Matching Items (33)
Description
The early-16th-century manuscript commonly known as the Geese Book (New York, Morgan Library, M. 905) contains the entire Mass liturgy sung by the boys choir of the parish church of St. Lorenz in Nuremberg, Germany prior to the Reformation. This thesis addresses the location and function of the sometimes enigmatic marginalia and the decorated or historiated initials in this large two-volume gradual. The paper begins with an analytical case study of a scene within the margins in which a wild woman, wielding a club, confronts a female dragon who has taken a child. Subsequently the size, subject matter, and physical positioning of the illuminations and decorations within the book and on its pages are examined with respect to the gradual's liturgical contents. It is hoped that through such methods, new conversations may begin as to the roles that marginalia and decoration may play within the multiple organizational schemes within a musical text of this kind.
ContributorsRoode, Jessica (Author) / Schleif, Corine (Thesis advisor) / Schier, Volker (Committee member) / Serwint, Nancy (Committee member) / Arizona State University (Publisher)
Created2013
Description
The Rape of Polyxena is a marble statue located in the Loggia dei Lanzi in Florence, Italy's Piazza della Signoria. It was sculpted by Pio Fedi in 1868, but it was placed alongside several sculptures from the Renaissance, an immense compliment to his work. The Rape of Polyxena embodies Hellenistic, Renaissance, Baroque and Neoclassicist mannerisms regarding its style and theme. Fedi intricately blended multiple styles and stories in order to construct The Rape of Polyxena. The most prominent literary sources of the Greek legend concerning Polyxena are Ovid's Metamorphoses, Euripides' Hecuba, and Bocaccio's Famous Women. This project discusses the various sources of the scene presented and the different sculptures that may have inspired Fedi to create his work. This thesis explores the reason behind the sculpture's placement in the prestigious Loggia dei Lanzi and concludes that Fedi does not adhere to any singular source of the myth, but takes elements from different sources in order to create a new story.
ContributorsKaloush, Andrea Camille (Author) / Codell, Julie (Thesis director) / Corse, Taylor (Committee member) / Serwint, Nancy (Committee member) / Barrett, The Honors College (Contributor) / Department of English (Contributor) / School of Art (Contributor)
Created2013-05
Description
This thesis focuses on the erotic depictions of Lucretia and Susanna in Renaissance art. Both noted for displaying exemplary chastity, Lucretia and Susanna gained popularity as Christian and secular role models for women in the late Middle Ages and Renaissance. My examination of the heroines addresses the seductive portrayal of these women in painting, which seemingly contradicts the essence of their celebrity. The images specifically analyzed in this thesis include: Lucas Cranach the Elder's Lucretia from 1525, Lucretia from 1533, and Venus from 1532 as well as Tintoretto's Susanna and the Elders and Annibale Carracci's Susanna and the Elders. The scope of my thesis includes both textual and visual analyses of the myths/figures and the disparity that arises between them. Employing Lucretia and Susanna as examples, my aim is to demonstrate a subtle subversion occurring within images of powerful women that ultimately strips them of their power.
ContributorsWilliamson, Jennifer Marie (Author) / Schleif, Corine (Thesis director) / Geschwind, Rachel (Committee member) / Pratt, Rebekah (Committee member) / Barrett, The Honors College (Contributor) / School of Social Transformation (Contributor) / School of Human Evolution and Social Change (Contributor) / School of Art (Contributor)
Created2013-05
Description
This thesis assesses the existence of an advanced textile production industry, which existed in Minoan and Mycenaean societies throughout the Bronze Age. This is proved based on physical remains as well as literary and tablet sources. These pieces of evidence show the movement and use of raw weaving materials as recorded and controlled by central palace structures. Palaces would have acted at the collectors of the raw goods and would have contained the workshops needed to produce the final product. The motives behind this industry are disputed, however the could include needing textiles for warfare, religious rituals, to supply the local population, or to enable the lifestyles of the elite.
ContributorsHodge, Maria Lynn (Author) / Poudrier, Almira (Thesis director) / Serwint, Nancy (Committee member) / Department of Psychology (Contributor) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
This dissertation explores how practices and interactions of actors at different scales structure social networks and lead to the emergence of social complexity in middle range societies. To investigate this process, I apply a complex adaptive systems approach and a methodology that combines network science with analytical tools from economics to the three sub-periods of the Prehistoric Bronze Age (The Philia Phase, PreBA 1 and PreBA 2) on Cyprus, a transformational period marked by social and economic changes evident in the material record. Using proxy data representative of three kinds of social interactions or facets of social complexity, the control of labor, participation in trade networks, and access to resources, at three scales, the community, region and whole island, my analysis demonstrates the variability in and non-linear trajectory for the emergence of social complexity in middle range society. The results of this research indicate that complexity emerges at different scales, and times in different places, and only in some facets of complexity. Cycles of emergence are apparent within the sub-periods of the PreBA, but a linear trajectory of increasing social complexity is not evident through the period. Further, this research challenges the long-held notion that Cyprus' involvement in the international metal trade lead to the emergence of complexity. Instead, I argue based on the results presented here, that the emergence of complexity is heavily influenced by endogenous processes, particularly the social interactions that limited participation in an on-island exchange system that flourished on the island during the Philia Phase, disintegrated along the North Coast during the PreBA 1 and was rebuilt across the island by the end of the period. Thus, the variation seen in the emergence of social complexity on Cyprus during the PreBA occurred as the result of a bottom-up process in which the complex and unequal interactions and relationships between social actors structured and restructured social networks across scales differently over time and space. These results speak more broadly about the variability of middle range societies and the varying conditions under which social complexity can emerge and add to our understanding of this phenomenon.
