History of art Books

Book SynopsisThis book considers the post-68 French city as a prism through which to understand the contemporary world and France’s specificity within it. The reader is invited to join in a series of exploratory strolls through texts, buildings, and neighborhoods, and thereby share in a process of discovery. Zeroing in on international architectural debates, a range of key Parisian exhibitions, and major urban design decisions in Paris, Montpellier, and Lille, Yaari unravels an often-acerbic French critique of both modern and postmodern positions on culture, technology, and the city. This critique—stemming from the competing claims of national identity, the ethics of architecture and display, and an anthropologically informed revision of prevailing views on the city—has sparked in France a passionate search for a third path, which the author proposes to term après-moderne. Breaking new ground in the field of French Studies through cultural analysis of the contemporary city, this study brings new insight to scholars and professionals in architecture and urbanism, and will interest all others for whom France and cities in general hold special appeal.Table of ContentsAcknowledgments List of Acronyms Introduction: A Project Unfolds Debates: Aesthetics, Society, Identity Modern/Postmodern Elsewhere, Perhaps, or the “après-moderne” Regional Capitals: The North-South Axis Montpellier Lille The National Capital: Center and Periphery, Looking Eastward Beaubourg Display Wars Belleville Mending the Margins, Mixing the Cultures The Urban Park of La Villette Conclusion: The City and the French après-moderne Notes List of Figures and Credits Works Cited Index-Personal Names

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Book SynopsisIn the extension of digital media from optional means to central site of activity, the domains of language, art, learning, play, film, and politics have been subject to radical reconfigurations as mediating structures. This book examines how this changed relationship has in each case shaped a new form of discourse between self and culture and illustrates explicitly the character of mediated agency beyond the formal separateness from lived experience that was once conveniently termed the virtual and which has come to influence common assumptions about creative expression itself.Trade Review"They essays collected in Cyberculture and New Media, speak to a cyberculture constantly supplanted by technological innovation and a restless adaptation, substitution, and convergence of art, craft, and language. The collection seeks to facilitate interdisciplinary projects and inquiry that are innovative, imaginative, and creatively interactive." - John F. Barber, Washington State University VancouverTable of ContentsPreface: ‘Until Something Else’ – A Theoretical Introduction PART 1 The Empirical Francisco J. RICARDO: Formalisms of Digital Text Sheizaf RAFAELI, Tsahi HAYAT, Yaron ARIEL: Knowledge Building and Motivations in Wikipedia: Participation as “Ba” Mahmoud EID: On the Way to the Cyber-Arab-Culture: International Communication, Telecommunications Policies, and Democracy Rita ZALTSMAN: The Challenge of Intercultural Electronic Learning: English as Lingua Franca PART 2 The Aesthetic Nicole RIDGWAY and Nathaniel STERN: The Implicit Body Leman GIRESUNLU: Cyborg Goddesses: the Mainframe Revisited Maria BÄCKE: De-Colonizing Cyberspace: Post-Colonial Strategies in Cyberfiction Tony RICHARDS: The Différance Engine: Videogames as Deconstructive Spacetime Alev ADIL and Steve KENNEDY: Technology on Screen: Projections, Paranoia and Discursive practice Seppo KUIVAKARI: Desistant Media List of Contributors Index

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Book SynopsisFraming Consciousness in Art shows how the frames-in-frames in these different contexts question notions of vision and representation, linear time, conventional spatial coordinates, binaries of ‘internal’ consciousness and ‘external’ world, subject and object, and the precise anatomy of mental states by which we are meant to carve up the territory of consciousness. The phenomenological experience of art is certainly as important as the folk psychology which scientists and philosophers use to taxonomise ordinary first-person modes of subjectivity. Yet art excels in configuring the visual field in order to articulate and sustain a complex network of higher-order thoughts structuring art and consciousness.Table of ContentsAcknowledgments Introduction Part 1. Framing Art History Part 2. Framing Philosophy Part 3. Framing Consciousness Studies Part 4. Framing Consciousness in Art Bibliography Index

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Book SynopsisAux limites de l’imitation pose une question audacieuse que les innombrables études existantes sur l’ut pictura poesis à l’âge classique ont eu tendance à laisser dans l’ombre : celle de la matière comme limite de l’imitation, suivant l’hypothèse selon laquelle le surgissement du matériel est à l’origine du délitement de l’ut pictura poesis au cours de l’âge classique. Les études réunies ici abordent cette question pour l’ensemble de l’âge classique (allant du XVIe à la fin du XVIIIe siècle) ainsi que pour les principaux domaines artistiques que l’on peut distinguer (littérature, peinture, sculpture, musique, danse).Table of ContentsIntroduction Herman Parret: La matière dans les esthétiques du XVIIIe siècle Martial Guédron: Physiologie du bon goût. La hiérarchie des sens dans les discours sur l’art en France au XVIIIe siècle Emmanuelle Hénin: À la surface de l’image : l’inscription comme indice de la matérialité de la peinture Dalia Judovitz: Le visible et le lisible dans l’œuvre de Georges de La Tour Kris Peeters: La matière et la matérialité du tableau dans les premières conférences académiques du comte de Caylus Julie Boch: L’art et la matière : Diderot et La Font de Saint-Yenne Stéphane Lojkine: Le technique contre l’idéal : la crise de l’ut pictura poesis dans les Salons de Diderot Élise Pavy: Silence et éloquence. Matière picturale et matière littéraire dans les Salons de Diderot Nathalie Ferrand: La matière de la littérature : les narrations polychromes de Louis-Antoine Caraccioli Aurélia Gaillard: « Comme un rêve de pierre » : la sculpture des Lumières et le rêve de matière Anaël Lejeune: N’être pas seulement chair : la surface sculpturale comme lieu du travail de l’artiste à la fin du XVIIIe siècle et au début du XIXe siècle Edward Nye: L’Esthétique du corps dans le ballet d’action Jan Herman: Ut pictura poesis, ut poesis musica. La page noire de la musique Index des noms Table des illustrations

