Search results for ""Author Mieke Bal""

Mieke Bal takes us on a journey through the range of her work, using the concept of image-thinking as a point of connection between cultural analysis and artistic practice. Sharing a lifetime of experience of writing about art, making films and installations, as well as curating exhibitions, she shows us how these may be brought into dialogue with insights from theory.Bal teaches us how to think with images, but also how to write and think as artists and writers about our own creative work. This is Mieke Bal at her most personal and her best.

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Combining literary criticism and feminist analysis, Death and Dissymmetry radically reinterprets not only the Book of Judges but also the tradition of its reception and understanding in the West. In Mieke Bal's account, Judges documents the Israelite culture learning to articulate itself in a decisive period of transition. Counter to standard readings of Judges, Bal's interpretation demonstrates that the book has a political and ideological coherence in which the treatment of women plays a pivotal role. Bal concentrates here not on the assassinations and battles that rage through Judges but on the violence in the domestic lives of individual characters, particularly sexual violence directed at women. Her skillful reading reveals that murder, in this text, relates to gender and reflects a social structure that is inherently contradictory. By foregrounding the stories of women and subjecting them to subtle narrative analysis, she is able to expose a set of preoccupations that are essential to the sense of these stories but are not articulated in them. Bal thereby develops a "countercoherence" in conflict with the apparent emphases of Judges—the politics, wars, and historiography that have been the constant focus of commentators on the book. Death and Dissymmetry makes an important contribution to the development of a feminist method of interpreting ancient texts, with consequences for religious studies, ancient history, literary theory, and gender studies.

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Qué es para Mieke Bal el análisis cultural? La respuesta pasa por adoptar, en primer lugar, un concepto de cultura amplio y no fijo para, a partir de él, leer categorías teóricas, obras de arte y prácticas sociales por igual como objetos culturales. Para descubrirlo, este libro, concebido a modo de lexicón, permite seguir letra a letra, concepto a concepto, el proceso de trabajo de la autora. Aproximaciones de corte teórico y análisis más en detalle de conceptos concretos interactúan a modo de diálogo bajo la ficción de un orden alfabético: entre la a de anacronismo y la z de zapping, estos breves ensayos no sólo representan importantes aportaciones a los debates actuales en torno a la teoría de la cultura, sino que constituyen para el lector una aproximación accesible al análisis cultural y el pensamiento interdisciplinar de una de las teóricas más relevantes del panorama internacional. Entre los pares conceptuales que articulan el libro cabe mencionar los siguientes, a modo de ejempl

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This volume presents an interdisciplinary approach to humanistic scholarship, one that can be situated somewhere between cultural studies and cultural history while being more specific than either. Cultural analysis as a critical practice is based on a keen awareness of the critic's situatedness in the present—the social and cultural present from which we look, and look back, at objects that are already of the past, objects that we take to define our present culture. Thus it can be summarized by the phrase "cultural memory in the present." Far from being indifferent to history, cultural analysis is devoted to understanding the past as part of the present, as what we have around us. The essays gathered here represent the current state of an emerging field of inquiry. At the same time, they suggest to the larger academic world what cultural analysis can and should do, or be, as an interdisciplinary practice. The challenge for this volume is to counter the common assumption that interdisciplinarity makes the object of inquiry vague and the methodology muddled. In meeting that challenge, it offers close textual and visual readings of subjects ranging from Vermeer to abstract expressionism, from the Book of Ruth to Djuna Barnes's Nightwood, from the history of cinema to popular culture in Zaire. The essays in Part I, "Don't Look Now: Visual Memory in the Present," explore in detailed case studies centered on the theme of visuality or looking, the tricky consequences of the uncertainties regarding history that the presentness of the past entails. Part II, "Close-ups and Mirrors: The Return of Close Reading, with a Difference," demonstrates and advocates "listening" to the object without the New Critical naïveté that claims the text speaks for itself. Instead, the essays create the kind of dialogical situation that is a major characteristic of cultural analysis; the text does not speak for itself, but it does speak back. The essays in Part III, "Method Matters: Reflections on the Identity of Cultural Analysis," do not propose any "directions for use" or authoritative statements on how to do cultural analysis. Arranged in pairs of opposites, the essays represent the kind of fruitful tension that stimulates debate. Though no definite answers are proposed, and conflicting views are left in conflict, the essays stimulate a (self-)reflection on cultural analysis, its practices, and its understandings.

