Search results for ""Leuven University Press""

A new generation of European cartoonistsBringing together the work of an array of North American and European scholars, this collection highlights a previously unexamined area within global comics studies. It analyses comics from countries formerly behind the Iron Curtain like East Germany, Poland, Czech Republic, Hungary, Romania, Yugoslavia, and Ukraine, given their shared history of WWII and communism. In addition to situating these graphic narratives in their national and subnational contexts, Comics of the New Europe pays particular attention to transnational connections along the common themes of nostalgia, memoir, and life under communism. The essays offer insights into a new generation of European cartoonists that looks forward, inspired and informed by traditions from Franco-Belgian and American comics, and back, as they use the medium of comics to reexamine and reevaluate not only their national pasts and respective comics traditions but also their own post-1989 identities and experiences.Contributors: Max Bledstein (University of Winnipeg), Dragana Obradović (University of Toronto), Aleksandra Sekulić (University of Arts in Belgrade), Pavel Kořínek (Institute of Czech Literature, Czech Academy of Sciences in Prague), Martin Foret (Palacký University), Michael Scholz (Uppsala University), Sean Eedy (Carleton University), Elizabeth Nijdam (University of British Columbia), Ewa Stańczyk (University of Amsterdam), Eszter Szép (Eötvös Loránd University)This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).In this video Martha Kuhlman discusses various aspects of the book 'Comics of the New Europe', focusing in particular on Czech authors.

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Journalism and unique translation practices by Japanese media todayInternational news stories provided to the public basically rely on translation. Most of this translation is done not by translators, but by journalists with practically no training in translation. What happens when the norms of journalism and those of translation clash? In this book, the author, a trained conference interpreter and former international journalist, investigates translator decisions in the practice of Japanese news translation. Her extensive analysis of texts from six major Japanese newspapers and interviews with Japanese “journalators” focuses on direct quotations, where accuracy is a journalistic priority but can generate loss of communication impact if implemented rigidly. She argues that many shifts from accuracy can be explained as risk management strategies. When News Travels East provides invaluable insight from an insider about news translation in Japan and beyond and paves the way for further research in the field.This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

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Throughout the twentieth century housing displays have proven to be a singular genre of architectural and design exhibitions. By crossing geographies and adopting multiple scales of observation - from domestic space to urban visions - this volume investigates a set of unexplored events devoted to housing and dwelling, organised by technical, professional, cultural or governmental institutions from the interwar years to the Cold War. The book offers a first critical assessment of twentieth-century housing exhibits and explores the role of exhibitions in the codification of notions of domesticity, social models, policies, and architectural and urban discourse. At the intersection of housing studies and the history of exhibitions, The Housing Project not only offers a novel angle on architectural history but also enriches scholarly perspectives in urban studies, cultural and media history, design, and consumption studies. This publication is GPRC-labeled (Guaranteed Peer Review Content). Contributors: Tamara Bjazic Klarin (Institute of Art History, Zagreb), Gaia Caramellino (Politecnico di Milano), John Crosse (Independent Scholar), Stephanie Dadour (ENSA Grenoble, MHAevt/EA 7445, ACS/UMR AUSser), Rika Devos (Universite Libre de Bruxelles, BATir Department), Fredie Flore (KU Leuven), Johanna Hartmann (Institute for Art History-Film Studies-Art Education, University of Bremen), Erin McKellar (Royal Holloway, University of London), Laetitia Overney (ENSA Paris-Belleville, IPRAUS/UMR AUSser 3329), Jose Parra (University of Alicante), Mathilde Simonsen (Oslo School of Architecture and Design), Eva Storgaard (University of Antwerp), Ludovica Vacirca (Independent Scholar)

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Aberrant Nuptials explores the diversity and richness of the interactions between artistic research and Deleuze studies. "Aberrant nuptials" is the expression Gilles Deleuze uses to refer to productive encounters between systems characterised by fundamental difference. More than imitation, representation, or reproduction, these encounters foster creative flows of energy, generating new material configurations and intensive experiences. Within different understandings of artistic research, the contributors to this book--architects, composers, film-makers, painters, performers, philosophers, sculptors, and writers--map current practices at the intersection between music, art, and philosophy, contributing to an expansion of horizons and methodologies. Written by musicians and artists who have been reflecting Deleuzian and Post-Deleuzian discourses in their artworks, and by established Deleuze scholars who have been working on interferences between art and philosophy, this volume reflects the current relevance of artistic research and Deleuze studies for the arts. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content). Contributors: Suzie Attiwill (RMIT University), Sara Baranzoni (Universidad de las Artes of Guayaquil), Zsuzsa Baross (Trent University), Terri Bird (Monash University), Ronald Bogue (University of Georgia), Barbara Bolt (VCA University of Melbourne), Peter Burleigh (University of Basel / HGK, Basel), Edward Campbell (University of Aberdeen / Centre for Modern Thought), Marianna Charitonidou (University of Paris West Nanterre / National Technical University of Athens), Jean-Marc Chouvel (Paris-Sorbonne University), Guillaume Collett (University of Kent), Zornitsa Dimitrova (University of Munster), Lilija Duobliene (University of Vilnius), Lucia D'Errico (Orpheus Institute), Bracha L. Ettinger (artist, painter, theorist), Henrik Frisk (Royal Academy of Music Malmoe), jan jagodzinski (University of Alberta), Oleg Lebedev (Universite Catholique de Louvain), Gustavo Penha (University of Sao Paulo), Katie Pleming (King's College London), Liana Psarologaki (University of Suffolk), Emilia Marra (University of Trieste), Tero Nauha (Helsinki Collegium), Stefan OEstersjoe (Orpheus Institute), Simon O'Sullivan (theorist, artist), Antonia Pont (Deakin University), Elisabeth Presa (University of Melbourne), Spencer Roberts (University of Huddersfield), Jonas Rutgeerts (dramaturge, performance theorist), Anne Sauvagnargues (University of Paris Ouest Nanterre La Defense), Janae Sholtz (Alvernia University), Steve Tromans (musician, independent researcher), Kamini Vellodi (University of Edinburgh), Paolo Vignola (Universidad de las Artes of Guayaquil), Audrone Zukauskaite (Lithuanian Culture Research Institute). In collaboration with Orpheus Institute

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The French comic magazine Pilote hebdomadaire arrived in a weakening comics market in 1959 largely dominated by syndicated translations of American comics and comics inspired by a Catholic ethos. It tailored its content and tone to an older adolescent reader far removed from that of France's infant comic. Pilote's profile set it on a turbulent course subject to the vicissitudes and fickleness of fashion which situated it within an emerging teenager press under pressure to renew and innovate to survive. When it made cartoons its defining characteristic in 1963, Pilote articulated its uniqueness by channelling teenager discourse through them whilst also trying to encourage a zest for education in a modernising and economically buoyant France of exciting new opportunities. Pilote's cartoon art thus became a dynamic repository for the ideas and attitudes of France's educated youth which evolved into the radical discourses of the lifestyle and political revolutions of the late 1960s and early 1970s.This book tells how Pilote hebdomadaire's unique positioning in a new and fast developing youth press market for teenagers provided the forum and catalyst for the bande dessinee's stylistic evolution over the course of the 1960s and 1970s.

