Ansatte ved Institut for Kunst- og Kulturvidenskab – Københavns Universitet

Videresend til en ven Resize Print Bookmark and Share

Forside > Ansatte

Nicoletta Isar

Nicoletta Isar

Lektor

Primære forskningsområder

  • Byzantine culture and Christian anthropology; Byzantine liturgy and the theology of sacred image as performative space.
  • Comparative studies in the history of mentalities and visuality: the sacred image of Byzantium versus the modern representation, both viewed as comparative terms and models of vision and representation.
  • Studies in Ritual Performance; Visual Anthropology - with a special interest in the recurrence of ritual in contemporary performances (Bill Viola as major interest).

She has published a diverse range of articles on sacred image, as well as on European modern representations and post-modern video art, in which image is approached comparatively. In the last 10 years, her research and teaching were occupied with Visual Anthropology: Studies in Ritual Performance - with a special interest in the recurrence of ritual in contemporary performances (particularly Bill Viola). Her teaching in Visual Culture was intensively focused on cultural phenomena, European and non-European, from an anthropological and comparative point of view, insisting on the paradigmatic dimension of image and imagination, by combining visual arts, anthropology (among other theories, the anthropology of René Girard), and the phenomenology of the saturated phenomenon of Jean-Luc Marion.

Aktuel forskning

 

Her main research project is “Chorography (Chôra, Chóros): A performative paradigm of creation and imagination,” a comparative and interdisciplinary project. Chorography takes as a point of departure Plato’s chôra from Timaeus, and expands the field of analysis of sacred space from antiquity and Byzantium to contemporary performances. The method of research combines different skills of comparative studies in the European history of mentalities, visuality and musicology, with philosophical, philological, and theological approaches. The project is part of the international project “Hierotopy: Studies in the Making of Sacred Space,” initiated in 2002 with Dr. A. Lidov. Hierotopy elaborates the main principles and boundaries of a new field, explores the theory of sacred image and the model of Metaphysics of Presence, in which international well-known scholars from different disciplines participate in a cross-interdisciplinary research. Her latest project, Anthropologies of Play, explores chaos and chance and the possibility of play in the abyssal structure of chôra, with focus on frenzy choreographies (the corybantic, the leap in frolic, un coup de dès, the Virtual, plasma, concatenations in hypermedia) as manifestations of the imaginary chôra space of creativity.

She is a co-editor of various international journals and is involved in a series of Danish and International networks, as well as a co-active collaborator in various laboratories of research on visual anthropology and the study of image in Europe. She has participated in numerous international and interdisciplinary conferences, and seminars, congresses, on Byzantine studies, visual anthropology, studies on image and music, as well as performative studies in theatre.

Undervisnings- og vejledningsområder

 
Teaching Activity at the University of Copenhagen:
 
Just about “What Images Do” Graduate Course, Spring 2014,Institute of Art History and Visual Studies, Department of Arts and Cultural Studies.
 
Antik, senantik, tidlig middelalder (Antiquity, Late Antiquity, Early Middle Ages) Undergraduate course, Spring 2014, ÅU University
 
The Technologies of Body: Of Fashion, Dermagraphics, Jeanetic Engineering and Wearable Technologies Graduate course, Fall 2013, Institute of Art History and Visual Studies, Department of Arts and Cultural Studies.
 
Senmiddelalder, Renæssance Undergraduate course, Fall 2013, Institute of Art History. Department of Arts and Cultural Studies.
 
An Anthropological Inquiry into Play, Chance and Fate in Visual Culture From the Beginning to Contemporary Visual Game Studies
Graduate course, Spring 2013, Institute of Art History and Visual Studies, Department of Arts and Cultural Studies.
 
Studies in Ritual Performance. Patterns in Comparative Culture: From Holy Sites to Viola’s Bodies of Light Graduate course, Spring 2013, Institute of Art History and Visual Studies, Department of Arts and Cultural Studies.
 
Material Imagination: The Sacrality of Medium (Mediology I) Graduate course, Fall 2012, Institute of Art History and Visual Culture, Department of Arts and Cultural Studies.
 
Senmiddelalder, Renæssance Undergraduate course, Fall 2012, Institute of Art History. Department of Arts and Cultural Studies.

The Anthropology of Posthumanism: Visions from the near future: transgenic, eugenics, cloning Graduate course, Spring 2012, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.

