. In addition to military activities such as the Bulgarian and Arab advances, cultural and religious developments called iconoclasm, which were published together with Leo III, took place in this period. The debate over iconoclasm, which was caused by these groups referred to as the opponents of iconoclasm and the supporters of iconoclasm, occupied the empire between 717-843.

Catholic Iconoclasm, Censorship, and Aversion Towards Images in the Post-Tridentine Era and the Newest History of the Church: An Outline of the Problem
In research on religious art in the modern era, iconoclasm is often viewed as an act characteristic of Protestantism. However, aversion to iconic sacred art and instances of iconoclasm also occurred among Catholics.
Italian and Dutch Catholic writers accused their community of an exaggerated cult of images, stating that it provided valid arguments for heretical attacks. In the post-Tridentine era, bishops’ decrees and decisions of the diocesan synods recommended removing (and often destroying) images conveying theologically incorrect substance or deemed inappropriate. Many communities sought to limit the number of holy images in churches, a trend that escalated in the 20th century (especially after the Second Vatican Council) and sometimes led to dramatic “purification” of temples, removing valuable pieces collected over many centuries

but only after the ethnicity had already been formed. Fei thus proposes a theory of gradual absorption, partly by expansion by the Han, partly by absorption of non-Han peoples who had conquered Han areas but adopted Han names (p-186). Fei's explanation of this successful expansion and absorption is the Following: "What, then, has made the Hans a nucleus with such centripetal force? The main factor, in my view, has been their agricultural economy. Once a nomadic tribe made its entry into the plains and found itself in the midst of the careful, orderly society of farmers, most of the nomads would eventually throw themselves all too voluntarily into the embrace of the Hans." (p.214). When Fei moves from his historical exposé to contemporary ethnic policy (that he helped to develop) he argues that "the policy is for the better-developed groups to help the underdeveloped ones by furnishing economic and cultural aid."(p. 219). His entirely apolitical view of the processes involved is best illustrated by the following comment on the last page of his lectures: "The Tibetans, for example, who are used to living and working at high altitudes, can play a major role in the effort to develop the economy on the highlands, while cooperating and exchanging with other ethnic groups for the ultimate purpose of general prosperity." (p.229). widely discredited, at least in academic discourse, although, as we will see, evolutionary perspectives in relation to cognitive science have again come into vogue. This rejection of evolutionism should, however, not lead to a rejection of comparison. The main purpose of the present book is to show the value of anthropological comparisons that are not grounded in evolutionary theory through essays on topics as varied as iconoclasm, urban poverty, social exclusion, and mountain people. The case material for the comparative essays presented here is taken from work done in India and China. That material is only partly ethnographic. Much of it provides an anthropological lens on historical material. The connection laid between anthropology and history is certainly not new. It has its ancestral roots in the work of the French school, including Mauss, Granet, Dumezil, and later Dumont. This is the basis of Marcel Detienne's passionate plea for comparison between ! 2

This article explores the obscene's potential to become politically subversive through the analysis of the performance video The Emancipatory Kiss (2013) by Venezuelan artist Deborah Castillo. Drawing from a theoretical corpus that brings together pornography studies and media studies, memory, and materiality, and that engages with iconoclasm as defined by Bruno Latour and Michael Taussig, I discuss the operations that enable Castillo's piece to perform an act of what I call "erotic iconoclash", which, I propose, makes visible and palpable the fragility of the power attributed to hypermasculine military figures of authority. I argue that Castillo's act of erotic iconoclash generates a residue-an intolerable secretion-in the image that resists being absorbed into symbol or narrative, that arouses and moves the audience, and that is not concerned with making sense of the world, but rather with un-making the world as we know it. In doing so, it opens up a way for us to rethink the relationship we establish with the dead and their many and varied afterlives outside the suffocating circularity created by acts of destruction and reconstruction.

Well, someone can decide by themselves what they want to do and need to do but sometimes, that kind of person will need some popular piety and art in the late middle ages image worship and idolatry in england 1350 1500 references. People with open minded will always try to seek for the new things and information from many sources. On the contrary, people with closed mind will always think that they can do it by their principals. So, what kind of person are you?

Recientemente, los estudiosos han prestado más atención al papel jugado por la aristocracia senatorial romana, teniendo en cuenta su participación en este proceso en términos de un conflicto político con los obispos de Roma. Este trabajo analiza las cuestiones relacionadas con esta participación, estudiando la conversión de estructuras domésticas en espacios religiosos, concretamente, los edificios identificados como "tituli" en las fuentes. El objetivo es contribuir a una mejor comprensión de este proceso.

for their invitations to speak at these respective institutions. My thanks are due to all those who came and commented on those occasions, and i in particular to Paul Cartledge, Robin Osborne and an anonymous reader for this journal for ' • their comments on an earlier draft. • 'See e.g. A.