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In the postwar era, design became important as a marker of modernity and progress at world fairs and international exhibitions and in the global markets. The Belgian state took a special interest in this vanguard phenomenon of 'industrial design' as a vital political and economic strategic tool in the context of the Cold War and the creation of the European community. This book describes the unique position that design occupied in the political context of postwar Belgium as it analyses the public promotion of design between 1950 and 1986. It traces this process, from the first government-backed manifestations and institutions in the 1950s through the 1960s and 1970s, until design lost its privileged position as a state-backed institution, a process which culminated in the closure of the Brussels Design Centre in 1986, in the midst of the Belgian federalization process. A key figure in this history is the policymaker Josine des Cressonni res, who played a leading role in the national and international design community and succeeded in connecting very different political worlds through the medium of design.

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'Experimental Affinities in Music brings' together diverse artistic, musicological, historical, and philosophical essays, enhancing a broad discourse on artistic experimentation, and exploring various experimental attitudes in music composed between the thirteenth and twentieth centuries.

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In English, Latin, French, and Italian. This book contains twenty-one essays written by the late Professor Jozef IJsewijn during the period 1966–1996. All essays were selected by his pupil Professor Gilbert Tournoy, who collaborated with him from the foundation of the Seminarium Philologiae Humanisticae in 1966 until his untimely death in 1998. IJewijn's essays are now published in one volume in homage to the most brilliant scholar in the field of Neo-Latin Studies of the twentieth century. A number of essays focus on the life and/or work of a single humanist from the Netherlands, others have a more general nature and deal with the very beginning and the later blossoming of Neo-Latin literature in the Low Countries or with the relationship between humanism in the Low Countries and in other European countries.

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A reader’s history exploring girls’ comicsGirls’ comics were a major genre from the 1950s onwards in Britain and the most popular titles sold between 800,000 and a million copies a week. However, this genre was slowly replaced by magazines which now dominate publishing for girls. 'Remembered Reading' is a readers’ history which explores the genre, and memories of those comics, looking at how and why this rich history has been forgotten. The research is based around both analysis of what the titles contained and interviews with women about their childhood comic reading. In addition, it also looks at the other comic books that British girls engaged with, including humour comics and superhero titles. In doing so it looks at intersections of class, girlhood, and genre, and puts comic reading into historical, cultural, and educational context. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

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Reduced Price!Now only € 40,00 instead of € 80,00In the questions contained in this volume, Francis of Marchia explores subjects that earned him his fame in the Middle Ages and in the history of ideas: physics and philosophical psychology. He confronts the key issues in celestial physics, concluding with his well-known proofs for terrestrial and celestial beings having the same type of matter (q. 32). Marchia's discussion of how elemental qualities persist in mixtures (qq. 33-36) leads to a spirited and unique defense of a mind-body dualism: not even the sensory faculties are coextensive with the body (q. 37). Moreover, each living being has two forms: the soul and the form of the body (q. 38). Marchia rejects the Averroistic doctrine of the unicity of the intellect (qq. 39-40), as well as acts of understanding being entirely the result of external stimuli (q. 41). Those positions in turn inform his investigation of the mechanics of thinking and willing, and his establishment of the will's priority over the intellect (qq. 42-47). Finally, Marchia balances human free willing with God's absolute power and cooperation in all matters (qq. 48-49).Throughout these questions, Marchia shows his originality and sharp intellect. Although at times his solutions look similar to those of John Duns Scotus, they are in fact very different, reflecting Marchia's awareness of the problems and limitations involved in not only Scotus' views, but also those of Aristotle and Averroes, Thomas Aquinas and Henry of Ghent, among many others.This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

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What is the place of Critical Realism today, given the fact that both realism and commitment in art have become highly problematic notions since at least several decades? Realism in the first place appears to be relegated to the museum of pre-modern styles and devices, safely locked-up in the toolbox of 19th-Century art history. Secondly, in our cool, postmodern times, the place for commitment has become highly confuse. The naïve confusion between Critical Realism and notions like Social(ist) Realism or Political Correctness has complexified that situation. The ambition of this volume is to position Critical Realism as clearly as possible in the current art scene. This book makes a strong plea for a critically engaged art, as it can be encountered in a most exemplary way in the work of Allan Sekula. Sekula’s oeuvre features a number of characteristics whose combination makes it unique: his iconography rediscovers and reinvents the theme of labor and his photos, on the verge between art and documentary – thus creating a kind of proto-documentary, reflect on the possibilities for the visual arts today to deliver an ‘act of criticism’. Internationally known as one of the most prominent artists engaged in this debate, Sekula’s research methods allow us to discuss the ways art can be critical about contemporary social questions without succumbing into a plain or overtly partial political statement.

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Epilogue by Christine Buci-GlucksmannKarel Appel. A Gesture of Colour is the first of a series of six volumes, bringing together the most important writings of Jean-François Lyotard (1924 - 1998) on contemporary art and artists. The book he devoted to the art of Karel Appel (1921 - 2006) is doubtlessly one of the most complete and inspired texts of all the writings included in the series. Neither the original French manuscript nor the English translation have ever been published, and their presentation face to face should constitute a considerable plus.In this book, Lyotard presents Karel Appel's "matterism" as an offer of presence, presence deferred - it is the visual where every predicate is suspended, the visual touched, "gesture" of colour more than property of colour, appearance at the edge of the abyss. Christine Buci-Glucksmann's epilogue indicates the position of Karel Appel. A Gesture of Colour within the whole of Lyotard's writings on art, considering equally the philosopher's subsequent work.Winner of the Plantin Moretus Prize 2010 for the best designed book in the category textbooks and academic publications Photo Credits: Van Looveren & Princen

