Patrick R Crowley
Biographic Data
| ID | 5637022 |
|---|---|
| NAME | Patrick R Crowley |
| GIVEN NAMES | Patrick R |
| FAMILY NAME | Crowley |
| SIGNATURE | CROWLEY P R |
| AFFILIATIONS | Ministry of Culture |
| VERIFIED | No |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 7 |
| WORKS AS AUTHOR | 8 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2016 |
| LATEST PUBLICATION YEAR | 2019 |
| H-INDEX | 1 |
The Phantom Image
Epilogue
Taking up the comparative case of modern phantasmagoria, this epilogue resituates the book as offering a hitherto neglected, but important, prehistory to the Christianizing belief in ghosts in late antiquity and the Middle Ages on the one hand, and on the other the rationalizing attempts in modernity to dispel or eradicate such a belief—if only to displace it elsewhere (e.g., the enchantments of technology, psychoanalysis, physiological theories …
Chapter Three
This chapter tracks the iconography of drapery in the form of veiled or shrouded ghosts, linking it to the visuality of shame and its relation to the affective economy of sorrow, grief, and mourning. In doing so, it shows how the ghostly shroud, far from conforming to a conventional iconography, introduced a new way of depicting the ghost by effectively turning it inside out.
Chapter Four
This chapter examines the origins of the iconography of Doubting Thomas around the turn of the fifth century. By taking up the famous incredulity of the apostle who was uncertain whether he was seeing a mere ghost or the actual, resurrected body of Christ in the flesh, it considers how the imagery keys into broader theological and philosophical arguments about sense-perception, materiality, and embodiment.
Chapter Two
This chapter examines the Underworld in relation to ancient notions of perspective and the sublime. It demonstrates how ancient attempts to conceptualize, depict, and even construct the spaces of the Underworld, particularly in the cramped space of the tomb, were achieved by establishing the limits of the field of vision itself—limits that were constituted reflexively by their capacity to be exceeded or transgressed.
Chapter One
This chapter explores the figure of the ghost to offer a new understanding of the status of the image in Roman art and visual culture. It shows how ancient depictions of ghosts operate recursively by depicting the conditions of depiction and even the visual event of seeing itself, and that this recursive play in turn makes visible the systems of classification that shape this relay.
Doubting Thomas and the Matter of Embodiment on Early Christian Sarcophagi
Roman Death Masks and the Metaphorics of the Negative
July 01 2016 Roman Death Masks and the Metaphorics of the Negative Patrick R. Crowley Patrick R. Crowley Patrick R. Crowley is Assistant Professor of Art History and the College at the University of Chicago. His research explores theories of vision and concepts of the image in the ancient Roman world as well as the historical intersections among documentary photography, digital media, and the production of knowledge in classical archaeology. He i…
Roman Death Masks and the Metaphorics of the Negative
July 01 2016 Roman Death Masks and the Metaphorics of the Negative Patrick R. Crowley Patrick R. Crowley Patrick R. Crowley is Assistant Professor of Art History and the College at the University of Chicago. His research explores theories of vision and concepts of the image in the ancient Roman world as well as the historical intersections among documentary photography, digital media, and the production of knowledge in classical archaeology. He i…
Roman Death Masks and the Metaphorics of the Negative
July 01 2016 Roman Death Masks and the Metaphorics of the Negative Patrick R. Crowley Patrick R. Crowley Patrick R. Crowley is Assistant Professor of Art History and the College at the University of Chicago. His research explores theories of vision and concepts of the image in the ancient Roman world as well as the historical intersections among documentary photography, digital media, and the production of knowledge in classical archaeology. He i…
Doubting Thomas and the Matter of Embodiment on Early Christian Sarcophagi
The Phantom Image
Epilogue
Taking up the comparative case of modern phantasmagoria, this epilogue resituates the book as offering a hitherto neglected, but important, prehistory to the Christianizing belief in ghosts in late antiquity and the Middle Ages on the one hand, and on the other the rationalizing attempts in modernity to dispel or eradicate such a belief—if only to displace it elsewhere (e.g., the enchantments of technology, psychoanalysis, physiological theories …
Chapter Three
This chapter tracks the iconography of drapery in the form of veiled or shrouded ghosts, linking it to the visuality of shame and its relation to the affective economy of sorrow, grief, and mourning. In doing so, it shows how the ghostly shroud, far from conforming to a conventional iconography, introduced a new way of depicting the ghost by effectively turning it inside out.
Chapter Four
This chapter examines the origins of the iconography of Doubting Thomas around the turn of the fifth century. By taking up the famous incredulity of the apostle who was uncertain whether he was seeing a mere ghost or the actual, resurrected body of Christ in the flesh, it considers how the imagery keys into broader theological and philosophical arguments about sense-perception, materiality, and embodiment.
Chapter Two
This chapter examines the Underworld in relation to ancient notions of perspective and the sublime. It demonstrates how ancient attempts to conceptualize, depict, and even construct the spaces of the Underworld, particularly in the cramped space of the tomb, were achieved by establishing the limits of the field of vision itself—limits that were constituted reflexively by their capacity to be exceeded or transgressed.
Chapter One
This chapter explores the figure of the ghost to offer a new understanding of the status of the image in Roman art and visual culture. It shows how ancient depictions of ghosts operate recursively by depicting the conditions of depiction and even the visual event of seeing itself, and that this recursive play in turn makes visible the systems of classification that shape this relay.
Art (6 works) · Historical, Religious, and Philosophical Studies (6 works) · Classical Antiquity Studies (5 works) · Computer Science (5 works) · Aesthetics (4 works) · Epistemology (4 works) · History (4 works) · Philosophy (4 works) · Visual arts (4 works) · Psychology (3 works)