Arab chroniclers depict the Mongol invasion of Iraq in the thirteenth century as uniquely destructive. Eight centuries later, its specter was sufficiently enduring and potent to be invoked by Saddam Hussein in an apocalyptic speech made in 2003 to rally support against the impending Americanled invasion of Iraq. Yet there are numerous indications that early rule by the Mongols was by no means marked by destruction and ruin. These include inscriptions such as those preserved until recently in the monastic church of the Christian saint Mar Behnam, 30 kilometers southeast of Mosul. One, inscribed in the ancient Aramaic language of Syriac, detailed how in 1295 a Mongol raiding party stole the monastery's gold and silver, including its precious liturgical vessels. The inscription went on to record that, following a complaint from one of the monastery's monks, the Il-Khan Baidu, the Mongol ruler of Iran and Iraq, a Muslim with Christian sympathies, not only restored all that had been looted, but made amends by means of a generous gift to the shrine of the saint. Shortly afterward, the ecumenism, generosity, and rectitude of the Il-Khan were recognized in an inscription on the saint's grave invoking blessings on him and his court. This inscription was written in Uighur, a Central Asian Turkic language with its own script, the sole example of a medieval Uighur inscription documented from the Middle East . Neither the inscriptions nor the shrine and monastery with which they were associated exist today. In the spring of 2015, agents of Da'esh, the so-called Islamic State (IS), dynamited the monastic complex, among whose unique treasures were two twelfth-or thirteenth-century lifesize stucco sculptures of Mar Behnam and his sister, both martyred by their own father in the fourth century. The loss of these unique testimonies to the cultural and religious heterogeneity of the Jazira region of northern Iraq, Syria, and southern Turkey is just one entry in a staggering catalogue of deliberate destruction that includes Iraqi and Syrian monuments associated with Christian, Muslim (both Shi'i and Sunni), and Yazidi communities. The physical destruction of communal connective tissues-the archives, artifacts, and monuments in which complex micro-histories were instantiated-means that there are now things about these pasts that cannot and never will be known. My own interest in Islamic architecture was galvanized by living in northern Iraq for several months in 1986. It was crystallized by time spent in Syria in the years following, some of it working on a German-Syrian excavation in Raqqa, now the capital of the Islamic State. On the weekends in Iraq, I traveled from Tell Afar, a town with a large Turkman minority, to places like Sinjar, where I was often treated to lunch by a Yazidi family, and Mosul, whose churches, mosques, and hospitable imams and priests offered rich materials to fuel an embryonic interest in architecture and history. At the time, in my early twenties, I was exceptionally ignorant of the historical complexities manifest in the rich panoply of monuments that I was privileged to visit and that excited both my developing aesthetic tastes and hunger for knowledge. Despite my naiveté and neophyte status, however, I understood instinctively that, in terms of its cultural, linguistic, and religious diversity, this was a world like few others. The Islamic State's recent ethnic cleansing of Christians, of Muslims considered heterodox in their beliefs and/or practices, and of Yazidis, among others, has almost succeeded in eradicating a unique cultural landscape that had survived from late antiquity. Its very diversity was the fruit of successful resistance to the imposition of monotheistic orthodoxies in other parts of the Middle East and the Mediterranean over the course of the preceding millennium and a half. It is against the enduring memory of this heterogeneity and co-existence that the violence of IS is undertaken. The erasure of the materials of memory is common to many historical episodes of iconoclasm (Elsner 2003). In tandem with the enslavement, exile, murder, rape, and torture of the region's citizens, the systematic destruction and erasure of Christian, Islamic, and Yazidi monuments across Iraq and Syria is intended to create a tabula rasa over which the reductive certainties of singular truths can finally be inscribed. The standard rationale for this onslaught is the rejection of shirk, beliefs or practices considered idolatrous or polytheistic by virtue of their deviation from the worship of one immaterial and unrepresentable God. In addition to the worship of idols, trading in idols or in the materials of idolatry is prohibited in Islam (as in Judaism), which explains IS directives specifying that images designated as idols should not be sold for profit. However, there is evidence that the group is trading in other kinds of antiquities. This trade is controlled by the Diwan al-Rikaz (Ministry of Buried Resources or Treasures), which oversees the disposal of antiquities and mineral resources, including oil. These goods involve the payment of the khums, the 20 percent tax payable on certain kinds of spoils. The ultimate market for such antiquities likely includes collectors in countries whose media are often loudest in denouncing the destruction that renders them available as commodities or consumables. Propaganda materials produced by IS invoke specific passages from the Qur'an referring to the destruction of idols by Ibrahim/Abraham, who is said to have smashed the idols worshiped by his people in a foundational act of aniconic monotheism. In the Qur'an, neither the appearance nor the materials of the idols destroyed by Ibrahim are specified, although in Qur'an 37:95 they are referred to using the verb nah . ata, to carve or hew, which suggests that they were fashioned in relief or even in the round. This episode has been a constant in the polemics of idolatry by Muslim iconoclasts trying to forge an illustrious transhistorical genealogy for their historical acts. An al-Qaeda propaganda video showing the dynamiting of the Bamiyan Buddhas in March 2001 superimposed the relevant Qur'anic verses on the scene. The destruction of the Buddhas was timed to coincide with the last Islamic month, Dhu'l-Hijja, during which pilgrims make the hajj, the mandatory pilgrimage to Mecca, followed by the Eid al-Adha, the most important festival in the Muslim calendar, which commemorates the willingness of Ibrahim to sacrifice his son . Similarly, the widely circulated video of the destruction carried out by IS in the Mosul Museum in February 2015 included quotations from Qur'an 21:58, narrating how Ibrahim

