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1
Baldini, Michela, and Teresa Spignoli, eds. L'Approdo. Firenze University Press, 2007. http://dx.doi.org/10.36253/978-88-8453-617-4.
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In December 1945 the "L'Approdo" transmissions were launched at the RAI headquarters in Florence. The radio programme, one of the most important in Italy at the time, went on the air up to 1977, being accompanied from 1952 by a magazine and from 1963 to 1972 by a television programme. The three parallel cultural "enterprises" boasted an impressive number of important collaborators, gravitating around the decisive figure of Carlo Betocchi as leader and organiser. Nevertheless, despite its significance, even the adventure of "L'Approdo" was destined to die. When the transmissions and the publication of the magazine ceased, an entire cultural élite had to come to terms not only with the objective difficulties, but with a crisis of trust and of commitment in the face of what were now irreversible changes in the country. Yet – precisely because "L'Approdo" had battled for an approach that was destined to become minority with the triumph of the new media society – the retrieval of its history and the reconstruction through voices, pages and images of one of the first examples of encounter and mediation between culture and communication appears particularly significant. The methods and the emphatic planning of the entire experience emerge clearly from the first issue of the magazine, produced here in anastatic reprint, and above all from the enclosed CD-Rom which proposes, along with the tables of contents of "L'Approdo", the files and records of the entire correspondence (over 20,000 unpublished pieces) and details of the surviving scripts of the transmissions… In short, we finally have at our disposal material that enables us to reconstruct – through the traces of a programme and a magazine and of the intellectuals who collaborated on them – thirty years of culture and utopia, of compromise and enthusiasm, clustered around the birth, growth and death of an articulated project of "cultural policy".
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Spence, Charles. Questioning the Continuity Claim. Edited by Ophelia Deroy. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199688289.003.0011.
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Many researchers argue or accept that crossmodal matchings or mappings, such as those that exist between pitch and brightness, and canonical cases of conscious synaesthesia lie at the two ends of a continuum. This chapter raises problems for this continuity claim regarding (i) the distribution of conscious manifestations, and (ii) the dimensions along which this continuum should be organized. It reviews possible candidate dimensions, including the degree of vividness, frequency, specificity of the conscious manifestation, and control over its content, and shows that evidence of the expected distribution is absent for all of these continua. Although a crude distinction between conscious and non-conscious might not be sufficient to separate synaesthesia from crossmodal correspondences, the conscious manifestations that characterize synaesthesia cannot be reconciled with other occasional occurrences of mental imagery documented for crossmodal correspondences.
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Beckius, Jim. North Platte: City Between Two Rivers (NE) (Images of America). Arcadia Publishing, 2002.
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Elkins, Nathan T. Nerva and the Roman Empire. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190648039.003.0004.
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While denotative images celebrating aspects of Nerva’s policy have attracted most scholarly study, their importance is overemphasized since the most common images on Nerva’s coinage are personifications of imperial ideals such as Libertas, Aequitas, and Fortuna. Many scholars have dismissed such images as generic and repetitive. There is a strong correspondence between the personifications and contemporary writers who ascribe the same qualities to Nerva. These coins thus visualize the written and spoken praise directed at Nerva by contemporaries. The frequency and widespread distribution of these images obviates the interpretation that the images were directed exclusively at the Senate. The generality of personifications allowed viewers to bring their own interpretation to them. Libertas, for example, is one of the most common images on Nerva’s coins, and could be understood in different ways by viewers. In addition to freedom from tyranny (a senator’s understanding), Libertas also could evoke freedom from taxation.
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Elkins, Nathan T. Conclusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190648039.003.0005.
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The strong correspondence between laudatory rhetoric in poetry and panegyric and the images that appear on Nerva’s coins allows a reinvestigation of the age-old debate regarding the agency behind the creation of Roman imperial coin iconography. The evidence available, at least in Nerva’s reign, suggests that the emperor was not the agent; instead, a prominent individual in charge of the mint was responsible for the selection of the imagery. By attending to Trajanic records, it appears that such individuals were very close to the emperor and known to him. This suggests that prominent equestrians in charge of the mint thus were part of the emperor’s inner circle and walked in the same social circles as the people who inked praise directed at the emperor: Martial, Frontinus, Tacitus, and Pliny. These prominent equestrians were thus in a position to visualize the rhetoric used to praise the emperor.
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Wheeler, Nicholas J. Enemy Images. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199696475.003.0004.
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This chapter examines how enemy images are produced and reproduced in relations between two enemies. It identifies four drivers of security competition that block the development of trust. These are: (1) the security dilemma; (2) the problem of offence–defence differentiation; (3) peaceful/defensive self-images; (4) ideological fundamentalism; and (5) uncertainty about future intentions. Using examples such as the military stand-off on the Korean peninsula and the Libyan dismantlement of weapons of mass destruction, the chapter shows how hard it is for face-to-face diplomacy to change enemy images. It also examines the problem of ‘future uncertainty’—the problem of what happens if successor leaders do not share the trust of their predecessors and have malign intent.
