Masks

This paper deals with depictions of deceased in antiquity, specifically it focuses on the Roman imagines maiorum and the issue of their form. A number of scholars take up older claims and understand imagines as just another of the series of posthumous masks of the ancient world. In the light of the claims made below, this article will attempt to show that the issue in question is much more complex and that the question of their visual appearance can not be definitively and easily decided on the basis of an older research tradition. First, however, the paper will briefly introduce posthumous masks of other civilizations of antiquity, and will focus directly on the post-mortem images in ancient Rome, specifically discussing the shape and function of imagines, and then attempting to show the material examples that are relevant to this subject and which in some cases are neglected in the works devoted to this subject.

Maske, tiyatro sanatının başlangıcından bugüne en vazgeçilmez araçlarından biri, ilkel topluluklardan modern toplumlara çeşitli işlevler yüklenmiş büyülü ve gizemli bir obje, biri gülen biri ağlayan ikizleriyle oyunculuk sanatının evrensel sembolü, arkaik ritüellerden son moda performans sanatlarına, antik tiyatrodan öncü tiyatro uygulamalarına, her dönem sahne sanatlarının baş tacı ettiği bir aksesuar... Kimi zaman yazarın sözünü dolaysız ileten bir kapı, kimi zaman duyguyu gizleyen bir kalkan, kimi zaman sözden de fazlasını üreten bir anlam adası, kimi zaman tüm insanlığa tutulan bir ayna... Tüm zamanlarda, tüm topraklarda, tüm toplumlarda, tüm geleneklerde varlık bulan, yaşamı anlamlandıran, ölümsüz bir masal kahramanı...

Maske sadece tiyatro sanatının kökenlerinde, hatta temel kaynağında yer alan bir öğe değil elbette. Edebiyattan plastik sanatlara, fotoğraftan sinemaya tüm sanatların ve felsefeden psikolojiye, antropolojiden sosyolojiye, sanat tarihinden arkeolojiye tüm sosyal bilimlerin tartıştığı, kavramlaştırdığı ya da kendi kavramlaştırmaları için yararlandığı veya farklı biçimlerde kullandığı çok tanımlı, çok anlamlı, çok disiplinli, zengin bir dünya...
(Tanıtım Bülteninden)

http://issuu.com/habituskitap/docs/maskeissuu/1?e=2400159/11468802


İçindekiler

Sunuş  8

Dünden Bugüne Yolculuk

Dikmen Gürün 11

Maskenin Etimolojisi   

Maskeyle Varolmak

Oğuz Arıcı …………………………………………………………………………….. 17

Persona: Maskeden Karaktere

Bedia Demiriş ………………………………………………………………………. 24

Mask ve İlişkisellik, Ses Maskı ya da Oyuncu Maskı Olarak Kukla

Beliz Güçbilmez ……………………………………………………………………. 31

Oyuncu ve Maske         

Antik Yunan Tragedya Maskeleri Üzerine Bir Değerlendirme

Zühre İndirkaş………………………………………………………………………. 39

Commedia dell’Arte Geleneğinde Kılık Değiştirme Motifi ve Maskenin Dramatik İşlevi

Neslihan Ekmekçioğlu ………………………………………………………….. 54

Geleneksel Temsil ve İletişim Bağlamında Ortaoyunu ve Commedia Dell’Arte

Şirin Yılmaz Özkarslı …………………………………………………………….. 62

Commedia dell’Arte ve Jingju Maskelerinin Karşılaştırılması: Represence ve Represent

Duygu Çelik……………………………………………………………………………72

Copeau’dan Terzopoulos’a Oyuncu ve Maske

Kerem Karaboğa ………………………………………………………………….. 82

Edebiyat ve Maske       

Maske, Ne Nerede?