Resumen: en este trabajo se analiza la monumentalidad conmemorativa de la batalla de San Carlos. Para ello se revisa la evidencia material, documental y la memoria oral de los casi cien años de paisaje monumental (1935-2024) en el paraje Los Cuatro Vientos (Bolívar, Buenos Aires, Argentina), en una serie de fases constitutivas. El estudio de estos paisajes como activadores de memoria contribuye a problematizar su función frente a la construcción de discursos hegemónicos que se superponen, permanecen y entran en tensión en su devenir y los actores implicados. El objetivo de este artículo será comprender la existencia del monumento como parte de los discursos imperantes y la coyuntura sociohistórica de cada etapa como parte de su historia social. La arqueología, como ciencia de las huellas, puede dar cuenta de fases o etapas monumentales, así como también de intentos de borramiento, daño o pérdidas por el accionar del tiempo y los elementos, al vislumbrar los múltiples sentidos plausibles de ser excavados tanto metafórica como literalmente. Lejos de constituirse como un paisaje estático, sigue en constante redefinición por medio de nuevos significados, actores sociales, actos conmemorativos y performáticos. De esta manera, en la contemporaneidad coexisten discursos y materialidades antagónicas. Como toda representación del pasado, el monumento es selectivo en relación con los acontecimientos pretéritos. Aporta tanto al recuerdo como al olvido, incluye y excluye, exalta y oculta, otorga voz y silencia. Este monumento buscó materializar, en su origen, el triunfo de la civilización sobre la barbarie del desierto, siendo el indígena el enemigo vencido y relegado a la invisibilidad que presupone su incorporación forzosa al Estado nación argentino. Pero los vencidos y su memoria siguieron y siguen latentes en la ciudad y en los pliegues del paisaje.

Palabras clave: arqueología, campos de batalla, iconoclasia, memorias, monumentalidad.

The Commemorative Monumental Landscape of the Battle of San Carlos Over Time: Latencies and Tensions (Buenos Aires, Argentina, 1872)

Abstract: This article explores the commemorative monumentality of the Battle of San Carlos, focusing on material evidence, documentary sources, and oral memory spanning nearly a century of monumental landscape (1935-2024) at the site of Los Cuatro Vientos (Bolívar, Buenos Aires, Argentina). By examining these landscapes as activators of memory, this study sheds light on their role in shaping and perpetuating hegemonic discourses that overlap, persist, and conflict over time, as well as the social actors involved. The objective is to understand the monument’s place within dominant narratives and the sociohistorical context of each period as part of its social history. Archaeology, as a science of traces, reveals not only the phases or stages of monumentality but also attempts at erasure, damage, or decay due to time and environmental factors, uncovering multiple layers of meaning that can be excavated both literally and metaphorically. Far from being a static landscape, the site is continually redefined through new meanings, social actors, commemorative practices, and performative actions. In contemporary times, conflicting discourses and materialities coexist within the landscape. Like all representations of the past, the monument selectively relates to historical events, contributing to both remembrance and oblivion, including and excluding, exalting and concealing, amplifying certain voices while silencing others. Initially, this monument was intended to symbolize the triumph of civilization over the so-called barbarism of the desert, casting the indigenous population as the defeated, relegated to invisibility through their forced incorporation into the Argentine nation-state. However, the memory of the defeated persists, latent within the city and embedded in the landscape’s folds.

