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Journal articles on the topic 'Posthumous work'
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1
Pizarro, Jeronimo. "The Stars Are as Variable as the Lines: Fernando Pessoa’s Works Considered from the Perspective of Editorial Agency / As estrelas são tão variáveis quanto as linhas: As Obras de Fernando Pessoa consideradas da perspectiva da mediação editorial." Revista do Centro de Estudos Portugueses 40, no. 64 (February 3, 2021): 15. http://dx.doi.org/10.17851/2359-0076.40.64.15-35.
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Abstract: Here we discuss editorial agency and its impact in the work of Fernando Pessoa, focusing on perception, mobility and interpretation. A posthumous publication is a privileged object to investigate the complexity of the process of editorial agency and its effects because, in the posthumous extension of a corpus, what is at stake is precisely its construction. We also examine the role of the editor and his intervention, rather than the one of publishers, bearing into account the impact the decisions and reorganizations can have when speaking of posthumous works. We conclude that a “work” is the product, or the result, of the joint work left by an author and that of its editors, and that a work or a set of works is not something determined and established forever, but a reassembled product, or the result of a construction or reconstruction.Keywords: Fernando Pessoa; editorial agency; mobility; interpretation; work; posthumous work.Resumo: Discutimos aqui a mediação editorial e o seu impacto na obra de Fernando Pessoa, com enfoque na perceção, na mobilidade e na interpretação. Uma publicação póstuma é um objeto privilegiado para investigar a complexidade do processo de mediação editorial e os seus efeitos porque, na extensão póstuma de um corpus, o que está em jogo é precisamente a sua construção. Analisamos também o papel do editor (editor) e da sua intervenção, em vez do papel da editora (publisher), tendo em consideração o impacto que as decisões e as reorganizações podem ter quando falamos de obras póstumas. Concluímos que uma “obra” é o produto, ou o resultado, do trabalho, em conjunto, do autor e da obra que deixou, e dos editores; e que uma obra ou um conjunto de obras não é algo determinado ou estabelecido para sempre, mas um produto reorganizado, ou o resultado de uma construção ou reconstrução.Palavras-chave: Fernando Pessoa; mediação editorial; mobilidade; interpretação; obra; obra póstuma.
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Scarffe, Eric J. "“A New Philosophy for International Law” and Dworkin’s Political Realism." Canadian Journal of Law & Jurisprudence 29, no. 1 (February 2016): 191–213. http://dx.doi.org/10.1017/cjlj.2016.7.
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During his career, Ronald Dworkin wrote extensively on an impressive range of issues in moral, political, and legal philosophy, but, like many of his contemporaries, international law remained a topic of relative neglect. His most sustained work on international law is a posthumously published article, “A New Philosophy for International Law” (2013), which displays some familiar aspects of his views in general jurisprudence, in addition to some novel (though perhaps surprising) arguments as well. This paper argues that the moralized account of international law we might have expected is conspicuously missing from this posthumous article; with Dworkin advancing an argument based on a form of political realism instead.
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Monk, Daniel. "EM Forster's will: an overlooked posthumous publication." Legal Studies 33, no. 4 (December 2013): 572–97. http://dx.doi.org/10.1111/j.1748-121x.2012.00264.x.
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Focusing on a single, uncontested will is unusual within legal studies. And the extensive literature about EM Forster has overlooked the significance of his will. This article endeavours to address these silences and develop a conversation between the two. It first explores the place of inheritance in Forster's life and novels; and in doing so highlights his interest in inheritance as both a concept and a practice. Turning then to his will, it argues that it reveals a reflective personal and political engagement with concerns about kinship, sexuality and intimate citizenship which are central to current debates within socio-legal and sociological scholarship. This reading consequently argues that his will is a text that can be read alongside his other work; that it represents a ‘posthumous publication’. While a close, critical reading of the will of one very particular individual, the article identifies the challenges posed to testators in negotiating the public and private nature of wills and highlights both the rich potential and the difficulties that these texts present for socio-legal, literary and biographical scholarship.
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Godina, Polona. "Selected American and Slovene critical responses to the work of Emily Dickinson." Acta Neophilologica 37, no. 1-2 (December 1, 2004): 25–38. http://dx.doi.org/10.4312/an.37.1-2.25-38.
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Emily Dickinson, deemed one of the greatest and most prolific American woman poets, published only a handful of poems during her lifetime. Since its posthumous discovery, however, her opus has aroused innumerable critical debates, which mainly fall into the following three cat egories: psycho-biographical, strictly analytical and feminist. On the contrary, Slovenes have still not yet fully discovered all Dickinson has to offer. In addition to providing a short overview of American criticism on Emily Dickinson, the author of this largely by drawing a comparison with the Slovene woman poet Svetlana Makarovič, who bears a striking resemblance to Dickinson.
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Masaharu, Hiroshi. "Development in understanding of Gauss-Krüger projection and its outcomes." Proceedings of the ICA 1 (May 16, 2018): 1–4. http://dx.doi.org/10.5194/ica-proc-1-75-2018.
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The role of Gauss and Krüger is made clear in developing Gauss-Krüger projection. Gauss developed the projection and Krüger had brought Gauss’s posthumous work into the open. From studying such historical issues, useful projection formula was found and this is now implemented for actual usage in surveying in Japan.
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Hackett, Abigail, Christina MacRae, Katy McCall, Louisa Penfold, Nicola Wallis, Elaine Bates, and Lucy Cooke. "Coda: posthumous conversations. A reading group to discuss the work of Dr Elee Kirk." Children's Geographies 16, no. 5 (July 10, 2018): 571–77. http://dx.doi.org/10.1080/14733285.2018.1497142.
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Zimmermann, Peter, and Harry Paul. "The Origins of the Leading Edge in Kohut's Work." Psychoanalytic Review 108, no. 2 (June 2021): 169–96. http://dx.doi.org/10.1521/prev.2021.108.2.169.
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This article traces the evolution of the concept of the leading edge in Kohut's work. The leading edge is defined as the growth-promoting dimension of the transference. The authors argue that although Kohut did not ever use the term explicitly in his writings—Marian Tolpin (2002), one of Kohut's gifted pupils, introduced the concept into the psychoanalytic literature in the form of the forward edge—the idea of the leading edge was already present in nascent form in Kohut's earliest papers and became ever more central as his psychology of the self evolved and the concept of the selfobject transference took center stage. Kohut, it is argued, could not fully develop the idea of working with the leading edge for fear of being accused of advocating for a corrective emotional experience in psychoanalytic treatment. However, in his posthumous empathy paper (1982) Kohut came as close as he could to endorsing the leading edge as pivotal in all psychoanalytic work.