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Dahlgren, Anna. Travelling Images. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526126641.001.0001.
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Travelling images critically examines the migrations and transformations of images as they travel between different image communities. It consists of four case studies covering the period 1870–2010 and includes photocollages, window displays, fashion imagery and contemporary art projects. Through these four close-ups it seeks to reveal the mechanisms, nature and character of these migration processes, and the agents behind them, as well as the sites where they have taken place. The overall aim of this book is thus to understand the mechanisms of interfacing events in the borderlands of the art world. Two key arguments are developed in the book, reflected by its title Travelling images. First, the notion of travel and focus on movements and transformations signal an emphasis on the similarities between cultural artefacts and living beings. The book considers ‘the social biography’ and ‘ecology’ of images, but also, on a more profound level, the biography and ecology of the notion of art. In doing so, it merges perspectives from art history and image studies with media studies. Consequently, it combines a focus on the individual case, typical for art history and material culture studies with a focus on processes and systems, on continuities and ruptures, and alternate histories inspired by media archaeology and cultural historical media studies. Second, the central concept of image is in this book used to designate both visual conventions, patterns or contents and tangible visual images. Thus it simultaneously consider of content and materiality.
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Gilby, Emma. Descartes's Fictions. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198831891.001.0001.
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Descartes’s Fictions traces common movements in early modern philosophy and literary method. This volume reassesses the significance of Descartes’s writing by bringing his philosophical output into contact with the literary treatises, exempla, and debates of his age. Arguing that humanist theorizing about the art of poetry represents a vital intellectual context for Descartes’s work, the volume offers readings of the controversies to which this poetic theory gives rise, with particular reference to the genre of tragicomedy, the question of verisimilitude, and the figures of Guez de Balzac and Pierre Corneille. Drawing on what Descartes says about, and to, his many contemporaries and correspondents embedded in the early modern republic of letters, this volume shows that poetics provides a repository of themes and images to which he returns repeatedly: fortune, method, error, providence, passion, and imagination, amongst others. Like the poets and theorists of the early modern period, Descartes is also drawn to the forms of attention that people may bring to his work. This interest finds expression in the mature Cartesian metaphysics of the Meditations, as well as, later, in the moral philosophy of his correspondence with Elisabeth of Bohemia or the Passions of the Soul. Some of the tropes of modern secondary criticism—a comparison of Descartes and Corneille, or the portrayal of Descartes as a ‘tragic’ figure—are also re-evaluated. This volume thus bridges the gap between Cartesian criticism and late-humanist literary culture in France.
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HaCohen, Ruth. Between Generation and Suspension. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.13.
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The chapter discusses two modes of combining music and moving images that developed in modernism. The first mode, which the author termsgeneration, relates to a type of animated narrative film in which the music precedes the visual sequence which generates the will or thought (modality) that gives rise to the narrative action. “The Sorcerer’s Apprentice,” from the Disney filmFantasia, is examined as an example. In the second mode,suspension, the picture appears as if preceding the music, even if the creative order was different, or the work does not have an actual visual manifestation. The visual sequence, which appears as if deriving from the composer’s inner world, is characterized by minute occurrences, wishing to arouse as an atmosphere or “third consciousness.” The movement “Colors” from Schoenberg’sFive Pieces for an Orchestra, opus 16, is examined as an example alongside examples from film music.
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Noam, Vered. Shifting Images of the Hasmoneans. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198811381.001.0001.
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The shifting image of the Hasmoneans in the eyes of their contemporaries and later generations is a compelling issue in the history of the Maccabean revolt and the Hasmonean commonwealth. Based on a series of six Jewish folktales from the Second Temple-period that describe the Hasmonean dynasty and its history from its legendary founders through achievement of full sovereignty to downfall, the present volume examines the Hasmoneans through the lens of reception history. On the one hand, these brief, colorful legends are embedded in the narrative of the historian of the age, Flavius Josephus On the other hand, they are scattered throughout the extensive halakhic-exegetical compositions known as rabbinic literature, redacted and compiled centuries later. Each set of parallel stories is examined for the motivation underlying its creation, its original message, language, and historical context. This analysis is followed by exploration of the nature of the relationship between the Josephan and the rabbinic versions, in an attempt to reconstruct the adaptation of the putative original traditions in the two corpora, and to decipher the disparities, different emphases, reworking, and unique orientations typical of each. These adaptations reflect the reception of the pristine tales and thus disclose the shifting images of the Hasmoneans in later generations and within distinct contexts. The compilation and characterization of sources which were preserved by means of two such different conduits of transmission brings us closer to reconstruction of a lost literary continent, a hidden Jewish “Atlantis” of early pseudo-historical legends and facilitates examination of the relationship between the substantially different libraries and worlds of Josephus and rabbinic literature.
