Search results for ""Leuven University Press""

New perspectives on Belgian Surrealism and the photographic practices of Marcel Mariën. Marcel Mariën (1920–1993) was a key figure of Belgian post-war Surrealism. He is widely acknowledged for his landmark work on Belgian Surrealism and his collaboration with future Situationists like Guy-Ernest Debord in his journal ‘Les Lèvres nues’. Nevertheless, Mariën’s texts, collages, photographs, film, and (art?) objects have to date remained understudied. This is the first volume devoted to Mariën's photographic work. Through a series of close readings, Mieke Bleyen connects the collage and photographic practices of Mariën with his wider oeuvre, particularly with his archival and editorial activities. By applying Gilles Deleuze and Félix Guattari's concept of the ‘minor’, this book proposes an alternative reading of Mariën’s anti-aesthetics and focuses on the affective range of his work. The figure of Mariën also serves as a case study that offers new perspectives on Belgian Surrealism's relation to mainstream Surrealism and the role of photography within Surrealism. This volume, moreover, raises a critique on ‘major’ art history's conception of time as linear progression and argues instead for twisted and extended temporalities in the case of Marcel Mariën. With previously unpublished images from Mariën's private archive. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

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Revealing a vibrant and intertwined artistic scene in the BalkansOn the Very Edge brings together fourteen empirical and comparative essays about the production, perception, and reception of modernity and modernism in the visual arts, architecture, and literature of interwar Serbia (1918–1941). The contributions highlight some idiosyncratic features of modernist processes in this complex period in Serbian arts and society, which emerged ‘on the very edge’ between territorial and cultural, new and old, modern and traditional identities.With an open methodological framework this book reveals a vibrant and intertwined artistic scene, which, albeit prematurely, announced interests in pluralism and globalism. On the Very Edge addresses issues of artistic identities and cultural geographies and aims to enrich contextualized studies of modernism and its variants in the Balkans and Europe, while simultaneously re-mapping and adjusting the prevailing historical canon.This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).ContributorsJelena Bogdanović (Iowa State University), Lilien Filipovitch Robinson (George Washington University), Igor Marjanović (Washington University in St. Louis), Miloš R. Perović (University of Belgrade), Jasna Jovanov (The Pavle Beljanski Memorial Collection and University EDUCONS, Novi Sad), Svetlana Tomić (Alfa University, Belgrade), Ljubomir Milanović (Serbian Academy of Sciences and Arts), Bojana Popović (Museum of Applied Art in Belgrade), Anna Novakov (Saint Mary’s College of California), Aleksandar Kadijević (University of Belgrade), Tadija Stefanović (University of Belgrade), Dragana Ćorović (University of Belgrade), Viktorija Kamilić (independent scholar), Marina Djurdjević (Museum of Science and Technology, Belgrade), Nebojša Stanković (Princeton University), Dejan Zec (Institute for Recent History of Serbia)

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The value of nuanced approaches to the concept of translator invisibilityThe question of whether to disclose that a text is a translation and thereby give visibility to the translator has dominated discussions on translation throughout history. Despite becoming one of the most ubiquitous terms in translation studies, however, the concept of translator (in)visibility is often criticized for being vague, overly adaptable, and grounded in literary contexts. This interdisciplinary volume therefore draws on concepts from fields such as sociology, the digital humanities, and interpreting studies to develop and operationalize theoretical understandings of translator visibility beyond these existing criticisms and limitations. Through empirical case studies spanning areas including social media research, reception studies, institutional translation, and literary translation, this volume demonstrates the value of understanding the visibilities of translators and translation in the plural and adds much-needed nuance to one of translation studies’ most pervasive, polarizing, and imprecise concepts.Contributors: Klaus Kaindl (University of Vienna), Renée Desjardins (Université de Saint-Boniface), Helle V. Dam (Aarhus University), Minna Ruokonen (University of Eastern Finland), Deborah Giustini (Hamad Bin Khalifa University / KU Leuven), Motoko Akashi (Trinity College Dublin), Peter J. Freeth (London Metropolitan University), Seyhan Bozkurt Jobanputra (Yeditepe University), Gys-Walt van Egdom (Utrecht University), Haidee Kotze (Utrecht University), Pardaad Chamsaz (British Library), Rachel Foss (British Library), Will René (National Poetry Library), Esa Penttilä (University of Eastern Finland), Juha Lång (University of Eastern Finland), Juho Suokas (University of Eastern Finland), Erja Vottonen (University of Eastern Finland), and Helka Riionheimo (University of Eastern Finland).This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content)."Introduction" by Peter J. Freeth is distributed under the terms of the Creative Commons Attribution CC BY NC ND 4.0 International license. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/ Introduction © 2024 by P.J. Freeth.

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SAVE THE DATE | BOOK LAUNCH, NOVEMBER 9 at 20h00, PASSA PORTA BOOKSHOP, BRUSSELSThe first introduction of the seminal writings of a key Belgian writer and critic to an English-speaking audience.Radically subjective. Radically unapologetic. Radically demanding. These are the hallmarks of Dirk Lauwaert’s skill, attitude, and sensitivity, which are the result of radical attention.Belgian writer and critic Dirk Lauwaert (1944–2013) wrote about images, be they moving or still, historical or contemporary, overfamiliar or unseen. He experienced them intensely, studied them attentively, and connected them to ethical, philosophical, or social issues in texts that invited readers to do the same, whether they were leaving the movie theater, browsing a photo book, or visiting an exhibition.This selection presents the depth and scope of Lauwaert’s immense output through 15 key texts in which the Belgian author unfolds his central ideas and motifs, displaying his kaleidoscopic thinking and essayistic ability. The texts span 25 years – from 1983 to 2008 – and were originally published in various contexts over the course of three decades.

