The arts: general topics Books

Book SynopsisAbolitionist Cosmopolitanism redefines the potential of American antislavery literature as a cultural and political imaginary by situating antislavery literature in specific transnational contexts and highlighting the role of women as producers, subjects, and audiences of antislavery literature. Pia Wiegmink draws attention to locales, authors, and webs of entanglement between texts, ideas, and people. Perceived through the lens of gender and transnationalism, American antislavery literature emerges as a body of writing that presents profoundly reconfigured literary imaginations of freedom and equality in the United States prior to the Civil War.Table of ContentsAcknowledgements List of Figures 1 Introduction 2 Mapping the Field  1 Abolitionist Literature Matters  2 Transnational American Antislavery Literature  3 Abolitionist Cosmopolitanism 3 Friends of Freedom: Female Editorship and Transatlantic Communities of Affection in The Liberty Bell  1 Abolitionist Print Culture and Gift-Giving  2 The Gift Book as Chronicle of Transatlantic Affective Communities  3 Fundraising for the Cause: The Annual Boston Antislavery Fair 4 Gendered Global Geographies of American Antislavery Literature in The Liberty Bell  1 Haiti: Edmund Quincy’s “Two Nights in St. Domingo” (1843)  2 Egypt: Maria Lowell’s “Africa” (1849)  3 The United States: Elizabeth Barret Browning’s “The Runaway Slave at Pilgrim’s Point” (1848) 5 Travelling Beyond the Slave Narrative: African American Women’s Autobiography  1 Revisiting the Slave Narrative: Discourses of Travel in Harriet Jacobs’s Incidents in the Life of a Slave Girl (1861)  2 Reports From Russia and Jamaica: Nancy Prince’s Narrative of the Life and Times of Mrs. Nancy Prince (1850)  3 Interlude: Nancy Prince’s Travel Account The West Indies (1841)  4 Reversing Slave Itineraries: Eliza Potter’s A Hairdresser’s Experience in High Life (1859) 6 Travelling Letters of Antislavery: African American Women’s Epistolary Writing  1 Sarah Parker Remond’s Epistolary Writing on Black Freedom of Movement  2 Harriet Jacobs’s First Public Letter (1853) and Women’s Transatlantic Antislavery Epistolary Battles 7 Antislavery, Immigration, and German American Women’s Literature  1 Alexander von Humboldt, Carl Schutz’ “True Americanism” (1859), and German American Abolitionist Self-Fashioning  2 German Antislavery Sentiments and the Cult of German Womanhood in America: Talvj’s The Exiles (1852)  3 German American Utopian Communities: Mathilde Franziska Anneke’s “Uhland in Texas” (1866)  4 Coda: Ottilie Assing’s Writings on Frederick Douglass 8 Conclusion Works Cited Index

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Book SynopsisIs the Sublime Sustainable? introduces the key points of debate around the sublime while opening new avenues for future inquiry, especially through its comparative aesthetics approach. In it, you will discover how thinking on the sublime emerged historically and then engage with the recent critical scholarship on the topic, including from the fields of theology, philosophy, and literature. The critiques of the sublime are then expanded in dialogue with perspectives from Japanese aesthetics and art, shaping the argument that what is needed today is a sublime that enriches human lives by cultivating profound, participative relationships.Trade ReviewContents Note on Translations Acknowledgments Abstract Keywords  Introduction: Questioning the Sublime and Standing before a Waterfall  1 Locating the Sublime in the Euro-American Context  2 Sustaining Depth: Critiquing the Sublime with Theological Aesthetics  3 Preserving Particularity: Critiquing the Sublime with Environmental Aesthetics  4 Cultivating Participation: Critiquing the Sublime with Critical Theory  Conclusion: toward an Everyday Sublime Bibliography