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Domestic materiality in a remarkable European cityHow did citizens in Bruges create a home? What did an ordinary domestic interior look like in the sixteenth century? And more importantly: how does one study the domestic culture of bygone times by analysing documents such as probate inventories? These questions seem straightforward, yet few endeavours are more challenging than reconstructing a sixteenth-century domestic reality from written sources. This book takes full advantage of the inventory as a source and convincingly frames household objects in their original context of use. Meticulously connecting objects, people and domestic spaces, the book introduces the reader to the rich material world of Bruges citizens in the Renaissance, their sensory engagement, their religious practice, the daily activities of men and women, and other social factors. By weaving insights from material culture studies with urban history, At Home in Renaissance Bruges offers an appealing and holistic mixture of in-depth socio-economic, cultural and material analysis. In its approach the book goes beyond heavy-handed theories and stereotypes about the exquisite taste of aristocratic elites, focusing instead on the domestic materiality of Bruges’ middling groups. Evocatively illustrated with contemporary paintings and images of furniture and textiles from Bruges and beyond, this monograph shows a nuanced picture of domestic materiality in a remarkable European city.Ebook available in Open Access.This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).“Be careful with formulating large stories and generalisations about evolution in material culture and consumption culture. Each (urban) community has its own story to tell.” Read a Q&A with Julie De Groot

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Artists'' vital role in shaping nonviolent resistance in IranWomen, Art, Freedom offers an insightful look at the 2022 Woman, Life, Freedom uprising in Iran, sparked by the tragic murder of Jina Mahsa Amini at the hands of the morality police for violating hijab rules. Beyond its feminist undertones and the remarkable courage of the young protesters, what sets this uprising apart from previous ones is the abundant and diverse art it has inspired. This book, rather than merely analyzing the artworks that garnered attention on social media platforms, brings to light lesser-known grassroots artistic movements that played a crucial role within their immediate local communities. Engaging with primarily Iran-based artists, it uncovers their role in shaping guerrilla interventions and street occupations and in articulating distinct forms of peaceful civil disobedience. By drawing on a broad spectrum of historical and theoretical sources, this book further r

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First book-length study by an African writer that incorporates the trials and triumphs of Queen Elizabeth II, tracing her contributions to African affairsThe road to Queen Elizabeth II's implementation of African reforms was rough, especially in the first two decades following her ascension to the throne. In this book, Raphael Chijioke Njoku examines Queen Elizabeth II''s role in the African decolonization trajectories and the postcolonial state''s quest for genuine political and economic liberation since 1947. By locating Elizabeth at the center of Anglophone Africa''s independence agitations, the account harnesses the African interests to tease out the monarch''s dilemma of complying with Whitehall''s decolonization schemes while building an inclusive and unified Commonwealth in which Africans could play a vital role. Njoku argues that to gratify British lawmakers in her complex and marginal place within the British parliamentary system of conservative vers

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A fundamental reappraisal of Plutarch's attitude towards rhetoric.Plutarch was not only a skilled writer, but also lived during the Second Sophistic, a period of cultural renaissance. This book offers new insights into Plutarch's seemingly moderate attitude towards rhetoric. The hypothesis explored in this study introduces, for the first time, the broader literary and cultural contexts that influenced and restricted the scope of Plutarch's message. When these contexts are considered, a new perspective emerges that differs from that found in earlier studies. It paints a picture of a philosopher who may not regard rhetoric as a lesser means of persuasion, but who faces challenges in openly articulating this stance in his public discourse.Ebook available in Open Access. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

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Since the mid-nineteenth century photography has had a central place in cultural encounters within and between migrant communities. Migrant histories have been mediated through the photographic image, and the cultural practices of photography have themselves been transformed as migrant communities mobilise the photographic image to navigate experiences of cultural dislocation and the forging of new identities. Exploring photographic images and the cultural practices of photography as 'contact zones' through which cultural exchange and transformation takes place, this volume addresses the role of photography in migrant histories in the United States from the mid-nineteenth century to today. Taking as its focal point photography's role in shaping migrant experiences of cultural transformation, and in turn how migrant experiences have re-configured culturally differentiated practices of photography, case studies on migration from Europe, Central America, and North America position photography as entwined with cultural histories of migration and cultural transformation in the United States. Free ebook available at OAPEN Library, JSTOR and Project Muse Contributors: Sarah Bassnett (Western University), David Bate (University of Westminster), Justin Carville (Institute of Art, Design & Technology, Dun Laoghaire), Erina Duganne (University of Texas, Austin), Orla Fitzpatrick (National Museum of Ireland), Bridget Gilman (San Diego State University), Aleksandra Idzior (University of Fraser Valley), Alexandra Irimia (University of Western Ontario), Sandra Krizic Roban (Institute of Art History, Zagreb), Sigrid Lien (University of Bergen), Helene Roth (Ludwig-Maximilians-Universitat Munich), Leslie Urena (Smithsonian National Portrait Gallery)

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Critical edition of James of Viterbo’s final questions De divinis praedicamentis and his De potentia et actu volendiJames of Viterbo (ca. 1255–1307), Augustinian friar, master of theology at the University of Paris, and archbishop of Naples, was one of the leading philosophers and theologians of the later thirteenth century. This volume completes the critical edition of his academic works and presents his last two questions De divinis praedicamentis and his three annexed questions on the will (De potentia et actu volendi). These questions, deriving from disputations James held as Augustinian regent master of theology at the University of Paris (1293–1297), offer rich discussions of important topics: whether the plurality of divine persons and attributes entails an order of priority within God and how causality may be attributed to God. The questions on the will cover issues at the core of later medieval debates on human freedom: on the unity of the will as a power of the soul, whether the will is the primary agent in human action, and whether the will is free with respect to all its acts.This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

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A unique study of South African propaganda photography during apartheid.Throughout the apartheid era, South Africa maintained a wide-reaching propaganda apparatus. At its core was the information service that strongly capitalised on photography to visually articulate the minority regime’s racist political messages, promote Afrikaner nationalism, and consolidate White rule. By unearthing a substantial corpus of photographs that so far have been hidden in archives, this book offers a distinctive perspective on the institutional context of the regime’s photographic production and how it was tightly linked to the objective to build a White nation. Through scrutiny of the photographic material’s iconographies, its circulation in printed matters, and a comparison with works by photographers like Margaret Bourke-White, Ernest Cole, and David Goldblatt, readers gain fresh insight into the country’s visual culture of the period. Based on the ambiguity of photographs, the monograph challenges the alleged dichotomy between so-called pro- and anti-apartheid photographies, highlighting how the regime was able to position photographs in the grey area of inconspicuousness.By blending photo theory and art historical analysis with historical studies, Building a White Nation will appeal to scholars and postgraduate students in cultural studies interested in photo history and theory, visual culture and art history, African studies, South African photography, Afrikaner nationalism, propaganda studies, postcolonial studies, and archive theory.Ebook available in Open Access. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