Keywords: Archaeology, battlefields, iconoclasm, memory, monumentality.

A paisagem monumental comemorativa da batalha de San Carlos em diacronia: latências e tensões (Buenos Aires, Argentina, 1872)

Resumo: neste artigo, é analisada a monumentalidade comemorativa da batalha de San Carlos. Para isso, são revisadas as evidências materiais e documentais e a memória oral dos quase 100 anos de paisagem monumental (1935-2024) na área de Los Cuatro Vientos (Bolívar, Buenos Aires, Argentina), em uma série de fases constitutivas. O estudo dessas paisagens, como ativadoras da memória, contribui para problematizar sua função na construção de discursos hegemônicos que se sobrepõem, permanecem e entram em tensão em seu desenvolvimento e nos atores envolvidos. O objetivo deste artigo é compreender a existência do monumento como parte dos discursos dominantes e a conjuntura sócio-histórica de cada etapa como parte de sua história social. A arqueologia, como ciência dos vestígios, pode dar conta das fases ou estágios monumentais, bem como das tentativas de apagamento, dano ou perda pela ação do tempo e dos elementos, vislumbrando os múltiplos significados plausíveis de serem escavados tanto metafórica quanto literalmente. Longe de ser constituída como paisagem estática, ela permanece em constante redefinição por meio de novos significados, atores sociais, atos comemorativos e performativos. Dessa forma, discursos e materialidades antagônicos coexistem na contemporaneidade. Como qualquer representação do passado, o monumento é seletivo em relação a eventos passados. Ele contribui tanto para a lembrança quanto para o esquecimento, inclui e exclui, exalta e oculta, dá voz e silencia. Esse monumento buscou materializar, em sua origem, o triunfo da civilização sobre a barbárie do deserto, sendo o indígena o inimigo derrotado e relegado à invisibilidade que pressupõe sua incorporação forçada ao Estado-Nação argentino. Mas os vencidos e sua memória permaneceram e permanecem latentes na cidade e nas brechas da paisagem.

Palavras-chave: arqueologia, campos de batalha, iconoclastia, memórias, monumentalidade.

Nicole THIERRY, born in 1925, traveled with her husband, Michel, to Turkey in the 1950s ; she brought back a considerable documentation on the byzantine frescoes of Cappadocia, and many of these frescoes have disappeared. Her studies on the churches of Cappadocia followed those of Guillaume de Jerphanion and extended them. This text, here, describes what this life of research was like.

Las políticas de Memoria, Verdad y Justicia impulsadas por el movimiento de derechos humanos en Argentina son, para muchos sectores de nuestra sociedad, motivo de orgullo. En tanto pilares fundamentales que guiaron la elaboración del último pasado dictatorial (1976-1983), y conquistadas a lo largo de más de 40 años, funcionaron a modo de vanguardia y de políticas públicas ejemplares en distintas latitudes del mundo, en especial, en América Latina y el Cono Sur. Aún con sus avances y retrocesos, su larga trayectoria permite distinguir la configuración de una memoria social -aunque no homogénea- dominante, centrada en la condena del terrorismo de Estado legitimado por el sufrimiento, el dolor y la figura privilegiada de las víctimas. Sin embargo, la Argentina contemporánea nos muestra el tránsito de un nuevo tiempo memorial en el que las batallas por las interpretaciones sobre nuestra historia reciente adquirieron significativamente otro tenor. Durante el siglo XXI, y especialmente en la última década, el nuevo perfil y fortalecimiento del campo de la derecha ha creado las condiciones para la puesta en marcha de estrategias que impugnan los procesos memoriales como parte de su batalla por la hegemonía política en el plano de la cultura. En este escrito se presenta una de estas estrategias librada en el espacio público: los ataque que procuran dañar, destruir y/o resignificar memoriales dedicados a la conmemoración de desaparecidos/as y asesinados/as. Se sugieren algunas líneas de abordaje teórico metodológico para su análisis e interpretación.

Even some of John Milton's greatest admirers will admit that Paradise Lost is a work beset by contradictions. His decision to make an episode from the Bible, the fall of Adam and Eve, the subject of his epic masterwork was fraught with unintended consequences. Imposing the world of epic onto the biblical story is an uneasy marriage at best. Making the biblical Satan into an epic protagonist, for example, creates the well-known Satanist controversy. Likewise, representing the Christian God using conventions from ancient epic is the source of the debate surrounding Milton's God.  These are real conflicts and difficulties. But I will show how epic and Bible actually need each other in Paradise Lost. They complement each other on one level even while they inevitably conflict on other levels. Epic and Bible need each other by the logic of Renaissance aesthetics as theorized by Eric Gans.