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Book SynopsisPrompting this book is the paradox of belonging. What pushes the author to write are art’s questions. Rather than take the route of writing, artists in academia could opt for the studio, teaching students, and occasionally indulge in conferences and symposia. However, beyond such rituals, writing art’s questions remains akin to art’s acts of belonging. In these lessons of belonging this is done through art’s paradox. Belonging is a matter of art because art belongs to the aporia that writes it.Trade Review"The profundity and scholarship of Baldacchino’s thoughts, coupled with the expanding horizons of his and other artist’s visual work ‘show’ us that belonging is always constituent, a force to originate or to instaur beyond established boundaries." – Dennis Atkinson, Goldsmiths University of London "As in previous works, John Baldacchino’s artistic and philosophical writing challenges the readers to exit into the world. This exit is profoundly implied with today’s politics but also with history and ways of unlearning and imagining other futures for the arts and education." – Catarina Martins, University of Porto "John Baldacchino’s latest work returns to familiar themes in his writings: the Mediterranean, longing, and art’s connection with the makings of possible pasts and futures. [He] take[s] readers on a journey in which art-making challenges us to grasp what we take for granted as the meaning of belonging." – Sandro Barros, Michigan State UniversityTable of ContentsAcknowledgements List of Figures 1 Nowhere: Recurrent Exits  1 Art’s Pagan Intents  2 Renegotiating Belonging  3 The World, Autonomy, and Struggle 2 Scotland, Malta, Palestine: Indirect Belonging  1 Art’s Thirdness  2 Living Somewhere  3 Indirectness, Be-Longing  3 Assumptions of Making  3 Rummiena, Rummeenah, Pomegranates 3 California, Armenia: A Métier for Living  1 Presumed Space  2 Finding Paradox  3 Prosthetic Syntheses  4 Shared Belonging(s)  5 Exiting  6 Impasse  7 Synthetic Prosthesis  8 The Dialectic’s Beyond  9 Paradox’s Pedagogy  10 Wounded by Water 4 Ghana, Crete, Andalusia: Aesthetic Dissonance  1 White Liberal Tolerance  2 Beyond Tolerance  3 Recognition, Specificity, Distinction  4 Aesthetics Contra Aesthetics 5 Harlem, Hellas, Yoruba, Auschwitz: Aesthetic Identity  1 “We Have No Models”  2 Learning to Pray  3 ‘Our’ Contemporaneity  3 The Child and the Tree 6 Paris, Prague: Art’s Foreignness  1 Beauty’s Polity  2 Normalised Deadly Phenomena  2 An Excuse for Bildung’s Attraction  2 Remembering to Forget  2 Avant-Nostalgia’s Inverted Belonging  2 Kundera’s Excuse 7 Alexandria, Monterosso: Nostalgic Salt  1 Performances of Difference  2 Before and after the Shipwreck  2 Journey and Nostalgia  2 Poetic-Pedagogical Hypotheses 8 Al-Baħr al-Abyad, ħa-Yam ħa-Tikhon, Mesógeios, Mediterraneo: Thalassic Lessons  1 Vantage Points  2 “This ‘Inland Sea’ of Ideals”  3 Doing, Undergoing, and Living Deliberately  4 Culture, Revolt and Colonised Economies  5 An Aesthetic Sense of Belonging  6 Lessons of Belonging

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Book SynopsisPrompting this book is the paradox of belonging. What pushes the author to write are art’s questions. Rather than take the route of writing, artists in academia could opt for the studio, teaching students, and occasionally indulge in conferences and symposia. However, beyond such rituals, writing art’s questions remains akin to art’s acts of belonging. In these lessons of belonging this is done through art’s paradox. Belonging is a matter of art because art belongs to the aporia that writes it.Trade Review"The profundity and scholarship of Baldacchino’s thoughts, coupled with the expanding horizons of his and other artist’s visual work ‘show’ us that belonging is always constituent, a force to originate or to instaur beyond established boundaries." – Dennis Atkinson, Goldsmiths University of London "As in previous works, John Baldacchino’s artistic and philosophical writing challenges the readers to exit into the world. This exit is profoundly implied with today’s politics but also with history and ways of unlearning and imagining other futures for the arts and education." – Catarina Martins, University of Porto "John Baldacchino’s latest work returns to familiar themes in his writings: the Mediterranean, longing, and art’s connection with the makings of possible pasts and futures. [He] take[s] readers on a journey in which art-making challenges us to grasp what we take for granted as the meaning of belonging." – Sandro Barros, Michigan State UniversityTable of ContentsAcknowledgements List of Figures 1 Nowhere: Recurrent Exits  1 Art’s Pagan Intents  2 Renegotiating Belonging  3 The World, Autonomy, and Struggle 2 Scotland, Malta, Palestine: Indirect