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In this compelling publication, two masters come face-to-face when the works of Edvard Munch are juxtaposed against Gustave Flaubert’s groundbreaking novel Madame Bovary. Munch’s art is presented in stills taken from an elaborate video installation, Madame B (2014), created by Michelle Williams Gamaker and the internationally acclaimed cultural theorist, video artist, and curator Mieke Bal. Emma and Edvard Looking Sideways: Loneliness and the Cinematic explores the filmic aspect of Munch’s art by combining contemporary art theory with Bal’s own idiosyncratic way of looking at art – directly and closely. The reader can reflect upon how we view each other in social situations and question what happens when we are denied visual dialogue. Distributed for MercatorfondsExhibition Schedule:Munch Museum, Oslo (02/04/17–04/17/17)

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Mieke Bal has had a significant impact on every field she has touched, from Old Testament scholarship and narratology to critical methods and visual culture. This brilliant and controversial intellectual invariably performs a high-wire act at the point where critical issues and methods intersect - or collide. She is deeply interested in the problems of cultural analysis across a range of disciplines. "A Mieke Bal Reader" brings together for the first time a representative collection of her work that distills her broad interests and areas of expertise. This Reader is organized into four parts, reflecting the fields that Bal has most profoundly influenced: literary study, interdisciplinary methodology, visual analysis, and postmodern theology. The essays include some of Bal's most characteristic and provocative work, capturing her at the top of her form. "Narration and Focalization," for example, provides the groundwork for Bal's ideas on narrative, while "Reading Art?" clearly outlines her concept of reading images. "Religious Canon and Literary Identity" reenvisions Bal's own work at the intersection of theology and cultural analysis, while "Enfolding Feminism" argues for a new feminist rallying cry that is not a position but a metaphor. More than a dozen other essays round out the four sections, each of which is interdisciplinary in its own right: the section devoted to literature, for instance, ranges widely over psychoanalysis, theology, photography, and even autobiography. "A Mieke Bal Reader" is the product of a capacious intellect and a sustained commitment to critical thinking. It will prove to be instructive, maddening, and groundbreaking - in short, all the hallmarks of intellectual inquiry at its best.

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Mieke Bal takes us on a journey through the range of her work, using the concept of image-thinking as a point of connection between cultural analysis and artistic practice. Sharing a lifetime of experience of writing about art, making films and installations, as well as curating exhibitions, she shows us how these may be brought into dialogue with insights from theory.Bal teaches us how to think with images, but also how to write and think as artists and writers about our own creative work. This is Mieke Bal at her most personal and her best.

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In Endless Andness, Mieke Bal pioneers a new understanding of the political potential of abstract art which does not passively yield its meaning to the viewer but creates it anew - an art perceived not only through the retina but experienced viscerally. In this book, the third of her companion volumes on art's political agency, Bal explores perception through an intense engagement with the work of Belgian sculptor Ann Veronica Janssens. In a series of vividly-recalled encounters with Janssen's practice over a number of years, Balpresents a new conception of embodied perception - art experienced in a body conjured into participation and transformed by the experience. From Janssens' 'mist room' works and the CorpsNoir sculptures through to the fugitive, porous Aerogel, Bal traces an art which eludes the subject-object distinction to alter our ideas about the potential of political art in abstract and figurative forms. Enticing us simultaneously to lose ourselves and to come home, the tenuous materiality of installation art empowers those who live in the permanently lost and migratoryc ondition that characterizes contemporary experience. In celebrating and interrogating the work of this prolific and innovative artist, Mieke Baltransforms our understanding of non-representational art to create a new awareness of perception and performance in the shared spaces of our world.

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Doris Salcedo, a Colombian-born artist, addresses the politics of memory and forgetting in work that embraces fraught situations in dangerous places. Noted critic and theorist Mieke Bal narrates between the disciplines of contemporary culture in order to boldly reimagine the role of the visual arts. Both women are pathbreaking figures, globally renowned and widely respected. Doris Salcedo, meet Mieke Bal. In "Of What One Cannot Speak", Bal leads us into intimate encounters with Salcedo's art, encouraging us to consider each work as a 'theoretical object' that invites - and demands - certain kinds of considerations about history, death, erasure, and grief. Bal ranges widely through Salcedo's work, from "Salcedo's Atrabiliarios" series - in which the artist uses worn shoes to retrace los desaparecidos ('the disappeared') from nations like Argentina, Chile, and Colombia - to Shibboleth, Salcedo's once-in-a-lifetime commission by the Tate Modern, for which she created a rupture, as if by earthquake, that stretched the length of the museum hall's concrete floor. In each instance, Salcedo's installations speak for themselves, utilizing household items, human bones, and common domestic architecture to explore the silent spaces between violence, trauma, and identity. Yet Bal draws out even deeper responses to the work, questioning the nature of political art altogether and introducing concepts of metaphor, time, and space in order to contend with Salcedo's powerful sculptures and installations. An unforgettable fusion of art and essay, "Of What One Cannot Speak" takes us to the very core of events we are capable of remembering - yet still uncomfortably cannot speak aloud.