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Museum collections of Asian art in Central Europe.Rather than centering on the well-known collections in Western European and North American museums, Collecting Asian Art turns to museum collections of Asian art in Central Europe which emerged from the late 19th century onwards. Highlighting the dimensions of Central European connectedness, this volume explores how these collections evolved and changed under changing cultural and political conditions from the pre-World War I to the post-World War II periods. With a primary focus on collections of East Asian, South Asian, and West Asian art in Vienna, Prague, Berlin, Warsaw, Kraków, Budapest, and Ljubljana, it outlines the transregional connections and networks that gradually developed.Collecting Asian Art locates Asian art across the twentieth-century in Central Europe via discourse and ideology, and discusses key collections and the way individual collectors built their networks. It thus explores transregional connections that developed through collecting activities and strategies in the prewar, interwar and postwar eras. Contributors also examine the personal connections between a group of Indologists from postwar Prague and modernist Indian artists from the early 1950s to the 1980s and also discuss the systematic archiving of East Asian art collections in Slovenia. A concluding conversation looks at colonisation and decolonisation from a broader perspective by approaching it through recent art historical discussions on the global dimensions of modernism. By defining the region through its external relationships and its entanglements with regions across Asia rather than as a self-contained unit, the contributions in this volume outline how these transregional connections and networks evolved and changed over time, thus highlighting their singularity in comparison to developments in Western Europe. Based on recent research, Collecting Asian Art reveals neglected sources while reinterpreting well-known ones.Contributors: Zdenka Klimtová (National Gallery in Prague); Agnieszka Kluczewska-Wójcik (Polish Institute of World Art Studies); Partha Mitter (University of Sussex); Michaela Pejčochová (National Gallery in Prague); Uta Rahman Steinert (Staatliche Museen zu Berlin); Iván Szántó (Eötvös Loránd University); Nataša Vampelj Suhadolnik (University of Ljubljana); Johannes Wieninger (MAK – Museum of Applied Arts); Tomáš Winter (Czech Academy of Sciences).Ebook available in Open Access. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

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In the aftermath of Covid-19, the subject of 'empty places' has gained renewed topicality and resonance. Watching, Waiting presents a collection of essays, both photographic and written, that brings emptiness into interdisciplinary focus as an object of study that extends beyond the present. The contributors approach the specific interrelationships of photography and place through emptiness by considering historical and contemporary material in equal measure. Drawing on architecture, anthropology, sociology, and public health, among other fields, they provide insights into geographically and temporally diverse production models of empty places and their corresponding complex and sensitive global and local relations, while also tackling the ethics of behaviour and protests that unfold within them. The book's chapters, both visual and scholarly essays, cover areas that range widely both thematically and geographically, spanning static film footage of Nicosia's buffer zone, protest photographs in the wake of Black Lives Matter demonstrations in Bristol, staged images from the University of Zagreb's ethnological archives, historic landscape and architectural photography, aerial shots of covid-19 mass graves in Brazil, photos of artificially built field hospitals and quarantine rooms during the pandemic, and images of empty airports at night. Through still and moving images, Watching, Waiting examines the photographic aestheticization of emptiness, existing stereotypes of 'empty places', and transformations of human experiences. Free ebook available at OAPEN Library, JSTOR, Project Muse, and Open Research Library Contributors: Ruth Baumeister (Aarhus School of Architecture), Isabelle Catucci da Silva (Federal University of Parana), Stella Fatovic-Ferencic (Croatian Academy of Sciences and Arts), Martin Kuhar (Croatian Academy of Sciences and Arts), Catlin Langford (Centre for Contemporary Photography), Jessie Martin (University of West London), Stuart Moore (University of the West of England), Luca Nostri (Independent Artist Photographer), Kayla Parker (University of Plymouth), Bec Rengel (University of the West of England), Tihana Rubic (University of Zagreb), Klaudija Sabo (University of Klagenfurt), Anna Schober (University of Klagenfurt), Elke Katharina Wittich (Leibniz University Hannover)

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Markets and market halls have always been more than about trade and nourishment. A detailed look at the histories of marketplaces provides evidence of the public health concerns they faced, as well as the social commotion, mobilization and, at times, unrest they hosted. This edited volume reappraises the market hall, examining both its architectural and its social and political significance. Focusing on how these buildings embodied transformations in architecture and urbanism from the mid-nineteenth century until the age of COVID-19, Mobs and Microbes situates market halls at the intersection of civic order and public health. Central to this are advances in sanitation and hygiene. These radical interventions also mediated conflicting interests. Through their rational designs, market halls intertwined government policies and regulations, which formalized, controlled and literally imposed order. Additionally, markets served as demonstration grounds for community-led mobilization efforts. With case studies spanning North America, Europe, Asia, India and Africa, this edited volume provides a global perspective on covered market halls across many disciplines, including architecture, history of art and architecture, landscape architecture, food studies and urban history. Contributors: Samantha L. Martin (University College Dublin), Leila Marie Farah (Toronto Metropolitan University), Ashley Rose Young (Smithsonian's National Museum of American History), Daniel Williamson (Savannah College of Art and Design), Zhengfeng Wang (University College Dublin), Nkatha Gichuyia (University of Nairobi), Xusheng Huang (Southeast University), Ruth Lo (Hamilton College), Emeline Houssard (Sorbonne Universite), Henriette Steiner (University of Copenhagen), Andrea Borghini (Universita degli Studi di Milano), Min Kyung Lee (Bryn Mawr College) Free ebook available at OAPEN Library, JSTOR, Project Muse, and Open Research Library