Burç İdem Dinçel …………………………………………………………………… 95

Giritli Yazar Nikos Kazancakis’in Yapıtlarında Maskenin Önemi

Esin Ozansoy ………………………………………………………………………… 108

Esrarlı Dört Köşe: Necip Fazıl’ın Tiyatro Anlayışı

Aslıhan Haznedaroğlu …………………………………………………………… 123

Dıranas’ın Gölgeler’inde Toplumsal Maskeler

Nilgün Firidinoğlu……………………………………………………………………137

Türk Tiyatrosunda İdeolojik Maske

Yavuz Pekman………………………………………………………………………. 146

Kültürel Kimlik ve Maske       

Yıkıcı Oyuncunun Maskesi

Stephen Wilmer…………………………………………………………………… 154

Gizli Olanın Görünürlüğü: Protestolarda Guy Fawkes Maskesi

Stefan Donath……………………………………………………………………… 164

Kültürel Gözlükler Aracılığıyla Uluslararası Performansları İzlerken Beklenti Maskesinin Deneyimi Nasıl Şekillendirdiğine Bakmak

Melanie Dreyer-Lude …………………………………………………………… 176

Toplumsal Baskı ve Kimlik Maskeleri

Hasibe Kalkan Kocabay ……………………………………………………….. 185

Beliz Güçbilmez’in Doyçland Adlı Oyunu Üzerine

Erol İpekli …………………………………………………………………………… 193

Toplumsal Cinsiyet ve Maske

Çağdaş Amerikan Siyahi Kadın Tiyatrosunda Halk Ozanı Maskesinin Yeniden Yazımı

İnci Bilgin Tekin…………………………………………………………………….. 198

Bulutların Üzerinde: Cinsel Kimliği ve Toplumsal Cinsiyeti Gizleyen Maskeler

Arpine Mızıkyan Akfıçıcı………………………………………………………. 204

Modern Maskesinin Altındaki Muhafazakarlık: Oyun Metinlerimizde Toplumsal Cinsiyet Kalıpyargıları Nasıl Üretiliyor?

Özlem Belkis ……………………………………………………………………….. 214

Ataerkil Söylemlerin Maskesini Düşüren Feminist Oyunlarımız ve İstanbul’da Feminist Tiyatrolar

Fakiye Özsoysal……………………………………………………………………..232

Ana Konuşmacı

Heiner Goebbels ……………………………………………………………………242

Ek: Çeviri Metinler

The Mask of The Subversive Performer

Stephen Wilmer…………………………………………………………………… 253

Viewing Through Cultural Glasses: How The Mask of Expectation Shapes Experience When Viewing International Performance

Melanie Dreyer-Lude……………………………………………………………… 261

The Dramatic Function of The Mask and The Disguise Motive in The Tradition of Commedia dell’Arte

Neslihan Ekmekçioğlu …………………………………………………………. 269

Key Speaker

Heiner Goebbels ………………………………………………………………….. 277

The Visibility Of The Hidden: The Guy Fawkes Mask in Times of Protest

Stefan Donath ………………………………………………………………………. 281

Rewriting The Minstrel Mask in Contemporary Black American Female Theatre

İnci Bilgin Tekin……………………………………………………………………. 292

What and Where The Mask is at

Burç İdem Dinçel …………………………………………………………………. 297

Cloud Nine: Masks to Veil Sexual and Gender Identities

Arpine Mızıkyan Akfıçıcı……………………………………………………….. 308

Irresponsible failure of health authorities regarding need for protective goggles?- -Introduction References to COVID-19 infection via the eyes Comparison with research dismissal of HIV infection via mosquitoes Masks without Goggles or Masks with Goggles? Indication of range of full-face pandemic masks Convergence on face-covering norms in Muslim-majority countries?

Face-coverings were widely mandated during the Covid-19 pandemic, on the assumption that they limit the spread of respiratory viruses and are therefore likely to save lives. I examine the following ethical dilemma: if the use of face-masks in social settings can save lives then are we obliged to wear them at all times in those settings? I argue that by en-masking the face in a way that is phenomenally inconsistent with or degraded from what we are innately programmed to detect as human likeness, we are degrading the social quality of our relations. Drawing on my previously published proof that Self is socially reflexive (mutually mirrored) rather than monadic in its constitution, I conclude that any widespread en-masking is also deleterious to humanity and therefore unethical.