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Tasker, Yvonne. Bodies and Genres in Transition. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036613.003.0006.
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This chapter explores how independent women filmmakers use genre. Examining Girlfight (2000) and Real Women Have Curves (2002), it foregrounds strategies by which genres are deployed, combined, and remade in order to tell women's stories. The desire to tell women's stories has been formative for diverse traditions of feminist and feminist-informed filmmaking. Such filmmaking is often driven by a realist impulse, a perception that Hollywood/genre cinema trades in fantasized images of women that bear little correspondence to actual women's lives. In using genre to tell such stories, these films foreground contradictions between realist and generic codes, suggesting a number of questions. For instance, how far can a film shift the presentation of women's lives from those usually associated with a genre before it effectively becomes a parody? Can realist (rather than fantastic) feminist filmmaking itself be understood as generic, defined by its commitment to telling women's stories? How might such a genre relate to the “woman's film,” that mode of Hollywood production defined as much by its intended audience as by content? In addressing these questions, the chapter argues that genre has proved both productive and constraining for women filmmakers.
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Gayley, Holly. Love Letters from Golok. Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231180528.001.0001.
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Love Letters from Golok chronicles the courtship between two Buddhist tantric masters, Tare Lhamo (1938–2002) and Namtrul Rinpoche (1944–2011), and their passion for reinvigorating Buddhism in eastern Tibet during the post-Mao era. In fifty-six letters exchanged from 1978 to 1980, Tare Lhamo and Namtrul Rinpoche envisioned a shared destiny to "heal the damage" done to Buddhism during the years leading up to and including the Cultural Revolution. Holly Gayley retrieves the personal and prophetic dimensions of their courtship and its consummation in a twenty-year religious career that informs issues of gender and agency in Buddhism, cultural preservation among Tibetan communities, and alternative histories for minorities in China. The correspondence between Tare Lhamo and Namtrul Rinpoche is the first collection of "love letters" to come to light in Tibetan literature. Blending tantric imagery with poetic and folk song styles, their letters have a fresh vernacular tone comparable to the love songs of the Sixth Dalai Lama, but with an eastern Tibetan flavor. Gayley reads these letters against hagiographic writings about the couple, supplemented by field research, to illuminate representational strategies that serve to narrate cultural trauma in a redemptive key, quite unlike Chinese scar literature or the testimonials of exile Tibetans. With special attention to Tare Lhamo's role as a tantric heroine and her hagiographic fusion with Namtrul Rinpoche, Gayley vividly shows how Buddhist masters have adapted Tibetan literary genres to share private intimacies and address contemporary social concerns.
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Kleege, Georgina. More than Meets the Eye. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190604356.001.0001.
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More Than Meets the Eye: What Blindness Brings to Art explores the ways blindness and visual art are linked in many facets of the culture. The author writes from her position as the blind daughter of two visual artists. Due to this background, she claims to know something about art, but recognizes that this claim challenges cultural notions that conflate seeing with knowing. The book examines the ways blindness has been represented in philosophy, visual culture, and cognitive science, showing how these traditional understandings of blindness rely on an over-determined, one-to-one correspondence between touch in the blind and sight in the sighted, as if the other senses and other forms of cognition play no role in perception. Unfortunately, this reductive image of blindness often influences the design of museum access programs for the blind, including touch tours and verbal description of art. The book places these representations in conversation with autobiographical accounts by blind people, especially blind and visually impaired artists. It also gives a first-hand account of access programs at art institutions around the world, and speculates on how acceptance of the idea of blind artists and blind art lovers can change future museum practices and aesthetic values. The book is more of an extended, speculative essay than a scholarly treatment or how-to manual that seeks to show that what blindness brings to art is the recognition that there is more to it than meets the eye.
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Kress, Berthold. Studies on the Iconography of Universities in the Holy Roman Empire: Images on Seals and Maces. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198827344.003.0003.
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This chapter provides an iconographic overview on how the universities of the Holy Roman Empire displayed their authority. It will focus on two aspects. The first is the development of iconographic formulae that can convey the constitution and activity of a university or one of its faculties; and the second is the role of coats of arms or other political signs that indicate the relation between the university and the rulers of the territory in which it was situated. A seventeenth-century legal treatise on insignia gives a long list of the signs of the head of a university: maces (Sceptra), robe (Epomis), register (Matricula), the presence of bedells, seals, books of statutes and privileges, and the keys to consistory and prison. Of these objects, only the two that regularly bear images is discussed in this chapter: the seals and the maces.
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Mckanan, Dan. George Lippard, Ignatius Donnelly, and the Esoteric Theology of American Labor. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039997.003.0002.