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In Anarchy of the Body, art historian KuroDalaiJee (a.k.a. Kuroda Raiji) sheds light on vital pieces of postwar Japanese avant-garde history by contextualizing the social, cultural, and political trajectories of artists across Japan in the 1960s. A culmination of years of research, Anarchy of the Body draws on an extensive breadth of source material to reveal how the practice of performance by individual artists and art groups during this period formed a legacy of resistance against institutionalization, both within the art world and more broadly in Japanese society. This book contains 256 high-quality reproductions, including rare performance photographs not readily accessible elsewhere, as well as a comprehensive chronology. KuroDalaiJee is an art historian in Japan. He earned his MA in art history from the University of Tokyo in 1985. Contributors: Kurokawa Noriyuki (editor), Andrew Maerkle (translator), Shima Yumiko (translator), Alice Kiwako Ashiwa (editorial assistant), Daniel Gonzalez (translator), Claire Tanaka (translator), Giles Murray (translator), Jenny Preston (translator) Translated from the original Japanese edition published with Tokyo: Grambooks, 2010. In cooperation with Art Platform Japan / The Agency for Cultural Affairs, Government of Japan. Art Platform Japan is an initiative by the Agency for Cultural Affairs, Government of Japan, to maintain the sustainable development of the contemporary art scene in Japan.

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More than one hundred years after the conclusion of the First World War, the edited collection States of Emergency: Architecture, Urbanism, and the First World War reassesses what that cataclysmic global conflict meant for architecture and urbanism from a human, social, economic, and cultural perspective. Chapters probe how underdevelopment and economic collapse manifested spatially, how military technologies were repurposed by civilians, and how cultures of education, care, and memory emerged from battle. The collection places an emphasis on the various states of emergency as experienced by combatants and civilians across five continents--from refugee camps to military installations, villages to capital cities--thus uncovering the role architecture played in mitigating and exacerbating the everyday tragedy of war. Contributors: Aubrey Knox (The Graduate Center of The City University of New York), Deborah Ascher Barnstone (University of Technology Sydney), Emma Thomas (Boston University), Da Hyung Jeong (Institute of Fine Arts, New York University), Julie Willis (The University of Melbourne), Katti Williams (The University of Melbourne), David Caralt (Universidad San Sebastian, Concepcion, Chile), Etien Santiago (Indiana University Bloomington), Theodossis Issaias (Carnegie Museum of Art, Pittsburgh), Min Kyung Lee (Bryn Mawr College), Massimiliano Savorra (Universita degli studi di Pavia), Antje Senarclens de Grancy (Graz University of Technology)

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With more than 3,000 titles in almost 14,000 volumes, the 1920s Japanese book donation to the University of Leuven/Louvain is an invaluable time capsule of near-forgotten pre-modern culture and knowledge in Japan. This book combines an attractively illustrated overview of the history of the donation, thus giving the reader fascinating insights into the vibrant 1920s in Japan, its politics, society, and popular culture, with detailed descriptions of a careful selection of 100 pre-modern Japanese books. This book offers a collection of cutting-edge academic essays and a wealth of high-quality reproductions of astonishing exhibits such as visually captivating commercial and political 1920s posters that represent progress and conflict, highlighting both Imperial ambitions and a willingness to contribute to international cooperation. Contributors: Willy Vande Walle (KU Leuven), Jan Schmidt (KU Leuven), Freya Terryn (KU Leuven), Aurel Baele (KU Leuven), Lieven Sommen (KU Leuven), Eline Mennens (KU Leuven)

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The Nord-Pas-de-Calais mining region, bordering on Belgium, is part of northern Europe's historical centre of heavy industry, which extends as far as the Ruhr area in Germany. With the end of coal mining in the 1980s, the Lille region transitioned to new economic activities, particularly within the cultural and creative industries, taking advantage of its strategic location midway between Paris, London and Brussels. After de-industrialisation and the 1984 opening of the Lewarde Mining Museum--the first institution of its kind in France--the region took part in industrial heritage campaigns modelled on the Ruhr industrial region. Various historical sites in coal-mining areas in this region and in Belgium were classified as World Heritage Sites by UNESCO in 2012. Renaissance (2014) presents a photographic analysis of the epochal transition from industry to culture and leisure economies and is organised around eight groups of a varying numbers of photographs. It sheds a light on the Nord-Pas-de-Calais mining region's place in the European history of the capitalist nation-state. The artist Jorge Ribalta offers a contribution to the critique on the myths and utopian promises of cultural economies. His photographic work interrogates the correspondence between the decline of industrial economies in Europe and the crisis of the middle class.

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The intricate relation between images and education is an old issue that can easily be dated back to the rise of modernity. Ever since, it has been argued that images might on one hand assist teachers in raising the new generation, but on the other might distract students by offering them mere entertainment instead of essential subject material. Today, with the omnipresence of screens in our daily life, this tension has become all the more tangible. Some may even start to wonder whether education, traditionally conceived as schooling, can still be achievable under these conditions.The title Afterschool refers to a film by Antonio Campos, which depicted these new conditions very accurately. In the same way the book wants to take up this challenge and articulates in an affirmative manner what education still could mean in an era after school, and also what images might mean in such an era, both for teachers and education researchers. The contributors to this book respond to this process of digitization and present new and unexpected ways of making use of images in educational practice and research.Contributors: Sönke Ahrens (independent researcher), Marc De Blieck (LUCA School of Arts, Ghent), Pieter-Jan Decoster (Ghent University), Florelle D'Hoest (Universidad Complutense de Madrid), Jan Dietvorst (visual artist), Jan Masschelein (KU Leuven), Nancy Vansieleghem (LUCA School of Arts, Ghent), Maarten Vanvolsem (LUCA School of Arts, Brussels), Pieter Verstraete (KU Leuven), Roy Villevoye (visual artist), Joris Vlieghe (Liverpool Hope University)

