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Globusy z zabytkowych tapiserii – stylizacja czy realistyczne przedstawienie

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Taborska M.
Opuscula Musealia
|
2022
|
vol. 29
107-157
EN
Scientific instruments, including globes, rarely appear on tapestries. Their images are complex, posing many problems in their creation, both at the design and execution stages. The difficulty is not only the globe, but also the cartographic drawing itself. Early manuscript globes were unique objects. It was not until the 16th century that their maps began to be printed in the form of copperplates. This made globes more common. Therefore, in the 17th or 18th century, weavers could rely not only on a drawing of the object, but also on their own idea of what a globe looked like. Seventeen tapisseries were found, with 19 representations of globes, of which more than half (11 pieces) are globes of the Earth. In only two cases is the map depicted correctly; in another two, the image refers to a real map. In the case of celestial globes, almost all iconographies have correctly rendered constellations, although the number of constellations is significantly reduced, probably to improve the legibility of the drawing. The images of the globes have been used in a symbolic sense, with only three copies depicting real Earth models. All globes appear in the composition in the context of an attribute or symbol rather than as independently portrayed objects.
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Paws and Politics: A Postcolonial Reading of TheCat and the Coup

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Golshani M.
Acta Ludologica
|
2024
|
vol. 7
|
issue Special Issue
50-66
EN
The paper presents a close reading analysis of the digital game The Cat and the Coup, a documentary digital game that explores the historical narrative surrounding the 1953 coup in Iran. The game uses a unique perspective by placing the players in control of Mohammad Mosaddegh’s cat to explore a pivotal moment in Iranian history: the nationalization of the oil industry and subsequent foreign intervention. This independent game utilizes a distinctive visual style inspired by Persian miniature drawings and creates a transcultural experience, integrating traditional and contemporary symbolism of both East and West embedded in the medium-specific features of digital games. The research combines the insights of regional game studies and post-colonial studies to conduct an in-depth close reading analysis of the game’s narrative structure, visuals, and artistic choices. It argues that the game serves as a counter-narrative to dominant Western portrayals of Iran by focusing on the cultural and historical significance of the events depicted. Furthermore, the paper suggests analysing game design as a form of digital vernacular and scrutinizes the potential of independent games to challenge hegemonic narratives.
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