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This chapter examines the works of two labor novelists, George Lippard (1822–54) and Ignatius Donnelly (1831–1901), focusing specifically on their use of esoteric Christianity as a source of worker empowerment. Esotericism here is defined as that strand of belief and practice that finds hidden significance beneath the surface of religious traditions. Esotericists view all nature as alive and posit elaborate correspondences between heaven and earth, or the self and God. Most esotericists see themselves as bearers of an ancient tradition that has been transmitted through initiations by secret brotherhoods. For some Western esotericists, this secret tradition is outside of and antithetical to Christianity. For others—including Lippard and Donnelly—it is the vital heart of Christianity itself, albeit a heart that has often been suppressed by ecclesiastical institutions.
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Ondrey, Hauna T. Theodore of Mopsuestia. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198824534.003.0005.
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Chapter 4, “Theodore of Mopsuestia: The Twelve as Christian Scripture,” considers the meaning Theodore draws from the texts of the Twelve Prophets as Christian scripture. Whereas scholars have largely denied any Christian value to Theodore’s Old Testament interpretation, this chapter demonstrates that Theodore offers a self-consciously Christian reading of the Twelve. In Theodore’s reading, the texts bear witness to the continuity of God’s providential guidance of history that has Christ as its telos. Additionally, Theodore finds the prophetic and typological correspondences between the Two Ages established by God in order to highlight the superiority of the benefits secured by Christ and thus increase the faith of those who live after the inauguration of the Second Age, awaiting its consummation at the general resurrection. Finally, Theodore affirms the ongoing catechetical value of the prophets’ foundational teaching of monotheism and the absolute distinction between Creator and creation.
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Lear, Ashley Andrews. The Remarkable Kinship of Marjorie Kinnan Rawlings and Ellen Glasgow. University Press of Florida, 2018. http://dx.doi.org/10.5744/florida/9780813056968.001.0001.
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During the last year of her life, Marjorie Kinnan Rawlings took on the arduous task of collecting materials toward a biography she intended to write on her deceased friend, Ellen Glasgow. The two authors met through correspondences they exchanged about their novels. Glasgow was drawn to Rawlings’s sympathy for animals and enthusiasm for nature. Rawlings discovered in Glasgow a writer who was able to articulate the same experiences she underwent when beginning and finishing writing projects. In The Remarkable Kinship of Marjorie Kinnan Rawlings and Ellen Glasgow, Ashley Lear examines the documents collected by Rawlings on Glasgow, along with her personal notes, to better understand the experiences that brought these two women writers together and the importance of literary friendships between women writers. Glasgow and Rawlings were pioneers of American literature, similarly characterized as regional writers and known for writing novels that were not typical of other women writing during their respective periods. This study sheds new light on the complexities of their professional success and personal struggles, both of which led them to find friendship and sympathy with one another.
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Rascaroli, Laura. Montage. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190238247.003.0003.
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Drawing on Gilles Deleuze’s unthought and Georges Didi-Huberman’s concept of “image-lacunae,” this chapter engages with notions of transit and transition and with the interstice as incommensurable gap that advances thought beyond its positions of deadlock. It shows how two essay films on the Holocaust, Harun Farocki’s Aufschub (Respite, 2007) and Arnaud des Pallières’s Drancy Avenir (1997), mobilize a type of montage that highlights gaps and discontinuities. In these films, pauses and interstices (between images, between sequences, between soundtrack and image track) bring about the transit of Benjaminian “true images” from the past to the present.
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Kingdom, Frederick A. A., Ali Yoonessi, and Elena Gheorghiu. The Leaning Tower Illusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199794607.003.0021.
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The Leaning Tower Illusion is the illusion in which two identical images of the Leaning Tower of Pisa photographed from below, placed side by side, appear to rise at different angles. The illusion is not restricted to the Pisa tower however; it occurs in any pair of identical images of objects that appear to recede into the distance. This chapter argues that the illusion results from the misapplication of the visual system’s in-built mechanisms for correcting the distortions due to perspective in two-dimensional images of three-dimensional scenes. The relationship between the Leaning Tower illusion and size constancy illusions is discussed, and it is concluded that they are likely to be closely related.
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Tanner, Jeremy. Picturing History. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190649890.003.0011.
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In this chapter, Jeremy Tanner examines two series of images—one from Classical Athens and one from Han China—of political assassinations, more specifically “tyrannicides.” These images were replicated, with interesting variations, time and time again, and must have been among the more popular and recognizable iconographies of their eras. Both are concerned with figuring the limits of legitimate power and the ethical basis for and significance of violent resistance to arbitrary power and its overthrow. In order to interpret these images in a comparative frame, Tanner finds that he must also explore the concept of the “tyrant” in order to construct a conceptual catwalk between these two contexts. The very project of comparison, then, helps bring to the surface some of the intricacies of the lives of concepts in particular places.
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Trabant, Jürgen. Image and Text in Lessing’s Laocoon. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198802228.003.0014.