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First volume in the new series LAP Landscape and Architecture Projections an innovative series on architecture, urbanism, and landscape Climate change in the Andes is affecting the relation between urban development and the landscape. Design-led explorations are reframing landscape logics and urbanisation patterns within the Cachi River Basin of Ayacucho, Peru. A co-production of students, researchers and designers, the book suggests alternative futures, crossing scales of landscape systems to new settlement typologies. Urban Andes marks the start of the new series LAP on innovative design research in architecture, urbanism, and landscape. It is the result of a two-year collaboration (2018-2020), initiated by the CCA in cooperation with KU Leuven and various partners, including local organisations and the VLIR-UOS. Contributors: Basil Descheemaeker (KU Leuven / UCL-LOCI), Ward Verbakel (KU Leuven), Viviana d'Auria (KU Leuven), Margarita Macera Carnero (KU Leuven), Monica Rivera Munoz (KU Leuven), Louise Blancquaert (KU Leuven), Elisabeth De Clerq (KU Leuven), Thomas Hawer (KU Leuven), Willem Hubrechts (KU Leuven), Sigrid Vangeneugden (KU Leuven), Bruno De Meulder (KU Leuven), Bram Willems (CCA)

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This book focuses on the political exile of Catholic Christian Democrats during the global twentieth century, from the end of the First World War to the end of the Cold War. Transcending the common national approach, the present volume puts transnational perspectives at center stage and in doing so aspires to be a genuinely global and longitudinal study. Political Exile in the Global Twentieth Century includes chapters on continental European exile in the United Kingdom and North America through 1945; on Spanish exile following the Civil War (1936-39), throughout the Franco dictatorship; on East-Central European exile from the defeat of Nazi Germany and the establishment of Communist rule (1944-48) through the end of the Cold War; and Latin American exile following the 1973 Chilean coup. Encompassing Europe (both East and West), Latin America, and the United States, Political Exile in the Global Twentieth Century places the diasporas of 20th-century Christian Democracy within broader, global debates on political exile and migration. Contributors: Paolo Acanfora (University of Rome La Sapienza), Leyre Arrieta (University of Deusto), Gemma Caballer (University of Barcelona), Justinas Dementavicius (Vilnius University), Joaquin Fermandois (Catholic University of Chile / San Sebastian University), Elodie Giraudier (Harvard University), Carlo Invernizzi Accetti (City University of New York), Katalin Kadar Lynn (Independent Scholar), Wolfram Kaiser (University of Portsmouth), Piotr H. Kosicki (University of Maryland), Slawomir Lukasiewicz (John Paul II Catholic University of Lublin), Christopher Stroot (University of California San Diego)

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The concept of assemblage has emerged in recent decades as a central tool for describing, analysing, and transforming dynamic systems in a variety of disciplines. Coined by Deleuze and Guattari in relation to different fields of knowledge, human practices, and nonhuman arrangements, assemblage is variously applied today in the arts, philosophy, and human and social sciences, forming links not only between disciplines but also between critical thought and artistic practice. Machinic Assemblages focuses on the concept's uses, transpositions, and appropriations in the arts, bringing together the voices of artists and philosophers that have been working on and with this topic for many years with those of emerging scholar-practitioners. The volume embraces exciting new and reconceived artistic practices that discuss and challenge existing assemblages, propose new practices within given assemblages, and seek to invent totally unprecedented assemblages. Contributors: Gareth Abrahams (University of Liverpool), Katarina Andjelkovic (Atelier AG Andjelkovic, Belgrade), Ian Buchanan (University of Wollongong), Edward Campbell (University of Aberdeen), Iain Campbell (University of Edinburgh), Paul Dolan (Northumbria University, ), Guy Dubious (Independent sound artist, Tel-Aviv), Vanessa Farfan (Independent artist, Berlin), Silvio Ferraz (University of Sao Paulo), Jose Gil (Nova University of Lisbon), Barbara Glowczewski (National Scientific Research Centre, CNRS), Derek Hales and Spencer Roberts (University of Salford / University of Huddersfield), Yuk Hui (Bauhaus University, Weimar), Jan Jagodzinski (University of Alberta), Niall Dermot Kennedy (Trinity College Dublin), George Lewis (Columbia University), Quirijn Menken (Avans University of Applied Sciences), Thomas Nail (University of Denver), Tero Nauha and Llona Hongisto (University of the Arts Helsinki / Macquarie University), Alex Nowitz (Stockholm University of the Arts), Peter Pal Pelbart (Pontifical Catholic University of Sao Paulo), Anne Sauvagnargues (University of Paris Ouest Nanterre La Defense), David Savat (University of Western Australia), Chris Stover (Arizona State University)

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First critical edition of articles XXV–XXVII of the Summa (Quaestiones ordinariae) of Henry of GhentDas Buch bietet die erste kritische Edition der Artikel XXV-XXVII der Summa (Quaestiones ordinariae) des Heinrich von Gent. Dabei leistet es einen Beitrag zur Geschichte der Formen und Pfade der Ideenvermittlung im Mittelalter und zur mittelalterlichen Buchkultur.Die Kollationierung der Handschriften der Artikel XXV-XXVII und die Untersuchung ihrer materiellen Überlieferung haben der Editorin erlaubt, den Prozess der Ausarbeitung, Publikation und Verbreitung einer Portion von Heinrichs Summa über einen längeren Zeitraum in großer Detailgenauigkeit zu rekonstruieren.Die hier edierten Artikel enthalten ein Kernstück von Heinrichs theologischem und metaphysischem System. In der Behandlung von Einheit, Natur und Leben Gottes entfalten sie eine rationale Darstellung des ersten Prinzips. This book offers the first critical edition of articles XXV–XXVII of the Summa (Quaestiones ordinariae) of Henry of Ghent. At the same time, it contributes to our understanding of the forms and trajectories through which ideas were transmitted throughout the Middle Ages and to medieval book culture.Collating the manuscripts of articles XXV–XXVII and studying their material tradition allowed the editor to reconstruct in great detail how a portion of Henry’s Summa was prepared, published and disseminated over a considerable number of years.The primary text presents an authoritative overview of Henry's theological and metaphysical system. In dealing with the unity, nature, and life of God, it unfolds a rational explanation of the first principle.This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

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New modes of listening and methods for contemporary sound art practicesOur contemporary, globalised society demands new forms of listening. But what are these new forms? In Listening to the Other, Stefan Östersjö challenges conventional understandings of the ways musicians listen. He develops a transmodal understanding of listening that is situated in the body—a body that is extended by its mediation through musical instruments and other technologies. Listening habits can turn these tools—and even the body itself—into resistant objects or musical Others. Supported by extensive multimedia documentation and drawing on examples from the author’s own artistic projects spanning electronics, intercultural collaboration, and ecological sound art, this volume enables musicians to learn how to approach musical Others through alternative modes of listening and allows readers to discover artistic methods for intercultural collaboration and ecological sound art practices.This book is closely linked to a series of cutting-edge artistic works, including a triple concerto recorded with the Seattle Symphony and several video works with ecological sound art. It represents the analytical outcomes of artistic research projects carried out in Sweden, the UK, and Belgium between 2009 and 2015.This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

