Bachelor thesis | Film- en literatuurwetenschap (BA)
closed access
In this text, I conduct a historical exploration of the theoretical evolution of both the reader in literary studies and viewer in film studies. Spanning from Antiquities right up to contemporary...Show moreIn this text, I conduct a historical exploration of the theoretical evolution of both the reader in literary studies and viewer in film studies. Spanning from Antiquities right up to contemporary criticism, I illuminate their parallel, yet differing, transformations. In both disciplines, the theoretical reader or viewer are initially hypothetical, static, passive entities in object-centric, meaning film or text focused, modes of study. The theory of both film and literary studies eventually evolves to reverse that initial perspective of, and approach to, the relationship of the film or text to its viewer or reader, respectively. Both disciplines follow alternative paths which results in varying nuances and repercussions for their unique conceptions of the reading or viewing subject, the textual or filmic object, and their relation to each other. This work not only explores the evolutions of these disciplines regarding their subject, object, and the relationship thereof, but also examines said variations, nuances, and repercussions encountered to highlight that their greatest divergences stem from their political anchorages. In the end, we achieve a means by which we may draw comparisons between both these two disciplines regarding various conceptions of the reader, viewer, film, and text; enriching the field of Reader(ship), Viewer(ship), and Audience studies by approaching them from a combined perspective.Show less
This thesis explores the biography of the Dying Niobid, a fifth century BC Greek statue that was found in Rome. Previous research on Greek sculptural art has mainly focussed on the objects as a...Show moreThis thesis explores the biography of the Dying Niobid, a fifth century BC Greek statue that was found in Rome. Previous research on Greek sculptural art has mainly focussed on the objects as a representation of the Classical Greek period. When looking at the Dying Niobid it becomes clear that this sculpture, one among a great body of Greek sculptures brought to Rome, has functioned in more than one context throughout its life, the ‘Greek’ context being just one of them. Therefore the question to be asked must no longer be what does the object represent, but what does it do in these different contexts? With the object as point of departure, this research will focus on the “active” role of the Dying Niobid in terms of power, influence and agency. To enable this, the main objective for this thesis is to apply a fundamentally different approach and methodology to Greek sculptures in Rome; a “cultural biographical approach” to objects. Through the methodology of the cultural biography, it is possible to take all of the contexts in which the object has functioned in consideration and reconstruct the way in which the agency and power of the object can change and accumulate throughout its existence. Exploring the biography of the Niobid leads us through different functions and appropriations of Greek art. From a fifth century BC Apollo temple in Greece, the story of the Niobid leads to Rome; the Temple of Apollo Sosianus, a Republican temple restored in Augustan times and further on to the Horti Sallustiani, a garden. In the realms of this garden the Niobid was excavated in 1906, followed by a series of events and political dispute concerning the statue. At the present the Dying Niobid still functions in Rome, on display in the Museo Nazionale Romano; Palazzo Massimo. This case-study is placed in a theoretical framework of symmetrical archaeology. Through this framework the aim is to achieve symmetry between not only the importance of the role of things, humans and other entities within each context, but also between the different life phases of the object. This will enable us to say something on the changes of meaning and agency of the object throughout time and space, and add to the wider debate on the role of Greek objects in the Roman world.Show less
This thesis focuses on the visualisation of the stories behind objects in the ethnological and archaeological museum. Objects form a fundamental part of our daily life, but we do not always know...Show moreThis thesis focuses on the visualisation of the stories behind objects in the ethnological and archaeological museum. Objects form a fundamental part of our daily life, but we do not always know the full stories behind them. Some objects possess an intriguing story about their use in indigenous communities or their impact on an historic civilization, but the stories that are sometimes of even more interest are the object biographies. These biographies consist of the people, places and events the objects encountered on its way to a (museum) collection. The research done for his thesis will provide new insights into the visualisations of stories behind object in the 20th and 21st century. Furthermore it will discuss some case studies that show how stories, and what kind of stories, are being visualised in the modern day ethnological and archaeological museum. The research reflects the combination of a literature study and case studies. These case studies have been exercised within the National Museum of Ethnology and the National Museum of Antiquities. The selected objects within the case studies have been extensively researched in terms of their history, method of collecting, biographies and presence within the exhibition. These objects are: the Lombok Treasure, the Singosari statues, the golden helmet of de Peel and the Cypriot head. The results of the research showed that the visualisation of the stories behind objects has never been the same and is still shifting, which provide a diverse array of objects and stories. Object biographies were sporadically present in museum exhibitions, but they were never fully embraced. Nowadays this becomes more and more present in museums and new exhibition techniques, such as multi-media and interactive platforms that are implemented to tell and show those hidden stories.Show less