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How churches in Northern Europe reinvented their role as providers of social relief. Charity is a word that fits well in the history of religion and churches, whereas the concept of social reform seems to belong more to the vocabulary of the modern welfare states. Christian charity found itself, during the long nineteenth century, within the maelstrom of social turmoil. In this context of social unrest, although charity managed to confirm its relevance, it was also subjected to fierce criticism, as well as to substitute state-run forms of social care and insurance. The history of the welfare states remained all too blind to religion. This fourth volume in the series ‘Dynamics of Religious Reform’ unravels how the churches in Britain and Ireland, Denmark, Sweden and Norway, Germany, the Netherlands and Belgium shaped and adjusted their understanding of poverty. It reveals how they struggled with the ‘social question’ and often also with the modern nation states to which they belonged. Either in the periphery of public assistance or in a dynamic interplay with the state, political parties and society at large, the churches reinvented their tradition as providers of social relief. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content). Contributors: Andreas Holzem (Universität Tübingen), Dáire Keogh (St Patrick’s College, Dublin City University), Frances Knight (The University of Nottingham), Nina Koefoed (Aarhus Universitet), Katharina Kunter (Germany), Bernhard Schneider (Universität Trier), Aud V. Tønnessen (Universitetet Oslo), Annelies van Heijst (Tilburg University), H.D. van Leeuwen and M.H.D. van Leeuwen (Universiteit Utrecht), Leen Van Molle (KU Leuven).

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Sekula’s final work dedicated to labor solidarity in and around the docks. Ship of Fools / The Dockers’ Museum is the project on which the US artist and writer Allan Sekula worked during the last three years of his life (2010–2013). The work consists, first, of a corpus of thirty-three framed photographs and two slide projections of in total over one hundred images, all made by the artist (Ship of Fools); second, it contains a gigantic collection of various objects, graphic images, postcards, and prints which the artist purchased, mostly online (The Dockers’ Museum). Sekula dedicated this work to both historical and contemporary labor solidarity in and around the docks. At the time of his sad passing in the Summer of 2013, Allan Sekula was in the midst of collaborating on this publication with all four contributing authors: Gail Day, Steve Edwards, Alberto Toscano, and Hilde Van Gelder, each of whom he had asked to write essays. This volume, which includes a representative ensemble of images and objects that are part of Ship of Fools / The Dockers’ Museum, follows as closely as possible the instructions given by the artist and is the first substantial scholarly analysis of this impressive project. The volume also includes draft text materials written by the artist himself, as well as selections from the multitude of unpublished interviews, public debates, and lectures that Allan Sekula delivered between 2010 and 2012. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).Contributors: Jürgen Bock (Maumaus), Gail Day (University of Leeds), Bart De Baere (Museum van Hedendaagse Kunst Antwerpen),Steve Edwards (Open University), Allan Sekula† (California Institute of the Arts), Sally Stein (University of California, Irvine), Alberto Toscano (Goldsmiths), Hilde Van Gelder (KU Leuven)

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Magritte’s interarts dialog with literatureThe Belgian surrealist artist René Magritte (1898–1967) is well known for his thought-provoking and witty images that challenge the observer’s preconditioned perceptions of reality.Magritte and Literature examines some of the artist's major paintings whose titles were influenced by and related to works of literature. Baudelaire's The Flowers of Evil, Goethe's Elective Affinities, and Poe's The Domain of Arnheim are representative examples of Magritte's interarts dialog with literary figures. Despite these convergences the titles subvert the images in his paintings. It is the two images together, the image in the painting and the image in the title, that expresses the aesthetics of Surrealism -- sparked by the juxtaposition of unrelated objects. Magritte's challenge to representation compares with metafiction's challenge to classic realism, Les Chants de Maldoror for example, and the intersecting space between art and writing, sometimes referred to as the iconotext, manifests itself whenever Magritte borrows a literary title for a painting. His strategy is to paint visible thought, and this reverse ekphrasis, the opposite of a rhetorical description of a painting, undermines the written text. When he succeeds, the effect is poetry. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

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The first book to apply the concept of the ‘minor' to the theory of photography. The notion of the minor, developed by Gilles Deleuze and Félix Guattari in Kafka, Towards a minor literature (1975), is introduced and connected applied here for the very first time to the field of photography theory. Deleuze and Guattari defined minor literature in terms of deterritorialization, politicization and collectivization. By transferring ‘the minor' to the medium of photography, this book enlarges the idea of ‘the minor' and opens it up to all kinds of mutations in the process. The essays gathered in this book discuss the ways in which photography can make the dominant codes of representation stammer and how it can produce new effects and address people yet to come. The authors consider ‘the minor' as a valuable tool to help photography research move beyond, or in between, binary and hierarchized ways of thinking (of high and low art, for example, or centre and periphery). As such, it aims to contribute to a rethinking of photography as multiplicity and variation. Consequently, the term is connected with both marginal and canonical photographic practices, covering photographers as different as Miroslav Tichy, Paul McCarthy, Tacita Dean, Dan Graham, and Paul Nougé. After developing a theory of the minor, this book explores how the operations of the minor can be found in major art practices. It closes by tackling the question of photography as variation in case studies of belated forms of surrealist photography. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

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The university is an institution that goes back to the Middle Ages. As universitas magistrorum et scholarium the university was a community of scholars and students gathered around books and preoccupied with study and the search for truth. But what is the role of the university today? The meaning of teaching, study, and research has changed. Screens are replacing books, online learning environments are replacing lecture halls, and students are becoming learners. In the context of a growing emphasis on innovation and development, competition among institutions, and the privatisation of knowledge, the role of communities of scholars and students is changing. Some argue that the university is entering a new phase, others claim that we face the end of the university. To address these issues a conference was organized with an exposition of projects involving new ways of publishing, alternative organizations of departments, proposals for open access and open source, and university architecture and accessibility. Each of the contributors reflects, from their exhibited project, on the challenges the university is facing today. More than a catalogue of different projects, Curating the European University offers a unique contribution to the public debate on the role of the university.