Demonstrations which spill over into conflict have always required the police to distinguish between members of the public exercising their right to protest, and members of the public engaging in criminal activity, i.e. between ‘good protesters’ and ‘bad protesters’ (Waddington, 1999). Journalists who depended heavily upon official sources when constructing news narratives have historically reproduced these distinctions (Hall et al, 1978) and as a result images of violent protesters have frequently been used to delegitimize their claims (Juris, 2005).  However a number of high profile investigations into the policing of protest in the UK mean that police officers are also being subjected to distinctions made by inquiry panels between ‘good police officers’ and ‘bad police officers’. Thus a new trope is emerging in popular print and online news narratives in which the actions of the police rather than protesters are becoming the object of the public’s attention.

These dynamics will be explored with reference to the ways in which confrontations between protesters and police were pictured in the aftermath of Ian Tomlinson’s death. It will focus in particular on the way in which images highlighting acts of concealment became a significant strand in on and off line news narrative as they developed in the years between Tomlinson’s death in 2009 and the civil suit bought against PC Harwood in 2012. It will argue that images of police officers in militarized helmets and without identity tags become synonymous with the opacity that initially characterized the police forces response to the death of Tomlinson. It will conclude by suggesting that this lack of transparency contrasted with the extended visibility offered by mobile phone footage of the demonstration and contributed to the police’s inability to frame G20 protesters as violent agitators.

Our journey through life is encoded in our bodies just as the rings of a tree encode the life-story of that tree. If we grow up in an emotionally supportive environment our posture will be secure, our movements fluid, and our speech expressive. We will also be at ease with our bodies, and enjoy an open connection between body and psyche.

If we grow up in the wake of emotional trauma, it is a different story. Our bodies take on the postures, movements, and ways of speaking that seem to offer us protection: we may puff ourselves up or make ourselves small, overeat or starve, yell or stutter. Once established, these bodily defences limit our experience of ourselves and the world. Additionally, they often create painful physical symptoms.

Equally damaging is the disembodiment that accompanies childhood trauma. Emotions are primarily bodily responses, so by cutting off from our bodies we can distance ourselves from unbearable pain. We are not necessarily conscious of our disembodiment, but there are consequences. We cannot pick up the subtle feelings that reflect our bodies' emotional states and which could act as a compass during life. We have little access to the images that arise in our bodies which could help to guide our journey. We see our bodies as objects and tend to blame at least some of our pain on their imagined inadequacy.

Healing trauma requires that we work directly with our bodies to release what they hold, and forge the connections between body and psyche that will enable us to live an embodied life. There are many creative ways to do this work, including authentic movement, voice-work, yoga and working with masks.

During the outbreak of Severe Acute Respiratory Syndrome (SARS) in the spring of 2003, strict infection control measures were implemented in Toronto and surrounding hospitals. These measures included extreme restrictions on those who would normally accompany patients to the hospital, screening for SARS, and protective attire for hospital staff, including masks, face shields, goggles, gloves and gowns. At Toronto's Hospital for Sick Children (HSC), patients could only be accompanied or visited by one person, often only in patients' rooms. For the first four weeks, patients and their designated parent had to wear masks in almost all areas of the hospital. Staff wore masks (and other appropriate protective clothing) whenever in contact with patients and in many patient care areas. Although these barriers were an important part of containing SARS, their use created significant challenges for patients and staff. This article focusses on the use of infection control masks in routi...