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Jürgen Trabant argues that Lessing’s distinction between poetry and painting can stand for a wider controversy about the respective status (and developmental history) of words and images. The chapter looks at Lessing’s comparison with an eye to the historical anthropology of language, arguing that word and image share substantial common ground as embodiments of human thought. In particular, Trabant explores Lessing’s Grenzen in relation to the concept of articulation—not only of sounds, but also of cognitive distinctions. He concludes that the specific structure of phonetic articulation allows greater arbitrariness and combinatory possibilities than visual images: if Lessing lets one imagine ‘word’ and ‘image’ as occupying two floors within a shared house, language nonetheless occupies its first floor, above the realm of visual imagery.
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Adrych, Philippa, Robert Bracey, Dominic Dalglish, Stefanie Lenk, and Rachel Wood. Reconstructions. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198792536.003.0002.
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Chapter 2 discusses two gypsum reliefs from Dura-Europos, a city on the Euphrates in modern Syria, once within the Roman Empire. Not only does Dura provide a rare example of two carved tauroctony reliefs displayed more or less equally in the same mithraeum, but each relief respectively includes a unique depiction of an act of sacrifice. This is particularly visible on the second relief, where the patron, who dedicated it in AD 170/1, chose to include a representation of himself. This invites the viewer to ask questions about the relationship between Mithraic patrons, worshippers, and the god Mithras himself. The chapter extends out from these two images to take in the wider picture of religious life at Dura-Europos, revealing a high level of cultural and artistic exchange between the Mithraic community and the surrounding town.
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Adrych, Philippa, Robert Bracey, Dominic Dalglish, Stefanie Lenk, and Rachel Wood. Patrons and ViewersDura-Europos. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198792536.003.0003.
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The third chapter examines rock-carved tauroctonies in mithraea, and in particular the monumental tauroctony at Bourg-Saint-Andéol, southeast France. Here, the image of Mithras slaying the bull was carved directly into a rock face between two streams. At other sites, particularly in eastern Europe, there are similar instances of tauroctony rock reliefs. While these images may be linked through their material, each has been positioned in a different way within their respective mithraeum, which may suggest differences in the worship of and belief in Mithras between individual communities. This chapter seeks to broaden our ideas of what the tauroctony meant to worshippers by examining the possible impact of the accompanying interior setting and exterior surroundings on the ancient perceptions of, and interactions with, the reliefs.
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Linklater, Andrew. The Idea of Civilization and the Making of the Global Order. Policy Press, 2020. http://dx.doi.org/10.1332/policypress/9781529213874.001.0001.
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This book analyses the impact of the idea of civilization on the global political order. The inquiry explains Norbert Elias’s pioneering examination of the rise of European civilized self-images. It extends the perspective by discussing the interdependencies between state formation which was central to Elias’s explanation and two inter-related phenomena – European colonial expansion and the evolution of the first universal society of states. Special emphasis is placed on European convictions that other societies would become civilized as a result of colonial civilizing offensives and the mimetic behaviour of non-European regimes. The nineteenth century standard of civilization which embodied that belief was an important junction between state formation, colonial expansion and international society. The book concludes with reflections on the cultural
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Heal, Bridget. A Magnificent Faith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198737575.001.0001.
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This book explains how and why Lutheranism—a confession that insisted upon the pre-eminence of God’s Word—became a visually magnificent faith, a faith whose adherents sought to captivate Christians’ hearts and minds through seeing as well as through hearing. Although Protestantism is no longer understood as an exclusively word-based religion, the paradigm of evangelical ambivalence towards images retains its power. This is the first study to offer an account of the Reformation origins and subsequent flourishing of the Lutheran baroque, of the rich visual culture that developed in parts of the Holy Roman Empire during the later seventeenth and early eighteenth centuries. The book opens with a discussion of the legacy of the Wittenberg Reformation. Three sections then focus on the confessional, devotional and magnificent image, exploring turning points in Lutherans’ attitudes towards religious art. Drawing on a wide variety of archival, printed and visual sources from two of the Empire’s most important Protestant territories—Saxony, the heartland of the Reformation, and Brandenburg—the book shows the extent to which Lutheran culture was shaped by territorial divisions. It traces the development of a theologically grounded aesthetic, and argues that images became become prominent vehicles for the articulation of Lutheran identity not only amongst theologians but also amongst laymen and women. By examining the role of images in the Lutheran tradition as it developed over the course of two centuries, A Magnificent Faith offers a new understanding of the relationship between Protestantism and the visual arts.
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Kail, Peter J. E. Hume and Nietzsche. Edited by Paul Russell. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199742844.013.30.
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In his contribution, the author discusses the deep and surprising similarities between the philosophies of David Hume and Friedrich Nietzsche. The author argues that these stem from their shared conception of naturalism. Their naturalism is primarily an explanatory one and primarily aimed at explaining human thought and practice. In Nietzsche, this form of naturalism is expressed in his adoption of a genealogical approach to various topics, most famously that of morality. The author shows that Hume’s naturalism is similarly genealogical. The author also argues that their conceptions of morality and the self are closer than popular images of the two philosophers might have it.