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Before the last quarter of the eighteenth century there was a generally clear and remarkably uniform pattern of church-state relationships across Europe. In the course of the nineteenth century this firm alliance between political and religious establishments broke down. Religious pluralism developed everywhere, though at different speeds, requiring church and state to reach fresh solutions. This volume Political and Legal Perspectives highlights the impact of broad political change, ‘democratization', on the question of religious reform, in Northern Europe. Competing political parties expressed contrasting views about whether ‘the state' should be ‘neutral' or whether it should give particular support to one or other churches. It is hardly surprising that there was no simple ‘one fits it all' solution. Some countries were multi-confessional where others were still in some sense confessional. This volume shows a set of problems and circumstances which were often common but which led to outcomes which were, and to an extent still remain, ‘different'. The research focus of this book is historical but how ‘the state' deals with ‘the church' (and ‘the church' with ‘the state') continues to be a live and pressing public issue in a multi-confessional and multi-faith European Union.

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TWO-VOLUME SET!Buy volume 4, I & 4, II together and receive € 20 discount.You only pay €109 instead of € 129! > 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. Ces essais sont publiés en français, la langue originale, avec les traductions en anglais. La plupart de ces textes, préservés à la Bibliothèque Littéraire Jacques Doucet à Paris, sont publiés en ce lieu pour la première fois. Ils ne manifestent pas un « autre » Lyotard que celui que nous connaissons de ses écrits majeurs. Mais ils couvrent l'entière période de sa production, de 1969 à 1997, et rendent le développement de sa philosophie de l'art plus explicite. Après la conception « libidinale » dans ses premiers écrits sur l'art, on constate chez Lyotard vers 1980 le « tournant kantien » qui place sa philosophie de l'art sous l'égide du sublime. Ces essais suggèrent ce que signifient, pour Jean-François Lyotard, la main du peintre tout comme le regard de l'amoureux de la résonance des couleurs.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. They are published in the original French along with English translations on facing pages. Most of these texts, preserved in the Lyotard archives of the Bibliothèque Littéraire Jacques Doucet in Paris, are published here for the first time. They do not reveal ‘another Lyotard' than the one whom we know through his major writings. Nevertheless, they cover the whole period of his production, from 1969 to 1997; and they make the development of his philosophy of art explicit. After the ‘libidinal' conception of art in his early writings, the ‘Kantian twist' of around 1980 places his view on art under the aegis of the sublime.These essays specify what, for Jean-François Lyotard, the hand of the painter means, as well as the gaze of the viewer, enamoured with resonant colours.This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

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Volume 30 of the Henrici de Gandavo Opera Omnia series is devoted to Henry’s Summa quaestionum ordinariarum, articles 47-52. This section of Henry’s Summa deals with the action of the (divine) will; the divine will in relation to the divine intellect; divine beatitude; passion in relation to the divine being; the differences between the divine attributes; and the order of the divine attributes. The critical edition of the text is accompanied by a detailed introduction to the manuscripts and to Henry’s sources.

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The art of persuasion, as practised today in political debate as well as in the courts of law, has been developed in the rhetorical tradition, but its authors have disappeared from view. One of them was Quintilian, who wrote his Institutio oratoria at the end of the first century AD. This book is special because it contains one of the fullest surveys of rhetorical insights ever written and because it has come down to us in its entirety. Quintilian's rhetorical system has been used in teaching rhetoric at universities since the Middle Ages.The purpose of 'Quintilian and the Law' is to reintroduce Quintilian's Institutio oratoria to modern readers, and to show that the topics discussed in it are still very much alive today. To that end, modern experts of law and rhetoric present their views on the Institutio oratoria, each dealing with one of the twelve books of which it consists. The authors were free to choose their own way of working, so that some books are described in their entirety, others are discussed from one particular point of view, and others still are treated only with regard to a particular section.In Roman times, the shortest way to a political career was by working in the law courts. There, one could acquire a reputation for having a thorough knowledge of the law and for being able to speak well in public. In his Institutio oratoria, Quintilian not only formulated important insights in juridical argumentation, in the art of speech-writing, and in the performative aspects of advocacy, he also discussed the ethical problems involved. Because Quintilian larded his instructions with numerous examples from practice, his book takes us back into the Roman law courts and helps us experience their exciting atmosphere.The essays in this book reflect the wide range of subjects discussed by Quintilian. They deal with (one of) six themes: (1) the ideal orator in a historical perspective, (2) his education, (3) rhetoric and communication, (4) argumentation, (5) Roman law in the Institutio oratoria, and (6) emotions in the courtroom. However, in honour of its author, they are arranged in the order of the Institutio oratoria.

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The question of truth within the construction of knowledge on suffering.Although truth occupies a central position in philosophy and the philosophy of science, there is much debate about its actual role in scientific practice. Truth and Suffering explores different conceptions of truth and their profound influence on our understanding and approach to suffering. By discussing how different definitions of truth shape distinct ways of producing knowledge, the analysis prompts reflection on the impact of knowledge production on people''s lives.Drawing on the work of authors from psychoanalysis and the philosophy of science, this book challenges dominant mental health paradigms, particularly the hegemony of biologic psychiatry. It resists attempts to naturalise symptoms and emphasises the need for ethical and political factors to be consistently taken into account when addressing suffering.Offering a clear and original approach to an importa

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The first transnational history of photography’s accommodation in the art museum Photography was long regarded as a “middle-brow” art by the art institution. Yet, at the turn of the millennium, it became the hot, global art of our time. In this book—part institutional history, part account of shifting photographic theories and practices—Alexandra Moschovi tells the story of photography’s accommodation in and as contemporary art in the art museum. Archival research of key exhibitions and the contrasting collecting policies of MoMA, Tate, the Guggenheim, the V&A, and the Centre Pompidou offer new insights into how art as photography and photography as art have been collected and exhibited since the 1930s. Moschovi argues that this accommodation not only changed photography’s status in art, culture, and society, but also played a significant role in the rebranding of the art museum as a cultural and social site. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

