93 research outputs found
Celebrado, desenhado e cortado: o ideograma romano do pão (Parte 1)
No full textWhen duplicated, the single icon of a monument, deity, or object, could recall entire narratives of divine intervention, great ancestral feats, and desirable ‘Roman’ attributes. The common, round, and quartered loaf of wheat-bread was produced and eaten by all echelons of Roman society. Despite the fundamentality of this segmented loaf to the daily life, industry, and economy of Rome, its imbuement with ideogrammic qualities of social balance and stability, have yet to be explored. Through select case studies of literary and archaeological evidence this paper will explore the allegorical nature of bread beyond dietetics in two parts: In Part 1 I provide case studies of bread use in different literary genres of ancient Poetry, Historiography, Satire, Biography and Prose, discussing the thematic tropes in which bread appears in Roman narratives. In Part 2 I investigate how these metaphoric characteristics and themes translated visually in the mosaics, frescos, graffiti, and monuments of public and private spaces. I conclude that the panis quadratus was more than an economic and accessible product, and became an ideogram of the social cohesion fundamental to Rome’s Empire; specifically, the circular connections between the natural, mortal and immortal worlds.Quando duplicado, o valor icónico de um monumento, de uma divindade ou de um objeto, pode evocar narrativas de intervenção divina, grandes feitos ancestrais e até determinados atributos romanos. O simples pão de trigo comum, redondo e segmentado em fatias, era produzido e consumido por todas as classes sociais em Roma. A importância deste pão na vida quotidiana, na indústria e na economia romanas, conferiu-lhe traços ideogénicos portadores de equilíbrio social e de uma estabilidade que ainda hoje carecem de um estudo mais aprofundado. Este artigo, que será dividido em duas partes, procura analisar através de alguns estudos de caso com evidência literária e arqueológica a natureza alegórica do pão, para além da sua dimensão dietética, e o seu uso como símbolo da cultura material. Na primeira parte, apresentam-se exemplos relativos ao tratamento do tema do pão em diferentes géneros literários (da poesia antiga à historiografia, passando pela sátira, pelo registo biográfico e pela prosa), fazendo incidir a análise nos tropos que comparecem nas narrativas romanas. Na segunda parte, indagar-se-á de que forma esses traços metafóricos e temáticos são transpostos visualmente para os mosaicos, frescos, graffiti e monumentos da esfera pública e privada. Através deste percurso, conclui-se que o panis quadratus era mais do que um produto ecónomico e acessível, tendo-se tornado um ideograma representativo da coesão social do Império Romano, especialmente nas relações entre o discurso trivial e o universo real e ficcional
How Bunny Rabbit Caught the Sun and the Elephant and the Monkey.
No full textElephant and monkey disagree: Is it better to be quick or to be strong? They call on owl to decide. Little Bunny Rabbit finds long-footed tracks of someone who gets to the hunt before him, even when he gets up very early in the morning. Finally, he makes a trap, only to catch the sun! When he finally releases the sun from his trap, the sun touches his tail and burns part of it. That is why bunnies have such short tails. Good runs of the nice colored illustrations; several of the illustrations here are rendered only in black-and-white.First edition?Watty Piper N
Celebrado, desenhado e cortado: o ideograma romano do pão (parte 2)
No full textThe common, round, and quartered loaf of wheat-bread was produced and eaten by all echelons of Roman society. The fundamentality of this segmented loaf to the daily life, industry, and economy of Rome, imbued it with ideogrammic qualities of social balance and stability which have yet to be explored. Part 1 of this paper introduced the development of bread in Roman diets, before an in-depth analysis of its metaphoric characteristics in ancient writing genres. Part 2 investigates how these themes translate visually into the archaeological record, exploring the emblematic use of bread on tombs, altars, frescos, and mosaics throughout the Empire. This two-part paper aims to highlight the allegorical nature of bread beyond dietetics.O pão comum, redondo e segmentado em fatias, era produzido e consumido por todas as classes sociais romanas. A sua relevância no quotidiano, na indústria e na economia de Roma confere-lhe atributos ideogramáticos, cujo equilíbrio e estabilidade social já foram analisados na primeira parte deste artigo. Com efeito, aí procurou introduzir-se o tema do uso do pão nas dietas romanas, acompanhando-o de uma análise meticulosa dos traços metafóricos que assume em vários géneros literários cultivados na Antiguidade.Na segunda parte que agora se publica, investiga-se a forma através da qual estes temas adquirem expressão visual, analisando, para tal, o uso emblemático do pão em túmulos, altares, frescos e mosaicos durante o Império. Com efeito, pretende ressaltar-se a natureza alegórica deste alimento, para além da conhecida dimensão dietética
Backward Bunny
No full textThis article was originally published in International Textile and Apparel Association Annual Conference Proceedings. The version of record is available at: https://doi.org/10.31274/itaa.18822.