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Yerosimou, Maria. "Defining interdisciplinarity and indentifying Research directions in Jani Christou’s Strychnine lady." Journal of Education Culture and Society 5, no. 1 (January 7, 2020): 226–41. http://dx.doi.org/10.15503/jecs20141.226.241.
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Jani Christou was a major Greek composer, whose unusual, yet promising career was brought to an end after his untimely death in 1970 at the age of 44. His challenging and speculative output has intrigued generation of young music scholars; however, J. Christou’s work remains imperfectly and only patchily known and understood, especially outside Greece. This is partly because of the interdisciplinary nature of his late works which reduces the possibility of potential researchers who will academically establish J. Christou’s distinguished output. The aim of the present paper is to present and analyse parts of Strychnine Lady, a work composed in 1967 in order to propose research directions in an effort to confi rm J. Christou’s posthumous reputation.
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Godden, Malcolm. "The Old English Life of St Neot and the legends of King Alfred." Anglo-Saxon England 39 (December 2010): 193–225. http://dx.doi.org/10.1017/s0263675110000116.
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AbstractThe Old English Life of St Neot has been generally dated to the twelfth century and dismissed as a late and derivative work. The article argues that it was written much earlier, in the first few decades of the eleventh century, and is both a significant example of late Old English hagiographic literature and an important witness to early legends about King Alfred and his posthumous reputation.
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Cvejić, Žarko. "From "Bach" to "Bach's son": The work of aesthetic ideology in the historical reception of Carl Philipp Emanuel Bach." New Sound, no. 54-2 (2019): 90–108. http://dx.doi.org/10.5937/newso1954090c.
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The paper explores the historical correlation between the marginalization of C. P. E. Bach in his posthumous critical reception in the early and mid 19th century and the paradigm shift that occurred in the philosophical, aesthetic, and ideological conception of music in Europe around 1800, whereby music was reconceived as a radically abstract and disembodied art of expression, as opposed to the Enlightenment idea of music as an irreducibly sensuous, sonic art of representation. More precisely, the paper argues that the cause of C. P. E. Bach's marginalization in his posthumous critical reception should not be sought only in the shadow cast by his father, J. S. Bach, and the focus of 19th and 20th-century music historiography on periodization, itself centred around "great men", but also in the fundamental incompatibility between this new aesthetic and philosophical ideology of music from around 1800 and C. P. E. Bach's oeuvre, predicated as it was on an older aesthetic paradigm of music, with its reliance on musical performance, especially improvisation, itself undervalued in early and mid 19th-century music criticism for the same reasons. Other factors might also include C.P. E. Bach's use of the genre of fantasia, as well as the sheer stylistic idiosyncrasy of much of his music, especially the fantasias and other works he wrote für Kenner ("for connoisseurs"). This might also explain why his music was so quickly sidelined despite its pursuit of "free" expression, a defining ideal of early to mid 19th-century music aesthetics.
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RAMASWAMY, SUMATHI. "Giving Becomes Him: The posthumous fortune(s) of Pachaiyappa Mudaliar." Modern Asian Studies 52, no. 1 (January 2018): 35–61. http://dx.doi.org/10.1017/s0026749x17000531.
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AbstractThis article explores the ways in which Pachaiyappa Mudaliar (1754?–1794) has been panegyrized as the quintessential benefactor of our times in Tamil prose, poetry, and pictures over the course of the past century and a half. In the bureaucratic and legal documents of the colonial state, he appears as a rapacious moneylender and behind-the-scenes wheeler-dealer, a member of that hated class of ‘Madrasdubashes’, a ‘most diabolical race of men’. In contrast, Tamil memory work since at least the 1840s has differently recalled this shadowy eighteenth-century man as a selfless philanthropist whose vast wealth financed some of the earliest educational institutions in the Madras Presidency. I track the posthumous fate of Pachaiyappa's bequest to argue that even as the founding of the public trust and its educational philanthropy departed radically from his willed intentions, a new complex of living, dying, and giving for the sake of native education was put in place in the Tamil country in the age of colonial capital and pedagogic modernity.
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Tindale, Christopher W. "Perelman, Informal Logic and the Historicity of Reason." Informal Logic 26, no. 3 (February 28, 2008): 341. http://dx.doi.org/10.22329/il.v26i3.457.
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In a posthumous paper, Perelman discusses his decision to bring his theory of argumentation together with rhetoric rather than calling it an informal logic. This is due in part because of the centrality he gives to audience, and in part because of the negative attitude that informal logicians have to rhetoric. In this paper, I explore both of these concerns by way of considering what benefits Perelman’s work can have for informal logic, and what insights the work of informal logicians might bring to the project of Perelman and Olbrechts-Tyteca.
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Collister, Lauren B., and Ashley L. Taylor. "Altmetrics, Legacy Scholarship, and Scholarly Legacy." Pennsylvania Libraries: Research & Practice 5, no. 2 (October 31, 2017): 127–37. http://dx.doi.org/10.5195/palrap.2017.154.
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When using alternative metrics (altmetrics) to investigate the impact of a scholar’s work, researchers and librarians are typically cautioned that altmetrics will be less useful for older works of scholarship. This is because it is difficult to collect social media and other attention retroactively, and the numbers will be lower if the work was published before social media marketing and promotion were widely accepted in a field. In this article, we argue that altmetrics can provide useful information about older works in the form of documenting renewed attention to past scholarship as part of a scholar’s legacy. Using the altmetrics profile of the late Dr. Thomas E. Starzl, often referred to as “the father of modern transplantation”, we describe two cases where altmetrics provided information about renewed interest in his works: a controversy about race and genetics that shows the ongoing impact of a particular work, and posthumous remembrances by colleagues which reveal his scholarly legacy.
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Fisher, Cass. "The Posthumous Conversion of Ludwig Wittgenstein and the Future of Jewish (Anti-)Theology." AJS Review 39, no. 2 (November 2015): 333–65. http://dx.doi.org/10.1017/s0364009415000082.
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In recent years Jewish philosophers and theologians from across the religious spectrum have claimed that the philosophy of the Austrian-born British philosopher Ludwig Wittgenstein is a crucial resource for understanding Jewish belief and practice. The majority of these thinkers are drawn to Wittgenstein's work on account of the diminished role that he ascribes to religious belief—a position that affirms the widespread view that theology has played a minimal role in Judaism. Another line of thought sees in Wittgenstein's philosophy resources that can illuminate the forms and functions of Jewish theological language and bolster the place of theological reflection within Jewish religious life. This article undertakes a critical analysis of the reception of Wittgenstein's philosophy among contemporary Jewish thinkers with the goal of delineating these alternative responses to his work. The paper concludes by arguing that the way in which Jewish thinkers appropriate Wittgenstein's philosophy will have profound consequences for the future of Jewish theology.