Belonging  1 Art’s Thirdness  2 Living Somewhere  3 Indirectness, Be-Longing  3 Assumptions of Making  3 Rummiena, Rummeenah, Pomegranates 3 California, Armenia: A Métier for Living  1 Presumed Space  2 Finding Paradox  3 Prosthetic Syntheses  4 Shared Belonging(s)  5 Exiting  6 Impasse  7 Synthetic Prosthesis  8 The Dialectic’s Beyond  9 Paradox’s Pedagogy  10 Wounded by Water 4 Ghana, Crete, Andalusia: Aesthetic Dissonance  1 White Liberal Tolerance  2 Beyond Tolerance  3 Recognition, Specificity, Distinction  4 Aesthetics Contra Aesthetics 5 Harlem, Hellas, Yoruba, Auschwitz: Aesthetic Identity  1 “We Have No Models”  2 Learning to Pray  3 ‘Our’ Contemporaneity  3 The Child and the Tree 6 Paris, Prague: Art’s Foreignness  1 Beauty’s Polity  2 Normalised Deadly Phenomena  2 An Excuse for Bildung’s Attraction  2 Remembering to Forget  2 Avant-Nostalgia’s Inverted Belonging  2 Kundera’s Excuse 7 Alexandria, Monterosso: Nostalgic Salt  1 Performances of Difference  2 Before and after the Shipwreck  2 Journey and Nostalgia  2 Poetic-Pedagogical Hypotheses 8 Al-Baħr al-Abyad, ħa-Yam ħa-Tikhon, Mesógeios, Mediterraneo: Thalassic Lessons  1 Vantage Points  2 “This ‘Inland Sea’ of Ideals”  3 Doing, Undergoing, and Living Deliberately  4 Culture, Revolt and Colonised Economies  5 An Aesthetic Sense of Belonging  6 Lessons of Belonging

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Book SynopsisMoving beyond the neurohype of recent decades, Worlding the Brain introduces the concept of “worlding” as a new perspective to understand the inherent entanglement of brains/minds with their worldly environments, cultural practices, and social contexts. Worlding the Brain makes a case for the distinctive role of the humanities and arts in the research on brains and cognition and explores new forms of interdisciplinarity.Table of ContentsList of Illustrations Notes on Contributors Introduction: Together again, Apart  Stephan Besser and Flora Lysen Part 1: Worlded Brains 1 ‘Worlding’ the Brain through the Cultural Practice of Rhetorical memoria  Michael Burke 2 The Mediated Brain  A Case Study on Experiential Engagement with Cinematic Form  Joerg Fingerhut 3 Getting a Kick out of Film  Aesthetic Pleasure and Play in Prediction Error Minimizing Agents  Mark Miller, Marc Anderson, Felix Schoeller and Julian Kiverstein 4 Transgenerational Trauma and Worlded Brains  An Interdisciplinary Perspective on “Post-Traumatic Slave Syndrome”  Machiel Keestra 5 Beworldered  An Autobiographical Inquiry of Epileptic Being  Trijsje Franssen 6 Pedagogy and Neurodiversity  Experimenting in the Classroom with Autistic Perception  Halbe Kuipers Part 2: Narrative Entanglements 7 Personification as Élanification  Agency Combustion and Narrative Layering in Worlding Perceived Relations  Marco Bernini 8 Cognitive Formalism  Or, How Presence Machines are Built  Karin Kukkonen 9 “Watchman, What of the Night?”  Reading Uncertainty in Djuna Barnes’s Nightwood  Shannon McBriar 10 The Unfolding Now  Narrative Sense-Making from a Neurocinematic Perspective  Pia Tikka and Mauri Kaipainen Part 3: Figuring the Brain 11 Set and Setting of the Brain on Hallucinogen  Psychedelic Revival in the Acid Western  Patricia Pisters 12 Modeling the Model  Reflections on a 10-Year Documentary about the Blue Brain Project  Noah Hutton 13 A Monk in the Office  Mindfulness and the Valuation of Popular Neuroscience  Ties van der Werff 14 Figuring Thought  Between Experience and Abstraction  Ksenia Fedorova PART 4: Shared Patterns and Discordant Worlds 15 Circulating Neuro-Imagery A Trilogue  Antye Guenter, Flora Lysen, and Alexander Sack 16 What Have the Arts and Humanities Ever Done for Us?  Disruptive Contributions and a 4E Cognitive Arts and Humanities  Michael Wheeler 17 Measuring Acoustic Social Worlds  Reflections on a Study of Multi-Agent Human Interaction  Shannon Proksch, Majerle Reeves, Michael Spivey and Ramesh Balasubramania 18 Harmonic Dissonance: Synchron(icit)y  A Case Study of Experimentation at the Intersection of the Arts and Sciences  Suzanne Dikker and Suzan Tunca 19 Thanks for Sharing  Local Worlds, Xeno-Patterning, and Predictive Processing  Stephan Besser Index