 Thaumaturgus opticus: Masters of Deception, Seductive Visions in Visual Culture
Graduate course, Spring 2012, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.
 
The Ister – Foundational River. European Anthropology and History in The Making
EUROPE Graduate course, Fall 2011, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.
 
Hysterical Histories of Art: The Arts of Fear and Disappearance
Graduate course, Fall 2011, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.
 
Senmiddelalder, Renæssance
Undergraduate course, Fall 2011, Institute of Art History, Dance, and Theatre Research, Visual Studies,
 
Technology and Revelation in Bill Viola’s Video Installations. Media, Metaphor and the Unknown
Graduate course, Spring2011, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.
 
Bild-Anthropologie (V): The Anthropology of Image: Towards a Cultural History of Images
Graduate course, Spring 2011, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.
 
Senmiddelalder, Renæssance
Undergraduate course, Fall 2010, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.
 
The Time of the Image: Art History as the Anachronism of Images
Graduate course, Spring 2010, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.
                               
The Rise and the Fall of the gods – The Dawn and the Twilight of their Dance
Graduate course, Spring 2010, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.
 
Bild-Anthropologie (IV): Sublime Simulacra – the Pygmalion Effect
Graduate course, Fall 2009, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.
 
Violence and Mimetic Desire in Contemporary Imaginary
Things Hidden from the Foundation of the World according to Girard
Graduate course, Fall 2009, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.
 
The Power of Images. The Syndrome of Idolatry and Iconoclasm
Undergraduate course Sidefag, Fall 2009
 
Immanence and Transcendence in Byzantine Image. Towards a Model of Metaphysics of Presence
Graduate course, Spring 2009, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.
 
Modernitet & samtidskunst
Undergraduate course, Spring 2009, ÅU
 
Æstetik og Kunstteori II
Undergraduate course, Fall 2008, ÅU
 
Bild-Anthropologie (III): Iconic Turn: The New Image of the World
Graduate course, Fall 2008, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.
 
Image and Space (Billed- og Rumanalyse):
Undergraduate course, Fall 2007+ Spring 2008, Institute of Art History (Tilvalg & Open University), Department of Arts and Cultural Studies.
 
Paratextures: On Signs and Screens
Graduate joint course with Charles Lock, Fall 2007, Institute of Art History, Dance, and Theatre Research, Comparative Literature, Visual Studies, Department of Arts and Cultural Studies.
 
The Spatialization of Sound From World Picture to Sound World
Participation into the graduate courseAuditiv kultur, Fall 2007, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.
 
Ad-Marginem: Towards a theory of metapictoriality
Sidefag undergraduate course Fall 2007,Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.
 
Eros and Pathos: Images of Bliss, Immortal Bodies. A Hierotopic Approach to Contemporary Performance
Sidefag undergraduate course Spring 2007,Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.
 
Image and Space (Billed- og Rumanalyse)
Undergraduate course, Fall 2006 – Spring 2007, Institute of Art History (and Open University), Department of Arts and Cultural Studies.
 
Bild-Anthropologie (II): Visual Arts and Anthropologies: History of Art as a Cultural History of Images
Graduate course, Spring 2006, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.
 
The Earthly and Heavenly Jerusalem
Undergraduate course, Spring 2006, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.
 
Bild-Anthropologie (I): Visual Anthropology: Image, Body, Medium
Graduate course, Fall 2005, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.
 
Performing the Sacred in Byzantium
Undergraduate course, Fall 2005, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.
 
Chorography (II): The Hospitality of the Chôra and the Ethics of the Gift
Graduate course, Spring 2005, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.
 
Viola’s Ontology of the Image
Graduate course, Spring 2005, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.
 
Chorography: Around a performative paradigm of imagination and creation
Graduate course, Fall 2004, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.
 
Technology and Revelation: Viola’s Ontology of the Image
Graduate course, Fall 2004, Institute of Art History, Dance, and Theatre Research, Visual Studies,Department of Arts and Cultural Studies.
 
Hagia Sophia and Its Ontological Proportions: Cosmology and Man’s Creation in Byzantine Culture: Graduate course, Spring 2004, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.
 
Studies in Ritual Performance. Patterns in Comparative Culture: From Holy Sites to Viola’s Bodies of Light: Graduate course, Spring 2004, Institute of Art History, Dance, and Theatre Research, Visual Studies, Department of Arts and Cultural Studies.
 