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Manghani, Sunil. "Neutral Life: Roland Barthes’ Late Work – An Introduction." Theory, Culture & Society 37, no. 4 (April 26, 2020): 3–34. http://dx.doi.org/10.1177/0263276420911425.
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As the introduction and lead article for a special issue of Theory, Culture & Society, ‘Neutral Life/Late Barthes’, this article offers an overview of the ‘new’ Barthes that emerges from the late writings and recent ‘Barthes Studies’. The account centres upon the posthumous publication of Barthes’ three key lecture courses delivered at the Collège de France, at the end of the 1970s, which reflect his preoccupation with the everyday, yet reveal a new degree of sophistication, both formal and conceptual. Presented in their original note form, the lectures present perhaps the clearest (if incomplete) affirmative project of Barthes’ entire career. The Neutral in particular is pivotal in understanding an ethics of the late works. While Barthes is perhaps most cited for his rumination on the temporality of the photograph, the lecture courses give rise to an ethics of space and distance, rather than of time and telos. Crucially, for Barthes, the Neutral is not neutrality; it is not divestment, but ‘an ardent, burning activity’. In establishing Barthes’ ethics of a Neutral Life, the articles closes – with reference to Derrida’s mourning of Barthes – with a reminder to read Barthes again, or rather a reminder of our current postponed reading of him.
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Vinař, Josef. "Scenic Figure: A Step Towards the Phenomenological Grasp of the Problem." Slovenske divadlo /The Slovak Theatre 65, no. 4 (December 1, 2017): 428–37. http://dx.doi.org/10.1515/sd-2017-0026.
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Abstract This text is a posthumous work by Assoc. Prof. Josef Vinař (1934–2015), a lecturer at the Theatre Academy of Performing Arts in Prague. Before his death Josef Vinař asked his colleague Jan Vedral to take care of his unfinished theoretical work and make it available. Acting upon this wish and the wish of Vinař’s heirs, Jan Vedral put together a team from some of Vinař’s students (current doctoral students), who compiled Vinař’s theoretical ideas about theatre. The present study is a summary of some of Josef Vinař’s findings and especially his phenomenological ideas about the art of acting. The author prepared it for the Slovak Theatre journal.
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Perovšek, Jurij. "Russian Refugees and Posthumous Evaluation of Lenin in Slovenian Politics." Monitor ISH 18, no. 1 (November 3, 2016): 7–31. http://dx.doi.org/10.33700/1580-7118.18.1.7-31(2016).
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Throughout the Slovenian political arena, Lenin was seen as an extraordinary world-historical figure. This was emphasised most frequently on the occasion of his death (21 January 1924), which prompted the most comprehensive Slovenian statements about the leader of the Russian Bolshevik revolution. Lenin’s revolutionary work was analysed by all three Slovenian political camps: Catholic, Liberal, and Marxist. The revolutionary part of the Marxist camp welcomed it, while its non-revolutionary part perceived Lenin as an embodiment of schism and hatred, a man of great deeds and terrifying destruction, standing outside all accepted moral laws. The opinion of the Liberals was similar: for them, Lenin represented a world born from revolution, fatally threatening the existing balance of social and political power. The Catholic camp, on the other hand, harboured for him a peculiar admiration. To be sure, he was seen as a dictator, a demonic genius ethically inclining towards a social justice which was based on the denial of individualism and on a ruthless, atheist, ‘Genghis Khan-like’, bloody Marxist revolution. However, he was also perceived as a man of action and energy, unmatched by either Peter the Great or Napoleon, and counted among the greatest Slavic personages. This was taking place at a time when the Slovenian political Catholicism still credited communism with an ability to provide certain social and economic solutions for other social movements as well.
The Slovenian politics of the mid-1920s emphasised both the extraordinary nature of the Lenin phenomenon and his radical revolutionary acts, which sprang from a monumental political ability and relentless pursuit of the envisioned goal. This emphasis was accompanied by an understanding of the historical forces underlying the past events. The developments in Russia were accepted as facts, and this was what the Russian refugees had to come to terms with as they looked for a new home on the western edge of the Slavic world.
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Venturinha, Nuno. "Wittgenstein e o Realismo Religioso de Beethoven." Philosophy of Music 74, no. 4 (December 30, 2018): 1203–12. http://dx.doi.org/10.17990/rpf/2018_74_4_1203.
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This paper explores Wittgenstein’s lifelong interest in music. The first part offers an overview of the various authors mentioned throughout Wittgenstein’s corpus, particularly in the posthumous publications Culture and Value and Movements of Thought. The second part specifically examines some of Wittgenstein’s remarks on Beethoven focusing on the peculiar religious realism that Wittgenstein attributes to Beethoven’s work. Recent interpretations put forward by Matthew Lau and Béla Szabados are discussed. It is argued that these commentators fail to address the religious basis of Wittgenstein’s admiration for Beethoven.
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Jackson, Kenneth David. "THE DIAPHANOUS VEIL OF SATIRE: EÇA’S MESSAGE TO MACHADO IN THE CITY AND THE MOUNTAINS." Revista de Estudos Literários 6 (October 1, 2017): 83–94. http://dx.doi.org/10.14195/2183-847x_6_3.
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By the late 1890s Eça de Queirós had certainly read Machado’s two major novels to date, the Posthumous Memoirs of Brás Cubas (1880-81) and Quincas Borba (1890), after acknowledging Machado’s critiques of Cousin Bazilio, published in O Cruzeiro in April, 1878. A novel form of indirect communication between the two authors can be located in their fiction. In The City and the Mountains (1901) Eça replies indirectly to Machado with a satire of several of Machado’s main themes in the two novels, from the philosophy of “Humanitism” to the useful work of worms.
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Goren, Ahuvia. "Benyamin Dias Brandon’s Orot Hamivot (1753) : Halacha and Polemics in Eighteenth-Century Amsterdam*." Studia Rosenthaliana: Journal of the History, Culture and Heritage of the Jews in the Netherlands 46, no. 1 (November 1, 2020): 189–210. http://dx.doi.org/10.5117/sr2020.1-2.009.gore.