This study aimed to demonstrate how South Korean news media routinized and sensationalized the face mask amid two recent public health crises: the fine-dust crisis and the COVID-19 epidemic. News media appropriated the mythologized meaning of the face mask as a symbol of individual safety during the two crises. This study analyses news articles to answer three questions: (1) How was wearing the face mask mythologized as a routinized practice in days of uncertain risk? (2) How was the face mask politicized as a mythologized sign indicating China as an external threat? and (3) How was the face mask politicized as a symbolic code of the government's responsibility for the crisis? Once signified as the primary means of individual protection in the context of Korean risk society, the face mask became politicized amid the shortage of the face mask. Placed in the context of the recent disastrous crises in Korea, China was identified as the culprit not only in the epidemic but also in the shortage of the face mask. The meaning of China as KEYWORDS COVID-19 face mask Korean news media risk society Sino-Korea relations news and myth

The present study explores the place of manipulation within the management
of human appearance. It focuses on the theme of the mask thought of as an articial face and on masking understood as communicative and semiotic phenomenon.
Whilst the face is the most important part of the human body where the display of
masks occurs, from the semiotic perspective masking takes on a broader meaning,
which encompasses a wide and heterogenous range of phenomena, transcending the
covering of the human face. What are the functions and types of masks? How does
a mask operate and what is its inner mechanism? What is the role of masking in the
management of appearance and how does it affect the subject? These are all relevant
questions in debating the place of masking in human relations.

As a category of fashion, masks have been worn in both secular and ritual circumstances across time and cultures. At the heart of masking is the concealment or obscuring of identity. Masks enable the wearer to occupy and enact alternative identities, perform without fear of reprisal and maintain anonymity. They are therefore useful tools to analyze human behavior. Yet while the mask is a pervasive feature within fashion and popular culture, it has, until recently, been largely unrecognised as an influence in fashioning identity today.

This paper will analyse the fashion mask, tracing its earliest uses in the sixteenth century through to its presence in contemporary fashion collections where its symbolic potential is embraced. A focus on specific examples will offer insight into fashion designers who have employed the mask as an instrument of fantasy and empowerment. Masking as seen in contexts such as in club culture and Mardi Gras will be evaluated to demonstrate how these grassroots activities have been adopted not only by fashion designers, but by popular culture icons such as Björk, Kanye West, and Lady Gaga within large-scale, mainstream performances. I conclude that the prevalence of the fashion mask is driven by contemporary shifts in identity politics, mirroring the motives of its earliest uses in fashion history.

In un mondo perennemente in festa, dove tutto (o quasi) è maschera, turismo e divertimento, che significato possono avere feste e Carnevali? O, al contrario, perché il linguaggio del Carnevale, con le sue maschere e i suoi eccessi, appare ancora così significativo nella nostra società? Perché in Cina o negli Stati Uniti città e centri commerciali si mascherano da città d’arte italiane? Perché i nostri musei diventano spazi di festa e di consumo, accogliendo persino sfilate di moda e danze masai? Perché la politica indossa maschere o usa il nostro patrimonio culturale come una maschera? In che modo feste e Carnevali, nell’età delle migrazioni e delle nuove paure, possono diventare strumenti d’integrazione o occasione di nuovi conflitti?
Questo libro, frutto di una pluriennale collaborazione con il Centro internazionale di ricerca e studi su Carnevale, Maschera e Satira, cerca di rispondere a queste e ad altre domande, affrontando criticamente una serie di temi chiave per comprendere la cultura postmoderna in cui viviamo e quella post-postmoderna in cui stiamo entrando. Una riflessione insomma sulla società che da "liquida", come sosteneva Bauman, è già diventata "vischiosa".

Marxiano Melotti, Carnevalizzazione e società postmoderna. Maschere, linguaggi, paure, Progedit, Bari 2019

[English text below]

