The emergence of the Byzantine Iconoclasm was underpinned by profound historical and cultural factors.Its impact on“icon veneration”serves as a paradigmatic case of religious image conflicts.Between the 16th and 19t...The emergence of the Byzantine Iconoclasm was underpinned by profound historical and cultural factors.Its impact on“icon veneration”serves as a paradigmatic case of religious image conflicts.Between the 16th and 19th centuries,as Catholicism expanded eastward into East Asia,deep-seated conflicts arising from“icon veneration”occurred.These conflicts involved the ancestral worship system in China,the taboos of Shinto in Japan,and the ritual codes in Korea influenced by Confucian culture.A comparative study of these conflicts with the Byzantine Iconoclasm is thus warranted.The conflicts between Catholicism and traditional cultures in East Asia are,in essence,manifestations of the cognitive disparities between the“sacredness”of icons and the“de-iconization”traditions within East Asian cultures.In contrast to the forceful destruction of icons in Byzantium,East Asian responses predominantly took the form of informal communal negotiations.For example,in Quanzhou,China,angel statues were placed within the niches of the Earth God,while in Japan,the Virgin Mary statue was adapted to resemble the Avalokitesvara statue.The key to resolving the conflicts regarding“icon veneration”lies in dissociating the political power connotations of icons and transforming them into“visual media”for cultural dialogue and“spiritual carriers”of a religious nature.The“East Asian experience”thus reveals a harmonization paradigm for religious inculturation during the dissemination of Catholicism,which holds significant implications for the contemporary spread and stability of Catholicism.展开更多
It can safely be assumed that with its well-known icon-index-symbol trichotomy, Peirce's 1903 ten-class typology can adequately analyze still images, photographs and films.Moreover, given the implication principle...It can safely be assumed that with its well-known icon-index-symbol trichotomy, Peirce's 1903 ten-class typology can adequately analyze still images, photographs and films.Moreover, given the implication principle whereby a symbol can involve an index and an index an icon, it follows that any symbolic element can, by transitivity, involve iconic elements, making it possible within this system to accommodate complex forms of signification.Its phenomenological basis, however, and the nature of the divisions composing it make it less amenable to the analysis of intentionality in signs.Now, in 1908 Peirce introduced two far more complex typologies.The first, formed of six divisions from which the icon-indexsymbol trichotomy is absent, generates twenty-eight classes of signs; the second, ten-division system, theoretically generates sixty-six.The exact order of the ten divisions forming the latter system is disputed, rendering the typology's semiotic viability uncertain, whereas the 28-class typology, which classifies signs not on how they represent their object but, amongst other things, according to the sorts of objects they represent, is fully operational.It is therefore of considerable semiotic interest to investigate the way this typology without icons, indices or symbols, might contribute to the analysis of image-based expressions of intentionality.The paper sets out the basic features of the ten-and 28-class systems, explores the semiotic potential of the latter for the analysis of image-based signs by examining the transmodal iconoclasm characteristic of the photomontages of Barbara Kruger and the films of Guy-Ernest Debord, and attempts in this way to establish the logical basis of their transgressive ideological motivation and commitment.展开更多
文摘The emergence of the Byzantine Iconoclasm was underpinned by profound historical and cultural factors.Its impact on“icon veneration”serves as a paradigmatic case of religious image conflicts.Between the 16th and 19th centuries,as Catholicism expanded eastward into East Asia,deep-seated conflicts arising from“icon veneration”occurred.These conflicts involved the ancestral worship system in China,the taboos of Shinto in Japan,and the ritual codes in Korea influenced by Confucian culture.A comparative study of these conflicts with the Byzantine Iconoclasm is thus warranted.The conflicts between Catholicism and traditional cultures in East Asia are,in essence,manifestations of the cognitive disparities between the“sacredness”of icons and the“de-iconization”traditions within East Asian cultures.In contrast to the forceful destruction of icons in Byzantium,East Asian responses predominantly took the form of informal communal negotiations.For example,in Quanzhou,China,angel statues were placed within the niches of the Earth God,while in Japan,the Virgin Mary statue was adapted to resemble the Avalokitesvara statue.The key to resolving the conflicts regarding“icon veneration”lies in dissociating the political power connotations of icons and transforming them into“visual media”for cultural dialogue and“spiritual carriers”of a religious nature.The“East Asian experience”thus reveals a harmonization paradigm for religious inculturation during the dissemination of Catholicism,which holds significant implications for the contemporary spread and stability of Catholicism.
文摘It can safely be assumed that with its well-known icon-index-symbol trichotomy, Peirce's 1903 ten-class typology can adequately analyze still images, photographs and films.Moreover, given the implication principle whereby a symbol can involve an index and an index an icon, it follows that any symbolic element can, by transitivity, involve iconic elements, making it possible within this system to accommodate complex forms of signification.Its phenomenological basis, however, and the nature of the divisions composing it make it less amenable to the analysis of intentionality in signs.Now, in 1908 Peirce introduced two far more complex typologies.The first, formed of six divisions from which the icon-indexsymbol trichotomy is absent, generates twenty-eight classes of signs; the second, ten-division system, theoretically generates sixty-six.The exact order of the ten divisions forming the latter system is disputed, rendering the typology's semiotic viability uncertain, whereas the 28-class typology, which classifies signs not on how they represent their object but, amongst other things, according to the sorts of objects they represent, is fully operational.It is therefore of considerable semiotic interest to investigate the way this typology without icons, indices or symbols, might contribute to the analysis of image-based expressions of intentionality.The paper sets out the basic features of the ten-and 28-class systems, explores the semiotic potential of the latter for the analysis of image-based signs by examining the transmodal iconoclasm characteristic of the photomontages of Barbara Kruger and the films of Guy-Ernest Debord, and attempts in this way to establish the logical basis of their transgressive ideological motivation and commitment.