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First critical edition of Petrus Thomae’s theory of non-causal dependence. This work of Scotist metaphysics is an investigation into the ultimate constitution of things. In the course of this treatise, Petrus Thomae examines whether the essences of things ultimately depend on being thought of by God for their very intelligibility or whether they have it of themselves. Defending in detail the second option, Peter argues that creatures exist independently of the divine intellect in the divine essence. They enjoy real, eternal being in the divine essence and objective being in the divine mind. Aware that these views conflicted with his belief in the Christian doctrine of creation, Peter laboured to alleviate the conflict with a theory of non-causal dependence, according to which even if God did not cause creatures to be in the divine essence, nevertheless they are necessary correlatives of the divine essence. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

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The most important writings of Lyotard on contemporary art in English for the first timeSeven writings assembled in the context of the philosophy of art that Jean-François Lyotard developed in the nineteen-eighties, at the time of the Differend(1983) and of the ‘Kantian turn' leading to the Lessons on the Analytic of the Sublime (1992), are here published for the first time in English translation. The texts focus on three artists with widely divergent aesthetic orientations: the colourist-draughtsman Valerio Adami, the conceptual metaphysician Shusaku Arakawa, and Daniel Buren, the ‘pragmatist of the invisible'. These three protagonists share the notion that the interest in art does not lie in the simple denotation of a frame of reference, but in the connotations of material nuances, in flavours, in tones-in one word, the visual that is barely revealed in the anamnesis that guides the visible and provokes the essential inquietude of the aesthetic experience. What to Paint? Not reality or a ‘world', nor a rich subjectivity, nor even the phantasms of dreams or ideals of being-together, but the act of painting itself, and, beyond the performance of the painter, the presence of matters, a presence that in Arakawa's word is quite obviously blank, elusive.This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content)

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Exploring the influence of other media on contemporary photography. ‘Heterogeneous Objects’ provides various essays that explore the encounter of photography with other media since the 1960s. The essays offer new ways of thinking about photography beyond modernist notions of medium specificity and autonomy based upon the idea that a photograph does not rely on a coherent system of codes but is almost always encountered as a fragmented, partial object. Addressing recent debates in art history and photography theory, film studies, and media theory, the contributions cover a broad array of approaches, relating photography to issues of the panorama, surveillance, sculpture, transformation and processuality, and the development of new media categories. Rather than conceiving of photography as a medium, the aim is to reconsider the photograph as a historically, theoretically, and culturally embedded heterogeneous object that is always related to, in contact with, or shaped by other media. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content). Contributors: Diarmuid Costello (University of Warwick), Steven Jacobs (University of Gent), Joanna Lowry (University of Brighton), Marcel Marburger (Universität der Künste, Berlin), Raphaël Pirenne (Université catholique de Louvain), Yvonne Spielmann (University of the West of Scotland), Alexander Streitberger (Université catholique de Louvain), Hilde Van Gelder (University of Leuven)

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The practices and perception of music creation have evolved with the cultural, social and technological contexts of music and musicians. But musical authorship, in its many technical and aesthetic modes, remains an important component of music culture. Musicians are increasingly called on to share their experience in writing. However, cultural imperatives to account for composition as knowledge production and to make claims for its uniqueness inhibit the development of discourse in both expert and public spheres. Internet pioneer Philip Agre observed a discourse deficit in artificial intelligence research and proposed a critical technical practice, a single disciplinary field with one foot planted in the craft work of design and the other foot planted in the reflexive work of critique. A critical technical practice rethinks its own premises, re-evaluates its own methods, and reconsiders its own concepts as a routine part of its daily work. This volume considers the potential for critical technical practice in the evolving situation of composition across a wide range of current practices. In seeking to tell more honest, useful stories of composition, it hopes to contribute to a new discourse around the creation of music. Contributors: Patricia Alessandrini (Stanford University), Alan Blackwell (University of Cambridge), John Bowers (Newcastle University), Nicholas Brown (Trinity College Dublin), Nicolas Collins (School of the Art Institute of Chicago), Agostino di Scipio (Conservatorio de l'Aquila), Daniela Fantechi (Orpheus Institute, Ghent), Ambrose Field (University of York), Karim Haddad (IRCAM, Paris), Jonathan Impett (Orpheus Institute, Ghent), Scott McClaughlin (University of Leeds), Lula Romero (Kunstuniversitat Graz), David Rosenboom (CalArts, Los Angeles), Ann M. Ward (Cornell University), Laura Zattra (IRCAM, Paris)

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Special edition on the first permanent sculpture by Jaume Plensa in Belgian public spaceAcclaimed Spanish visual artist, sculptor, designer and engraver Jaume Plensa is renowned for his ability to weave spirituality, corporeality, and collective memory into his sculptures and installations, using a wide range of materials. Many of his iconic sculptures can be found in public spaces, in some of the most evocative places in the world. The city of Leuven now joins this list with the acquisition by KU Leuven of The Four Elements, the first permanent sculpture by Jaume Plensa in Belgian public space.The sculpture The Four Elements consists of two parts in bronze, located in two places, the gallery of the KU Leuven University Library and the newly created St-Raphaël Square. The first part, Fire, commemorates the resurrection of the University Library after the devastating fire of World War I. Water, Earth, Air, the second part, ris

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A critical edition of one of the key texts in psychoanalysis.Sigmund Freud's Beyond the Pleasure Principle stands as a foundational text in psychoanalysis, delving into profound questions about life, death, pleasure and pain. Through a combination of contextualising and philosophical contributions, this critical edition and commentary sheds new light on Freud's text. In a series of contributions spanning approaches from historical exegesis to philosophical reflections on key concepts and ideas presented in Beyond the Pleasure Principle, the evolution and inconsistencies found in the various versions of the text are highlighted. Particular emphasis is placed on the conceptualisation of trauma and drive theory. These commentaries also provide context for the work, examining its position within the Freudian corpus, its role in the collaborative project with Sándor Ferenczi in speculative bioanalysis, and its clinical insights into war neuroses,