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Book SynopsisIn 1980 an exhibition of the Illuminated Manuscripts of René Char held in Paris took the artistic and literary worlds by surprise. It featured illustrations by twenty-eight artists of an array of Char’s hand-written poems. Char’s artistic associations, spanning seven decades, remain remarkable today. Not only was he amply illustrated by those he called his “substantial allies”; the dedicatory poems and prose pieces they inspired, written with revelatory flair, constitute a unique corpus in the history of art and poetic enterprise. This book brings together an exemplary number of the artists Char prized over time: Dali and Kandinsky in the early years; later, Picasso, Braque and Miró; yet later, Vieira da Silva, Nicolas de Staël and Alexandre Galperine. It also considers the poet’s fascination with Corot, Courbet, La Tour, Van Gogh and the cave art of Lascaux.Table of ContentsAcknowledgements Titles of Collections René Char: 1907-1988 Introduction Surrealism and Beyond: Kandinsky, Dali, Corot, Courbet Picasso Reviewed: From Fact to Myth New Horizons: “Presenting Georges Braque” The Fantastic Realism of Joan Miró Georges de La Tour: Artist of Light and Shade The Magic of Lascaux Nicolas de Staël: Seeker of Summits, Child of the Pole Star Vieira da Silva: A Web of Connections The Last Collections: Vincent Van Gogh and Alexandre Galperine Epilogue: The Illumination of the Poet Dramatis Personæ Selective Bibliography Index

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Book SynopsisCollective Creativity combines complex and ambivalent concepts. While ‘creativity’ is currently experiencing an inflationary boom in popularity, the term ‘collective’ appeared, until recently, rather controversial due to its ideological implications in twentieth-century politics. In a world defined by global cultural practice, the notion of collectivity has gained new relevance. This publication discusses a number of concepts of creativity and shows that, in opposition to the traditional ideal of the individual as creative genius, cultural theorists today emphasize the collaborative nature of creativity; they show that ‘creativity makes alterity, discontinuity and difference attractive’. Not the Romantic Originalgenie, but rather the agents of the ‘creative economy’ appear as the new avant-garde of aesthetic innovation: teams, groups and collectives in business and science, in art and digital media who work together in networking clusters to develop innovative products and processes. In this book, scholars in the social sciences and in cultural and media studies, in literature, theatre and visual arts present for the first time a comprehensive, inter- and transdisciplinary account of collective creativity in its multifaceted applications. They investigate the intersections of artistic, scientific and cultural practice where the individual and the collective merge, come together or confront each other.Table of ContentsAcknowledgements Gerhard Fischer and Florian Vassen: Introduction. Collective Creativity: Traditional Patterns and New Paradigms Historical and Theoretical Reflections on Creative Collaboration Rolf G. Renner: Subversion of Creativity and the Dialectics of the Collective David Roberts: From the Cultural Contradictions of Capitalism to the Creative Economy: Reflections on the New Spirit of Art and Capitalism Annette Vowinckel: Is Simulation a Collective Creative Practice? Gerd Koch and Sinah Marx: Collective Creative Processes in Behavioural Studies: Community Theatre as an Agency of Political Research and Action Peter F. N. Hörz and Marcus Richter: Old Know-how for New Challenges: East Germans and Collective Creativity? Two Anthropological Case Studies The Caesura around 1800: Collectivity and Individuality Franz-Josef Deiters: From Collective Creativity to Authorial Primacy: Gottsched’s Reformation of the German Theatre from a Mediological Point of View Gabriele Fois-Kaschel: Synergetic Art Production: Choreography in Classical and Neo-classical Discourse on Performative Arts Susanne Ledanff: Kindred Spirits: Collective Explorations of Individuality in the Classical Period (Goethe, Schiller, Wilhelm von Humboldt) Alan Corkhill: Keeping it in the Family? The Creative Collaborations of Sophie and Dorothea Tieck Axel Fliethmann: Vision around 1800: The Panorama as Collective Artwork Visual Arts, New Media and Internet Danny McDonald, Katherine McDonald and Gavin Lambert: DEXA-Dan: Embedding the Corporeal Body Janet Chan, Roanna Gonsalves and Noreen Metcalfe: Bridging the Two Cultures: The Fragility of Interdisciplinary Creative Collaboration Annette Hamilton: Neo Rauch: Post-socialist Vision, Collective Memories Tara Forrest: Creative Co-productions: Alexander Kluge’s Television Experiments Roman Marek: Creativity Meets Circulation: Internet Videos, Amateurs and the Process of Evolution Collective Writing Thomas Ernst: From Avant-Garde to Capitalistic Teamwork: Collective Writing between Subversion and Submission Christiane Weller: Travelling Companions: Cook’s Second Voyage in the Writing of Georg and Johann Reinhold Forster Alison Lewis: The Romancing of Collective Creativity: The ‘Bitterfelder Weg’ in Brigitte Reimann’s Letters and Diaries Stefanie Kreuzer: Intertextuality as Mandatory Collective Creativity? Textual Interconnection in Klaus Hoffer’s Novel Bei den Bieresch Christopher Kelen: Community in the Translation/Response Continuum: Poetry as Dialogic Play Collectivity and Theatre Arts Florian Vassen: From Author to Spectator: Collective Creativity as a Theatrical Play of Artists and Spectators Ulrike Garde: Spotlight on the Audience: Collective Creativity in Recent Documentary and Reality Theatre from Australia and Germany Meg Mumford: Fluid Collectives of Friendly Strangers: The Creative Politics of Difference in the Reality Theatre of Rimini Protokoll and Urban Theatre Projects Günther Heeg: Transcultural Gestures: Collective Engagement in Theatre, Practice of Separation and Intermedial Crystallizations Appendix Gerhard Fischer: Call for Papers: The Sydney German Studies Symposium 2009 Contributors