The Sacred Image of Byzantium (II): The Model of Vision and its Beholder
Undergraduate course, Spring 2003, Institute of Art History, Dance, and Theatre Research.
 
The Sacred Image of Byzantium: The “I” of the Image
Undergraduate course, Fall 2001, Institute of Art History, Dance, and Theatre Research.
 
The Playing Subject: The Postmodernism Thirst for Performance
Graduate course, Fall 2001, Institute of Art History, Dance, and Theatre Research-
 
The Trial of the Subject (II): Clothing the Subject
Graduate course, Spring 2001, Institute of Art History, Dance, and Theatre Research.
 
Carnival: Mundus Perversus and its Reverse Image
Undergraduate course, Spring 2001, Institute of Art History, Dance, and Theatre Research.
 
The Trial of the Subject (I): The Body in perspective. The Torment of the Image
Graduate course, Fall 2000, Institute of Art History, Dance and Theatre Research.
 
Baroque IV: A Totalizing Vision and its Discourse. A Short (Hi)story of the Museum and of its Beginnings: Undergraduate course, Fall 2000, Institute of Art History, Dance and Theatre Research.
 
Venetian Visual Culture of the Thirteenth and Fourteenth: Byzantine and Western Traditions
Undergraduate course, Spring 2000, joint course with Marina Vidas, Institute of Art History and Theatre Research. 
 
Velázquez’ Las Meninas: The Theology of Painting or the Limits of Classical Representation
Undergraduate course,Spring 2000, Institute of Art History and Theatre Research.
 
The Time of the Image: the Era of Art and Before It
Graduate course, Spring 2000, Institute of Art History and Theatre Research.
 
Baroque III: Of Light, Shadow, and Narrative
Undergraduate course, Fall 1999, Institute of Art History and Theatre Research.
 
The Completion of the Tableau. The Signature and the Death of the Author
Undergraduate course, Fall 1999, Institute of Art History and Theatre Research. 
 
Baroque II: Blindness and Seeing: The Story and the Theory of Sight in Rembrandt’s Painting
Undergraduate course, Spring 1999, Institute of Art History and Theatre Research.
 
Toward an Archaeology of Face and Power: The Eclipse of Vision in the Classical Age: Paradigms  and Alterations: Undergraduate course, Spring 1999, Institute of Art History and Theatre Research.
 
Siena: Civic and Ritual in Dugento and Trecennto Visual Culture
Spring 1999, joint course with Marina Vidas, undergraduate course, Institute of Art History and Theatre Research
 
The Empty Mask. The Stuffed Body. The Space of Laughter in Modernity
Undergraduate course, Spring 1998, Institute of Art History and Theatre Research; Modern Culture Studies, Institute of Comparative Literature.
 
Goya: The Disaster of Anthropomorphism
Undergraduate course, Spring 1998, Institute of Art History and Theatre Research.
 
Studies in Baroque I: The Baroque Model of Vision - The Invention of the Tableau 
Undergraduate course, Fall 1998, Institute of Art History and Theatre Research..
 
The Insufficient Body: Watteau’s Melancholy:
Undergraduate course, Fall 1998, Institute of Art History and Theatre Research.
 
Deconstructing Text and Image in Modern Art:
Graduate course, Spring 1997, Modern Culture Studies, Institute of Comparative Literature.
 
Commodity and Representation: European Still Life of the 17th century
Undergraduate course, Fall 1997, Institute of Art History and Theatre Research.
 
Figure and Space; Colour into Light in the Venetian Landscape
Undergraduate course, Fall 1997, Institute of Art History and Theatre Research.
 
Melancholy and the Modern Body
Undergraduate course, Fall 1997, Modern Culture Studies, Institute of Comparative Literature.
 
The Making of English Landscape Painting
Undergraduate course, 1996, fall + spring 1997. Institute of Art History, Dance and Theatre Research.
 