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Livestream Recharge Lezing 'Missie Europa. Naoorlogse Amerikaanse pogingen om West-Europa te bekeren', dinsdag 13 oktober 2020, 19:30 tot 21:00 uur How American Protestant missionaries created a new worldwide religious networkAmong a wide spectrum of American Protestants, the horrors of World War II triggered grave concern for Europe’s religious future. They promptly mobilised resources to revive Europe’s Christian foundation. Saving the Overlooked Continent reconstructs this surprising redirection of Western missions. For the first time, Europe became the recipient of America’s missionary enterprise. The American missionary impulse matched the military, economic, and political programs of the U.S., all of which positioned the United States to become Europe’s dominant partner and point of cultural reference. One result was the importation of the internal conflicts that vexed American Protestants – theological tensions between modernists and traditionalists, and organisational competition between established churches and independent parachurch associations. Europe was offered a new slate of options that sparked civic and ecclesiastical responses. But behind these contending religious networks lay a considerable overlap of goals and means based on a shared missionary trajectory. By the mid-1960s, most Protestant American agencies admitted that the expectation of a religious revival had been too optimistic despite their initiatives having led to an integration of Europe in the global evangelical network. The agencies reconsidered their assumptions and redefined their strategies. The initial opposition between inclusive and exclusive approaches abated, and the path opened to a sustained cooperation among once-fierce opponents.This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

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Hungarian urban culture in the 20th and the 21st centuries.When consulting key works on urban studies, the absence of Central and Eastern European towns is striking. Cities such as Vienna, Budapest, Prague, and Trieste, where such notable figures as Freud, Ferenczi, Kafka, and Joyce lived and worked, are rarely studied in a translocal framework, as if Central and Eastern Europe were still a blind spot of European modernity. This volume expands the scope of literary urban studies by focusing on Budapest and Hungarian small towns, offering in-depth analyses of the intriguing link between literature, the arts, and material culture in the 20th and 21st centuries. The case studies situate Hungarian urban culture within the global flow of ideas as they explore the period of modernism, the mid-century, and the post-1989 era in a context that moves well beyond the borders of the country.Contributors: Árpád Bak (University of Leeds), Éva Federmayer (Eötvös Loránd University), Magdolna Gucsa (Eötvös Loránd University / ÉHESS), Ágnes Györke (Károli Gáspár University), Ferenc Hörcher (Eötvös József Research Centre), Tamás Juhász (Károli Gáspár University), György Kalmár (University of Debrecen), László Munteán (Radboud University), Ágnes Klára Papp (Károli Gáspár University), Márta Pellérdi (Pázmány Péter Catholic University), Eszter Ureczky (University of Debrecen).This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).This book will be made open access within three years of publication thanks to Path to Open, a program developed in partnership between JSTOR, the American Council of Learned Societies (ACLS), University of Michigan Press, and The University of North Carolina Press to bring about equitable access and impact for the entire scholarly community, including authors, researchers, libraries, and university presses around the world. Learn more at https://about.jstor.org/path-to-open/

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The Annals of the War in the Low Countries is one of Hugo Grotius' lesser-known works. Grotius expresses a wayward view of the early revolt, which he presents not as a united battle for the true faith and the ancient liberties of the land but as a protracted and painful struggle, not only with the great power of Spain, but also with discord, selfishness and religious fanaticism among the Dutch. To convey this complex and controversial vision of the foundational years of the Dutch Republic, Grotius chose the worldview and the prose style of the Roman historian Cornelius Tacitus as his model. His commissioners, however - the States of Holland - did not publish the work when it was finished in 1612; it appeared in print posthumously in 1657. This is the first edition of Grotius' then-influential and well-known Annals of the Dutch Revolt since its initial publication. It presents a critical edition of the Latin text, a fresh modern English translation, and an introduction which covers all aspects of the work, from its conception to its modern reception, underlining the importance of reason of state for Grotius' thought in general.

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In the 1950s and 1960s, thousands of churches were built across Europe in an attempt to keep up with the continent's rapid urbanisation. This book addresses the immense effort related to the planning, financing, and construction of this new religious infrastructure. Going beyond aspects of style and liturgy, and transcending a focus on particular architects or regions, this volume considers church building at the crossroads of pastoral theology, religious sociology, and urban planning. Presenting the rich palette of strategies and methods deployed by congregations, dioceses, government bodies, and private patrons in their attempt to secure a religious presence in the rapidly modernising world, Territories of Faith offers a broad view of the practice of religion and its material expression in the fast-evolving (sub)urban landscapes of post-war Europe. Contributors: Joao Alves da Cunha (Universidade Catolica Portuguesa), Alba Arboix-Alio (Universitat Politecnica de Catalunya / Universitat de Barcelona), Umberto Bordoni (Scuola Beato Angelico), Angela Connelly (Manchester School of Architecture), Maria Antonietta Crippa (Politecnico di Milano), Kees Doevendans (TU Eindhoven / KU Leuven), Davide Fusari (Politecnico di Milano), Jesus Garcia Herrero (Universidad Politecnica de Madrid), Judi Loach (Cardiff University; Laboratoire de Recherche Historique Rhone-Alpes), Joao Luis Marques (Universidade do Porto), Melanie Meynier-Philip (Ecole Nationale Superieure d'Architecture de Lyon), Ellen Rowley (University College Dublin), Sofia Anja Singler (Cambridge University), Sven Sterken (KU Leuven), Marina Wesner (TU Berlin), Eva Weyns (KU Leuven), Ferdinando Zanzottera (Politecnico di Milano)

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Portugal's vibrant comics scene originated as early as the 19th century, bringing forth brilliant individual artists, but has remained mostly unknown beyond Portugal's borders to this day. Now a new generation employs this medium to put into question hegemonic views on the economy, politics, and society. Following the experience of the financial crisis of the past decades and its impact on social policies, access to and rules of public discourse, and civil strife, comics have questioned what constitutes a traumatogenic situation and what can act as a creative response. By looking at established graphic novels by Marco Mendes and Miguel Rocha, fanzine-level, and even experimental productions, Visualising Small Traumas is the first English-language book that addresses Portuguese contemporary comics and investigates how trauma studies can both shed a light on comics making and be informed by that very same practice.