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Book SynopsisThis collection of essays, written by leading scholars in the fields of East German art, film, literature, music, and museum studies, seeks to renegotiate the artistic legacy of the German Democratic Republic. Combining a range of theoretical and practical perspectives, the volume challenges the narrow frameworks of totalitarianism and Ostalgie that have dominated discussions of art produced in the GDR. It explores the diversity of art produced in the state and contests the long-held perception that socialist realism and artistic innovation were mutually exclusive. Crucially, the collection puts art itself to the fore; GDR art is considered not simply as a political by-product, as is so often the case, but as an entity of innovation and aesthetic value in its own right.Trade Review“As a broad and appealing introduction to a complicated subject, […] Art outside the Lines is to be warmly welcomed.” - Iain Boyd Whyte, University of Edinburgh, in: Modern Language Review 110.2 (2015), pp. 607-609Table of ContentsAcknowledgements List of Illustrations Elaine Kelly and Amy Wlodarski: Introduction Public Confrontations of GDR Art April A. Eisman: In the Crucible: Bernhard Heisig and the Hotel Deutschland Murals Skyler J. Arndt-Briggs: The Invisible Uprising: Filmmaking and East Germany’s ‘Day X’ Kristine Nielsen: Quid pro quo: Assessing the Value of Berlin’s Thälmann Monument Internationalism and GDR Art Sigrid Hofer: Beyond Socialist Realism: Alternative Painting in Dresden Sara Lennox: Reading Transnationally: the GDR and American Black Writers Joy H. Calico: The Legacy of GDR Directors on the Post-Wende Opera Stage Alternative Musical Voices Matthias Tischer: Music and Discourse Nina Noeske: Gender Discourse and Musical Life in the GDR Laura Silverberg: ‘Monopol der Diskussion?’: Alternative Voices in the Verband Deutscher Komponisten und Musikwissenschaftler Curating the GDR Jonathan Osmond: German Art Collections and Exhibits since 1989: the Legacy of the GDR Silke Wagler: Re-introducing GDR Art to Germany: the Kunstfonds in Dresden Justinian Jampol: ‘GDR on the Pacific’: (Re)presenting East Germany in Los Angeles Select Bibliography Notes on Contributors Index

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Book SynopsisGérard Garouste, Colette Deblé, Georges Rousse, Geneviève Asse, Martial Raysse, Christian Jaccard, Joël Kermarrec, Danièle Perronne, Daniel Dezeuze, Philippe Favier, Daniel Nadaud: after the eleven essays of Contemporary French Art 1, devoted to major artists from Ben Vautier and Niki de Saint Phalle to Annette Messager and Gérard Titus-Carmel, the present volume pursues its interrogations of the what, the how and the why of contemporary plastic production of some of France’s finest practitioners. If, as ever, such production can reveal elements of an interweaving of individualized preoccupations and modes, endless specificities demarcate and affirm originalities that pure theory and its leveling anonymity may obscure. Thus is it that Gérard Garouste is alone in that obsession with ‘indianness’ and ‘classicalness’; that Colette Deblé’s gesture is drawn implacably to the unseenness of female representation; that Georges Rousse plunges photography into the realm of matter’s poetic sacredness; that Geneviève Asse traverses a pure seemingness of abstraction to attain to an intimacy of silence; that Martial Raysse’s ‘hygiene of vision’ may endlessly renew and hybridize itself. Christian Jaccard, too, will explore with uniqueness an art of materiality at the frontier of metaphysics; Joël Kermarrec will offer us the inimitable exquisite traces of surging desire and deception; Danièle Perronne’s boxes and stringings, her paintings and her sheetings will unfold a psychic infinity at the heart of form. And, if Daniel Dezeuze seeks namelessness and pure structuration, the latter yet surge forth via works that relentlessly identify a gesture so distant, we may feel, from the at once sobering and ceremonial microproliferations of a Philippe Favier or the tense but genial articulations of Daniel Nadaud’s sculptural imagination.Table of ContentsPreface Unrepresenting Meaning: Gérard Garouste Windows Upon the Unseen: Colette Deblé The Light of Death, a Sacredness of Doing: Georges Rousse The Intimacy of Silence: Geneviève Asse Hygiene, Thought, Quest, Consent: Martial Raysse The Endless Imprinting of Being: Christian Jaccard Desire and Deception, the Metonymies of Artifice: Joël Kermarrec The Plastic Life of the Psyche: Danièle Perronne Structure and Aeration, Freedom and the Unnameable: Daniel Dezeuze Proliferation, Mutation, Phantasm, the Ceremony of the Real: Philippe Favier The Art of War and Peace: Daniel Nadaud Conclusion Selected Bibliography

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Book SynopsisThis book reads messianic expectation as the defining characteristic of German culture in the first decades of the twentieth century. It has long been accepted that the Expressionist movement in Germany was infused with a thoroughly messianic strain. Here, with unprecedented detail and focus, that strain is traced through the work of four important Expressionist playwrights: Ernst Barlach, Georg Kaiser, Ernst Toller and Franz Werfel. Moreover, these dramatists are brought into new and sustained dialogues with the theorists and philosophers of messianism who were their contemporaries: Walter Benjamin, Ernst Bloch, Martin Buber, Hermann Cohen, Gershom Scholem. In arguing, for example, that concepts like Bloch’s utopian self-encounter (Selbstbegegnung) and Benjamin’s messianic now-time (Jetztzeit) reappear as the framework for Expressionism’s staging of collective redemption in a new age, Anderson forges a previously underappreciated link in the study of Central European thought in the early twentieth century.Table of ContentsNotes on the Text Acknowledgements Introduction - Expressionism as a “Literature of Redemption” Jewish Messianism and the Philosophy of the Expressionist Era The Hebrew Scriptures and Jewish Messianism in Expressionist Literature The ‘Judeo-Christian’ Dialectic in the Expressionist Era Birth and Rebirth in Christianity and Expressionism The Mission and Passion of Expressionist Messianism The Culmination of Expressionist Messianism: Apocalypse Conclusion - Expressionism as Literature of the Unredeemed Bibliography Index

