2003
DOI: 10.1093/oxartj/26.2.1
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Violating the Sacred: Theft and 'Iconoclasm' in Late Eighteenth-Century Paris

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Cited by 3 publications
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“…The art historian Richard Clay favours the term 'sign transformation' over iconoclasm, as this definition recognizes that when images are broken, new signs and meanings are generated. 80 It is indisputable that the physical alteration of religious statues and objects created new spaces and images -gutted churches, headless statues or the carbonised remnants of religious ornaments -which boldly declared the end of Catholic hegemony and the new proletarian and revolutionary power of the moment. 81 However, iconoclasts were also participating in sign transformation in even more explicit, conscious ways, turning religious objects into secular, political figureheads of their heterogeneous, spontaneous revolution.…”
Section: 'You Who Were So Good': Ethical Discourse and Betrayalmentioning
confidence: 99%
“…The art historian Richard Clay favours the term 'sign transformation' over iconoclasm, as this definition recognizes that when images are broken, new signs and meanings are generated. 80 It is indisputable that the physical alteration of religious statues and objects created new spaces and images -gutted churches, headless statues or the carbonised remnants of religious ornaments -which boldly declared the end of Catholic hegemony and the new proletarian and revolutionary power of the moment. 81 However, iconoclasts were also participating in sign transformation in even more explicit, conscious ways, turning religious objects into secular, political figureheads of their heterogeneous, spontaneous revolution.…”
Section: 'You Who Were So Good': Ethical Discourse and Betrayalmentioning
confidence: 99%
“…They were not literally the kind of profanations that involved transgressive touching of the sacred, which, until the Revolution, remained punishable by chopping off an offender's hands. 13 However, the posters and graffiti were open to interpretation as symbolic profanations-throughtouch of an image of sacred kingship. While such material transformations of the monument used touch as well as vision to signify unofficial meanings for the sculpture, other symbolic interventions also used olfactory signifiers to connote profanation even more clearly.…”
mentioning
confidence: 99%