Noa Yaari, Self Portrait, 2000-2018. Mixed media, Tel Aviv-Toronto
Author Archives: Noa Yaari
The Discovery of Discovery
In the discourse about the rise of pre-modern individualism or the discovery of the individual in pre-modern Europe (ca. 1000-1600), historians are inclined to argue that there was a period of time in which the interest in one’s own self had become a dominant character of the age. They support their understanding of this changeContinue reading “The Discovery of Discovery”
Benjamin Lee Whorf
Writes: “[…] for science, poetry, and love are alike in being “flights” above and away from the slave-world of literal reference and humdrum prosaic details, attempts to widen the petty narrowness of the personal self’s outlook, liftings toward Arūpa, toward that world of infinite harmony, sympathy and order, of unchanging truths and eternal things. CareContinue reading “Benjamin Lee Whorf”
You see,
Noa Yaari, History’s on my Side, 2015
Wordimage in (is) Mythology
In her Reading “Rembrandt”: Beyond the Word-Image Opposition, Mieke Bal refers to Roland Barthes’s remark that “the very end of myth is to immobilize the world,” and to Philip Rahv’s observation that the persistence of romanticism and conservatism, manifested in myth – and its criticism – result from the fear of history, change, choice andContinue reading “Wordimage in (is) Mythology”
Visual Quoting II
In his essay “Shifters and Verbal Categories,” Roman Jakobson describes the complexity of “indexical symbols” – linguistic signs that, as symbols, represent their objects by convention and, as indices do, have existential relations with their objects, at the same time (following Peirce’s classification). Jakobson writes: “If we observe that even linguistic scientists had difficulties inContinue reading “Visual Quoting II”
Word and Image
Rarely do we see images without accompanying words, written or spoken. Images in books, newspapers, magazines, ads, television and the internet are often mediated by verbal language, that influences the way we see the images and think about them. In museums and galleries as well, the convention is to say something about the visual materialContinue reading “Word and Image”
Courtesans or Gentlewomen?
Associations between words and images in historiography are powerful. In the chapter “The Position of Women” in the 1958 Harper & Row edition of Jacob Burckhardt’s Civilization of the Renaissance in Italy (1860), we see the term “courtesans” in the caption of figure 193 (p. 392), and the definition of “public women” as an “unhappyContinue reading “Courtesans or Gentlewomen?”
Photos from the Exhibition Infantile History
Infantile History is a group exhibition at the Department of History at York University, featuring children’s and childlike art to examine core questions faced by the discipline of history. It also explores art as an effective tool to delve into methodological challenges in creating and communicating historical knowledge. Noa Yaari (photo: Lee Waddington) The exhibitionContinue reading “Photos from the Exhibition Infantile History”
Names of Artists in Captions
Names of artists in captions enable the readers to look at artists as individuals who collectively create a professional community. The overall thesis of the historical book brings specific artists into the study, in most cases, based on commonalities in their work. Such shared features can be subject matter, symbolism and technique; all point toContinue reading “Names of Artists in Captions”