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Book SynopsisThis book reveals how violent pasts were constructed by ancient Mediterranean societies, the ideologies they served, and the socio-political processes and institutions they facilitated. Combining case studies from Anatolia, Egypt, Greece, Israel/Judah, and Rome, it moves beyond essentialist dichotomies such as “victors” and “vanquished” to offer a new paradigm for studying representations of past violence across diverse media, from funerary texts to literary works, chronicles, monumental reliefs, and other material artefacts such as ruins. It thus paves the way for a new comparative approach to the study of collective violence in the ancient world.Table of ContentsPreface List of Figures Abbreviations Notes on Contributors 1 Introduction  Sonja Ammann 2 The Ruins of Jericho (Joshua 6) and the Memorialization of Violence  Angelika Berlejung 3 Memorializing Saul’s Wars in Samuel and Chronicles  Stephen Germany 4 Fighting Annihilation: The Justification of Collective Violence in the Book of Esther and Beyond  Helge Bezold 5 Hellenizing Hanukkah: Reframing War Commemoration in 1 and 2 Maccabees  Julia Rhyder 6 Memories of Violence in the Material Imagery of Karkamiš and Samʾal: The Motifs of Severed Heads and the Enemy Under Chariot Horses  Izak Cornelius 7 Israel’s Violence in Egypt’s Cultural Memory  Antonio Loprieno 8 Real Fights and Burlesque Parody: The Depiction of Violence in the Inaros Cycle  Damien Agut-Labordère 9 Material Responses to Collective Violence in Classical Athens  Nathan T. Arrington 10 Remembering and Forgetting the Sack of Athens  David C. Yates 11 The Darkest Hour (?): Military Defeats during the Second Punic War in Roman Memory Culture  Simon Lentzsch 12 Rebellious Narratives, Repeat Engagements, and Roman Historiography  Jessica Clark Index

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Book SynopsisThe British have been involved in numerous wars since the Middle Ages. Many, if not all, of these wars have been re-constructed in historical accounts, in the media and in the arts, and have thus kept the nation's cultural memory of its wars alive. Wars have influenced the cultural construction and reconstruction not only of national identities in Britain; personal, communal, gender and ethnic identities have also been established, shaped, reinterpreted and questioned in times of war and through its representations. Coming from Literary, Film and Cultural Studies, History and Art History, the contributions in this multidisciplinary volume explore how different cultural communities in the British Isles have envisaged war and its significance for various aspects of identity-formation, from the Middle Ages through to the 20th century.Trade Review”…a well-balanced though necessarily eclectic volume of articulate essays, which are all well-annotated and provide comprehensive bibliographies. […] insightful multidisciplinary collection…” in: Anglia, Band 122 (2004), Heft 2Table of ContentsBARBARA KORTE AND RALF SCHNEIDER: Introduction; BARBARA KORTE: Wars and ‘British’ Identities – From Norman Conquerors to Bosnian Warriors. An Overview of Cultural Representations; DIANA CONDELL: The History and Role of the Imperial War Museum; FRITZ KEMMLER: Facts and Fictions – The Norman Conquest; UTE ENGEL: The Bayeux Tapestry and All That – Images of War and Combat in the Arts of Medieval England; BERNHARD KLEIN: ‘Tales of Iron Wars’ – Shakespeare and the Uncommon Soldier; THOMAS ROMMEL: ‘Lines Suggested by the War in the Crimea’ – Florence Nightingale and the Role of the Individual Soldier; PAUL GOETSCH: The Fantastic in Poetry of the First World War; EVELINE KILIAN: “What does ‘our country’ mean to me an outsider?” – Virginia Woolf, War and Patriotism; JENNI CALDER: World War and Women – Advance and Retreat; CHRISTOPHER HARVIE: Men Who Pushed and Went – West Britain, War and Fiction, 1914-1926; CLAUDIA STERNBERG: The Tripod in the Trenches – Media Memories of the First World War; PAUL ADDISON: National Identity and the Battle of Britain; HELGE NOWAK: Britain, Britishness and the Blitz – Public Images, Attitudes and Visions in Times of War; SILVIA MERGENTHAL: England’s Finest – Battle Fields and Football Grounds in John King’s Football Novels; DOROTHEA FLOTHOW: ‘Britons’ at War – A Selective Chronology; INDEX; NOTES ON CONTRIBUTORS