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Book SynopsisThis collection of critical essays celebrates the subversive and challenging creativity of the Dada movement, born in pacifist Zurich in 1916 in violent reaction to the First World War. It examines the collective and individual activities that took place under the name of Dada in Zurich, Cologne, Berlin, Paris, New York and Barcelona, and explores the various creative forms employed, including text, collage, photomontage, objects, dance, performance and film. The authors suggest new ways of understanding the work of the most famous Dadaists, while also casting light on the contribution of hitherto neglected figures. “Dada was a bomb”, declared Max Ernst in an interview in 1958. “Can you imagine anyone, almost half a century after the explosion of a bomb, trying to collect its fragments and stick them together in order to display them?” The aim of this volume is not to reconstitute the bomb, but to analyse some of its explosive effects and after-effects that continue to resonate nearly a century later. Far from attempting to reduce Dada to a homogeneous movement, or to define a unifying principle beneath and beyond the multiple directions taken by Dadaists, this collection aims to respect the diversity and heterogeneity of the movement’s collective activities as well as the specificity of its individual actors.Table of ContentsList of Illustrations Elza Adamowicz and Eric Robertson: Preface: Dada and Beyond: “Eggs Laid by Tigers” Dada Politics, Dada Poetics Henri Béhar: La Colombe poignardée: Dada politique Anna Katharina Schaffner: Dissecting the Order of Signs: On the Textual Politics of Dada Poetics Marc Décimo: Comment, autour de DADA, construction de la “modernité” et Description – Révolution – Révélation – Subversion de la langue s’articulèrent Timo Kaitaro: Irresponsabilité dadaïste et surréaliste Dada Objects Mary Ann Caws: The Object of Dada Eric Robertson: Everyday Miracles: Arp's Object-Language Nina Parish: “Pour faire un livre dadaïste”: Dada Experimentation with Book Form Dada Tactics Raluca Lupu-Onet: Paul Nougé et les stratégies de dénégation Ruth Hemus: The Manifesto of Céline Arnauld Vincent Antoine: Johannes Baader, Dada et la folie Dada Portraits and Identities Raihan Kadri: Dadaist Poker: The Body and the Reformation of Form Walburga Krupp: Hans Arp and Sophie Taeuber: The Quintessential Dada Couple Aurélie Verdier: La Tentation du vide. Francis Picabia et le portrait dada Elza Adamowicz: Between Museum and Fashion Journal: Hybrid Identities in the Photomontages of Hannah Höch Dada Languages Andreas Kramer: Speaking Dada: The Politics of Language Andrew Rothwell: “Je détruis les tiroirs du cerveau”: Reading Incoherence in Picabia and Automatic Writing David Christoffel: L’Envers mélodiste d’Unique Eunuque Bernard Noël: Dada PaDada Dada