Maska afrykańska przeszła swoistą drogę w świadomości odbiorców spoza kręgu kultur Czarnej Afryki. Początkowo obiekt-kuriosum, z czasem pozbyła się etykiety dziwności, stając się przedmiotem zachwytu estetycznego i opisu naukowego – dziełem sztuki. To napięcie, wyznaczone przebytą drogą, wskazuje jednocześnie na trudności, jakie z jej „czytaniem” miał i nadal ma niewtajemniczony odbiorca. I mimo coraz częstszej obecności na salach wystawienniczych, w przestrzeniach galeryjnych czy na okładkach książek zapełniających półki księgarń – nadal budzi liczne wątpliwości związane z kontekstem kulturowym, w którym tak silnie jest osadzona, dając wrażenie niedostępności psychologicznej oraz poczucie niejednoznaczności odczytu naukowego.
Z tej poznawczej niepewności zrodziła się idea pokazania maski afrykańskiej w sposób dotychczas nierealizowany w języku wystaw muzealnych. Tytuł ekspozycji, „Maska afrykańska – między sacrum a profanum”, stał się jednocześnie tytułem wydawnictwa, które w zamyśle autorów ma nie tylko „odwzorowywać” wystawę, uzupełniając o detale i wiedzę o prezentowanych obiektach, ale przede wszystkim dopowiedzieć kontekst kulturowych zmian, wskazać na rozterki naukowe badaczy oraz wieloaspektowość funkcjonowania maski w świecie współczesnym. Nader ważnym elementem zarówno wystawy, jak i wydawnictwa jest próba połączenia dwóch spojrzeń badawczych – etnologa
i historyka sztuki – które w rozumieniu autorów uzupełniają się i pozwalają na lepsze zgłębienie problemu przez odbiorcę.

The African Mask has come a characteristic way in the consciousness of the recipients from outside the cultures of Black Africa. At first, an object of curiosity with time it was liberated from label of oddness and became an object of aesthetic admiration and scientific description – a work of art. The tension marked out by the way it has come indicates also the difficulties that the uninitiated recipient used to have and still has with its „reading”. Although the African Mask is more often present in exhibitions rooms, galery space or even in bookstores –it continuously gives
the impression of psychological inaccessibility, diversity of scientific meaning and numerous doubts related to the cultural context in which it is strongly grounded.
Such cognitive uncertainty gave rise to the idea of presenting the African Mask in a conception that has not been implemented so far – in the language of museum exhibitions and translating it into an album publication. Exhibition title „African Mask – between the sacred and the profane” has also become the publication title. The publication according to its authors’ conception shall not only reproduce the exhibition and complement the objects with details but above all shall add the context of cultural changes, indicate the scientific and explorative dilemmas and many sides of mask functionality in modern world. An extremely crucial element in relation to both the exhibition and the publication is an attempt to combine two investigative views – ethnologist’s view and art historian’s view – that according to the authors not only complement one another but also provide the recipient with more complete understanding of this issue.

L'universalité du Bien et le mal constitue une dualité inhérente à la conception du monde dans la majorité des cultures. S'ils sont opposés, ils constituent l'équation d'une question fondamentale de l'existence humaine, comment obtenir la guérison? Les masques sont un médium important pour conjurer le mauvais sort mais peuvent aussi être utilisé à des fins d'ensorcellement.

Session Ü. VALK, L. GUZY: Insecurities and uncertainties at the margins of institutionalised religions: ghosts, monsters, witchcraft and other dangerous matters

“Pagan” masks in contemporary European winter festivals, popular Frazerism, and the search for festive authenticity (and its heritagisation)

Many winter festivals and public rituals throughout Europe reveal an interesting characteristic: the usage of masks and costumes with monstrous and/or zoomorphic features. These events occur in contexts that are or were traditionally Christian (especially in Catholic areas), although they have also been undergoing significant secularisation in the last few decades. In spite of these Christian or secular frameworks, these rituals and the masked figures that characterise them are very often described as “pagan”, “Dionysian”, “pre-Christian”, “very ancient”, and the like.
This paper intends to highlight the symbolic sources of these phenomena and discuss what are or could be the historical factors that led to these rather striking and apparently incongruous forms of religious or pseudo-religious conceptualisations and practices as well as the social needs to which they seem to respond today. To achieve these heuristic goals, several concepts will be operationalised and discussed, such as “ritualisation”, “popular Frazerism”, and “heritagisation”, and others.

