Cannibalisme, tatouage et revêtement : de l’histoire de l’architecture à l’anthropologie de l’art
- Submitting institution
-
University of Cambridge
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 12125
- Type
- D - Journal article
- DOI
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10.4000/gradhiva.3357
- Title of journal
- Gradhiva
- Article number
- -
- First page
- 24
- Volume
- 25
- Issue
- 25
- ISSN
- 0764-8928
- Open access status
- Deposit exception
- Month of publication
- May
- Year of publication
- 2017
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
0
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- Yes
- Additional information
- -
- Author contribution statement
- -
- Non-English
- Yes
- English abstract
- This article starts from one of the most enigmatic claims in Semper's On Style: the essence of architecture is not building but dressing. It explores some anthropological aspects of Semper's style theory, who was inspired by recent anthropological research into the origins of sculpture in fetish cults. Gustav Klemm was another major influence, who attributed the origins of art to a universal human instinct to represent reality through images or in play-acting. But Semper went further: for him, architecture had its origins in cannibalism and tattooing.