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Book SynopsisThis collection of 19 essays is the first one devoted to function-oriented analyses of intermedial interrelationships in literature, art, music, and film. The contributors — among others, Werner Wolf, James Heffernan, Walter Bernhart, Siglind Bruhn, Claus Clüver, Valerie Robillard, and Tamar Yacobi — are leading international scholars in the field of intermediality. The common basis of the essays in this volume — ranging from intermedial studies of medieval liturgical practices, early cinema, modernist art, ekphrasis, music and literature, art and literature, film and literature, hymns, and pop music, to the musical and technological aspects of Concrete poetry — is the ambition to pay attention to the cultural contexts that enhance the significance of these intermedial works and trends under examination. Since the contributions cover different types of intermedial endeavours from various periods and times, a kind of historicizing perspective is outlined. So, in pursuit of a still lacking coherent historical survey of cultural functions of intermediality, this volume might be recognized as a step towards such a Funktionsgeschichte for intermedial exploration.Table of ContentsThe Editors: Introduction: In Pursuit of Functional Aspects of Intermedia Studies Werner WOLF: Towards a Functional Analysis of Intermediality: The Case of Twentieth-Century Musicalized Fiction James HEFFERNAN: Literacy and Picturacy: How Do We Learn to Read Pictures? Helena BODIN: Metaphor and Metonymy in the Byzantine Representation of the Divine: Remarks on the Interart Aspects of Byzantine Aesthetics Nils Holger PETERSEN: Intermedial Strategy and Spirituality in the Emerging Opera: Gagliano’s Dafne and Confraternity Devotion Kristin RYGG: Mystification through Musicalization and Demystification through Music: The Case of Haugtussa Vreni HOCKENJOS: Strindberg and the Sciopticon Bengt EDLUND: Musical Conception of Abstract Film: The Case of Viking Eggeling’s Diagonal Symphony Siglind BRUHN: Three Ways of Listening to Birds on a Crank: Musical Interpretations of Paul Klee’s Witty Criticism of Modern Culture Valerie K. ROBILLARD: On the Virtue of Hindsight: William Carlos Williams and the Abstract Expressionists. Paul TENNGART: Poetry as Music: The Significance of Musicalized Poetry in the Aftermath of Swedish Modernism Claus CLÜVER: Concrete Sound Poetry: Between Poetry and Music Jesper OLSSON: Typewriter; Tape Recorder & Concrete Poetry Tamar YACOBI: Ekphrasis and Perspectival Structure Johan STENSTRÖM: The Representation of Orthodox Icons in the Poetry of Ingemar Leckius Mona SANDQVIST: The Voice of the Artefact in Göran Sonnevi’s “Burge, Öja; 1989” Ulla-Britta LAGERROTH: Gazing at ‘The Female Nude’: Gendered Functions of a Visual Icon in Some Modern Texts Walter BERNHART: The ‘Destructiveness of Music’: Functional Intermedia Disharmony in Popular Songs Anders OHLSSON: The Filmicalized Novel and the Medialization of Life: Ben Eltons Popcorn Inger SELANDER: Ways and Functions of Intermedial Relationships between Text and Tune in Hymns Bibliography Notes on Contributors Index of Names

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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 SynopsisThis volume examines the multifaceted ways in which textual material in nineteenth-century European cultures intersected with non-literary cultural artefacts and concepts. The essays consider the presence of such diverse phenomena as the dandy, nationhood, diasporic identity, operatic and dramatic personae and effects, trapeze artists, paintings, and the grotesque and fantastic in the work of a variety of writers from France, Germany, Spain, Britain, Russia, Greece and Italy. The volume argues for a view of the long nineteenth century as a century of lively cultural dialogue and exchange between national and sub-national cultures, between ‘high’ and popular art forms, and between different genres and different media, and it will be of interest to general readers and scholars alike.Table of ContentsAcknowledgements Rachael Langford: Introduction: Intertextual, Intermedial, Intersections Eduardo Ralickas: Figuring the Artistic Subject: a Genealogy of Nineteenth-Century Dandyism Sarah Hibberd: Monsters and the Mob: Depictions of the Grotesque on the Parisian Stage, 1826-1836 Birgit Haas: Staging Colours: Edward Gordon Craig and Wassily Kandinsky Gustav Frank: Symptoms