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Abstract This article considers the halakhic work Orot Hamivot (1753) of Benyamin Dias Brandon, and its posthumous co-editor, Isaac Cohen Belinfante. The article situates this publication in the intellectual Portuguese-Jewish milieu of eighteenth-century Amsterdam and the kinds of scholarship and ideals of erudition that were fostered in its Ets Haim yeshiva. More specifically, the article shows how Brandon’s and Belinfante’s work contributed to a wider tradition of literature, flourishing in the early eighteenth-century, that combined halakhic arguments with polemical defenses of rabbinic authority. This literature built on seventeenth-century precedents, but it also broke new ground by incorporating developments in natural science, such as theories of atomism, into halakhic thought.
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Moiseev, Grigory A. "Pyotr Ilyich Tchaikovsky and Grand Duke Konstantin Konstantinovich: A Posthumous Dialogue." Observatory of Culture 17, no. 5 (November 12, 2020): 496–509. http://dx.doi.org/10.25281/2072-3156-2020-17-5-496-509.
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Pyotr Ilyich Tchaikovsky and Grand Duke Konstantin Konstantinovich (the august poet K. R.) were linked by many years of friendship and creative cooperation. After the composer’s death (October 25, 1893), K. R. became involved in the process of perpetuating his memory. The posthumous dialogue was manifested in various forms: Grand Duke Konstantin Konstantinovich’s participation in church and secular memorial ceremonies, private commemorations, and his close communication with M.I. Tchaikovsky and V.L. Davydov — the composer’s brother and nephew. In addition, K. R. reexamined his creative and epistolary communication with the composer, whose memory he would pass on to his children. These and other aspects are considered in three sections of the proposed article: 1) “Under the Sign of the Liturgy Op. 41” (this spiritual and musical work runs through the whole life of the Grand Duke); 2) “The Grand Duke and M.I. Tchaikovsky” (a key figure in the “human” aspect); 3) “K. R. Reads ‘The Life of Pyotr Ilyich Tchaikovsky’” (one of the most important findings was a copy of the book ‘The Life of Pyotr Ilyich Tchaikovsky’, which belonged to Grand Duke and bears his notes; they retrospectively reflect the process of in-depth family reading). The article is based on documentary materials from Russian and foreign collections (including the State Archive of the Russian Federation and the Library of Congress, USA), many of which are introduced into scientific use for the first time. The article uses methods of comparative source studies. The materials of the article can be used in a course of the history of Russian music, as well as in a modern commented edition of the epistolary heritage and diaries of P.I. Tchaikovsky, M.I. Tchaikovsky and Grand Duke Konstantin Konstantinovich.
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Hattaway, Meghan Burke. "“SUCH A STRONG WISH FOR WINGS”:THE LIFE OF CHARLOTTE BRONTËAND ELIZABETH GASKELL’S FALLEN ANGELS." Victorian Literature and Culture 42, no. 4 (September 19, 2014): 671–90. http://dx.doi.org/10.1017/s1060150314000242.
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Elizabeth Gaskell undertook the writingofThe Life of Charlotte Brontëwith a highly specific purpose in mind: it was meant, first and foremost, as a defense. Spurred by the urgings of longtime family friend Ellen Nussey, who was despairing over “the misrepresentations and the malignant spirit” at work in recent commentaries about the late author ofJane Eyre, Patrick Brontë had written to Gaskell only three months after his daughter's untimely death in 1855 and expressed the hope that an “established Author” like herself might produce a biography of Charlotte Brontë immediately. Gaskell was thus charged with the work of presenting to the world a definitive account of the celebrated, if enigmatic, writer's life, in defiance of the inflammatory and rumor-filled posthumous reports that were circulating.
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Catling, Hector. "A. H. S. Megaw (1910–2006): A Memoir." Annual of the British School at Athens 102 (November 2007): 1–10. http://dx.doi.org/10.1017/s0068245400021420.
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An account is given of the adult life and career of Peter Megaw, from his first admission to the British School at Athens as Walston Student in 1931, to his Vice-Presidency of the School at the time of his death in 2006. His years (1935–60) as Director of the Department of Antiquities, Cyprus are described, and the great importance stressed of his work in preserving the island's architectural heritage of the Christian period. His Directorship of the British School at Athens is described. His publications are noted, including his (posthumous) Kourion: Excavations in the Episcopal Precinct.
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Kahn, Miriam. "Michael W. Young. Malinowski: Odyssey of an Anthropologist 1884–1920. New Haven: Yale University Press, 2004." Comparative Studies in Society and History 47, no. 3 (July 2005): 665–67. http://dx.doi.org/10.1017/s0010417505210290.
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Ever since the 1967 posthumous publication of parts of Malinowski's field diaries (A Diary in the Strict Sense of the Term), the legendary ethnographer has been the subject of a dual fascination—of interest because of both his pioneering ethnographic work and also for what we learned from his diaries about his complex psyche. The disparity between Malinowski's productive public persona and his tormented private soul has puzzled anthropologists ever since. Now, with the publication of Michael Young's Malinowski: Odyssey of an Anthropologist, 1884–1920, we need no longer rely on our own flights of fancy to imagine the totality of Malinowski.
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BACCIAGALUPPI, CLAUDIO. "CLASSIFYING MISATTRIBUTIONS IN PERGOLESI’S SACRED MUSIC." Eighteenth Century Music 12, no. 2 (August 24, 2015): 223–29. http://dx.doi.org/10.1017/s1478570615000329.
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On 16 March 1736 Giovanni Battista Pergolesi died from consumption at age twenty-six in the Franciscan monastery of Pozzuoli near Naples, leaving a considerable number of compositions in all genres: stage works, cantatas, instrumental music and sacred music. On account of the success these compositions had enjoyed in Italy during his life, and the extraordinary fame they achieved in the rest of Europe after his death, a multitude of works bearing his name continued to be disseminated, many of which had little, if any, connection with Pergolesi himself. This phenomenon invites us to question what mechanisms are at work when a piece of music is misattributed, for if spurious or doubtful works can be classified according to their origin, then the identification of recurring patterns may help disentangle similar cases. This essay aims to classify the origins of misattributed sacred works from the first decades of Pergolesi's posthumous reception.
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Schubel, Vernon James. "Islam and World History: The Ventures of Marshall Hodgson." American Journal of Islamic Social Sciences 36, no. 4 (October 1, 2019): 100–103. http://dx.doi.org/10.35632/ajiss.v36i4.657.