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Halle, Randall. Contiguous. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038457.003.0004.
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This chapter explores German–Polish film relations. World War II created a caesura between Germany and Poland. For years, the complex connectivity that existed in the region was broken and instead dissociation characterized relations. The chapter examines the tentative conciliation of the two regions, focusing on documentary film. It begins with the work of a few documentarists who headed east at the time of the Wende, the moment of the collapse of the East Block. In bucking trends and heading east they captured images that ultimately speak more to the future of Europe. They not only documented important moments of “first contact,” they literally envisioned relationships that are still developing today.
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Carlson, Marvin. 2. Religion and theatre. Oxford University Press, 2014. http://dx.doi.org/10.1093/actrade/9780199669820.003.0002.
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‘Religion and theatre’ attempts to describe some general patterns and contrasts, and suggests some historical and geographical implications of the relationship between theatre and religion. Beginning with Western monotheistic religion—Judaism, Christianity, and Islam—it shows that the condemnation of images, fundamental to Mosaic law, encouraged a deep suspicion of any form of mimesis, especially involving the body. Despite this, they all developed significant theatrical traditions with close ties to religious celebrations and ceremonies. Generally, non-Western performance has been tied to religious practice from the very beginning. In India, early theatre was intertwined with Hinduism and Buddhism, the two major religions of the subcontinent at the start of the common era.
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Thomas, Sophie. Word and Image. Edited by David Duff. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199660896.013.40.
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This chapter examines the numerous places where words and images combine or collide in Romantic literature and culture, such as in book production and illustration; in poetry, painting, and theories of the two as ‘sister arts’; in ekphrastic literary texts; in prints and annuals; and in exhibitions and galleries. The chapter explores the historical and artistic context for a range of dynamic experiments that raise conceptual questions about visual and verbal representation, and the nature of the connections between them. At the same time, it unsettles the apparently dual nature of a relationship that in fact often includes objects and places, or extends into other media and forms. Writers and artists discussed include Blake, Wordsworth, Beaumont, Gillray, and Turner.
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Jacobs, Steven, Susan Felleman, Vito Adriaensens, and Lisa Colpaert. Screening Statues. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474410892.001.0001.
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Sculpture is an artistic practice that involves material, three-dimensional, and generally static objects, whereas cinema produces immaterial, two-dimensional, kinetic images. These differences are the basis for a range of magical, mystical and phenomenological interactions between the two media. Sculptures are literally brought to life on the silver screen, while living people are turned into, or trapped inside, statuary. Sculpture motivates cinematic movement and film makes manifest the durational properties of sculptural space. This book will examine key sculptural motifs and cinematic sculpture in film history through seven chapters and an extensive reference gallery, dealing with the transformation skills of "cinemagician" Georges Méliès, the experimental art documentaries of Carl Theodor Dreyer and Henri Alekan, the statuary metaphors of modernist cinema, the mythological living statues of the peplum genre, and contemporary art practices in which film—as material and apparatus—is used as sculptural medium. The book’s broad scope and interdisciplinary approach is sure to interest scholars, amateurs and students alike.
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Nehring, Holger. Peace Movements and the Demilitarization of German Political Culture, 1970s–1980s. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037894.003.0004.
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This chapter examines the relationship between peace movement activism and demilitarization in both East and West Germany during the 1970s and 1980s. It focuses on the history of peace activism in the two parts of the divided Germany: the liberal-democratic West German Federal Republic (FRG) and the socialist dictatorship of the German Democratic Republic (GDR). Such an approach reveals not only the common themes they addressed and the transfers of ideas across the Iron Curtain, but also the ways in which governments addressed them as mirror images in the Cold War for ideas. While the peace movements in the West could appear in the contemporary political-cultural mainstream as the results of communist infiltration, the GDR government regarded the independent peace movement in the East as the result of the infiltration of the GDR by dangerous bourgeois-capitalist pacifists.
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Lippert, Amy K. DeFalco. From the Cradle to the Grave: Visualizing the Life Cycle. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190268978.003.0005.
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Images were so bound up with the concept of mortality, and such potent reminders of the unceasing and irreversible onslaught of time, that they soon came to play a critical role as markers along the key junctures of both individual and family lifespans in nineteenth-century America. They commemorated births, deaths, and everything in between. The residents of a far-flung city like San Francisco were all the more reliant on two-dimensional substitutes for their absent kin. Painted portraits and miniatures had previously served similar functions as documentation of significant events or achievements, but only as mediated by an artist’s hand, with a limited replication and distribution capacity, and primarily for a small upper echelon of the population. It was fitting that photography, the most democratic of all media, should preserve memories of loved ones after their demise—death being among the most democratic of life experiences.
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Schul, Jeanne. Embodied Dreams. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039409.003.0011.