of Epistemological Change: Intersections with Music and the Visual Arts in the German Novel of the Long Nineteenth Century Ricarda Schmidt: How to Get Past Your Editor: E.T.A. Hoffmann’s Don Juan as a Palimpsest Andrew Ginger: Fragments and Time: Aspects of Revolutionary Change, Literature and Painting in Spain (1790-1870) Steffan Davies: Geschichte Wallensteins: Ranke’s Problem of Narrative – and Schiller’s Solution? David Scott: Generical Intersections in Nineteenth-Century French Painting and Literature: Manet’s La Musique aux Tuileries and Baudelaire’s Petits Poèmes en prose Albert Boime: Manet's A Bar at the Folies-Bergère as an Allegory of Nostalgia Mairi Liston: Theatrical Intersections: an Entry from the Goncourts’ Journal, 1 March 1862 Katherine Ashley: Literary Acrobatics: Edmond de Goncourt’s Les Frères Zemgano Deirdre O’Grady: Decapitation, Dissection and Symbolic Deformity: the Crisis of Italian Romanticism: Hugo, Piave and Boito Guiliana Pieri: The Effect of the Pre-Raphaelites on the Cultural Consciousness of D’Annunzio Eda Dobrovetsky: Jewish Motifs in Mid-Nineteenth Century Russian Music, Art and Art Criticism Anastasia Siopsi: Dreaming the Myth of ‘Wholeness’: Romantic Interpretations of Ancient Greek Music in Greece (1890-1910) Marion Schmid: Proust and the Fantastic: Metaphor, Metamorphosis and the Visual Arts Notes on Contributors Index of Proper Names

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Book SynopsisFrom the late 19th century onwards Paris had been a congenial locus for bohemian life. By 1920 Montparnasse had superseded Montmartre as the intellectual and artistic heart of the city, inaugurating a decade of unequalled creative achievement and innovative self-performance. These were the years of the ‘Roaring Twenties’ or années folles. “Paris” – as Gertrude Stein famously remarked – “was where the twentieth century was”. The Rive Gauche offered a carnivalesque atmosphere of liberality, where the manifold experiments of the avant-garde could breathe freely. This volume attempts to do justice to the polyphony of voices and points up the synergies that existed between the creative activities of writers, painters, publishers, photographers and film-makers. The contributors adopt interdisciplinary approaches, casting new light on the rich and diverse artistic world of Paris in the twenties as presented in lesser known works by French artists, English and American expatriates, but also Belgian, Dutch, German, Polish or South American avant-gardists. The collection thus gives the reader a fascinating insight into artistic productions which have hitherto received comparatively little critical attention.Table of ContentsElke Mettinger, Margarete Rubik and Jörg Türschmann: Introduction Dieter Fuchs: Judgements of Paris and Falling Troy – The French Metropolis as a Site of Cultural Archaeology in James Joyce’s Ulysses and F. Scott Fitzgerald’s “Babylon Revisited” Elke Mettinger: Midwives to Modernism: Three Women’s Contributions to the Making of the Avant-Garde Margarete Rubik: Jean Rhys’s Vision of the Left Bank Eva Müller-Zettelmann and Rudolf Weiss: “La vie toute faite des morceaux”: Intermediality and Impressionism in Jean Rhys’s Quartet Elke Frietsch: The Surrealist Artist is Strolling around with the Little Puppy-Dog Sigmund Freud at his Heels: Perceptions of Space, the Subconscious and Gender Codifications in 1920s Paris Petra Löffler: Picturing the Metropolis: Paris in the Eye of the Camera Birgit Wagner: Topography of a City of Differences: René Crevel’s La Mort difficile (1926) Sylvia Schreiber: The Pull of the Metropolis: The Années folles from a Belgian Perspective, or the Paris of Maigret Manuel Chemineau: “Black Paris” in the 1920s and René Maran’s Novel Batouala Friedrich Frosch: Americans in Paris: Huidobro. Girondo. Tarsiwald. Vallejo Martina Stemberger: The Plague in Paris or Burning Cities: Bruno Jasieński versus Paul Morand Jörg Türschmann: Claire Goll: Eine Deutsche in Paris (Une Allemande à Paris) Herbert Van Uffelen: Studies in buitenkant – Studies in Surroundings: Edgar Du Perron and the Modernists Bettina Thurner: “It is evil; it is beautiful; it is fascinating; it is bewildering”: Thomas Wolfe’s Paris of the 1920s Astrid M. Fellner: “At Last Lost in Paris”: A Canadian View on the Avant-Garde Paris of the 1920s