A lo largo de la historia de la Corona de Aragón, hubo varios miembros de esta dinastía, en concreto cuatro reyes y reinas: Ramiro II, su hija Petronila I, Pedro III el Grande y la reina Constanza, que durmieron el sueño eterno en el interior de sarcófagos romanos reutilizados.

If I draw on my humble memory, I could point out that the most significant global mo(nu)ments produced in recent years are mostly acts of destruction, whose memory seems to be embedded, and that remain more present even than what we have understood as traditional monuments. Unforgettable events are etched in memory, such as the fall of the Berlin Wall, the televised demolition of Saddam’s statues, the collective experience of the fall of the Twin Towers in New York, the recent toppling of the Lenin statues in Ukraine, or the attacks on colonial statues in the United States.
All of these point to the monument as a problematic axis of representation of dominant hegemony. They are images of violence against an artifact that itself is also established and instituted from violence. The Iranian artist Siah Armajani stated that it is an anomaly in a democracy to celebrate with monuments. A true democracy should not seek heroes, as it requires every citizen to fully participate in everyday life and contribute to the public good. Numerous contemporary artists have contemplated this issue, and in this article, we will attempt to present some of the possible critiques of both monumental construction and its destruction.

This paper aims to analyze the discursive strategies of Mexican digital media used to
portray the actions and protagonists of the feminist protests in the context of the current
administration of the Mexican federal government, known as “The 4T” (“The Fourth
Transformation”). It reviews the coverage of feminist protests on emblematic dates
(International Women’s Day, Global Day of Action for the Legalization of Abortion,
International Day for the Elimination of Violence against Women) of five digital
newspapers during the first three years of the 4T (2019-2021) from a Critical Discourse
Analysis (cda) approach. The results reveal how these strategies reconfigure the object
of the protest and create two opposite hubs of significance: either to validate or to sanction
women’s actions in the public spac

A lo largo de la última década, las protestas sociales en todo el mundo han activado una discusión en torno a las formas de expresión de demandas y reclamos en el espacio público. Particularmente, las acciones de protesta contra el patrimonio monumental y arquitectónico (pinturas, rasguños, intervenciones, modificaciones o derrocamiento) han generado debates de carácter ético y político en medios de comunicación, plataformas socio-digitales y espacios académicos.

Este fenómeno ha despertado un creciente interés en las ciencias sociales y las humanidades, cuyo objetivo común es analizar las disputas por el significado patrimonial y la connotación de sus intervenciones. El objetivo de este artículo es revisar la producción académica en torno a la protesta, las intervenciones sobre el patrimonio histórico, el espacio público y las identidades. La pregunta implícita en este trabajo es cómo estas prácticas identitarias (altamente simbólicas) pueden ser analizadas e interpretadas para superar los reduccionismos mediáticos y académicos que generan.

Este trabajo expone una revisión de literatura sobre la dimensión estética de las protestas y de las expresiones patrimoniales en ella instaladas, con el propósito de trazar una línea de análisis que permita abordarla como un fenómeno de comunicación política y de disputa memorial.
De forma específica, nuestro trabajo propone analizar las intervenciones en dos dimensiones: a) como formas efectivas de subversión comunicativa que hacen visibles las demandas de justicia social por parte de grupos históricamente marginados; y b) como luchas de producción de memoria en las que entran en juego la redefinición de la verdad histórica y las pugnas por la legitimidad del poder político. La idea de iconoclasia política de la que se parte para elaborar este artículo se ubica dentro de la llamada “era de las protestas”, y se enfoca en los ciclos de rayado y borrado sobre el patrimonio, que bajo nuestra perspectiva constituye un palimpsesto sobre el que se dibuja y desdibuja socialmente la memoria. Con esta intención, se rastrearon artículos publicados en los últimos diez años en los que se utilizan las categorías de estética y protesta para analizar intervenciones patrimoniales en el espacio público desde diversas disciplinas: arquitectura, sociología, psicología social, historia del arte, estudios urbanos, entre otras. Los trabajos encontrados retoman casos de protestas en diferentes partes del mundo (Latinoamérica, Medio Oriente, Sudáfrica, Estados Unidos), en los que no obstante se detectan planteamientos coincidentes que son expuestos a lo largo de este texto.

This is an English translation of Dr. Hugo Koch's German publication from 1917. He was the first--as far as the translator knows--to gather and interpret early Christian authors  who, he felt, were witnesses to the early Church's aversion to images and their veneration.