© 2024 The author(s). Published under a Creative Commons Attribution License (https://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.This project aimed to provide non-binary individuals with an outfit designed for enjoying nightlife confidently, reflecting a key aspect of Gen-Z culture and social interaction. Each garment piece was designed to show or hint at the body underneath the garment while distorting the silhouette in a different way. The outfit drew inspiration from the sea bunny, a miniature, fluffy, hermaphrodite sea slug, blurring the lines of gender-specific fashion and showcasing sustainable design principles. With this ensemble, the body is the highlight, and the use of bright yellows was meant to both draw the eye towards details as well as communicate awareness. This ensemble stands out for its unique approach to gender-fluid fashion, combining innovative design techniques with sustainable practices. The reversible pants and knit top offer versatility rarely seen in traditional fashion, while using natural dyes and recycled materials highlights a commitment to fashion sustainability
The Specific Image of the World in the Visual Novel “Bunny” by E. Sokarev
No full textВ статье охарактеризованы уровни художественной структуры визуальной новеллы «Зайчик». Исследуются особенности реализации оппозиции «свое — чужое», выявляются функции образов-медиаторов. Делается вывод о взаимодействии двух планов мирообраза.The report characterizes the composition levels of the visual novel “Bunny”. The author analyzes the realization of the opposition “one’s own — other’s” and reveals the functions of images-mediators. The conclusion is made on how there are interacting two plans of the artistic picture of the world
Listening with Fifteen Hearts: Life Stories of Women across Cultures
No full textIn this talk, McBride reflected on how gathering women\u27s stories over the past four decades has impacted her work and life. Giving special focus to Wabanakis in Maine, she touched on recurrent themes she\u27s explored with women around the world—such as work and motherhood, love and loss, strength and resilience.
Women from many cultural niches have shared their stories with her, and she with readers—making connections and marking out bridges of common humanity through their words and hers, woven together on the pages of books, articles, and essays.
Bunny McBride is an award winning author and veteran traveler. She has written for international newspapers and magazines about Chinese people in the aftermath of the communist Cultural Revolution, Tuareg camel nomads in the Sahara, threatened gorillas in Rwanda and lemurs in Madagascar, Sami reindeer herders in arctic Scandinavia, Maasai cattle herders in East Africa, and Mi’kmaq basketmakers in Aroostook County, Maine. With an MA in anthropology from Columbia University, she has taught at various institutions, and is currently an adjunct lecturer of anthropology at Kansas State University. She serves as president of the Women’s World Summit Foundation based in Geneva.
McBride’s books include Women of the Dawn; Molly Spotted Elk: A Penobscot in Paris; Our Lives in Our Hands: Micmac Indian Basketmakers, and most recently Indians in Eden. For the National Park Service, she coauthored Asticou’s Island Domain, a 2-volume study focusing on Wabanaki life along the Maine coast. She has guest curated several major exhibits for the Abbe Museum based on her books, as well as one on the Rockefeller American Indian Art Collection.
Working on a range of issues and projects with Maine tribes since 1981—including the Aroostook Band of Micmacs’ federal recognition effort—McBride received a special commendation from the Maine state legislature for her research and writing on the history of Wabanaki women. Boston Globe Sunday Magazine featured a long profile about her, and Maine Public Television made a documentary about her research and writing on Molly Spotted Elk.
Beyond writing linked to Maine, McBride is coauthor of The National Audubon Society Field Guide to African Wildlife and the world’s leading cultural anthropology textbook, Cultural Anthropology, the Human Challenge, translated into Chinese and several other languages. She also has chapters in a dozen books. Her next book, From Indian Island to Omaha Beach: Charles Norman Shay, A Penobscot Indian War Hero (coauthored with her husband Harald Prins), is due to be published with University of Nebraska Press in 2014
Dr. Morse's Indian root pills
No full textThis apothecary card for Dr. Morse's Indian Root Pills displays an illustration of a young girl holding a bunny while a puppy jumps on her. "W. H. Comstock, sole proprietor, Morristown, N.Y.," and "Cosack & Clark, Buffalo, N.Y.," appear at the base of the illustration. Stamped, "Sarah Watson, Dragoon, Osage Co. Kas." appears on the back of the card. 1870 through 1920
- …
