Andrea de Jorio's La mimica degli antichi investigata nel gestire napoletano ('Gestural Expression of the Ancients in the light of Neapolitan gesturing'), was first published in Naples in 1832. It soon became famous for its descriptions and depictions of Neapolitan gestures, but it is only with the recent expansion of scholarly interest in gesture that its true importance has come to be recognised. It is the first book ever written which presents what is, in effect, an ethnographic study of gesture. Treating gesture as a culturally established communicative code, analogous to language, the book sets out to describe, with reference to an explicitly defined cultural group, the gestural expressions of ordinary people as these are used in everyday life. It also deals with numerous issues important for any semiotics of gesture, such as the question of the relationship between physical form and meaning, the problem of how to present a description of the gestural repertoire of a community in a consistent manner, the importance of context for the interpretation of gesture, how gestures may be combined, how they develop as metaphorical expressions, among many others. Andrea de Jorio (1769-1851) was a cleric and a Canon of the Cathedral of Naples, but he was also an archaeologist and a curator at the Royal Borbonic Museum (today the National Archaeological Museum) in that city. He was an expert on Greek vases and intimately involved in all aspects of archaeology then developing in relation to the excavations at Herculaneum, Pompeii, Pozzuoli, Cuma and other sites within the district of Naples. He believed that the ordinary people of Naples had preserved in their culture the traditions of the ancient Greek founders of the city. For this reason he supposed that an understanding of contemporary gestural expression would be useful in interpreting the gestures and bodily postures depicted in the frescoes, mosaics, sculptures, and painted vases of Greco-Roman antiquity that had come to light from the excavations near Naples and elsewhere. Thus he was led to describe the gesturing of contemporary Neapolitans as fully as possible. Adam Kendon has added annotations to his translation so that the book is fully accessible to the modern reader. He has also written a long essay which provides an account of de Jorio's life and work and shows how his book is related to the cultural and intellectual climate of the Naples of his day. It gives a detailed analysis of de Jorio's views on gesture, and it also discusses gesture use in relation to the culture and ecology of daily life in Naples at that time. There are three detailed bibliographical appendices.
0 有用 𝑾𝒂𝒍𝒅𝒆𝒊𝒏𝒔𝒂𝒎𝒌𝒆𝒊𝒕 2024-05-17 16:35:03 江苏
安德烈亚·德约里奥的《从那不勒斯人的姿势动作看古人的姿势表达》(1832),是第一部“姿势民族志”的研究著作。德约里奥将姿势理解为一种“幸存”(sopravvivenza),在当代那不勒斯底层人民的姿势与古代花瓶所绘诸神和英雄的姿势之间发现了一种文化层面的连续性。由此,德约里奥打破了“高贵”的古人与“粗俗”的今人之间的区隔:正是在我们早已习以为常的姿势中,古人得以一次次地重获生命,如灵魂附体一般栖... 安德烈亚·德约里奥的《从那不勒斯人的姿势动作看古人的姿势表达》(1832),是第一部“姿势民族志”的研究著作。德约里奥将姿势理解为一种“幸存”(sopravvivenza),在当代那不勒斯底层人民的姿势与古代花瓶所绘诸神和英雄的姿势之间发现了一种文化层面的连续性。由此,德约里奥打破了“高贵”的古人与“粗俗”的今人之间的区隔:正是在我们早已习以为常的姿势中,古人得以一次次地重获生命,如灵魂附体一般栖居在我们身上。哪怕是文盲工匠布满皱纹的面孔,也都叠印着上古女神的不老容颜。当然,我们对此浑然不觉——然而,这种浑然不觉恰恰是最动人的地方…… (展开)
0 有用 𝑾𝒂𝒍𝒅𝒆𝒊𝒏𝒔𝒂𝒎𝒌𝒆𝒊𝒕 2024-05-17 16:35:03 江苏
安德烈亚·德约里奥的《从那不勒斯人的姿势动作看古人的姿势表达》(1832),是第一部“姿势民族志”的研究著作。德约里奥将姿势理解为一种“幸存”(sopravvivenza),在当代那不勒斯底层人民的姿势与古代花瓶所绘诸神和英雄的姿势之间发现了一种文化层面的连续性。由此,德约里奥打破了“高贵”的古人与“粗俗”的今人之间的区隔:正是在我们早已习以为常的姿势中,古人得以一次次地重获生命,如灵魂附体一般栖... 安德烈亚·德约里奥的《从那不勒斯人的姿势动作看古人的姿势表达》(1832),是第一部“姿势民族志”的研究著作。德约里奥将姿势理解为一种“幸存”(sopravvivenza),在当代那不勒斯底层人民的姿势与古代花瓶所绘诸神和英雄的姿势之间发现了一种文化层面的连续性。由此,德约里奥打破了“高贵”的古人与“粗俗”的今人之间的区隔:正是在我们早已习以为常的姿势中,古人得以一次次地重获生命,如灵魂附体一般栖居在我们身上。哪怕是文盲工匠布满皱纹的面孔,也都叠印着上古女神的不老容颜。当然,我们对此浑然不觉——然而,这种浑然不觉恰恰是最动人的地方…… (展开)