Samariterbuch

Jerzabek, Anton; Silbermark, M. V

Anthropos, 76.1981

Bibliographische Daten

Monographie

Strukturtyp:: Monographie

Werks-URN (URL):: https://nbn-resolving.org/urn:nbn:de:kobv:11-712124

URN:: urn:nbn:de:kobv:11-712124

Persistenter Identifier:: BV045102739

Titel:: Samariterbuch

Untertitel:: gemeinverständliche Darstellung der gesamten Nothilfeleistung bei Unglücksfällen und plötzlichen Erkrankungen, sowie der Pflege und des Transportes von Kranken und Verletzten im Frieden und im Kriege

Autor:: Jerzabek, Anton

Sonstige Person:: Silbermark, M. V

Erscheinungsort:: Wien ; Leipzig

Verlag:: Josef Šafář

Erscheinungsjahr:: 1915

Beschreibung:: Medizingeschichte

Signatur:: 2018 A 1111

Sammlung:: Gelehrtenbibliotheken > George Meyer

Wissensgebiet:: Medizingeschichte

Titelseite

Strukturtyp:: Titelseite

Sammlung:: Gelehrtenbibliotheken > George Meyer

820 Ina R. Dinerman Anthropos 76. 1981 5, Iconographie Manipulation as the Creation of Metaphor Our discussion thus far has suggested that the context within which various art objects occur, the syntagmic plane of the visual language as it were, helps to direct the viewer’s attention to particular domains of meaning. However, the visual power of latmul art to communicate the powerful ritual messages lies not in its syntagmic plane alone, but rather in its relation to the systematic plane, where the crossing of “linking” of domains is made possible. In discussing the metaphorical quality of visual languages, Barthes has noted that ... the mode of articulation of the two axes ... is sometimes perverted [sic], for in stance when a paradigm is extended into a syntagm. There is a defiance of the usual distribution ... and it is probably around this transgression that a great many creative phenomena are situated ... (1970: 86). Jakobson has expressed the matter somewhat differently. He notes that ... any metaphoric series is a syntagmized paradigm ... in metaphor selection becomes contiguity, and contiguity becomes a field to select from. It therefore seems that it is always on the frontiers of the two planes that creation has a chance to occur (quoted in Barthes 1970: 89). One can only speculate here about the way in which art objects are presented syntagmically (in sequential order) ; this must remain at present an empirical question. However, it should be possible to suggest the ways in which latmul artists manipulate and/or combine icons which “transgress” domains so as to create a visual metaphor. To demonstrate the fruitfulness of the semiological approach and its ability to illuminate the aesthetic process, it will be helpful to present some examples of iconic manipulation. In order to show how a single element may be manipulated for meaning, I draw the reader’s attention to the eye treatment of the figures in plate 1. The first carving [a) is a hook representing a male figure. The round eye is painted so as to suggest a “normal” (human) eye (domain 1). The eye of the restored skull (b) is tilted slightly such that it resem bles the closed eyes of the dead (domain 2), while the eye of the mwai mask (c) is elaborated with an upswept curve so as to call to mind the eye of a crocodile (domain 3). On the other hand, a single element can occur in more than one domain yet suggest a single meaning. I refer here to the elongated nose which occurs on male figures decorating debating stools, on hooks and other objects associ ated with the ngaigo and mwai masks, and also as a feature of wagan, spirits who punish and create (see Leenhardt 1947: pi. 27, 29a\ Linton and Wingert 1946: 118; Guiart 1963: pi. 139, 195). In the domain of maleness, the noses of crocodiles, prawns, and eagles refer to both creativity and destruction. In human ngwail figures these qualities of maleness are also appropriate, but less mandatory. The elongated nose is sometimes present in the restored skulls but with even less frequency, suggesting the lack of constraint on the artist to include it.

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Volltext: Anthropos, 76.1981

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