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In this chapter, the author examines somatic practices with dream images from the perspective of Jungian psychology. A registered somatic movement therapist and depth psychologist, the author reflects on her personal experiences of working two somatic dreams. In particular, she describes her application of the Shin Somatics approach to self-reference touch, teaching through touch, and dance improvisation, as she uses it when working with archetypal dreams. She discusses the relationship between the soma, somatic dreams, the chakra system, and archetypal imagery, and defines these terms in connection with the therapeutic exploration of dreams. She says soma includes the sensations that she experiences—while asleep and awake—that she can identify with her eyes closed. The author concludes by sharing how her work with somatic dreams and dancing the chakras has saved her life on more than one occasion, including her passage through a chaotic midlife crisis.
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Gray, Erik. The Art of Love Poetry. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198752974.001.0001.
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Love begets poetry; poetry begets love. These two propositions have seemed evident to thinkers and poets across the Western literary tradition. Plato writes that “anyone that love touches instantly becomes a poet.” And even today, when poetry has largely disappeared from the mainstream of popular culture, it retains its romantic associations. But why should this be so—what are the connections between poetry and erotic love that lead us to associate them so strongly with one another? An examination of different theories of both love and poetry across the centuries reveals that the connection between them is not merely an accident of cultural history—the result of our having grown up hearing, or hearing about, love poetry—but something more intrinsic. Even as definitions of them have changed, the two phenomena have consistently been described in parallel terms. Love is characterized by paradox. Above all, it is both necessarily public, because interpersonal, and intensely private; hence it both requires expression and resists it. In poetry, especially lyric poetry, which features its own characteristic paradoxes and silences, love finds a natural outlet. This study considers both the theories and the love poems themselves, bringing together a wide range of examples from different eras in order to examine the major structures that love and poetry share. It does not aim to be a comprehensive history of Western love poetry, but an investigation into the meaning and function of recurrent tropes, forms, and images employed by poets to express and describe erotic love.
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Kaell, Hillary. Christian Globalism at Home. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691201467.001.0001.
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Child sponsorship emerged from nineteenth-century Protestant missions to become one of today's most profitable private fundraising tools in organizations including World Vision, Compassion International, and ChildFund. Investigating two centuries of sponsorship and its related practices in American living rooms, churches, and shopping malls, this book reveals the myriad ways that Christians who don't travel outside of the United States cultivate global sensibilities. The book traces the movement of money, letters, and images, along with a wide array of sponsorship's lesser-known embodied and aesthetic techniques, such as playacting, hymn singing, eating, and fasting. It shows how, through this process, U.S. Christians attempt to hone globalism of a particular sort by oscillating between the sensory experiences of a God's eye view and the intimacy of human relatedness. These global aspirations are buoyed by grand hopes and subject to intractable limitations, since they so often rely on the inequities they claim to redress. Based on extensive interviews, archival research, and fieldwork, the book explores how U.S. Christians imagine and experience the world without ever leaving home.
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Schlupp, Ingo. Male Choice, Female Competition, and Female Ornaments in Sexual Selection. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198818946.001.0001.
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When Darwin first proposed sexual selection theory he suggested two mechanisms: competition among males and choice by females. There is no doubt that these mechanisms are immensely important, but their mirror images have been largely underappreciated so far. In fact, males choose as well and females compete. Males choose based on female quality, often selecting mating partners that are more fecund. But male choice is also associated with changes in the sex ratio of a population and males can be choosy when they are rare. Furthermore, males sometimes invest heavily into reproduction and that too can be associated with male choice. That females compete with another, although less often with open aggression, is another understudied phenomenon. Finally, we now know that females are often ornamented, but are these ornaments under sexual selection by males? This book tries to review what we know and point to what we don’t know while pointing out the connections between male mate choice and female competition for a more complete view of sexual selection.
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Moss, Jessica. Plato's Epistemology. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198867401.001.0001.
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This book argues that Plato’s epistemology is radically different from our own. Unlike knowledge and belief as nowadays conceived, the central players in his epistemology are each essentially to be understood as cognition of a certain kind of object. Epistêmê is cognition of what Is—where this turns out to mean that it is a deep grasp of ultimate reality. Doxa is cognition of what seems—where this turns out to mean that it is atheoretical thought that mistakes images for reality. These objects-based characterizations, inchoate in the earlier dialogues and fully developed in the Republic, are the bedrock conceptions of epistêmê and doxa that explain all their other features, including the restriction of epistêmê to Forms and doxa to perceptibles. Moreover, Plato does epistemology this way because his epistemological projects are motivated by his central ethical and metaphysical views. He holds that there is a crucial metaphysical distinction between two levels of reality: genuine Being, which is hidden and difficult to access, and something ontologically inferior but readily apparent, presenting itself to us as real. He also holds that there is a crucial ethical distinction stemming from this metaphysical one: to be in contact with Being is to be living well, while to rest content with the inferior level is not only to fail to live well, but to hinder oneself from aspiring to do so. Therefore, when Plato turns to epistemological investigations, the distinction he finds most salient is that between cognitive contact with what Is and cognitive contact with what seems.