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The Western history of aesthetics is characterised by tension between theory and practice. Musicians listen, play, and then listen more profoundly in order to play differently, adapt the body, and sense the environment. They become deeply involved in the sensorial qualities of music practice. Artistic practice refers to the original meaning of aesthetics-the senses. Whereas Baumgarten and Goethe explored the relationship between sensibility and reason, sensation and thinking, later philosophers of aesthetics deemed the sensorial to be confused and unreliable and instead prioritised a cognitive or objective approach. Written by authors from the fields of philosophy, composition, performance, and artistic practice, Sensorial Aesthetics in Music Practices repositions aesthetics as a domain of the sensible and explores the interaction between artists, life, and environment. Aesthetics becomes a field of sensorial and embodied experience involving temporal and spatial influences, implicit knowledge, and human characteristics. Contributors: Kathleen Coessens (Koninklijk Conservatorium Brussel, Orpheus Institute), Tim Ingold (University of Aberdeen), Michael Levinas (Conservatoire National Superieur de Musique de Paris), Fabien Levy (Hochschule fur Musik Detmold), Lasse Thoresen (Norwegian Academy of Music), Vanessa Tomlinson (Queensland Conservatorium of Music), Salome Voegelin (University of the Arts London)

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"Disassembled" Images takes as a point of departure Allan Sekula's productive approach of disassembling elements in order to reassemble them in alternative constellations. Some of the most pressing issues of our time, such as human labor in a globalized economy or the claim for radical democracy, are recurrent themes in Sekula's oeuvre and are investigated by a wide range of experts in this book. Addressing a variety of artworks, both by Sekula and other artists, the collected essays focus on three crucial aspects within recent politically engaged art: collecting as a tool for representing folly and madness, the confrontation of the maritime space of ecological disasters and geopolitical processes with alternative models of solidarity, and what Sekula named "critical realism" as a reflective method in search of new social agencies and creative freedom. A text-image portfolio by Marco Poloni completes this profound reflection on Sekula's influential legacy within contemporary visual art. This publication is GPRC-labeled (Guaranteed Peer Review Content). Contributors: Anthony Abiragi (University of Colorado), Barbara Baert (KU Leuven), Edwin Carels (School of Arts KASK/HoGent/M HKA), Ronnie Close (American University in Cairo), Bart De Baere (M HKA), Stefanie Diekmann (Hildesheim University), Carles Guerra (Fundacio Antoni Tapies), Clara Masnatta (ICI Berlin), W. J. T. Mitchell (University of Chicago), Marco Poloni (Berlin), Anja Isabel Schneider (KU Leuven/ M HKA), Stephanie Schwartz (University College London), Jonathan Stafford (Nottingham Trent University), Alexander Streitberger (UC Louvain), Hilde Van Gelder (KU Leuven), Benjamin Young (Parsons School of Design)

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New perspectives on humor within photography Despite the ubiquitous presence of photographic humor in art and popular media, the phenomenon has as yet received very little scholarly attention. Focusing on staged humor rather than on comic effects of snapshot photography, this volume brings together leading scholars in the field addressing humor performed in front of the camera, often specifically created for the camera, and the performative joke-work done by the medium itself. A first section explores how photography, due to its “shattering” qualities, turns into a privileged medium for eliciting humorous effects and how humor can be discerned within the photographic event. A second section discusses the toolbox of photographic trickery (photomontage, double exposure and cinematic movement) that allows photography to mock itself. The book closes with a section on photographic wit in conceptual art, both in canonized and more locally distinct practices. With artists’ pages from Paulien Oltheten, Lieven Segers and David HelbichThis publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).Contributors: Kevin Atherton (National College of Art and Design, Dublin), Anna Corrigan and Susana S. Martins (Universidade NOVA de Lisboa), Hilde D’haeyere (KASK School of Arts of University College Ghent), Heather Diack (University of Miami), Louis Kaplan (University of Toronto), Ann Kristin Krahn (Braunschweig University of the Arts), Sandra Križić Roban (Institute of Art History, Zagreb), Esther Leslie (Birkbeck University of London), Johan Pas (Royal Academy of Fine Arts, Antwerp), Katarzyna Ruchel-Stockmans (Vrije Universiteit Brussel)

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World War I had a major effect on Belgian visual arts. German occupation, the horror at the battlefield and the experience of exile, led to multiple narratives and artistic expressions by Belgian artists during and after the war. Belgian interbellum art is extremely vibrant and diverse. 14/18 - Rupture or Continuity takes a look at Belgian artistic life in the years around the First World War and how it was affected by this event. The Great War was a catalyst of artistic oppositions, leading on the one hand to a Belgian avant-garde that explored new forms and styles, while continuing to uphold a more traditional and established art on the other. Whereas the war experience consolidated an already present style for some artists, for others it constituted a revolution leading to new artistic adventures. The collection of essays in the present book highlights these contrasting facets of Belgian art in its rich historical context during the early 20th century. Contributors: Werner Adriaenssens (Royal Museums of Art and History, Brussels), Erik Buelinckx (Royal Institute for Cultural Heritage, Brussels), Sophie de Schaepdrijver (Pennsylvania State University), Ole W. Fischer (University of Utah, Salt Lake City), Eva Francioli (Universit degli Studi di Firenze), Laura Kollwelter (Royal Museum of Fine Arts of Belgium, Brussels), Christina Kott (Universit Panth on-Assas Paris 2), Fran oise Lucbert (Universit Laval, Qu bec), Peter Pauwels (independent art historian, Antwerp), Hubert Roland (F.R.S. - FNRS / Universit Catholique de Louvain), Inga Rossi-Schrimpf (Royal Museum of Fine Arts of Belgium, Brussels), Sergio Servell n (FeliXart Museum, Drogenbos), Sandrine Smets (Royal Museum of Armed Forces and Military History, Brussels), Hans Vandevoorde (Vrije Universiteit Brussel), Caterine Verdickt (Universiteit Antwerpen)