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In Colonial Legacies, Gabriella Nugent examines a generation of contemporary artists born or based in the Congo whose lens-based art attends to the afterlives and mutations of Belgian colonialism in postcolonial Congo. Focusing on three artists and one artist collective, Nugent analyses artworks produced by Sammy Baloji, Michele Magema, Georges Senga and Kongo Astronauts, each of whom offers a different perspective onto this history gleaned from their own experiences. In their photography and video art, these artists rework existent images and redress archival absences, making visible people and events occluded from dominant narratives. Their artworks are shown to offer a re-reading of the colonial and immediate post-independence past, blurring the lines of historical and speculative knowledge, documentary and fiction. Nugent demonstrates how their practices create a new type of visual record for the future, one that attests to the ramifications of colonialism across time.

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"Artists such as Zeina Abirached, Baru and Boudjellal have been impressive in their efforts to decolonize French comics and set the record straight on migration, by telling stories about migrants and postcolonial minority groups from the inside, as it were.", Mark McKinneyProfound analysis of French comics through a postcolonial lens Postcolonialism and migration are major themes in contemporary French comics and have roots in the Algerian War (1954–62), antiracist struggle, and mass migration to France. This volume studies comics from the end of the formal dismantling of French colonial empire in 1962 up to the present. French cartoonists of ethnic-minority and immigrant heritage are a major focus, including Zeina Abirached (Lebanon), Yvan Alagbé (Benin), Baru (Italy), Enki Bilal (former Yugoslavia), Farid Boudjellal (Algeria and Armenia), José Jover (Spain), Larbi Mechkour (Algeria), and Roland Monpierre (Guadeloupe). The author analyzes comics representing a gamut of perspectives on immigration and postcolonial ethnic minorities, ranging from staunch defense to violent rejection. Individual chapters are dedicated to specific artists, artistic collectives, comics, or themes, including avant-gardism, undocumented migrants in comics, and racism in far-right comics. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).Listen to an interview with Mark McKinney at New Books Network: https://newbooksnetwork.com/postcolonialism-and-migration-in-french-comics

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Triumphs and challenges in contemporary museology Held on the occasion of Louvre Abu Dhabi’s first anniversary, the symposium Worlds in a Museum addressed the topic of museums in the era of globalisation, exploring contemporary museology and the preservation and presentation of culture within the context of changing societies. Departing from the historical museum structure inherited from the Enlightenment, leading experts from art, cultural, and academic institutions explore present-day achievements and challenges in the study, display and interpretation of art, history, and artefacts. How are “global” and “local” objects and narratives balanced – particularly in consideration of diverse audiences? How do we foster perspective and multiculturalism while addressing politicised notions of centre and periphery? As they abandon classical canons and categories, how are museums and cultural entities redefining themselves beyond predefined concepts of geography and history?This collection of essays arises from the symposium Worlds in a Museum organised by Louvre Abu Dhabi and École du Louvre. Contributors: H.E. Shaikha Mai bint Mohammed Al Khalifa (Bahrain Authority for Culture and Antiquities), Mohamed Khalifa Al Mubarak (Department of Culture and Tourism - Abu Dhabi), Guilhem André (Louvre Abu Dhabi), Claire Barbillon (École du Louvre), Nathalie Bondil (Montreal Museum of Fine Arts), James Cuno (J. Paul Getty Trust), Noëmi Daucé (Louvre Abu Dhabi), Hartwig Fischer (British Museum), Cecilia Hurley (Neuchâtel University / École du Louvre), Rose-Marie Herda Mousseaux (Louvre Abu Dhabi), Hervé Inglebert (Paris-Nanterre University), Henry Kim (Aga Khan Museum), Anne-Marie Maïla-Afeiche (The National Museum of Beirut), François-René Martin (Ecole du Louvre / Ecole des Beaux-Arts de Paris), Jean-Luc Martinez (Louvre Museum), Sophie Mouquin (University of Lille / École du Louvre), Souraya Noujaim (Louvre Abu Dhabi), Martin Pitts (University of Exeter), Manuel Rabaté (Louvre Abu Dhabi), Sylvie Ramond (Museums of Fine Arts and Contemporary Arts Lyon), Kennie Ting (Asian Civilisations Museum)

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Up-to-date account of media art issues in the early 21st centuryEarly 21st century media arts are addressing the anxieties of an age shadowed by ubiquitous surveillance, big data profiling, and globalised translocations of people. Altogether, they tap the overwhelming changes in our lived experience of self, body, and intersubjective relations. Shifting Interfaces addresses current exciting exchanges between art, science, and emerging technologies, highlighting a range of concerns that currently prevail in the field of media arts. This book provides an up-to-date perspective on the field, with a considerable representation of art-based research gaining salience in media art studies. The collection attends to art projects interrogating the destabilisation of identity and the breaching of individual privacy, the rekindled interest in phenomenology and in the neurocognitive workings of empathy, and the routes of interconnectivity beyond the human in the age of the Internet of Things. Offering a diversity of perspectives, ranging from purely theoretical to art-based research, and from aesthetics to social and cultural critique, this volume will be of great value for readers interested in contemporary art, art-science-technology interfaces, visual culture, and cultural studies.Contributors: Hava Aldouby (The Open University of Israel), Grant Bollmer (North Carolina State University / University of Sydney), Andrea Pinotti (University of Milan), Daniel H. Landau (Aalto University / Interdisciplinary Center Herzliya), Wendy Jo Coones (Danube University Krems), Paul Sermon (University of Brighton), Ryszard Kluszczynski (University of Lodz), Derek Curry (Northeastern University, Boston), Jennifer Gradecki (SUNY Buffalo / Northeastern University, Boston), Tsila Hassine (Shenkar College of Engineering and Design / Paris 1 Pantheon Sorbonne), Ziv Neeman (independent scholar), Manuela Naveau (Ars Electronica, Linz), Aaron Burton (University of Wollongong), Yvonne Volkart (Academy of Art and Design, FHNW Basel), Jens Hauser (IKK & Medical Museion, Copenhagen University), Adam Brown (Michigan State University), Jonas Jørgensen (IT University of Copenhagen), Olga Kisseleva (Université de Paris 1 Panthéon-Sorbonne)This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