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Book SynopsisOne possible description of the contemporary medial landscape in Western culture is that it has gone ‘meta’ to an unprecedented extent, so that a remarkable ‘meta-culture’ has emerged. Indeed, ‘metareference’, i.e. self-reflexive comments on, or references to, various kinds of media-related aspects of a given medial artefact or performance, specific media and arts or the media in general is omnipresent and can, nowadays, be encountered in ‘high’ art and literature as frequently as in their popular counterparts, in the traditional media as well as in new media. From the Simpsons, pop music, children’s literature, computer games and pornography to the contemporary visual arts, feature film, postmodern fiction, drama and even architecture – everywhere one can find metareferential explorations, comments on or criticism of representation, medial conventions or modes of production and reception, and related issues. Within individual media and genres, notably in research on postmodernist metafiction, this outspoken tendency towards ‘metaization’ is known well enough, and various reasons have been given for it. Yet never has there been an attempt to account for what one may aptly term the current ‘metareferential turn’ on a larger, transmedial scale. This is what The Metareferential Turn in Contemporary Arts and Media: Forms, Functions, Attempts at Explanation undertakes to do as a sequel to its predecessor, the volume Metareference across Media (vol. 4 in the series ‘Studies in Intermediality’), which was dedicated to theoretical issues and transhistorical case studies. Coming from diverse disciplinary and methodological backgrounds, the contributors to the present volume propose explanations of impressive subtlety, breadth and depth for the current situation in addition to exploring individual forms and functions of metareference which may be linked with particular explanations. As expected, there is no monocausal reason to be found for the situation under scrutiny, yet the proposals made have in their compination a remarkable explanatory power which contributes to a better understanding of an important facet of current media production and reception. The essays assembled in the volume, which also contains an introduction with a detailed survey over the possibilities of accounting for the metareferential turn, will be relevant to students and scholars from a wide variety of fields: cultural history at large, intermediality and media studies as well as, more particularly, literary studies, music, film and art history.Table of ContentsPreface Introduction Werner Wolf: Is There a Metareferential Turn, and If So, How Can It Be Explained? Literature and Other Media Andreas Mahler: Writing on the Writer’s Block: Metaization and/as Lack of Inspiration Sonja Klimek: Fantasy Fiction in Fantasy Fiction: Metareference in the Otherworld of the Faërie John Pier: Intermedial Metareference: Index and Icon in William Gass’s Willie Masters’ Lonesome Wife Wolfgang Funk: The Quest for Authenticity: Dave Eggers’s A Heartbreaking Work of Staggering Genius between Fiction and Reality Christine Schwanecke: Metareference in Marianne Wiggins’s Literary Photo-Text The Shadow Catcher and Other Novels Referring to the Photographic Medium Grzegorz Maziarczyk: Print Strikes Back: Typographic Experimentation in Contemporary Fiction as a Contribution to the Metareferential Turn Alexander Starre: The Materiality of Books and TV: House of Leaves and The Sopranos in a World of Formless Content and Media Competition Doris Mader: ‘Come on, Tell the Story. Describe his State of Mind’: Metaization in Peter Nichols’s Dramatic and Theatrical Vivisection A Piece of My Mind Visual Arts and Related Media Pamela C. Scorzin: Metascenography: On the Metareferential Turn in Scenography Claus Clüver: On Modern Graffiti and Street Murals: Metareferential Aspects of Writings and Paintings on Walls Katharina Bantleon: From Readymade to ‘Meta²’: Metareference in Appropriation Art Film and Television Dagmar Brunow: Deconstructing Essentialism and Revising Historiography: The Function of Metareference in Black British Filmmaking Nicholas de Villiers: Metahorror: Sequels, ‘The Rules’, and the Metareferential Turn in Contemporary Horror Cinema Michael Fuchs: Starring Porn: Metareference in Straight Pornographic Feature Films Irina O. Rajewsky: ‘Metatelevision’: The Popularization of Metareferential Strategies in the Context of Italian Television Erwin Feyersinger: The (Meta-)Metareferential Turn in Animation Henry Keazor: “The Stuff You May Have Missed”: Art, Film and Metareference in The Simpsons Music Walter Bernhart: Metareference in Operatic Performance: The Case of Katharina Wagner’s Die Meistersinger von Nürnberg Martin Butler: Making Sense of the Metareferential Momentum in Contemporary Popular Songs Tobias Janz: Goodbye 20th Century: Sonic Youth, John Cage’s ‘Number Pieces’ and the Long Farewell to the Avant-Garde Other Media Jeff Thoss: “This Strip Doesn’t Have a Fourth Wall”: Webcomics and the Metareferential Turn Roy Sommer: ‘Metadesign’: A ‘Mythological’ Approach to Self-Reference in Consumer Culture Notes on Contributors Index

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Book SynopsisThis book aims at offering a broad survey of the encounter between word and image studies and anthropology and to demonstrate the mutual benefits of this dialogue for both disciplines in the three fields of the image (Marin), the social history of writing (Petrucci), and memory (Yates). The themes discussed by the contributors to this volume, all specialists in their field, highlight each in their specific field one or more aspects of the agency of both text and image. Bridging the gap between the Anglo-Saxon and the Latin research traditions, this bilingual volume focuses on three major questions: What do we do with texts and images? How do texts and images become active cultural agents? And what do texts and images help us do? Contributions cover a wide range of topics and disciplines (from visual poetry to garden theory and from ekphrasis to new media art), and represent therefore the best possible overview of what cutting-edge analysis in word and image studies stands for today.Table of ContentsBéatrice Fraenkel: Introduction Summaries/Résumés Efficacy of Premodern Words and Images/Efficacité des mots et images prémodernes Isabelle Saint-Martin: L’image “Bible des pauvres”, du postulat grégorien au mythe romantique, l’efficacité d’un argument fondateur Corneliu Dragomirescu: La production d’un sens nouveau: images et rubriques face au texte dramatique dans les manuscrits médiévaux Massimo Leone: (In)efficacy of Words and Images in Sixteenth-Century Franciscan Missions in Mesoamerica: Semiotic Features and Cultural Consequences Eric T. Haskell: Versailles and Its Others: Efficacy and the Arts in the Absolutist Agenda James J. Yoch: Royal Inefficacy: Pastoral Subversions in the Scenes of Versailles Efficacy of Words and Images in Literature/Efficacité des mots et images en littérature Maria Ignez Mena Barreto: L’impact de la représentation iconique dans l’économie de l’écriture autobiographique de Stendhal Serge Linares: Après Mallarmé: l’héritage du Coup de dés dans l’avant-garde poétique française des années dix Anna Estera Mrozewicz: Ekphrasis in the Presence of the Image: Inger Christensen on Painting and Jørgen Leth on Film Matthijs Engelberts: Showing/Telling: The Social and Medial Context of a Malleable Notion Efficacy and Space/Efficacité et espace Thomas Golsenne: L’intensification du lieu: la puissance expressive de la saturation ornementale Shigeru Oikawa: Efficacités de la caricature: Georges Bigot et le salon des beaux-arts à l’Exposition intérieure de Kyoto en 1895 Kate Kangaslahti: Absence/Presence: The Efficacy of Text, Image, and Space at the 1937 Exposition internationale Danielle Leenaerts: L’œuvre comme dispositif réflexif dans l’art d’Alfredo Jaar, de 1979 à 1986 Dangerous Efficacy/Dangereuse éfficacité Bernward Schmidt: La censure dans l’image—des images de la censure: l’Index des livres interdits Bernard Vouilloux: De l’efficacité des images érotiques à l’efficience érotique des œuvres Stéphane Lojkine: Érotique de l’effondrement scénique: efficacité sadienne de l’image William Olmsted: Improper Appearances: Censorship and the Carriage Scene in Madame Bovary Lauren S. Weingarden: Manet’s Realism and the Erotic Gaze: Photography, Pornography, and Censorship Contributors/Contributeurs Index.