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In Islam and World History: The Ventures of Marshall Hodgson, editors Edmund Burke III and Robert J. Mankin have provided a valuable service to the scholarly community by bringing together a series of insightful essays that place the creation of Hodgson’s posthumous masterwork, The Venture of Islam, into a broader historical and intellectual context. Perhaps most importantly, this slim but comprehensive volume adds greatly to our understanding of Marshall Hodgson himself, a historian who famously argued for the importance of recognizing the scholarly pre-commitments of academics, by providing a remarkable biographical context in which to consider the deeper implications of his work.
To download full review, click on PDF.
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Schubel, Vernon James. "Islam and World History." American Journal of Islam and Society 36, no. 4 (October 1, 2019): 100–103. http://dx.doi.org/10.35632/ajis.v36i4.657.
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In Islam and World History: The Ventures of Marshall Hodgson, editors Edmund Burke III and Robert J. Mankin have provided a valuable service to the scholarly community by bringing together a series of insightful essays that place the creation of Hodgson’s posthumous masterwork, The Venture of Islam, into a broader historical and intellectual context. Perhaps most importantly, this slim but comprehensive volume adds greatly to our understanding of Marshall Hodgson himself, a historian who famously argued for the importance of recognizing the scholarly pre-commitments of academics, by providing a remarkable biographical context in which to consider the deeper implications of his work.
To download full review, click on PDF.
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Spoor, Freya, and Robert Lethbridge. "Picturing walls." Journal of the History of Collections 32, no. 3 (December 3, 2019): 503–8. http://dx.doi.org/10.1093/jhc/fhz033.
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Abstract Émile Zola’s literary oeuvre continues to provide scholars with one of the most comprehensive accounts of nineteenth-century art and culture. Yet the magnitude of this material has resulted in the works of art acquired by Zola over the course of his lifetime being largely overlooked. By focusing on how this ad hoc collection of more than fifty contemporary works was gathered and subsequently dispersed, this article elucidates the influence of close friendships and professional reciprocity on the reputation of artist and critic alike. It offers an unprecedented corrective to the pioneering article by Jean Adhémar (1960) which partly reproduced the procès-verbal from the posthumous auction of Zola’s estate held in 1903. Using the original version of this document, together with available sales catalogues, letters and Zola’s art writing, it provides the most comprehensive inventory of the works owned by Zola and how they relate to his life and work.
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Pichler, Axel. "Situative Werkpolitik. Nietzsches Retraktationen der Geburt der Tragödie." Nietzsche-Studien 48, no. 1 (November 1, 2019): 134–72. http://dx.doi.org/10.1515/nietzstu-2019-0009.
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Abstract Nietzsche has repeatedly commented on his already published works, and thus continuously reinterpreted them, in order to shape their public reception and to foreground the communication of specific aspects of his works. As such, he followed a specific “work politics,” or Werkpolitik. The resulting retractions are not only revealing for the reconstruction of Nietzsche’s self-understanding, but also demonstrate both the development and the dynamic character of his thinking. In the present article, this is shown through a so-called “contrasting reading,” which contrasts a posthumous note about The Birth of Tragedy, the Attempt at a Self-Criticism from 1886, with the book itself and with the chapter in Ecce Homo that is dedicated to BT. Starting from a close reading of note Nachlass 1888, 17[3], which also takes into account the genesis of BT, I argue that Nietzsche’s self-commentaries combine his current philosophical reflections with work-political objectives. The subsequent comparison reconstructs the philosophical differences between the note and the texts mentioned above, thus demonstrating the dynamic character of Nietzsche’s philosophizing, which is often stated but seldom reconstructed on the basis of the actual texts.
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Onuma, Yoshinobu, Scot Garg, Takayuki Okamura, Jurgen Ligthart, Robert van Geuns, Pim de Feyter, Patrick Serruys, and Hideo Tamai. "Ten-year follow-up of the IGAKI-TAMAI stent. A posthumous tribute to the scientific work of Dr. Hideo Tamai." EuroIntervention 5, F (December 2009): F109—F111. http://dx.doi.org/10.4244/eijv5ifa19.
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Milanovic, Biljana. "The importance and role of correspondence in researching the personality and work of Milenko Paunovic." Muzikologija, no. 2 (2002): 27–55. http://dx.doi.org/10.2298/muz0202027m.
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The correspondence of the composer and writer Milenko Paunovic (1889-1924) has a great role in revealing different aspects of his life, work and mind. Nearly 100 letters are preserved, most of which belong to his correspondence with his family and particularly with his sister Jelena Paunovic, a pianist. One part of Jelena's correspondence with other persons gives us also diverse information about her brother. All the saved letters are kept in the holdings of the Institute of Musicology and the Serbian Archive. Paunovic's correspondence is discussed from several viewpoints. In the introduction of the article is given a brief survey and description of the correspondence (according to the list enclosed at the end of the text). This is followed by analysis of some of Jelena's letters that clarify certain facts about the posthumous fate of Paunovic's works. In the two central parts of the article the correspondence is observed as a source rich with information concerning Paunovic's biography, dating and chronological systematization of his works as well as his (un)realized plans for performance. The concluding discussing is devoted to Paunovic's personality, his ambitions, aspirations, relations to the others: it is possible to determine and explain his artistic creation like a specific autobiography and his correspondence speaks in favor of this thesis.
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Langton, Daniel R. "Elijah Benamozegh and Evolutionary Theory: A Nineteenth-Century Italian Kabbalist’s Panentheistic Response to Darwin." European Journal of Jewish Studies 10, no. 2 (August 16, 2016): 223–45. http://dx.doi.org/10.1163/1872471x-12341293.
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The Italian rabbi and philosopher Elijah Benamozegh (1823–1900) engaged widely with non-Jewish European culture, especially with regard to theology, philosophy and science. With respect to evolutionary theory, his views went through three stages. These stages correspond to his engagement with ideas of transmutation in three key works, namely, the Hebrew biblical commentary ʾEm la-miqraʾ (1862–1865), the Italian theological treatise Teologia dogmatica e apologetica (1877), and his posthumous great work in French, Israël et l’humanité (1914). Over time, Benamozegh came to view Darwin’s account of the common descent of all life as evidence in support of kabbalistic teachings, which he synthesized to offer a majestic vision of cosmic evolution, with radical implications for understanding the development of morality and religion itself. In the context of the creation-evolution debate in Europe, Benamozegh’s significance is as the earliest Orthodox Jewish proponent of a panentheistic account of evolution.
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Hernández, Robb. "Pretty in pink: David Antonio Cruz’s portrait of the florida girls." Journal of Visual Culture 19, no. 2 (August 2020): 232–45. http://dx.doi.org/10.1177/1470412920941901.