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This volume presents an interdisciplinary approach to humanistic scholarship, one that can be situated somewhere between cultural studies and cultural history while being more specific than either. Cultural analysis as a critical practice is based on a keen awareness of the critic's situatedness in the present—the social and cultural present from which we look, and look back, at objects that are already of the past, objects that we take to define our present culture. Thus it can be summarized by the phrase "cultural memory in the present." Far from being indifferent to history, cultural analysis is devoted to understanding the past as part of the present, as what we have around us. The essays gathered here represent the current state of an emerging field of inquiry. At the same time, they suggest to the larger academic world what cultural analysis can and should do, or be, as an interdisciplinary practice. The challenge for this volume is to counter the common assumption that interdisciplinarity makes the object of inquiry vague and the methodology muddled. In meeting that challenge, it offers close textual and visual readings of subjects ranging from Vermeer to abstract expressionism, from the Book of Ruth to Djuna Barnes's Nightwood, from the history of cinema to popular culture in Zaire. The essays in Part I, "Don't Look Now: Visual Memory in the Present," explore in detailed case studies centered on the theme of visuality or looking, the tricky consequences of the uncertainties regarding history that the presentness of the past entails. Part II, "Close-ups and Mirrors: The Return of Close Reading, with a Difference," demonstrates and advocates "listening" to the object without the New Critical naïveté that claims the text speaks for itself. Instead, the essays create the kind of dialogical situation that is a major characteristic of cultural analysis; the text does not speak for itself, but it does speak back. The essays in Part III, "Method Matters: Reflections on the Identity of Cultural Analysis," do not propose any "directions for use" or authoritative statements on how to do cultural analysis. Arranged in pairs of opposites, the essays represent the kind of fruitful tension that stimulates debate. Though no definite answers are proposed, and conflicting views are left in conflict, the essays stimulate a (self-)reflection on cultural analysis, its practices, and its understandings.

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One of the first female artists to achieve recognition in her own time, Artemisia Gentileschi (1593-1653) became instantly popular in the 1970s when feminist art historians "discovered" her and argued vehemently for a place for her in the canon of Italian baroque painters. Featured alongside her father, Orazio Gentileschi, in a recent exhibition at the Metropolitan Museum of Art, Artemisia has continued to stir interest though her position in the canon remains precarious, in part because her sensationalized life history has overshadowed her art.In The Artemisia Files, Mieke Bal and her coauthors look squarely at this early icon of feminist art history and the question of her status as an artist. Considering the events that shaped her life and reputation—her relationship to her father and her role as the victim in a highly publicized rape case during which she was tortured into giving evidence—the authors make the case that Artemisia's importance is due to more than her role as a poster child in the feminist attack on traditional art history; here, Artemisia emerges more fully as a highly original artist whose work is greater than the sum of the events that have traditionally defined her.The fresh, engaging discourse in The Artemisia Files will help to both renew the reputation of this artist on the merit of her work and establish her rightful place in the history of art. “Over the last generation Artemisia has been transformed from a talented curiosity . . . into a standard bearer of early feminist consciousness. This book offers a fascinating glimpse into the critical frame of mind underlying this transformation.”—Keith Christiansen, Jayne Wrightsman Curator of Italian Painting, The MetropolitanMuseum of Art

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In her thirty-fifth book, the eminent Dutch cultural theorist Mieke Bal (*1946 in Heemstede) explores the new language that Indian artist Nalini Malani (*1946 in Karachi) has been developing since early this century with her shadow plays. The result of Malani’s new art is an extremely powerful application of the idea of the (multiple) moving image—past, present, and future. An iconic, politically engaged art form that has made waves at exhibitions such as Paris, Delhi, Bombay at the Centre Pompidou in Paris (2011), Documenta (13) in Kassel (2012), and Scenes for a New Heritage at the Museum of Modern Art in New York (2015–16). Mieke Bal conducts a unique dialogue between five of Malani’s shadow plays and theoretical issues concerning art. It examines the complexity, layering, and multiplicity of images, thoughts, sound, and movements: technologies and poetic fragments, narratives and archives, as effective politically as it is artistically.