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Katz, Stephen, ed. Ageing in Everyday Life. Policy Press, 2018. http://dx.doi.org/10.1332/policypress/9781447335917.001.0001.
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This book is a timely collection of interdisciplinary and critical chapters about the fields of ageing studies and the sociology of everyday life as broadly conceived to explore the meaningful connections between subjective lives and social worlds in later life. The scope of the writing expands beyond traditional approaches in these fields to engage with cross-cultural, feminist, spatial, ethnographic, technological, cinematic, new media and arts research. Readers will find the detailed attention to everyday experiences, places, biographies, images, routines, intimacies and temporalities illuminating, while appreciating the wider critiques of ageism and exclusion that inform each chapter. The book also contributes to the growing international area of ‘critical gerontology’ by comprising two parts on ‘materialities’ and ‘embodiments’, foci that emphasize the material and embodied contexts that shape the experiences of ageing. The chapters on ‘materialities’ investigate things, possessions, homes, technologies, environments, and their representations, while the complementary chapters on ‘embodiments’ examine living spaces, clothing, care practices, mobility, touch, gender and sexuality, and health and lifestyle regimes. Overall, in both its parts the book contests the dominant cultural narratives of vulnerability, frailty and disability that dominate ageing societies today and offers in their place the resourceful potential of local and lived spheres of agency, citizenship, humanity and capability.
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Popenhagen, Ron J. Modernist Disguise. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474470056.001.0001.
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This book chronicles and theorises face and body masking in arts and culture from the mid-nineteenth century to the new millennium. While featuring the modernist era in France, analyses include commentary on performers and visual artists from the margins of the European continent: Ireland and the Baltics; Denmark and the Mediterranean. Representations of silent Pierrots on stage are contrasted with images of fixed-form maskers and masquerades; two-dimensional depictions in paintings and photographs further the study of the form-altered human figure. The relationship of the European avant-garde with indigenous masquerade from Africa and the Americas is discussed and presented in a series of eighteen photographic counterpoints. Modernist explorations of the masked gaze and the nature of looking with the painted face are considered. Meanings suggested by the disguised body in motion and in stasis are investigated via citations of the work of a wide range of masqueraders: Akarova, Bernhardt, Cahun, Höch, Fuller, Mnouchkine, Stein and Wigman, as well as Artaud, Barrault, Cocteau, Copeau, Deburau, Fo, Milhaud and Picasso. Connections between modernist disguising with manifestations of masquerade in daily life, fashion, fine art, media, opera and theatre are proposed while arguing that masking and the carnivalesque are omnipresent in contemporary culture. Modernist Disguise provides greater understanding of the impact of facial masking upon everyday interactions and perceptions experienced, for instance, during the ongoing COVID-19 pandemic. The book proposes an interdisciplinary and international lexicon for critical conversation on masking objects, mask play and masquerade as performance.
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van der Hoeven, Frank, and Alexander Wandl. Hotterdam: How space is making Rotterdam warmer, how this affects the health of its inhabitants, and what can be done about it. TU Delft Open, 2015. http://dx.doi.org/10.47982/bookrxiv.1.
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Heat waves will occur in Rotterdam with greater frequency in the future. Those affected most will be the elderly – a group that is growing in size. In the light of the Paris heat wave of August 2003 and the one in Rotterdam in July 2006, mortality rates among the elderly in particular are likely to rise in the summer. METHOD The aim of the Hotterdam research project was to gain a better understanding of urban heat. The heat was measured and the surface energy balance modelled from that perspective. Social and physical features of the city we identified in detail with the help of satellite images, GIS and 3D models. We determined the links between urban heat/surface energy balance and the social/physical features of Rotterdam by multivariable regression analysis. The crucial elements of the heat problem were then clustered and illustrated on a social and a physical heat map. RESULTS The research project produced two heat maps, an atlas of underlying data and a set of adaptation measures which, when combined, will make the city of Rotterdam and its inhabitants more aware and less vulnerable to heat wave-related health effects. CONCLUSION In different ways, the pre-war districts of the city (North, South, and West) are warmer and more vulnerable to urban heat than are other areas of Rotterdam. The temperature readings that we carried out confirm these findings as far as outdoor temperatures are concerned. Indoor temperatures vary widely. Homes seem to have their particular dynamics, in which the house’s age plays a role. The above-average mortality of those aged 75 and over during the July 2006 heat wave in Rotterdam can be explained by a) the concentration of people in this age group, b) the age of the homes they live in, and c) the sum of sensible heat and ground heat flux. A diverse mix of impervious surfaces, surface water, foliage, building envelopes and shade make one area or district warmer than another. Adaptation measures are in the hands of residents, homeowners and the local council alike, and relate to changing behaviour, physical measures for homes, and urban design respectively.