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Book SynopsisUnderstanding Knowledge Creation: Intellectuals in Academia, the Public Sphere and the Arts brings together scholars from a wide range of disciplines and cultures and involves them into a multi-dimensional dialogue on the mechanisms of knowledge creation in the present-day society with a specific focus on intellectuals as knowledge creators in three main arenas of their activity: the ‘institutionalized’ arena - academia - and two adjacent arenas: the public sphere and the arts.Table of ContentsIntroduction Nikita Basov and Oleksandra Nenko: Intellectuals and the Transformation of Knowledge Creation Intellectuals in Academia: Institutionalized Knowledge Creation Jeroen van Andel: The Rationalization of Academia: From Bildung to Production James Moir: The Democratic Intellect Reconsidered Intellectuals in the Public Sphere: ‘Organic’ Knowledge Creation Sechaba Mahlomaholo and Vhonani Netshandama: Post-Apartheid Organic Intellectual and Knowledge Creation Tunde Adeleke: Walter A. Rodney and the Instrumentalist Construction and Utilization of Knowledge Georg F. Simet: Possibilities and Risks of Influencing Public Knowledge: The Case of Hrant Dink Olga Procevska: Not a Sin, but a Side Effect: Collaboration and Knowledge Creation by the Organic Intellectuals Intellectuals in the Arts: Emotional Knowledge Creation Carlos David García Mancilla: Art and the Passion of Intellect Claire Heaney: Emotional Intelligence: Literature, Ethics and Affective Cognition in J.M. Coetzee’s Disgrace Oleksandra Nenko: Aesthetic Emotional Experience: From Eye Irritation to Knowledge Conclusion Nikita Basov: Knowledge Creation in the Intellectual Networks Notes on Contributors

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Book SynopsisThis second volume of research emanating from Drama for Life, University of the Witwatersrand, explores the transformative and healing qualities of the arts in South Africa, Botswana, Cameroon, Kenya, Rwanda, and Zimbabwe. Essays on arts for social change illuminate the difficulties of conflict-resolution (in war-scarred countries, tertiary institutions, and child-offender programmes) to promote broader understanding of diversity and difference. Further essays focus on arts and healing, in which music therapy diagnoses, repairs, sustains, and enhances collective health. Intervention theatre – in prisons, fieldwork, and the ethics and politics of storytelling – is examined as a basis for collaboration with children and youth. The musical theatre traditions of Botswana’s San people are investigated, as well as the benefits of arts counselling with educators to alleviate psycho-social stress in classrooms. Important insights are provided into ways of applying the arts and raise questions of ethics, effectiveness, and apposite usage. Also treated is the role of aesthetics in the effectiveness of art, particularly in social contexts. Included are overviews of the ways in which the aesthetics of drama have changed over the past four decades and of the cohesive potential of the arts. How can arts practitioners engage in inter-cultural dialogue to facilitate healing? The energy and inventiveness of the playful mode engender new ways of contending with social issues, whereby the focus is on how theatre affects an audience and on how communication in applied theatre and drama can reach audiences more effectively. These essays provide an insight into the application of the arts for transformation across Africa. Through their juxtaposition in this volume they speak to the variety and purposes of arts approaches and offer fresh perspectives on and to the field.Table of ContentsAcknowledgements List of Figures and Tables Introduction Arts For Social Change Kim Berman: Imagination and Agency: Facilitating Social Change through the Visual Arts Owen Seda And Nehemiah Chivandikwa: Theatre in Combat with Violence: The University of Zimbabwe Department of Theatre Arts and Amani Trust Popular Travelling Theatre Project on Political Violence and Torture – Some Basic and Non-Basic Contradictions Théogène Niwenshuti: Dance as a Communication Tool: Addressing Inter-Generational Trauma for a Healthier Psycho-Social Environment in Rwanda and the Great Lakes Region of Africa Kennedy Chinyowa: Exploring Conflict Management