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Roused by the deaths of five African American transgender women in Florida in 2018, artist David Antonio Cruz intervenes in inaccurate media reports about these murders. Painting portrait of the florida girls in 2019, his diptych of significant scale and palette, confronts this senseless violence and challenges sensationalized coverage. This article centralizes his work arguing for the ways in which Cruz innovates transgender of color visibility through a queer of color critiquing of the portrait form and concerted use of a ‘blacktino’ optic. Ruminating on the combined tragedies of gun violence at Pulse nightclub and serial murder of trans femmes, Cruz’s work interrogates the posthumous transgender image with a reversal of digital source material and bodily logics in pose and countenance. By turning to the transnational crossroads shaping these communities’ shared horrors, central Florida, Cruz activates his audience with a sense of urgency in the persuasive power of pink.
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Vincze, Kata Zsófia. "Transylvanianism, Nationalism, Folklore: The Academic Career of Olga Nagy in the Light of her Posthumous Book, Vallomások (2010)." Hungarian Cultural Studies 6 (January 12, 2014): 202–12. http://dx.doi.org/10.5195/ahea.2013.122.
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The volume Vallomások [‘Testimony’], published posthumously in 2010, is the folklorist Olga Nagy’s (1921-2006) last book. In this paper I will analyze Nagy’s academic significance in the light of her own last self reflection presented in Vallomások. This volume provides an exciting overview of the internal dynamics of East-Central European culture and interethnic relations. While I examine Nagy’s life work, especially her academic work on rural women and her new ideas regarding the alive folklore, I will also reflect on the ideology of so called Transylvanianism that constitutes the framework of many Hungarian writings from Romania. Transylvanianism is a complex ideology rooted in the Hungarian national movement of the nineteenth century, one that later turned into a complex manifestation of the Hungarian minorities in Romania through literature, culture, politics and self-definition. Elaborated by writers, historians and journalists, Transylvanianism after 1918—and even more vehemently after 1947—aimed to preserve and reinforce Hungarian national pride and identity in the region through cultural activities, education and political action.
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Malcolm, David. "‘J’ai mon silence’: The interrelations of sound, voice and silence in three short stories by Sylvia Townsend Warner1." Short Fiction in Theory & Practice 11, no. 1-2 (June 1, 2021): 57–72. http://dx.doi.org/10.1386/fict_00036_1.
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The interrelations of sound, voice and silence in three realist short stories by Sylvia Townsend Warner from the 1940s are discussed. The stories are ‘The Proper Circumstances’, ‘The Mother Tongue’ and ‘A Breaking Wave’, all published in the posthumous collection One Thing Leading to Another (1984). Warner is shown to be deeply attuned to sound and its absence in her short fiction; these motifs are integrated with other aspects of setting and with character and narration. Both sound in the text and sound of the text are of semantic importance in her work. Warner’s presentation of silence as a source of power is remarkable, silence being usually configured as lack of agency. Warner’s deployment of silence is related to her status as a lesbian writer.
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Nowaczyk-Basińska, Katarzyna. "IMMORTALITY AS A NETWORK OF RELATIONSHIPS. EXPERIENCE OF BUILDING A POSTHUMOUS AVATAR ON THE LIFENAUT PLATFORM." Studia Humanistyczne AGH 18, no. 3 (2019): 23–43. http://dx.doi.org/10.7494/human.2019.18.3.23.
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Based on an analysis of the American Lifenaut research project, I attempt to capture immortality created today as a network of relationships among human and non‑human factors. Lifenaut was established in 2006 as a pioneering project in the field of creating posthumous digital avatars. The users involved in the experiment gather data on the www.lifenaut.com platform to retain their personality in a digitized form after biological death. Part of my work is reconstructive – I describe the assumptions of the American project and the main concepts associated with it, such as “mindclone”, “mindfiles” and “mindware”. In the second part I present the results of my own avatar creation experiment and confront them with the sociological perspective of symbolic interactionism (G.H. Mead, H. Blumer) and relational sociology (B. Latour).
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Agayeva, Aysel Nuhbala kyzy. "Protostrongylesis (Protostrongylus hobmaieri) among the sheep of the Absheron Peninsula and the Khizyan district of the Azerbaijan Republic." Agrarian Scientific Journal, no. 3 (March 16, 2020): 36–39. http://dx.doi.org/10.28983/asj.y2020i3pp36-39.
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One of the causative agents of protostrongilosis is Protostrongylus hobmaieri. These nematodes parasitize in the smallest bronchi, less often in the middle. Studies were conducted among sheep on the territory of the Absheron Peninsula and the adjacent Khizyn district. Sheep breeding is widely developed here. The work was carried out from 2016 to 2018. Surveys were taken from private sheep farms located in different villages. When performing the work, the method of complete helminthological dissections of animals according to K.I. Scriabin was used. The posthumous diagnosis of helminthiases is the most reliable. It was revealed that the intensity of invasion is high in the village of Altyagach (37.2%), the relative low intensity in the village of Zira (2.5%). High intensity of invasion was recorded in the village of Tudar (4-31 individuals), and low intensity in Mashtagi (2 individuals). Among the sheep, this invasion was not found in the villages of New Jasper and Sulutepe. The total infection of sheep with helminths by points was 12.4%.
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Gilmore, Bob. "ON CLAUDE VIVIER'S ‘LONELY CHILD’." Tempo 61, no. 239 (January 2007): 2–17. http://dx.doi.org/10.1017/s0040298207000010.
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There is an uncanny symmetry in the life of the French–Canadian composer Claude Vivier: we do not know the exact time or circumstances of his birth, and we do not know the exact time or circumstances of his death. The first of these two facts haunted Vivier all his life. Born to unknown parents in Montreal in April 1948 and placed in an orphanage, he became obsessed with the identity of his birth mother, whom he never knew. Several of his compositions can be heard as a poignant attempt to communicate with her. The second fact – his murder in March 1983 by a young Parisian criminal in circumstances that remain not fully investigated – has, you might say, haunted the posthumous reputation of his music. It seems impossible to discuss Vivier's work without mentioning the cruel and sordid circumstances of his death. For some, his murder is the key to an understanding of his life and – even more controversially – of his work.
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Moens, Peter B. "FOREWORD/PRÉFACE." Genome 32, no. 4 (August 1, 1989): 499. http://dx.doi.org/10.1139/g89-474.