Днес се сещаме за маските само по време на новодошлия у нас празник Heloween, в ежегодното пресъздаване на кукерските игри, като част от нематериалното ни наследство. Чували сме за балове с маски, но малцина са участвали. Срещаме ги (като символ) в театъра и подозираме, че там символизират актьорите и театралната игра.
Но идеята за маската е изначална и общочовешка. Подобно ефекта на огледалото за очите и ехото за ушите ни, тя обслужва други нива на човешкото его – идеята за анонимност, за другост. Нейните най-модерни проявления виждаме в социалните мрежи...
Произходът на маската разкрива много нейни значения, с които тя се е превъплъщавала и в трите свята на древните – светът на мъртвите, светът на живите и светът на Боговете. Появата й е знак за ...

Translations from English to Polish:
Henry Pernet, Maski, p. 33–50; David Napier, Maski świąteczne – typologia, p. 83–92; Cara McCarty, Maska – atak/obrona, p. 133–154; Lone Riisgaard, Bjørn Thomassen, Moce maski. Rytuały uczestnictwa w lokalno-globalnych protestach politycznych, p. 163–185; Polly Savage, Gry dla publiczności. Maski w galeriach i muzeach, p. 261–273; Valerie Steele, Moda, fetysz, fantazja, p. 275–283.

The Screen of Colomina Reviewed: Images In Cities and Their Masks:
Mask has been a part of architectural discourse within the context of arguments revolving around the concept “modern”. It is mostly defined –as a concept- through products that are related to the surfaces of buildings, the boundaries they create and the relationship between interior and exterior that these boundaries form.
In this study, Colomina’s definition of the “screen” has been a starting point; with this definition, it is then expressed how the mask is located over the surfaces, and what kind of a role it takes –also how- concerning the relationship between inside and outside.
Various arguments related to the mentioned concept in architectural discourse have been considered while forming this definition of mask. Also, this study essentially discusses the rift within and between the modern individual and his/her public-private character, and reads this rift as analogous to the inside, outside and the in-between surface of a building. This thesis study, focuses on the concept of “screen” and aims to expand the arguments concerning the “mask” over a different axis.
The mask, by itself, is quite a powerful concept. It helps produce place and meaning by forming a boundary, which it constructs through the conflict that its contradictory nature poses. The mask, creates inside and outside. Inside is where the change takes place. The mask is both the provider of the privacy of the change that is hidden behind and the establisher of the relationship between inside and outside. All of these tasks imbue it with a divine power, thus, it is sacrosanct.
The creation process of the mask is an issue that demands attention. The decision of creation is something that is made by someone or something; thus the mask is made by adhering to an agenda. Yet the mask, later, thanks to its contradictory nature and the power it takes from the ambiguity of the flow of change that goes behind it, takes control. From then on, it becomes the one –the thing- that is in charge. So, although it is important why it has been created, it cannot be made certain if it will serve its purpose of creation – in other words, it is hard to decide surely whether it will serve its purpose or not.
This study takes on the works in architecture that is concerned with the concept of mask, asserting that the concept itself has not been thoroughly studied. There is still a need to study the concept and track its roots and relations wherever they may lead. In pursuit of this, certain related concepts have been concerned and studied. Approaching the concept with such a broad perspective, the study aimed to put forth how these different concepts form relationships with the concept of mask. Later, in order to provide a conceptual frame, a base is finally formed.
After this step, the modern thought and its place concerning the concept of mask is concerned; because the concept of the “screen” has its foundations in the modern thought. To expand on and to discover novel ideas over the individual was not the aim here, rather, it has been tried to understand the individual via mask. Concerning all of these, the strategies that the actors in the city, form and practive over themselves and among each other have been put forth. It is also questioned why there is such a need for the use of these strategies. This line of questioning, forms the very focus of this thesis.
The study is focused on two separate time periods. The first is the second half of the 18th century and the 19th century, which is considered as the second phase of modern thought. The reason behind this pick is to be able to make a reading on mask in everyday life in such a period that the notion of the modern individual -which provides the basis for the concept of screen- is formed.
The concept of “screen” is traced back to the modern individual, yet it is a concept that is produced for today. Thus, the second period that is picked is; 1980 onwards – which can be accepted as the third phase of the modern thought, and can be named as the 2nd Industrial Revolution. At this very age that Modernism is claimed to be fallen apart, it can be asserted that the perception of reality has changed and to search for meaning turned into getting lost.Thus, the masks that are defined by these two different periods are separated from each other. The masks that are created in order to reach for the reality, are flattened today, with the loss of the very thing they have searched for.
The study asserts that the mask creates an atmosphere – an aura- and defines a new area, thus, forms its own concept of boundary. It is also asserted that the mask that is considered along the concept of the screen, becomes flattened through the realities that hyperreality sets forth.
The study relates the flow of change with reality, and asserts that in the age of hyperreality, this flow too, has become flattened. Also, the actuals have been turned into moments that are detached from time and context, and are copied. These masks act more as barriers between spaces, than elements allowing dialogue between them; and instead of trying to understand how these flat masks work, it has become a primary concern to this study, to determine why these masks exist.
In this study, the causality of the creation of the mask is related to the mechanisms of dominance, and it is stated that the concept of “screen” lacks this approach. Also it is asserted that, ignoring dominance plays a supportive role in favor of oppressive power; thus, it becomes an element, a piece, within authority models. The authority models are explained and argued over discipline, safety, and states of exception, in this context.
In the second chapter, concepts such as place, meaning and dilemma are covered. Also, through five stages of change, five definitions of masks(imitation, simulation, dissimulation, transformation, figure) are made.
These five masks have played a guiding role for the third chapter, which takes on current cases and practices. It has been questioned and explored what these masks are left with and what they are turned into after the act of flattening, in terms of spatiality; a classification (replica, cover, quarantine, mystery, purgatory) that is parallel to these five states have been made.
In the final and concluding chapter of the thesis, the premise that the mask is a strategy that is produced against dominance, is accepted. By accepting this, it is aimed to set forth that in order to have a say in the city, one has to either tear or take off the mask. Tearing the mask is considered as equivalent to exposure, and taking it off is considered as becoming clean of strategies. One is interpreted as a revolutionary and the other an evolutionary attitude.

