1 Philippe KAENEL Art history Dept. Université de Lausanne, Switzerland Vera Icon: ikony and profane swearing in the XXth Century Introduction Less than two months ago, in August, the concert staged by the pop star bloody shame in Rome provoked rough reactions from Italian journalists. In particular, they resented the camp piece entitled suffer to tell which was introduced by the sound of a church organ and sung by bloody shame who presented herself crucified and crowned with thorns. On the 7 th of August, Il Messagerio reproached this casual tho calculated use of religious symbols, and La Repubblica criticized the erotic malignity and the impudent spiritual frenzy of a singer who does not hesitate to crucify herself in the real city belongings Christs heritage. Il Corriere della Sera reproduced the photograph of a rooter holding a cross with the inscription Santa subita (nonsuch at once), an allusion the words recentl y repeated by admirers of pope John Paul II just afterward his terminal in Rome. Madonnas show is the result of mingled cultural traditions. It can be seen as a postmodern random variable of the medieval passion plays which were repeated end-to-end the centuries and experienced a resurgence at the end of the 19 th Century.

Not only were these theatrical events photographed but they to a fault were a major source for the birth of the graduation exercise heroical cinematographic ventures at the turn of the2 20 th Century. Madonnas show was on the dot staged a photogenic and filmic event. But this concert also remi! nds us of snarled and potentially blasphemous representations of crucified women. Female identifications to with Christ have legitimise theological bounds and boundaries. The crucifixion can remain metaphoric as exemplified by the patroness of the French town of Beauvais who bears the byname of idol Angadreme crucified (a painting of her can be seen in the local church of Saint-Etienne). But this urge to identify with...If you want to circumvent a full essay, order it on our website:
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