 
 

Interesseområder

 Lectures and Papers: 

2011
 
BEDAZZLED. BEING MOVED BY CHORÓS
Byzantine Aesthetics in the Mediterranean: Poikilia, Marmarygma kai Empsychosis – Round Table  at the International Byzantine Studies Congress, Sofia, Bulgaria August 22-27, 2011  Organizer: Bissera V. Pentcheva
 
Dancing Light into the Byzantine Sacred Space. The Athonite Chorography of Fire
International Conference ‘Light and Fire in the Sacred Space’ The Institute for World Culture, Moscow State University, The State Library of Foreign Literature, The Research Centre for Eastern Christian Culture, Moscow September 27-29, 2011
 
2010
 
Sonic Strokes: Boltanski’s Heartbeats and his “Archives du Coeur” (“Heart Archives”)
On the Subject of Sonic Mediation through Sonic Affect
International Network “Sound as Art - Sound in Culture. Sound in Theory - Sound in History,” September 23 - 25, 2010. Aarhus University
 
 Bill Viola: Technology and Revelation
Kunstaakademie IKK kunsthistorie –23rd November 2010
 
2009
 
CHORÓS: BEING MOVED BY LIGHT. Towards a Phenomenology of Vision in Byzantium
Byzantine Colloquium “Light, Surface, Spirit: Phenomenology and Aesthetics in Byzantine Art” Dumbarton Oaks 12-13 nov. 2009
 
(Tracing the) Imperial ¿o¿o¿ Comnenian H i e r o t o p y
International Conference SPATIAL ICONS Textuality and Performativity Russian Academy Moscow June 23-25, 2009
 
Voice Under Erasure: Viola’s “Capital” Visions and His Phonophobia
International Network “Sound as Art - Sound in Culture. Sound in Theory - Sound in History,” Seminar The Voice, 5-6 November 2009 University of Copenhagen
 
2008
 
 Viola’s Passionate Interregnum: Performing the Chôra Space-in-Between
Interregnum: In Between States. Performance Studies international Annual Conference, Copenhagen 2008
 
2007
 
Hierotopy of Music: From ‘Metaphysical Catastrophe' to Public Space of Enchantment
International Conference "Music and Sound in Public Space" - 16-17 November 2007.
 
Chôra: Tracing the Presence, The Idea of Presence University of Bucharest, Faculty of Letters, Interdisciplinary Centre for European and Romanian Cultural Studies "Tudor Vianu," Bucharest, 30th November-1 December 2007.
 
Screening the Mystery. Making the Sacred Space. Concealment and secrecy, the limits of vision and sound of the mystery in the Christian Church IMAGE & ALTAR 800-1300, The National Museum of Denmark, Copenhagen, 24-27 October 2007.
 
Rameau's Les Boréades: Undoing Discipline at the Classical Age La Discipline à l'Âge Classique. Colloque interdisciplinaire et international organisé par le réseau de recherche Classicisme et Lumières. Université de Copenhague - 19-21 Janvier 2007.
 
2006
 
Icons at The Willumsen Museum in Denmark. Ethical Issues on Icon Research and Conservation ICOM CONSERVATION COMMITTEE Icons: Approaches to Research, Conservation and Ethical Issues, Athens, New Benaki Museum, 3-7 December 2006.
 
The Spatialization of Sound - From World Picture to Sound World, MUSIK OG LYD I DET OFFENTLIGE RUM/MUSIC AND SOUND IN PUBLIC SPACE NTSMB, SDU Esbjerg , November 17-18, 2006. 
 
Hierotopy of Light: Inscribing Sacred Space in Byzantium
21st International Congress of Byzantine Studies, London 21-26 August 2006. 
 
Theatre of Presence - Antero Alli's Paratheatrical ReSearch Lab International Conference Religion, Ritual, Theatre, University of Copenhagen, 27-29 April 2006.
 
2005
 
The Merciful and Fiery Eye of the Holy Icon. Modes of "seeing" and encounter with the Icon, Icondialog in Helligaandshuset, Copenhagen, 27 October 2005.
 
Chorós: Dancing out the Mystery in Byzantium, PERFORMING BYZANTIUM, XXXIX Spring Symposium of Byzantine Studies Queen's University Belfast, 2-4 April 2005.
 
Cosmology and the Creation of Sacred Space in Byzantium: The Dramaturgy of Light in Byzantine Imperial Ceremonial between 6th c. - 12th c., part of the special course Europa's Gyldne Rige: hofliv, kirkekunst og politisk-religiøs kultur i Det Byzantinske Rige, Folkeuniversitet, Forår 2005.
 
Wounded by Love: Bill Viola, the Mystic Poet and His Latest Illuminations, Institute for Greek and Latin, Copenhagen University, March 2005.
 