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One of Canada's outstanding cytogeneticists, Klaus Rothfels, died unexpectedly in 1987. A group of his former students and colleagues have arranged a series of research articles that reflect the nature of Dr. Rothfels' scientific work and his inspiration to others.A world leader in the evolutionary analysis of speciation in black flies, his legacy in that field is most strongly represented in this series. Included is a posthumous synthesis of Klaus' work entitled Speciation in black flies. This paper was assembled by his graduate students and it is presented as such, unrefereed.Klaus' single most celebrated discovery, the air drying of chromosome spreads for karyotyping, has been highlighted in Citation Classics of Current Contents (27(3): 19. 1984). His reminiscence of the discovery was also published in the Bulletin of the Genetics Society of Canada (16(1): 15. 1985).I thank the reviewers who contributed their time and talents to this memorial publication. All of us miss Klaus Rothfels as a scientist and as a person.
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Introvigne, Massimo. "The Sounding Cosmos Revisited." Nova Religio 21, no. 3 (February 1, 2018): 29–46. http://dx.doi.org/10.1525/nr.2018.21.3.29.
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Starting with the 2013 conference Enchanted Modernities in Amsterdam, a number of academic events, exhibitions, and publications (including a 2016 special issue of Nova Religio) documented the growing interest of both art historians and scholars of new religious movements in the influence of the Theosophical Society and other esoteric groups on the birth and development of modern art. At the center of this renewed interest is the controversial work of Finnish art historian Sixten Ringbom (1935–1992), who in the late 1960s “discovered” the Theosophical connections of Russian pioneer of abstract art Wassily Kandinsky (1866–1944), discussed in his book The Sounding Cosmos. In this paper, I discuss Ringbom’s background, his almost coincidental discovery of Theosophy, the ostracism his work received from those who did not want modern art to be associated with irrationalist and disreputable “cults,” and his posthumous influence on the birth of a new subfield within the study of new religious movements, devoted to their relationships with the visual arts.
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Wedeł-Domaradzka, Agnieszka. "Postmortal Issues of Smolensk Tragedy Against the Obligations of Art. 2 of European Convention on Human Rights." Law and Administration in Post-Soviet Europe 7, no. 1 (April 1, 2020): 1–10. http://dx.doi.org/10.2478/lape-2020-0001.
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AbstractThe main aim of the study is to analyze posthumous problems that concern the victims of the Smolensk disaster in the context of positive obligations of the state. The first element of the analysis will concern the standards of dealing with the bodies of disaster victims as soon as they occur. The second aspect will include the obligation to notify of death along with other obligations and information on victims. Then, issues related to the transport of corpses and the opening of coffins will be described, and finally the regulations regarding uninterrupted burial. The analysis of the above issue presented in the work will be carried out taking into account regional human rights protection standards and the ECtHR’s judicial practice. Both soft and hard law standards will be included in the analysis.
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García Gutiérrez Vélez, Georgina. "The Era of Carlos Fuentes." PMLA/Publications of the Modern Language Association of America 128, no. 3 (May 2013): 705–7. http://dx.doi.org/10.1632/s0030812900122989.
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Por lo menos, ¿sabes si Dios ha muerto? —concluyó antes de retirarse del balcón—. ¿Qué sabes?Nada. ¿Cómo te llamas?Federico. Federico Nietzsche.—Carlos Fuentes, Federico en su balcónThe death of Carlos Fuentes means the end of an era that began with La región más transparente (1958; Where the Air Is Clear) and concludes with the posthumous Federico en su balcón (2012; Federico on His Balcony). Fuentes marks an entire era with the influence of his personality and his work, which have impacted Mexico's intellectual life, arts, and wider society, as well as its collective imagination. Fuentes has a place in the Mexican imaginary, like film or soccer stars, and for decades his face has been part of Mexican iconography. The history of contemporary Mexico would be very different without him.
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Tallone, Giovanna. "In Dialogue with Writing. Clare Boylan’s Non-Fiction." Estudios Irlandeses, no. 16 (March 17, 2021): 42–53. http://dx.doi.org/10.24162/ei2021-9970.
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In 1993 Clare Boylan edited a collection of essays by diverse writers on the act of writing entitled The Agony and the Ego. The Art and Strategy of Fiction Writing Explored. Here, Boylan takes the double stance of an outsider, as a critic, and of an insider, as a writer, and her concern with other writers’ work highlights her own preoccupation with writing and creativity, thus providing an interesting insight into her own fiction too. Besides writing seven novels and three collections of short stories, Clare Boylan also produced personal, autobiographical and critical pieces in a variety of essays and newspaper articles. She also showed a rigorous stance as editor in the thorough and engaging Literary Companion to Cats (1994). In particular, Boylan’s non-fiction work includes essays on Kate O’Brien and Molly Keane, as well as an introduction to Maeve Brennan’s posthumous novella The Visitor. Her critical work shows rigorous attention to texts and imagery, but also patterns of affinities with the writers she takes into account. The purpose of this essay is to analyse samples of Clare Boylan’s critical work vis-à-vis her own fiction. Significant cross-references can be identified which cast new perspectives on her literary work.
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Kastiņš, Juris Andrejs. "Gintera Grasa pēdējās atzīšanās." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 242–46. http://dx.doi.org/10.37384/aplkp.2020.25.242.
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The article is dedicated to the Günter Grass’s (1927–2015) second posthumous book “In letzter Zeit” that came out in 2017. Heinrich Detering, a professor at the University of Göttingen and a friend of the poet, has compiled the last interviews with Grass and discussions on literature and politics. The concept of the book is based on critical analysis of Grass’s works, treating them not as comments on political events, but as expressions of the poet’s creative work, in which he was able to harmoniously merge and consolidate the fairy tale, art, and joy of imagination in one masterpiece. Detering looks at Grass’s life from the socio-political aspect, emphasising the writer’s role in the life of the country and the people. Grass’s social themes (German history, splitting of the state and reunification, refugee policy, etc.) are gradually crystallizing in the collection, not forgetting the events of German literary life and giving them a principled assessment and putting the culture of criticism as one of the most important issues. The dialogues with Grass, collected and published by Detering, is a valuable cultural and historical material both for the research of the writer’s creative work and for the evaluation of German literary processes.
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SPIEGEL, RICHARD J. "John Flamsteed and the turn of the screw: mechanical uncertainty, the skilful astronomer and the burden of seeing correctly at the Royal Observatory, Greenwich." British Journal for the History of Science 48, no. 1 (March 5, 2014): 17–51. http://dx.doi.org/10.1017/s0007087413000952.