ContributorsSwantek, Laura Anne (Author) / Barton, C. Michael (Thesis advisor) / Spielmann, Katherine (Committee member) / Serwint, Nancy (Committee member) / Arizona State University (Publisher)
Created2017
Description
Women have long made textiles to navigate identity and exercise agency at revolutionary moments in history. To consider the powerful potential of the textile arts, psychoanalytical theories elucidate the ways in which the distaff, and the fiber arts more generally, has historically been a symbol of female agency and autonomy. To frame this project and investigate the history of scholarship about artworks produced by medieval nuns, I employ a critical historiographic method to explore the use of the enigmatic German term “Nonnenarbeit,” literally “nuns’ work.” After establishing the larger context of the historical relationship between women and textiles, I analyze three specific case studies, instances in which nuns took up the needle and thread at pivotal moments in the fifteenth and early-sixteenth centuries. As expressions of their communal identity and agency in the wake of observant reform movements, nuns at Kloster Lüne stitched colorful klosterstich embroideries and Benedictines at St. Walburg in Eichstätt wove tapestries featuring the sisters and celebrating the history of the community. Birgittine nuns at Vadstena Abbey in southern Sweden gained metaphorical access to the Eucharist at the altar through embroidered silk altar frontlets and lavish reliquary containers, made in accordance with St. Birgitta of Sweden’s visionary new order. I apply postmodern theories such as Actor-Network Theory to leverage my interpretation of nuns’ networks at Kloster Lüne and St. Walburg, and Thing Theory to elucidate the materiality of the Birgittine embroideries.
The technical proficiency of the textiles in my project has been well-established. Using critical theories and feminist methodologies, I add to the existing scholarship with an investigation into the revolutionary spirit of textile production in these women’s monasteries during the late Middle Ages.
ContributorsButler, Kelly Bevin (Author) / Schleif, Corine (Thesis advisor) / Green, Monica (Committee member) / Easton, Martha (Committee member) / Arizona State University (Publisher)
Created2021
Description
This dissertation explores complex representations of spiritual, social and cultural ways of knowing embedded within engraved ivory drill bows from the Bering Strait. During the nineteenth century, multi-faceted ivory drill bows formed an ideal surface on which to recount life events and indigenous epistemologies reflective of distinct environmental and socio-cultural relationships. Carvers added motifs over time and the presence of multiple hands suggests a passing down of these objects as a form of familial history and cultural patrimony. Explorers, traders and field collectors to the Bering Strait eagerly acquired engraved drill bows as aesthetic manifestations of Arctic mores but recorded few details about the carvings resulting in a disconnect between the objects and their multi-layered stories. However, continued practices of ivory carving and storytelling within Bering Strait communities holds potential for engraved drill bows to animate oral histories and foster discourse between researchers and communities. Thus, this collaborative project integrates stylistic analyses and ethno-historical accounts on drill bows with knowledge shared by Alaska Native community members and is based on the understanding that oral narratives can bring life and meaning to objects within museum collections.
ContributorsChan, Amy (Author) / Duncan, Kate (Thesis advisor) / Toon, Richard (Committee member) / Parezo, Nancy (Committee member) / Serwint, Nancy (Committee member) / Arizona State University (Publisher)
Created2013
Description
This dissertation concerns “revelations to others” in medieval hagiographical and visionary texts. Revelations to others take many forms—spiritual visions, dreams, visual and tactile witnessing of miracles, auditions—but they all are experienced by someone other than, or in addition to, the holy person who is the subject of the text. This type of revelatory experience is common and, I argue, highly significant. Most straightforwardly, revelations to others serve to further authenticate holy women or men, confirming their devotion to God, their miraculous abilities, and/or their favored position with Christ. But revelations to others do much more than authorize the visionary. They voice the possibility that one could learn to have visions, which has interesting connections to modern ideas of guided seeing, such as meditation. They suggest circumstances in which holy persons served as devotional objects, helping their viewers achieve a higher level of religious experience in a similar manner to stained glass windows, crucifixes, or images of Veronica’s veil. For women, revelations to others sometimes offer access to spaces in which they could not physically step foot, such as the altar or the bedrooms of abbots. Moreover, by showcasing the variety of persons participating in divine experiences (monks and nuns, lay persons, nobility, and sometimes other holy persons), revelations to others speak to the larger visionary communities in which these holy persons lived. Through a series of close readings, this dissertation creates a taxonomy of revelations to others and argues for their necessity in understanding the collaborative nature of medieval spirituality.