Strategies through Applied Drama: A Wits University Case Study Kristy Errington, Sheri Errington, Helen Oosthuizen and Ntombifuthi Sangweni: Dancing Drumming and Drawing the Unspeakable: An Exploration of an Arts-Based Programme as Complementary Interventions in the Diversion of Youth Sex Offenders Arts, Africa, And Healing Mercédès Pavlicevic: Music, Musicality, and Musicking: Between Therapy and Everyday Life Christopher John: Catharsis and Critical Reflection in IsiZulu Prison Theatre: A Case Study from Westville Correctional Facility in Durban Christopher Odhiambo: In Between Activism and Education: Intervention Theatre in Kenya Sara Matchett and Makgathi Mokwena: Washa Mollo: Theatre as a Milieu for Conversations and Healing Petro Janse van Vuuren: The Keep Them Safe 2010 Project: Using Story to Structure a Programme with Sustainable Impact for 7,000 Children Leigh Nudelman: Elephant in the Theatre: The Ethics and Politics of Narration in an International Collaboration Michelle Booth: Supporting Educators to Support Learners: An Art Counselling Intervention with Educators conni e rapoo: Performing Cultural Memory and the Symbolic: The Musical Theatre Traditions of the Basarwa in the Ghanzi District, Botswana Myer Taub: Christine’s Room: Re/Voicing the Document Arts And Aesthetics Lynn Dalrymple: Applied Art Is Still Art, and By Any Other Name Would Smell As Sweet Emelda Ngofur Samba: Dramatic Art at the Frontiers of Ontology: Reconsidering Aesthetics Veronica Baxter: Postcards on the Aesthetic of Hope in Applied Theatre Emma Durden: Researching the Theatricality and Aesthetics of Applied Theatre Notes on Contributors Onomastic Index Notes for Contributors

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Book SynopsisAccording to Gilles Deleuze (1925-1995) philosophy is not for the privileged few or the specialized ones: it is an activity that appeals to anyone who is attuned to the desire for the ethical life. Inspired by Spinoza’s concepts of desire and freedom, Deleuze’s ethical life is a life that aims at experimenting with sustainable ways of coping with the earth, with society, with the long term struggles and contemporary crisis that matter to us all. An ethical life defines thinking as the invention/intervention of new concepts and takes the risk of working with them in the real world. This book has been written in this spirit of free explorations of intensities. It explores the entanglements between art, activism and life in the service of training us to live ethically. Contrary to morality, which is the implementation of socially accepted rules and regulations, ethics requires an analysis of the power relations that structure our interaction as relational subjects, in order to enable us to deal with them. The original contributions presented in this volume aim to set these ideas to work in contemporary practices, exploring the ways in which Deleuze’s thought continues to be relevant at the start of the 21st century. As a product of the “Deleuze Circle”, an open collaboration between academics situated in the Low Countries started in 2008, the chapters in this book contribute to our ongoing conversations on how to live the ethical life today in academia, in art but above all in our multiple ecologies of belonging.Table of ContentsRosi Braidotti and Rick Dolphijn: Introduction: Deleuze’s Philosophy and the Art of Life Or: What does Pussy Riot Know? Anneke Smelik: Fashioning the Fold: Multiple Becomings Andrej Radman: Sensibility is Ground Zero: On Inclusive Disjunction and Politics of Defatalization Sjoerd van Tuinen: Populism and Grandeur: From Marx to Arafat Joeri Visser: The Healing Practices of Language: Artaud and Deleuze on Flesh, Mind and Expression Frans Willem Korsten: Humile Art: Enhancing the Body’s Powers to Act – or Bringing Art (back) Down to Earth Agnieszka Wołodźko: Materiality of Affect: How Art can Reveal the more Subtle Realities of an Encounter Rick Dolphijn: The Revelation of a World that was Always Already There: The Creative Act as an Occupation Jay Hetrick: The Ethico-Aesthetics of the Figure Tom Idema: Thinking ‘a Life’: Nomadism as a Challenge for (Post-)Genomics Henk Oosterling: Mesopolitical Interests: Rotterdam Skillcity as Rhizomatic, Ecosophical, Reflactive Event Contributors

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