Browsing by Author "Glassie, Henry"

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Conversation With Henry Glassie
(American Folklore Society, 2012-10-27) Glassie, Henry
In this session, Ray Cashman, associate professor at The Ohio State University, will interview folk art, architecture, and material culture scholar Henry Glassie, emeritus professor at Indiana University, about his life and work. Sponsored by the AFS Oral History Project.
Folklorist's Progress: A Brief Biography of Warren E. Roberts
(Department of Folklore and Ethnomusicology, Indiana University, 1992) Glassie, Henry
History's Dark Places
(Indiana University, 1998) Glassie, Henry
The Implications of Folkloristic Thought for Historic Zoning Ordinances
(Department of Folklore and Ethnomusicology, Indiana University, 1971) Glassie, Henry; Glassie, Betty-Jo
The Moral Lore of Folklore
(Department of Folklore and Ethnomusicology, Indiana University, 1983) Glassie, Henry
THE PLAN-NET AS A GEOMETRY FOR ANALYSIS OF PRE-MODERN ARCHITECTURAL DESIGN AND LAYOUT
([Bloomington, Ind.] : Indiana University, 2013-12) Lawton, Arthur John; Glassie, Henry
Limited Pre-Modern calculating skills favored geometry for design and layout. Technical limitations precluding durable, detailed measured drawings favored sequentially proportional steps transmitting information from design to construction. The Ancient Egyptian phrase "Casting the plan-net on the ground" implies a rectilinear network of geometrical lines serving to locate plan elements on the ground. Reconstruction of Polykleitos' Kanon demonstrates design parameters based on sequential proportionality that extracts a "correctly" proportioned human figure from an original square base figure. Fifteenth century booklets describe extraction of a completed architectural form from the base figure. Iconographic sources trace these Ancient World methods from their use in practical implementation to symbolization as eighteenth century remembrances in Free Mason paraphernalia. To associate floor plan elements with a rectilinear network, plan-net geometry manipulates proportional relationships of squares and rectangles in sequentially proportional steps. Geometrical design steps by divider and straightedge are identical to ground-lines steps by cord and peg, eliminating calculation from scale change. Marking plan features by plan-net analysis reveals an inherent geometrical unity that appears to cross diachronic and synchronic borders. Varied plan-net patterns offer a new perspective for classifying vernacular floor plans. Conformance to plan-net lines by indeterminate architectural elements validates elements in question and suggests other elements missing from the architectural or archeological record. Seeking to understand how a house is thought as Henry Glassie said, and if culture is pattern in the mind, then plan-net analysis renders such pattern visible, to be understood as a unity crossing boundaries of culture and time but whose products can be differentiated as artifacts localized within cultural and temporal boundaries. To understand what has disappeared from the record, we must be willing to imagine what was, and then test what is imagined to ascertain how it fits to what is.
Postmodernism
(Department of Folklore and Ethnomusicology, Indiana University, 1988) Glassie, Henry
Review of: Come Day, Go Day, God Send Sunday: The Songs and Life Story, Told in His Own Words, of John Maguire, Traditional Singer and Farmer from Co. Fermanagh, by Robin Morton
(Department of Folklore and Ethnomusicology, Indiana University, 1974-04) Glassie, Henry
Sami artistry, identity, and indigenism in museums and markets
([Bloomington, Ind.] : Indiana University], 2004-09) Scheffy, Zoe-hateehc Durrah; Glassie, Henry
Text and Icon in Religious Art
(American Folklore Society, 2014-10-07) Glassie, Henry; Primiano, Leonard Norman
At the 2013 AFS annual meeting, when giving the lecture named for him, Don Yoder isolated the traits that separate Protestant from Catholic folk art in the United States. From a global perspective, those differentiating traits appear most radically and clearly in the traditional art of Islam and Hinduism. Islam is rigorously monotheistic, aniconic, and its highest art is the calligraphic representation of Koranic texts. Hinduism is polymorphous, iconic in the extreme, and its highest art is the sculptural representation of the deities. Islam has a single great text that unifies arts and acts. Hinduism does not; icons, not texts, are foundational. Rituals, orally performed myths, and images flourish in abundance, varying from region to region, temple to temple, house to house. The limitless, inclusive nature of Hinduism, closely paralleled in the religions of Mediterranean antiquity, befuddles interpretations by scholars accustomed to faiths based on texts.
Through Honqui Eyes: 'The Spirit of Ethnography' Distilled
(Department of Folklore and Ethnomusicology, Indiana University, 1975) Glassie, Henry; Ohrn, Steven