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Attempting to bridge the gap between specialised scholarship in the humanistic disciplines and an interdisciplinary project of cultural analysis, Mieke Bal has written an intellectual travel guide that charts the course 'beyond' cultural studies. As with any guide, it can be used in a number of ways and the reader can follow or willfully ignore any of the paths it maps or signposts. Bal's focus for this book is the idea that interdisciplinarity in the humanities - necessary, exciting, serious - must seek its heuristic and methodological basis in concepts rather than its methods. Concepts are not grids to put over an object. The counterpart of any given concept is the cultural text or work or 'thing' that constitutes the object of analysis. No concept is meaningful for cultural analysis unless it helps us to understand the object better on its own terms. Bal offers the reader a sustained theoretical reflection on how to 'do' cultural analysis through a tentative practice of doing just that. This offers a concrete practice to theoretical constructs, and allows the proposed method more accessibility.

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The second volume of The Ethics of Narrative completes the project of bringing together nearly all of Hayden White's uncollected essays from the last two decades of his life, including articles, essays, and previously unpublished lectures. As in the first volume, volume 2 features White's trenchant articulations of his influential theories, as well as his explorations of a wide range of ideas and authors at the frontiers of critical theory, literature, and historical studies. These include the concept of utopia in history, modernism and postmodernism, constructivism, the conceptualization of historical periods such as "the Sixties" and "the Enlightenment," the representation of the Holocaust in scholarly and literary writing, as well as essays on Frank Kermode, Saul Friedländer, and Krzysztof Pomian.

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In this book the five prominent contemporary artists Marlene Dumas, Terje Nicolaisen, Nalini Malani, Georg Baselitz and Tracey Emin have each compiled a personal selection of Edvard Munch’s drawings. Munch drew more or less daily throughout his long life and left behind approximately 7700 drawings. Each of the five selections provide a unique glimpse into this abundant material and is presented together with works by the artists, and an interview in which they reflect on Munch’s drawings and their own art.

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In times of intercultural tensions and conflicts, sincerity matters. Traditionally, sincerity concerns a performance of authenticity and truth, a performance that in intercultural situations is easily misunderstood. Sincerity plays a major role in law, the arts—literature, but especially the visual and performing arts—and religion. Sincerity enters the English language in the sixteenth century, when theatre emerged as the dominant idiom of secular representation, during a time of major religious changes. The present historical moment has much in common with that era; with its religious and cultural conflicts and major transformations in representational idioms and media. The Rhetoric of Sincerity is concerned with the ways in which the performance of sincerity is culturally specific and is enacted in different media and disciplines. The book focuses on the theatricality of sincerity, its bodily, linguistic, and social performances, and the success or failure of such performances.

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A unique and compelling view of the work of leading contemporary artist Nalini Malani through the lens of her most recent commission This publication presents the latest work of Nalini Malani (b. 1946), recipient of the 2022 National Gallery Contemporary Fellowship with ArtFund. For over five decades, Malani’s art has focused on giving a voice to the stories of those marginalized by history⁠—particularly women. She is one of the most incisive artists of our time, and the acute analysis and poetic compassion of her experimental film, photography, painting, and drawing has influenced generations of others from the 1960s to the present day. For her first museum commission in the United Kingdom, Malani has created an immersive installation of large-scale, animated drawings inspired by the sites, histories, and collections of the National Gallery, London, and the Holburne Museum, Bath. With a floating palimpsest of digital images, Malani reveals, annotates, and shares new, underlying stories in some of Europe’s best-known paintings, offering a contemporary and critical dialogue between past and present. With leading articles based on new research, sumptuous illustrations, and artist-led design, this extensive study documents the Fellowship alongside the artist’s previous work. Published by National Gallery Global/Distributed by Yale University Press

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The second volume of The Ethics of Narrative completes the project of bringing together nearly all of Hayden White's uncollected essays from the last two decades of his life, including articles, essays, and previously unpublished lectures. As in the first volume, volume 2 features White's trenchant articulations of his influential theories, as well as his explorations of a wide range of ideas and authors at the frontiers of critical theory, literature, and historical studies. These include the concept of utopia in history, modernism and postmodernism, constructivism, the conceptualization of historical periods such as "the Sixties" and "the Enlightenment," the representation of the Holocaust in scholarly and literary writing, as well as essays on Frank Kermode, Saul Friedländer, and Krzysztof Pomian.

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