Zwischen 2006 und 2008 erhielt das Museum Rietberg als Geschenk eine Sammlung aus Wien von über fünfzig südindischen Bronzen und Holzskulpturen. Im Katalog zur Ausstellung werden die Buta-Verehrung in Karnataka anhand von Masken,  Ritualen und Quellentexten erstmals dem deutschsprachigen Publikum vorgestellt.

In this article we go beyond epidemiological models to make a case for a more holistic approach to the use of face masks as a risk mitigation factor in the context of the Covid-19 pandemic. We argue that while masking offers a measure of protection from infection, its moral, political, and affective implications produce two main collateral risks. These are: (1) the heightening of social boundaries, which thus increase the potential of conflict between different social groups; and (2) the impairment of normative interaction rituals followed by a dynamic of distancing, insulation, and social alienation. While we stop short from constructing a hierarchy of risks, we do argue that policy makers should consider these collateral risks as part of any large-scale Covid-19 risk mitigation and communication strategy. We thus provide some principled guidance on how that might be done.

O Livro dos Seres Imaginários
Impressão tipográfica, papel Canson Edition 250g
17 folhas, 21,5 x 28 cm cada.
Edição de 100. Numerado e assinado.
Andante, 2011. R$ 150,00

Após uma expedição a bibliotecas na cidade de Santos (SP), em busca de maravilhas descritas pelo cônsul britânico sir Richard Burton que ali viveu, foram encontradas quinze criaturas desconhecidas nas páginas de uma enciclopédia, em um artigo sobre máscaras. Disfarçadas de letras capitulares, agora fazem parte de uma continuação do manual de zoologia de Jorge Luis Borges.