"It has often been claimed that "monsters"--Supernatural creatures with bodies composed from multiple species--play a significant part in the thought and imagery of all people from all times. The Origins of Monsters advances an alternative view. Composite figurations are intriguingly rare and isolated in the art of the prehistoric era. Instead it was with the rise of cities, elites, and cosmopolitan trade networks that "monsters" became widespread features of visual production in the ancient world. Showing how these fantastic images originated and how they were transmitted, David Wengrow identifies patterns in the records of human image-making and embarks on a search for connections between mind and culture. Wengrow asks: Can cognitive science explain the potency of such images? Does evolutionary psychology hold a key to understanding the transmission of symbols? How is our making and perception of images influenced by institutions and technologies? Wengrow considers the work of art in the first age of mechanical reproduction, which he locates in the Middle East, where urban life began. Comparing the development and spread of fantastic imagery across a range of prehistoric and ancient societies, including Mesopotamia, Egypt, Greece, and China, he explores how the visual imagination has been shaped by a complex mixture of historical and universal factors. Examining the reasons behind the dissemination of monstrous imagery in ancient states and empires, The Origins of Monsters sheds light on the relationship between culture and cognition"-- Provided by publisher

motw/The Origins of Monsters_ Image - David Wengrow.pdf

D Wengrow; New York University

Princeton University, Department of Art & Archaeology

The Rostovtzeff lectures, Princeton, Oxford, United States, 2014

The Rostovtzeff lectures, New Jersey, 2014

Rostovtzeff lectures, Princeton, NJ, 2013

United States, United States of America

The Rostovtzeff Lectures, 2013

Illustrated, 2013

1, PS, 2013

producers:
Adobe PDF Library 9.9

Memory of the World Librarian: Slowrotation

Available in 2013.
Includes bibliographical references (pages 113-160) and index.

Includes bibliographical references (pages 133-160) and index.

РГБ

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It Has Often Been Claimed That Monsters--supernatural Creatures With Bodies Composed From Multiple Species--play A Significant Part In The Thought And Imagery Of All People From All Times. The Origins Of Monsters Advances An Alternative View. Composite Figurations Are Intriguingly Rare And Isolated In The Art Of The Prehistoric Era. Instead It Was With The Rise Of Cities, Elites, And Cosmopolitan Trade Networks That Monsters Became Widespread Features Of Visual Production In The Ancient World. Showing How These Fantastic Images Originated And How They Were Transmitted, David Wengrow Identifies Patterns In The Records Of Human Image-making And Embarks On A Search For Connections Between Mind And Culture.wengrow Asks: Can Cognitive Science Explain The Potency Of Such Images? Does Evolutionary Psychology Hold A Key To Understanding The Transmission Of Symbols? How Is Our Making And Perception Of Images Influenced By Institutions And Technologies? Wengrow Considers The Work Of Art In The First Age Of Mechanical Reproduction, Which He Locates In The Middle East, Where Urban Life Began. Comparing The Development And Spread Of Fantastic Imagery Across A Range Of Prehistoric And Ancient Societies, Including Mesopotamia, Egypt, Greece, And China, He Explores How The Visual Imagination Has Been Shaped By A Complex Mixture Of Historical And Universal Factors.examining The Reasons Behind The Dissemination Of Monstrous Imagery In Ancient States And Empires, The Origins Of Monsters Sheds Light On The Relationship Between Culture And Cognition-- Image And Economy In The Ancient World : The Bronze Age Of Mikhail Rostovtzeff -- Materials For An Epidemiology Of Culture -- The Hidden Shaman : Fictive Anatomy In Paleolithic And Neolithic Art -- Urban Creations : The Cultural Ecology Of Composite Animals -- Counterintuitive Images And The Mechanical Arts -- Modes Of Image Transfer : Transformative, Integrative, Protective -- Conclusion : Persistent, But Not Primordial : Emergent Properties Of Cognition. David Wengrow. Includes Bibliographical References (pages 133-160) And Index.

"It has often been claimed that "monsters"--supernatural creatures with bodies composed from multiple species--play a significant part in the thought and imagery of all people from all times. The Origins of Monsters advances an alternative view. Composite figurations are intriguingly rare and isolated in the art of the prehistoric era. Instead it was with the rise of cities, elites, and cosmopolitan trade networks that "monsters" became widespread features of visual production in the ancient world. Showing how these fantastic images originated and how they were transmitted, David Wengrow identifies patterns in the records of human image-making and embarks on a search for connections between mind and culture.Wengrow asks: Can cognitive science explain the potency of such images? Does evolutionary psychology hold a key to understanding the transmission of symbols? How is our making and perception of images influenced by institutions and technologies? Wengrow considers the work of art in the first age of mechanical reproduction, which he locates in the Middle East, where urban life began. Comparing the development and spread of fantastic imagery across a range of prehistoric and ancient societies, including Mesopotamia, Egypt, Greece, and China, he explores how the visual imagination has been shaped by a complex mixture of historical and universal factors.Examining the reasons behind the dissemination of monstrous imagery in ancient states and empires, The Origins of Monsters sheds light on the relationship between culture and cognition"-- ǂc Provided by publisher

Cover 1
Title 4
Copyright 5
Dedication 6
Contents 10
List of Illustrations 12
Acknowledgments 16
Introduction 20
1 Image and Economy in the Ancient World: The Bronze Age of Mikhail Rostovtzeff 27
2 Materials for an Epidemiology of Culture 38
3 The Hidden Shaman: Fictive Anatomy in Paleolithic and Neolithic Art 52
4 Urban Creations: The Cultural Ecology of Composite Animals 69
5 Counterintuitive Images and the Mechanical Arts 93
6 Modes of Image Transfer: Transformative, Integrative, Protective 107
CONCLUSION: Persistent, but Not Primordial: Emergent Properties of Cognition 127
Notes 132
References 152
Index 180

2025-10-27