ContributorsNestel, Meghan Leigh (Author) / Sturges, Robert S (Thesis advisor) / Schleif, Corine (Committee member) / Koopmans, Rachel (Committee member) / Arizona State University (Publisher)
Created2019
Description
Many religious textual accounts describe provocative women: The Great Whore
from the Apocalypse, Saint Mary Magdalene from the New Testament, and the
Daughters of Mara from the Buddhist tradition are all accused of fornication or the
seduction of men. However, when artists have depicted these subjects, the women are
rarely shown transgressing in the ways the texts describe. The Great Whore is often
masculinized and shown as the equal of kings, Mary Magdalene assumes divergent
attitudes about prostitution in early Renaissance Europe, and the Daughters of Mara are
comparable to other Buddhist deities, recognizable only from the surrounding narrative.
Therefore, in this inquiry, I seek out the ways that artists have manipulated misogynistic
religious narratives and introduced their own fears, concerns, and interpretations.
Artistic deviations from the text indicate a sensitivity to cultural values beyond
the substance of their roles within the narrative. Both the Great Whore and her virtuous
counterpart, the Woman Clothed in the Sun, have agency, and the ways they are shown to
use their agency determines their moral status. Mary Magdalene, the patron saint of
prostitutes and a reformed sinner, is shown with iconographical markers beyond just
prostitution, and reveals the ways in which Renaissance artists conceptualized prostitution. In
the last case study, the comparison between the Daughters and the Buddhist savioresses,
the Taras, demonstrates that Himalayan artists did not completely subscribe to the textual
formulations of women as inherently iniquitous. Ultimately, these works of art divulge
not just interpretations of the religious traditions, but attitudes about women in general,
and the power they wielded in their respective contexts.
from the Apocalypse, Saint Mary Magdalene from the New Testament, and the
Daughters of Mara from the Buddhist tradition are all accused of fornication or the
seduction of men. However, when artists have depicted these subjects, the women are
rarely shown transgressing in the ways the texts describe. The Great Whore is often
masculinized and shown as the equal of kings, Mary Magdalene assumes divergent
attitudes about prostitution in early Renaissance Europe, and the Daughters of Mara are
comparable to other Buddhist deities, recognizable only from the surrounding narrative.
Therefore, in this inquiry, I seek out the ways that artists have manipulated misogynistic
religious narratives and introduced their own fears, concerns, and interpretations.
Artistic deviations from the text indicate a sensitivity to cultural values beyond
the substance of their roles within the narrative. Both the Great Whore and her virtuous
counterpart, the Woman Clothed in the Sun, have agency, and the ways they are shown to
use their agency determines their moral status. Mary Magdalene, the patron saint of
prostitutes and a reformed sinner, is shown with iconographical markers beyond just
prostitution, and reveals the ways in which Renaissance artists conceptualized prostitution. In
the last case study, the comparison between the Daughters and the Buddhist savioresses,
the Taras, demonstrates that Himalayan artists did not completely subscribe to the textual
formulations of women as inherently iniquitous. Ultimately, these works of art divulge
not just interpretations of the religious traditions, but attitudes about women in general,
and the power they wielded in their respective contexts.
ContributorsBerg, Cortney Anne (Author) / Schleif, Corine (Thesis advisor) / Mesch, Ulrike Claudia (Committee member) / Brown, Claudia (Committee member) / Arizona State University (Publisher)
Created2020
Description
The desire to orient human civilization within the universe is evident in the most ancient structures of the world, including Stonehenge, the Pyramids of Giza and the Pantheon. The baroque architect, priest and polymath, Guarino Guarini (1624–1683), designed seventeen architectural works and wrote ten treatises on a multitude of subjects, including architecture, mathematics and astronomy. Guarini presents three principles in his treatise on architecture, which connects the art of building (edificare) to the sun (orologia, gnomonica) and to solar mechanics (macchinaria). The Church of San Lorenzo in Turin (1668–1687) is an elegant example of these principles created as built form, with a dome resembling the celestial sphere, aligning the church to God and to the cosmos. The vertical alignment of the dome represents the celestial pole, a cosmological center point that is also known as the axis mundi. The interlocked system of stone arcs that comprise the structure of the dome, represents the rings of an ancient model of the celestial sphere known as an armillary that dates as far back as Eratosthenes (276–194 BC). The following dissertation creates an unprecedented connection between Guarini’s knowledge as an architect, mathematician, astronomer and philosopher, to the Church of San Lorenzo. While a previous theory on Guarini by Marcello Fagiolo briefly established the possibility of a system unifying Guarini’s architecture and academic knowledge, I greatly expand this possibility and argue that Guarini is a heliocentric astronomer, not a geocentrist. San Lorenzo was built at the end of the Baroque period and at the beginning of the Enlightenment, representing the bridge between the classical past and the dawn of the age of modern science. By demonstrating that Guarini believed in a sun-centered solar system, I will argue that for Guarini, the light of the sun was architecturally, theologically and cosmologically of the utmost importance.
ContributorsBadillo, Noé (Author) / Zygas, Kestutis P (Thesis advisor) / Serwint, Nancy (Committee member) / Hendrix, John S (Committee member) / Arizona State University (Publisher)
Created2021