Chorography (Chôra/Chorós) - a performative paradigm of imagination and creation in Greek thinking, Performativitetsgruppen, Institute of Art History, Copenhagen University, 12 Feb. 2005.
 
2004
 
Undoing Forgetfulness: The Chiasmus of the Poetical Mind, The Cultural Heritage of Medieval Rituals II: Creation and the Arts, Copenhagen, 10-13 December 2004.
 
Chorography (Chôra, Chôros, Chorós) - A performative paradigm of creation of sacred space in Byzantium, Hierotopy: Studies in the Making of Sacred Space, 28 June-4 July, 2004, Moscow.
 
Stefan cel Mare: Atletul lui Hristos, Commemorative lecture for the 500th anniversary, Romanian Embassy in Denmark, 25 June 2004. 
 
2003
 
Viola's Cosmology: From the Recollection of Being to "Creation Angel" and Cosmic Dance for the Third Millennium, The Cultural Heritage of Medieval Rituals II: Creation and the Arts, Copenhagen, 13-15 December 2003. 
 
The Call of the Icon: Communion and Ecstasis of Person in Orthodox Theology and Liturgical Art, Seminar "Den ikoniske tradition I den ortodokse kirke", Institute for the History of Religion, Department for the Sociology of Religion, University of Copenhagen, 17th November 2003.
 
2002
 
CHORÓS: THE MAKING OF SACRED SPACE An inquiry into the rhetorical sources of the Byzantine image of the Anastasis, The Danish Institute in Athens, 8th May 2002.
 
Holy Icon and Its Body: the Paradox of the Representation, Centre for Arts and Christianity, Copenhagen University, 4th Feb. 2002.
 
2001
 
Beyond Ambiguities: Gombrich's Contribution to the Theory of Representation, a seminar "Sir Ernst H. Gombrich In Memoriam," 30th November, 2001, Copenhagen University.
 
The Living Wall: The Techique of Restoration and the Incarnation in Post-byzantine Moldavian Outside Paintings, ICOM Icon Research Area conference on "Changes in Post-byzantine Icon Painting Techniques," Copenhagen, 14th -17th October, 2001.
 
The Dance of Adam: Anastasis - a Nuptial Ceremonial?, XX International Congress for Byzantine Studies, 19-25 August, 2001, Paris.
 
The Challenge of the Body: The Return of the Inanimate, Marionette: Metaphysics, Mechanics, Modernity, International Symposium, Copenhagen University, 28 March -1 April 2001.
 
Symbol/Sign: Reading Through and Along the Line, Annual Congress of The Danish Association of Art Historians, 24th Feb. 2001, Copenhagen.
 
1999
 
The Broken Image: On Splits and Cuttings. The Modern Representation and its Beginnings, Moments Of Change. Transformations of Christian Traditions in the West 1000-2000, 7- 10 Oct. 1999, Copenhagen.
 
1997
 
Terribilis in Extremis: On the Skin and Under the Skin of the Other, NorFa - Nordic Acad. for Advanced Study, 6-9 November, 1997, Sigtuna (Sweden).
 
Inscription Against Representation: Voicing the Present and Framing the Absent, Seminar of the Centre for Logic and Aesthetics Ålborg University, 4-8 September, 1997, Paris.
 
The Falling Light of Byzantium on Venice, University of Copenhagen: Centre for Christianity and Arts, 16 September, 1997, Copenhagen.
 
The Outline Which Does Not Limit. The Icon as Kenotic Presence and Void, NorFa - Nordic Acad. for Advanced Study, 29-31 August, 1997, Åland (Finland)
 
1996
 
Text (Wall) Image - a semiotic approach of the post-byzantine décoration of the Moldavian churches, XIX International Congress for Byzantine Studies, 18-24 August, 1996, Copenhagen.
 
1995
 
On the Skin of the Other: From Prophetic Nudity to Ritual Clothing, The Cultural Work of Ritual, Symbol and the Other, University of Western Ontario, London, Canada, 10-11 February, 1995.
 
Canadian Art: The Group of Seven, Art Gallery of Ontario, Toronto, February, 1995.
 
Matisse et la Métapeinture, The Barnes Exhibition, Art Gallery of Ontario, Toronto, March, 1995.
 
Giovanni del Biondo, Art Gallery of Ontario, Toronto, February 1995.
 

ID: 9168