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‘A Truly Golden Handbook, No Less Instructive than Delightful, by the Most Learned and Distinguished Professors of the Renowned University of Leuven.’ 500 Years Utopia. What would the ideal society of the future look like? In 1516, the eminent English humanist Thomas More tried his hand at imagining a perfect society on a distant island. His Utopia was published in the Flemish town of Leuven, home of a university that was established almost a century earlier. 500 years later, scholars of this university revisit More’s best-known work and reflect on the ideal society of the future, using the scientific insights of today, including perspectives which More could never have imagined. What will our cities look like a hundred years from now? How will stem cell research and 3D printing change the world? Will we be able to cure all diseases? Will we be traveling to other planets? Will computers take over? Or will humanity find a way to improve the quality of life for everyone and feed a growing world population? In A Truly Golden Handbook, more than fifty KU Leuven scholars share their science-based utopian dreams. From the creation of spare organs, artificial intelligence and the genetic future, to global governance, ecological sustainability and pathways to more equality, this visionary book offers a broad interdisciplinary look at the world of tomorrow. Contributors: All contributions were written by academics of KU Leuven. Conny Aerts, Ivo Aertsen, Marc Boogaerts, Geert Bouckaert, René Bouwen, Frederik Ceyssens, Stephan Claes, Katrijn Clémer, Sara Coemans, Goele Cornelissen, Marc Craps, Joep Crompvoets, Lieven De Cauter, Ortwin de Graef, Jan De Lepeleire, Dorien De Man, Bart De Moor, Koen Devriendt, Rudi D’Hooge, Thomas D’Hooghe, Philip Dutré, Jan Elen, Liesbet Geris, Gerard Govers, Styn Grieten, Karin Hannes, Ann Heylighen, Hilde Heynen, Rianne Janssen, Rudy Lauwereins, Koen Lemmens, Peter Lievens, Katlijn Malfliet, Jan Masschelein, Terrence Merrigan, Yves Moreau, Bart Muys, Marten Ovaere, Jan Rongé, Erik Schokkaert, Frans Schuit, Maarten Simons, Manuel Sintubin, Stéphane Symons, Rik Torfs, Chantal Van Audenhove, Kenneth Van den Bergh, André Van de Putte, Hilde Van Esch, Inge Vanfraechem, Ine Van Hoyweghen, Geertrui Van Overwalle, Peter Van Puyvelde, Arne van Stiphout, An Verburgh, Peter Vermeersch, Johan Wagemans, Lode Walgrave.

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Mapping the possibilities of photofilmic images. This book explores the different ways in which art, cinema, and other forms of visual culture respond to a digitized and networked world. Traditional discourses on medium specificity, developed in distinct disciplines, often fail to provide an adequate description of the transformations that photography and film have undergone. The essays, written by internationally renowned scholars, encompass a broad range of different media such as video, documentary film, cinema, photography, and the Internet, as well as different disciplines such as art history, film studies, photography theory, visual culture studies, and media theory. In this way they deal with various practices or techniques ranging from panoramas, drone surveillance, tableau vivant, press coverage, computer-based editing, digitized financial markets, and various concepts such as temporality and contemporaneity, eco-aesthetics and forensic practice, countervisuality, human rights and political imagination, social transparency and control, thus mapping the possibilities of the continuous border-crossing movement between photographic and filmic images within contemporary art and visual culture. This volume also contains, as an artist’s contribution, a substantial and richly illustrated interview with Eric Baudelaire. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content). Contributors: Eric Baudelaire (Paris), Brianne Cohen (Amherst College), Stefanie Diekmann (University of Hildesheim), Evgenia Giannouri (Paris 3 Sorbonne Nouvelle), Lilian Haberer (University of Cologne), Jana J. Haeckel (UCL), Ágnes Pethö (Sapientia University of Transylvania, Romania), Eivind Rossaak (National Library of Norway), Linda Schädler (ETH Zurich), Terry Smith (University of Pittsburgh), Alexander Streitberger (UCL), Hilde Van Gelder (KU Leuven).

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Includes an in-depth interview with French cartoonist Joann Sfar.Sfar So Far is the first monograph in any language devoted to the graphic novels of Joann Sfar, an artist whose abundant and innovative work has profoundly marked the contemporary French comics scene. This essay examines how, over the past two decades, Sfar has constructed an idiosyncratic universe with its own thematic and stylistic recurrences: a playful drafting style, contrasting with the thoughtful introduction of historical, theological, and philosophical matters; a sophisticated use of literary, filmic, musical, and pictorial references; an exploration of his own Jewish heritage in the context of a multicultural, postcolonial French society; an affinity for magic realism, fairy tales, heroic fantasy, the fantastique, and science fiction, often filtered through irony or parody; and a predilection for romantic musings and an interest in unconventional love stories. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

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The musical thought and practice of canonical composersWhat can music tell us—without words? Can it depict scenes, narrate stories, elucidate beliefs? And can it be an instrument through which we access the inner lives not only of musicians from the past but of ourselves, today?In Ohne Worte five scholars and performers probe these and related questions to illuminate both the experience and performance of nineteenth-century music. Drawing on a rich range of sources, they reveal the musical thought and practice of canonical composers like Berlioz, Mendelssohn, and Schumann. Their work challenges us to reconsider our musical practices and the voices manifested in them, and it encourages the creation of an art that is both historical and transcendental. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).ContributorsJean-Pierre Bartoli (Université Paris–Sorbonne), Hubert Moßburger (Staatlichen Hochschule für Musik und Darstellende Kunst Stuttgart), Jeanne Roudet (Université Paris–Sorbonne), Douglass Seaton (Florida State University School of Music), Edoardo Torbianelli (Hochschule der Künste Bern)

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OFFRE DE PRIX!Achetez les deux volumes 4, I & 4, II ensemble et recevez € 20 de réduction. Vous ne payez que € 109 au lieu de 129 €!TWO-VOLUME SET!Buy volumes 4, I & 4, II together and receive € 20 discount. You only pay € 109 instead of € 129!Volume 4 est l'ouvrage le plus ambitieux de la série Jean-François Lyotard. Écrits sur l'art contemporain et les artistes. Il est composé de deux volumes: Textes dispersés I: esthétiques et théorie de l'art et Textes dispersés II: artistes contemporains.Volume 4 is the most comprehensive and ambitious work in the series Jean-François Lyotard: Writings on Contemporary Art and Artists. It is comprised of two volumes: Miscellaneous Texts I: Aesthetics on Contemporary Art and Artists and Miscellaneous Texts II: Contemporary Artists.Volume 4, I - Textes dispersés I : esthétiques et théorie de l'art/Miscellaneous Texts I: Aesthetics and Theory of Art >Ce quatrième volume dans la collection dédiée aux écrits de Jean-François Lyotard sur l'art contemporain et les artistes contient neuf essais sur l'esthétique générale et la théorie de l'art.This fourth volume in the series devoted to Jean-François Lyotard's writings on contemporary art and artists presents nine essays on general aesthetics and the theory of art.Volume 4, II - Textes dispersés II : artistes contemporains/Miscellaneous Texts II: Contemporary Artists >Ce second tome du quatrième volume rassemble trente-neuf textes de Lyotard qui concernent vingt-six artistes contemporains importants et novateurs.This second book of the fourth volume in the series brings together thirty-nine essays by Lyotard that deal with twenty-seven influential and innovative contemporary artists.This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