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Book SynopsisThis interdisciplinary study fuses analysis of feminist literature and manifestos, radical political theory, critical vanguard studies, women’s performance art, and popular culture to argue for the animal liberation movement as successor to the liberationist visions of the early twentieth-century avant-gardes, most especially the Surrealists. These vanguard groups are judiciously critiqued for their refusal to confront their own misogyny, a quandary that continues to plague animal activists, thereby disallowing for cohesion and full recognition of women’s value within a culturally marginalized cause. This volume is of interest to anyone who is concerned about the continued—indeed, escalating—violence against nonhumans. More broadly, it will interest those seeking new pathways to challenge the dominant power constructions through which oppression of humans, nonhumans, and the environment thrives. Women, Destruction, and the Avant-Garde ultimately poses the animal liberation movement as having serious political and cultural implications for radical social change, destruction of hierarchy and for a world without shackles and cages, much as the Surrealists envisioned.Table of ContentsHelena Pedersen and Vasile Stănescu: Series Editor’s Introduction: What is “Critical” about Animal Studies? From the Animal “Question” to the Animal “Condition” Acknowledgments Introduction: Rooting for the Avant-Garde Avant-Garde Women Writers and Destruction in the Flesh Staring Back in the Flesh: Avant-Garde Performance as an ALM Paradigm Convulsive Beauty, Infinite Spheres and Irrational Reasons: Reverie on a New Consciousness Love and Laughter Now: Plucking at Stems or Uprooting Oppression? Works Cited Index

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Book SynopsisTo many, chance and art are antagonistic terms. But a number of 20th century artists have turned this notion on its head by attempting to create artworks based on randomness. Among those, three in particular articulated a well-argued and thorough theory of the radical use of chance in art: André Breton (writer), John Cage (composer) and François Morellet (visual artist). The implications of such a move away from established aesthetics are far-reaching, as much in conceptual as in practical terms, as this book hopes to make clear. Of paramount importance in this coincidentia oppositorum is the suggested possibility of a correlation between the artistic use of chance and a system of thought itself organised around chance. Indeed placing randomness at the centre of one’s art may have deeper philosophical consequences than just on the aesthetical level.Table of ContentsGeneral Introduction The Rise of Chance in Modern Sciences Part I The Tribulations of Chance within Philosophical Thought The Philosophy of Clément Rosset Part II The Dialogue of Chance and the Arts André Breton François Morellet John Cage General conclusion Bibliography Appendix 1: Interview with Clément Rosset Appendix 2: Interview with François Morellet

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Book Synopsis1980s Britain witnessed the brassy, multifaceted emergence of a new generation of young, Black-British artists. Practitioners such as Sonia Boyce and Keith Piper were exhibited in galleries up and down the country and reviewed approvingly. But as the 1980s generation gradually but noticeably fell out of favour, the 1990s produced an intriguing new type of Black-British artist. Ambitious, media-savvy, successful artists such as Steve McQueen, Chris Ofili, and Yinka Shonibare made extensive use of the Black image (or, at least, images of Black peo¬ple, and visuals evocative of Africa), but did so in ways that set them apart from earlier Black artists. Not only did these artists occupy the curatorial and gallery spaces nominally reserved for a slightly older generation but, with aplomb, audacity, and purpose, they also claimed previously unimaginable new spaces. Their successes dwarfed those of any previous Black artists in Britain. Back-to-back Turner Prize victories, critically acclaimed Fourth Plinth commissions, and no end of adulatory media attention set them apart. What happened to Black-British artists during the 1990s is the chronicle around which Things Done Change is built. The extraordinary changes that the profile of Black-British artists went through are dis¬cussed in a lively, authoritative, and detailed narrative. In the evolving history of Black-British artists, many factors have played their part. The art world’s turning away from work judged to be overly ‘political’ and ‘issue-based’; the ascendancy of Blair’s New Labour government, determined to locate a bright and friendly type of ‘diversity’ at the heart of its identity; the emergence of the precocious and hegemonic yBa grouping; governmental shenanigans; the tragic murder of Black Londoner Stephen Lawrence – all these factors and many others underpin the telling of this fascinating story. Things Done Change represents a timely and important contribution to the building of more credible, inclusive, and nuanced art histories. The book avoids treating and discussing Black artists as practitioners wholly separate and distinct from their counterparts. Nor does the book seek to present a rosy and varnished account of Black-British artists. With its multiple references to Black music, in its title, several of its chapter headings, and citations evoked by artists themselves, Things Done Change makes a singular and compelling narrative that reflects, as well as draws on, wider cultural mani¬festations and events in the socio-political arena.Trade Review"Accessible and refreshingly clear [...] An important work that lends an unique methodology and well-deserved analysis to a rarely examined trajectory of the recent black artistic practices in England." – Olubukola A. Gbadegesin, Saint Louis University "Chambers rarely refers to theoretical categories and hardly ever uses academic jargon, but writes an easy, almost colloquial style, accessible also to readers with little knowledge of – but curiosity for – the field. Furthermore, [this book does] not aim at a full and/or balanced account of black art in the UK, but [is a] political [text], and passionately so."– Ingrid von Rosenberg, Technical University of DresdenTable of ContentsAcknowledgements List of Illustrations Preliminary Note Introduction: You were the future once The only thing to look forward to… is the past Service to Empire Chris, Steve, and Yinka: We Run Tings Coming in From the Cold: Some Black Artists Are Embraced Everything Crash Works Cited Index