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AbstractCentring on John Flamsteed (1646–1719), the first Astronomer Royal, this paper investigates the ways in which astronomers of the late seventeenth century worked to build and maintain their reputations by demonstrating, for their peers and for posterity, their proficiency in managing visual technologies. By looking at his correspondence and by offering a graphic and textual analysis of the preface to his posthumous Historia Coelestis Britannica (1725), I argue that Flamsteed based the legitimacy of his life's work on his capacity to serve as a skilful astronomer who could coordinate the production and proper use of astronomical sighting instruments. Technological advances in astrometry were, for Flamsteed, a necessary but not a sufficient condition for the advancement of astronomy. Technological resources needed to be used by the right person. The work of the skilful astronomer was a necessary precondition for the mobilization and proper management of astronomical technologies. Flamsteed's understanding of the astronomer as a skilled actor importantly shifted the emphasis in precision astronomical work away from the individual observer's ability to see well and toward the astronomer's ability to ensure that instruments guaranteed accurate vision.
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Markiewka, Tomasz. "Przepisywanie Beowulfa: J.R.R. Tolkiena meandry przekładu." Między Oryginałem a Przekładem 24, no. 40 (June 30, 2018): 47–63. http://dx.doi.org/10.12797/moap.24.2018.40.03.
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Rewriting Boewulf: J.R.R. Tolkien’s Meandering Translation J.R.R. Tolkien’s works related to translation include both translations and adaptations in the form of pastiche. All of them have been published as posthumous editions, equipped with detailed critical commentaries and edited by the writer’s son, Christopher Tolkien. Among recent publications in English and Polish, one that deserves particular attention is a 1926 prose translation of the Old English poem Beowulf (2014, Polish ed. 2015). This edition presents Tolkien performing a few roles, acting as a translator, translation critic, editor, commentator, literary scholar, linguist, and creative writer. In fact, “translation” becomes a textual hybrid in which one can observe the work of a translator from the initial phase of close reading of a source text through three variants of prose translation (two from 1926 and one from 1942); alternative fragmentar translations in alliterative verse; a detailed philological and cultural commentary composed of lecture notes; original literary works inspired by Beowulf, which include the short story Sellic Spell (in two English versions and as a back translation into Old English); and two versions of the original poem The Lay of Beowulf. As a result, the 2014 edition of Tolkien’s Beowulf realizes the ideal of a translation once described by Vladimir Nabokov: the text of translation emerges from multilayered commentary, which, in Tolkien’s work, crosses the boundaries of languages and genres.
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Birch, Jonathan C. P. "Reimarus and the Religious Enlightenment: His Apologetic Project." Expository Times 129, no. 6 (December 5, 2017): 245–53. http://dx.doi.org/10.1177/0014524617744991.
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Intellectual history abounds with writers who were celebrated figures in their own time but who are scarcely remembered today; whereas others emerge from obscurity to become canonical figures in their disciplines. Hermann Samuel Reimarus (1694–1768) does not quite fit either model: he was a respected scholar in his own lifetime and, as other contributors to this issue demonstrate, he was certainly not forgotten. But his posthumous reputation, whether as innovator or infidel, has often been narrowly conceived, focused as it was on (literally) fragments of his work.1 In this article I shall attempt to do three things: (1) contextualise the renewed interest in Reimarus for eighteenth-century intellectual history; (2) foreground the robust natural theology he promoted in his lifetime; and (3) show the continuities between that positive programme, and some of Reimarus’s more famous writings attacking Christianity.
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Ortega-Villaseñor, Humberto, and Alonso Santiago Ortega González. "Universe in Movement." Asian Journal of Humanity, Art and Literature 3, no. 2 (December 31, 2016): 103–14. http://dx.doi.org/10.18034/ajhal.v3i2.311.
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In this paper, we analyze some aspects of the posthumous work of American writer Edgar Alan Poe, titled Eureka. A prose poem, published in 1848. This is a controversial book for several reasons, among others, by the complexity of its artistic characterization, depth of and cognitive influences and impact of its nutrients for the world of science, especially physics and astronomy. First, we proceed to do a panoramic review of the contributions of the writer outside the United States, and it is explained the interest in his vast literary production in France and in the Spanish-speaking world. They are then analyzed the links that Eureka may have with the literary career of Poe and other fields of culture, art and science that are related precisely with philosophy, aesthetics and above all, the Astronomy of his time. Finally, it is considered and weighted the prospective dimension of the work under study, trying to clarify to what extent Eureka is ahead of the universe conception that we have today and what effect it may have had on the contemporary scientific and technological change.
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Elden, Stuart. "Review: Michel Foucault, Histoire de la sexualité 4: Les aveux de la chair." Theory, Culture & Society 35, no. 7-8 (October 4, 2018): 293–311. http://dx.doi.org/10.1177/0263276418800206.
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In February 2018 the fourth volume of Michel Foucault’s History of Sexuality was finally published. Les aveux de la chair [Confessions of the Flesh] was edited by Frédéric Gros, and appeared in the same Gallimard series as Volumes 1, 2 and 3. The book deals with the early Christian Church Fathers of the second to fifth centuries. This essay reviews the book in relation to Foucault’s other work, showing how it sits in sequence with Volumes 2 and 3, but also partly bridges the chronological and conceptual gap to Volume 1. It discusses the state of the manuscript and whether it should have been published, given Foucault’s stipulation of ‘no posthumous publications’. It outlines the contents of the book, which is in three parts, on the formation of a new experience, on virginity and on marriage. There are also some important supplementary materials included. The review discusses how it begins to answer previously unanswered questions about Foucault’s work, and offers some suggestions about how the book might be received and discussed.
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Cruzeiro, Cristina Pratas. "The image of the dictatorship in perspective: the photographs from Fernando Lemos between 1949 and 1954." PORTO ARTE: Revista de Artes Visuais 22, no. 36 (December 30, 2017): 63. http://dx.doi.org/10.22456/2179-8001.80110.
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From the photographic productions from Fernando Lemos between 1949 and 1952 in Portugal and between 1953 and 1954 in Brazil, this article aims to reflect on the imagery carried out by the artist when he left Portugal in face of the one produced in Brazil in the years immediately posthumous to his arrival. Fernando Lemos left for Brazil in 1953, exhibiting his work at the Museum of Modern Art of São Paulo and, in 1954, at the Museum of Modern Art of Rio de Janeiro – where he showcased part of the extensive photographic production he produced in Portugal. The imagery language of these photographs – the construction of space, luminosity, overlays, etc. – demonstrates a harmony with surrealism and the artistic use of photography. But in them are also imprinted the different rhythms of life and quotidian. The fact that the artist focuses his production on the portrait, makes it the best referent to allows us to understand the impact that the migration caused in his life and in his artistic work.