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Case studies upon the use of concepts like feminization and masculinization in relation to christianitySince the 1970s the feminization thesis has become a powerful trope in the rewriting of the social history of Christendom. However, this ‘thesis' has triggered some vehement debates, given that men have continued to dominate the churches, and the churches themselves have reacted to the association of religion and femininity, often formulated by their critics, by explicitly focusing their appeal to men. In this book the authors critically reflect upon the use of concepts like feminization and masculinization in relation to Christianity. By presenting case studies that adopt different gendered approaches with regard to Christian, mainly Catholic discourses and practices, the authors capture multiple ‘feminizations' and ‘masculinizations' in Europe during the 19th and 20th centuries. In particular, it becomes clear that the idea that Christianity took on ‘charicteristically feminine' values and practices cannot withstand the conclusion that what is considered ‘manly' or ‘feminine' depends on time, place, and context, and on the reasons why gendered metaphors are used.Ebook available in Open Access.This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

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Selected for the 2012 AAUP Book, Jacket and Journal Show in the category 'Scholarly Illustrated'!Awarded with 'Best Vormgegegeven Boek 2011' for the best designed book in the category business and academic publications Sam Francis. Lesson of Darkness is the second of a series of six volumes, bringing together the most important writings of Jean-François Lyotard (1924-1998) on contemporary art and artists. This second volume introduces forty-three poetical reflections and comments on the work of the well-known Californian painter Sam Francis (1923-1994). This edition reprints the English text published in 1993, which is no longer available, face to face with the previously unpublished French original. It also reproduces in full colour all forty-three paintings commented upon by Lyotard.In Lyotard's opinion ‘the work [by Sam Francis] pays homage to the visible marvel and bears witness to the visual enigma'. Lyotard discovers in these poetic reflections the subtle variety of meanings in the use of colour in Sam Francis's paintings.Photos: Van Looveren & Princen

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More often than not, humanist, scholarly and 'scientific' correspondences from the early modern period have been analyzed from a rather narrow point of view. They were either exploited to reveal new biographical and historical evidence or assessed as literary achievements, as precious (or not so precious) pearls of artistic prose and composition. However legitimate such an outspokenly positivist and aesthetic approach may be, it does not exhaust the various possibilities for historical and literary study that early modern correspondences offer. It may, for instance, be doubted whether the traditional approach enables us to address, let alone to answer, one of the key questions that can and should be raised when dealing with letter writing in early modern times: how did the genre function as a social practice? This question can be reformulated as follows: who was writing, what, for whom, and why? At first glance, many, if not most, of the correspondences seem to have functioned as a means to discuss business and family affairs, to express friendship (and, to a lesser extent, love), or to communicate scholarly information. If we scrutinize them more carefully, however, we will discover that epistolary exchange was far more signicifant and played a far more crucial role than this superficial enumeration of topics to be found in early modern correspondences would make us believe. It can indeed be argued that many humanists and other intellectuals wrote letters in order to define themselves as literators, scholars, or scientists. In other words, letters were used as a means of self-presentation and social identification. It is through letters that literators, scholars, and scientists presented a particular, quite often highly apologetic, self-image which they wanted to be divulged and perpetuated. It is through letters, moreover, that literators, scholars, and scientists defined themselves as belonging to a specific group of people who shared the same interests and ideals, and were engaged in similar endeavours. Although these issues have not been entirely neglected by scholars in the past, this book brings together philologists, literary historians and historians of ideas to reflect upon the phenomenon of letter writing, and concentrates on four particular issues: the rhetoric of letter writing, friendship and patronage, criticism and libel, reputation and fame. Moreover, particular attention has been given to the functioning of letter writing as a means of self-presentation and social identification, linking together more closely text and context, literature and society.

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2 Corinthians: A Bibliography is intended to be a complete bibliography until 2007. It contains almost 1,900 entries of academic publications on Paul's Second Letter to the Corinthians. Making use of the standard bibliographical tools (both printed and electronic), the goal was to include as many references as possible. However, there is no pretense of being exhaustive. 2 Corinthians: A Bibliography builds on the list published in Reimund Bieringer & Jan Lambrecht, Studies in 2 Corinthians (BETL, 112), Leuven: University Press - Peeters, 1994, pp. 3-66. The list of entries up to 1993 was corrected, updated and supplemented with the works published between 1994 and 2007. In addition to a full alphabetical list at the end, this book contains a list of commentaries, a list of references ordered according to the pericopes of 2 Corinthians and according to themes contained in the letter. In order to increase user friendliness full references are used in each list.

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A majority of the various contributions gathered in this collection result from a Colloquium entitled Soul and Intellect: Ancient and medieval perspective on the De Anima, which was held in Leuven and Louvain-la-Neuve (Belgium) from February 14th to 17th 2007, to celebrate the 50th anniversary of the foundation of the Centre De Wulf-Mansion. For reasons of convenience, the contributions relating to Antiquity and those relating to the Middle Ages are the subject of two distinct publications. This volume gathers a series of articles treating various aspects of the reception of the De Anima in the Middle Ages (and even in the Renaissance), from Averroes to Suarez. This volume should thus be regarded as the continuation of the work Ancient Perspectives on Aristotle's De Anima, ed. by G. Van Riel and P. Destree, with the assistance of C. Crawford and L. Van Campe (Ancient and Medieval Philosophy, XLI), Leuven, Leuven University Press, 2010. The contributors are R. Taylor, P. Porro, B. Goehring, T. Hoffmann, J. Casteigt, J. Aertsen, J.-L. Solere, W. Goris, P. Bakker, M. Abraham, S. de Boer, D. Perler, Ch. Shields.

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