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Book SynopsisA Cultural History of the Avant-Garde in the Nordic Countries 1900-1925 is the first publication to deal with the avant-garde in the Nordic countries at the start of the twentieth century. The essays cover a wide range of avant-garde manifestations in arts and culture: literature, the visual arts, painting as well as photography, architecture and design, film, radio, and performing arts like music, theatre and dance. It is the first major historical work to consider the Nordic avant-garde in a transnational perspective which includes all the arts and to discuss the role of the avant-garde not only within the aesthetic field, but in a broader cultural context. It examines the social and cultural context of the avant-garde: its media, its locations, its reception and audiences, the transmissions between Scandinavia and Europe, and its cultural consequences. The essays trace the connections between the avant-garde and the cultural discourses of contemporary currents such as revolutionary socialism, radical nationalism and occultism, and discuss questions of gender, ideology and politics, geographical location and technological innovation. The cultural history thus focuses on the role of the avant-garde in shaping the ideas of cultural modernity in the Nordic countries.Trade Review"With The Cultural History of the Avant-Garde in the Nordic Countries 1900-1925, the Nordic Network for Avant-garde studies has presented a generally impressive first volume of a cultural history of the avant-garde in Northern Europe on which continuation we will wait with excitement. We really wish for both the network and the publisher that they will have the necessary long breath to bring cultural history of northern European avant-garde to its end." By Stephan Michael Schröder (Köln), Nordeuropaforum, 2014 pp. 42-46. Full tekst available: http://edoc.hu-berlin.de/nordeuropaforum/2014-/schroeder-stephan-michael-42/PDF/schroeder.pdfTable of ContentsPreface Introduction Hubert van den Berg: The Early Twentieth Century Avant-Garde and the Nordic Countries – An Introductory tour d’horizon Nordic Icons in the European Avant-Gardes Per Stounbjerg: Rebels and Renegades – Strindberg, Artaud and the Avant-Garde Erik Mørstad: Munch’s Impact on Europe Bodil Marie Stavning Thomsen: Die Asta and the Avant-Garde Geert Buelens: “the manifold in one/and the one manifold” – Asta Nielsen as an Icon for the European Avant-Garde Nordic Artists in the European Metropolises Frank Claustrat: Nordic Writers and Artists in Paris before, during and after World War I Shulamith Behr: Académie Matisse and its Relevance in the Life and Work of Sigrid Hjertén Frank Claustrat: Jean Börlin and Les Ballets Suédois Gertrude Cepl-Kaufmann and Anne M. N. Sokoll: “From the North comes the light to us!” – Scandinavian Artists in Friedrichshagen at the Turn of the Century Jan Torsten Ahlstrand: Berlin and the Swedish Avant-Garde – GAN, Nell Walden, Viking Eggeling, Axel Olson and Bengt Österblom Hubert van den Berg and Benedikt Hjartarson: Icelandic Artists in the Network of the European Avant-Garde – The Cases of Jón Stefánsson and Finnur Jónsson Locations of the Nordic Avant-Garde Sven-Olov Wallenstein: The Avant-Garde and the Market Andrea Kollnitz: Promoting the Young – Interactions between the Avant-Garde and the Swedish Art Market 1910-1925 Vibeke Petersen: The Avant-Garde and the Danish Art Market Dorthe Aagesen: Art Metropolis for a Day – Copenhagen during World War I Margareta Tillberg: Kandinsky in Sweden – Malmö 1914 and Stockholm 1916 Stefan Nygård: The National and the International in Ultra (1922) and Quosego (1928) Natalia Baschmakoff: Avant-Garde Encounters on Karelian Bedrock (1890s-1930s) Øivind Storm Bjerke: The Pavilion of De 14 Claes-Göran Holmberg: flamman Bjarne S. Bendtsen: Copenhagen Swordplay – Avant-Garde Manoeuvres and the Aesthetics of War in the Art Magazine Klingen (1917-1920) Torben Jelsbak: Dada Copenhagen Transmission, Appropriations and Responses Claes-Göran Holmberg: The Reception of the Early European Avant-Gardes in Sweden Rikard Schönström: Pär Lagerkvist’s Literary Art and Pictorial Art Fredrik Hertzberg, Vesa Haapala and Janna Kantola: The Finland-Swedish Avant-Garde Moments Per Stounbjerg and Torben Jelsbak: Danish Expressionism Lennart Gottlieb: Avant-Gardism Danish Style – Jais Nielsen as a Modern Genre Painter 1916-18 Kristín G. Guðnadóttir: Jóhannes Kjarval’s Appropriation of Progressive Attitudes in Painting between 1917 and 1920 Andreas Engström: The Modern Breakthrough in Swedish and Scandinavian Art Music Karen Vedel: Dancing across Copenhagen Politics, Ideology, Discourse Torben Jelsbak: Avant-Garde Activism – The Case of the New Student Society in Copenhagen (1922-24) Timo Huusko: Finnish Nationalism and the Avant-Garde Julia Tidigs: Multilingualism and (De)territorialisation in the Works of Elmer Diktonius Anna Maria Bernitz: Hilma af Klint and the New Art of Seeing Thomas Henrikson: Art as a Revolutionary Dionysian Jaguar – Otto Ville Kuusinen, Elmer Diktonius and the Emergence of Avant-Garde Poetry in Finland Benedikt Hjartarson: The Early Avant-Garde in Iceland Epilogue Legacies of the Early Nordic Avant-Gardes Abstracts Index

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Book SynopsisCollage Culture develops a comprehensive theory of the origins and meanings of collage and readymades in modern and postmodern art, literature, and everyday life. Demonstrating that the origins of collage are found in assembly line technologies and mass media forms of layout and advertising in early twentieth-century newspapers, Collage Culture traces how the historical avant-garde turns the fragmentation of Fordist production against nationalist, fascist, and capitalist ideologies, using the radical potential unleashed by new technologies to produce critical collages. David Banash adeptly surveys the reinvention of collage by a generation of postmodern artists who develop new forms including cut-ups, sampling, zines, plagiarism, and copying to cope with the banalities and demands of consumer culture. Banash argues that collage mirrors the profoundly dialectical relations between the cut of assembly lines and the readymades of consumerism even as its cutting-edges move against the imperatives of passive consumption and disposability instituted by those technologies, forms, and relations. Collage Culture surveys and analyzes works of advertising, assemblage, film, literature, music, painting, and photography from the historical avant-garde to the most recent developments of postmodernism.Trade ReviewThe Design Observer published an interview with David Banash on Collage Culture – an inspiring introduction to the book.Table of ContentsAcknowledgments Introduction Fragments: Production, Consumption, and the Readymade Invention: Newspapers, Advertising, and the Origins of Collage Critique: Collage and the Politics of the Cut Nostalgia: Collage, Collecting and the Paste Gleaning: Everyday Life in Collage Culture Conclusion: From the Twentieth-Century’s Cutting Edge to the Twenty-First-Century Copy Notes Bibliography Image Credits Index

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Book SynopsisReworlding Art History highlights the significance of contemporary Southeast Asian art and artists, and their place in the globalized art world and the internationalizing field of ‘contemporary art’. In the light of the region’s modern art history, the book surveys this relatively under-examined area of contemporary art which first found broad international recognition in the 1990s. Richly illustrated and incorporating cross-cultural and interdisciplinary methods, Reworlding Art History is a foundational reference work for those interested in Southeast Asia’s contemporary art, including scholars of art history, Asian studies, curatorship, museology, visual culture, and anthropology, as well as professionals working in art and museum contexts.Table of ContentsAcknowledgements List of Illustrations Preface: Departures Prologue: Points of Entry Part I. Preliminary Encounters 1. Contemporary ‘Southeast Asian’ Art: Regional Interventions Part II. Locating Southeast Asian Difference 2. Mapping Regional Difference: Institutionalized Cartographies of Southeast Asian Art 3. Exhibiting Southeast Asian Difference: Global and Regional Currents Part III. Counterpoints: Southeast Asia in Practice 4. Trans/Localities? Between Dwelling and Movement 5. Memoryscapes: Present Pasts Revisioned 6. Corporeographies: Locating Intimate Spaces of Art Epilogue: Origins, Futures, Becomings Bibliography Index

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Book SynopsisCet ouvrage apporte un éclairage nouveau à l’histoire littéraire et artistique du surréalisme par un biais inédit : l’étude du catalogue d’expositions surréalistes (CES). Se penchant sur un genre interdisciplinaire jusque-là peu étudié, le catalogue d’exposition, il en retrace les fonctions définies par l’institution Royale du XVIIe siècle et son développement pour montrer comment les surréalistes subvertissent les formes traditionnelles liées à la description, l’explication et l’évaluation des œuvres exposées.Trade ReviewL’étude et l’histoire du surréalisme ne s’étaient jamais vraiment intéressées à ces documents, il s’agit donc d’une contribution importante à l’analyse du mouvement car elle privilégie la dimension collective du surréalisme. - Norbert Bandier dans Lectures, juin 2015, http://lectures.revues.org/18186 Cet ouvrage apporte un éclairage nouveau à l'histoire littéraire et artistique du surréalisme par un biais inédit : l'étude du catalogue d'expositions surréalistes (CES). - ADARR, 2016, http://humanities1.tau.ac.il/adarr/en/Table of ContentsPréface de Bernard Vouilloux : « Une aigrette de vent » dans les pages du catalogue Préface de Ruth Amossy : Le discours des catalogues d’exposition : nouvelles perspectives sur le surréalisme Introduction I. Qu’est-ce qu’un catalogue d’exposition? II. Le catalogue d’exposition surrealiste III. La dimension manifestaire du ces. Image identitaire du groupe IV. La doxa mise au defi Conclusion Bibliographie Remerciements Crédits Annexe Index

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Book SynopsisSince the 1874 publication in Belgium of the first posthumous edition of Les Chants de Maldoror, the enigmatic work has served as an inspiration for the poetic and creative liberation of countless twentieth-century writers and artists. Little is known, however, about the book’s elusive French author Isidore Ducasse, known as le comte de Lautréamont, and his abbreviated life (1846-1870). In the absence of an original manuscript, Lautréamont’s readers have over time altered his poetry for personal, political, and aesthetic reasons. Symbolist literary journals, first editions of his work, surrealist illustrated editions, and the prestigious Pléiade edition (1970 and 2009), reveal how varying editions of Lautréamont’s work have in turn contributed to his legend. In Lautréamont, Subject to Interpretation, Andrea S. Thomas carefully explores these editions of this so-called poète maudit to show how impassioned readers can shape not only the reception of works, but the works themselves.Trade Review"Thomas has produced an engagingly written, ground-breaking work that is bolstered by an apposite selection of attractive illustrations. It raises fundamental questions about the complex power dynamics between writers, artists, composers, editors, and publishers in the production of textual authority and is likely to remain for some time as the “point de référence” for any scholar seeking to understand the history of Lautréamont reception." - Damian Catani, Birkbeck University of LondonTable of ContentsList of Illustrations Acknowledgments Introduction Lautréamontage: Imaginary Portraits of Lautréamont I – Fin de Siècle Chapter 1: Outsiders at the Fin de Siècle Chapter 2: Perish then Publish: Partial Truth in the 1890 Edition of Maldoror II – Surrealism Chapter 3: Investing in Lautréamont, 1920 Chapter 4: The Edition as Exhibition: A Surrealist Retrospective, 1938 III – Post-Structuralism Chapter 5: Lautréamont in the Bibliothèque de la Pléiade Chapter 6: Lautréamont Reincarnated Conclusion: John Cage and the Chants de Maldoror: Pulvérisés par l’assistance même Bibliography Index

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