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Introductory and user-friendly textbook for scholars and students in the humanities Multidisciplinary approach to digital culture Cross-fertilization of three major perspectives: history of ideas, art, identity and memory studies Includes a wide selection of examples and case studies with many suggestions for advanced study and reading The digital revolution has changed our ways of thinking, working, writing, and living together. In this book the authors critically analyse the ways in which these new technologies have reshaped our world in numerous respects, ranging from politics, ideology, and philosophy over art and communication to memory and identity. The book challenges the customary view of a divide between analog and digital culture, claiming instead that human endeavour has always been characterized by certain forms and aspects of digital thinking, building, and communicating, and that essential parts of analog culture are still being reshaped by new digital technologies. It offers a multidisciplinary approach to digital reason, reflecting the diversity of humanities scholarship and its fundamental contribution to the ongoing changes in our current and future thinking and doing.

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How the Jesuits re-emerged after forty years of suppressionIn 1773, Pope Clement XIV suppressed the Society of Jesus. For the 823 Jesuits living in the Low Countries, it meant the end of their institutional religious life. In the Austrian Netherlands, the Jesuits were put under strict surveillance, but in the Dutch Republic they were able to continue their missionary work. It is this regional contrast and the opportunities it offered for the Order to survive that make the Low Countries an exceptional and interesting case in Jesuit history.Just as in White Russia, former Jesuits and new Jesuits in the Low Countries prepared for the restoration of the Order, with the help of other religious, priests, and lay benefactors. In 1814, eight days before the restoration of the Society by Pope Pius VII, the novitiate near Ghent opened with eleven candidates from all over the United Netherlands. Barely twenty years later, the Order in the Low Countries – by then counting one hundred members – formed an independent Belgian Province. A separate Dutch Province followed in 1850. Obviously, the reestablishment, with new churches and new colleges, carried a heavy survival burden: in the face of their old enemies and the black legends they revived, the Jesuits had to retrieve their true identity, which had been suppressed for forty years.Contributors: Peter van Dael, SJ (Vrije Universiteit Amsterdam & Pontifical Gregorian University Rome), Pierre Antoine Fabre (École des hautes études en sciences sociales Paris), Joep van Gennip (Tilburg School of Catholic Theology), Michel Hermans, SJ (University of Namur), Marek Inglot, SJ (Pontifical Gregorian University Rome), Frank Judo (lawyer Brussels), Leo Kenis (KU Leuven) Marc Lindeijer, SJ (Bollandist Society Brussels), Jo Luyten (KADOC-KU Leuven), Kristien Suenens (KADOC-KU Leuven), Vincent Verbrugge (historian)This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

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Futures of the Contemporary explores different notions and manifestations of "the contemporary" in music, visual arts, art theory, and philosophy. In particular, the authors in this collection of essays scrutinise the role of artistic research in critical and creative expressions of contemporaneity. When distinguished from "the contemporaneous" of a given historical time, "the contemporary" becomes a crucial concept, promoting or excluding objects and practices according to their ability to diagnose previously unnoticed aspects of the present. In this sense, the contemporary gains a critical function, involving particular modes of relating to history and one's own time. Written by major experts from fields such as music performance, composition, art theory, visual arts, art history, critical studies, and philosophy, this book offers challenging perspectives on contemporary art practices, the temporality of artistic works and phenomena, and new modes of problematising the production of art and its public apprehension. Contributors: Andrew Prior (University of Plymouth), Babette Babich (Fordham University), Geoff Cox (Fine Art at Plymouth University / Aarhus University), Heiner Goebbels (Justus Liebig University), Jacob Lund (Aarhus University), Michael Schwab (Orpheus Institute), Pal Capdevila (Autonomous University of Barcelona), Paulo de Assis (Orpheus Institute), Peter Osborne (Kingston University London), Ryan Nolan (University of Plymouth), Zsuzsa Baross (Trent University)

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The story of modernist architects in East Central Europe The first half of the twentieth century witnessed the rise of modernist architects. Brokers of Modernity reveals how East Central Europe turned into one of the pre-eminent testing grounds of the new belief system of modernism. By combining the internationalism of the CIAM organization and the modernising aspirations of the new states built after 1918, the reach of modernist architects extended far beyond their established fields. Yet, these architects paid a price when Europe’s age of extremes intensified. Mainly drawing on Polish, but also wider Central and Eastern European cases, this book delivers a pioneering study of the dynamics of modernist architects as a group, including how they became qualified, how they organized, communicated and attempted to live the modernist lifestyle themselves. In doing so, Brokers of Modernity raises questions concerning collective work in general and also invites us to examine the social role of architects today.Ebook available in Open Access.This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

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Religion in today's Democratic Republic of Congo has many faces: from the overflowing seminaries, the Marian shrines of the Catholic Church, the Islamic brotherhoods, and the Jewish community of Lubumbashi, to the 'African' churches of the Congolese diaspora in Brussels and Paris, the healers of Kimbanguism, the televangelism of the booming Pentecostalist churches in the great cities, the Orthodox communities of Kasai, and the 'invisible' Mai Mai warriors in the brousse of Kivu. During the colonial period religion was no less central to people's lives than it is today. More surprisingly, behind the seemingly smooth facade of missions linked closely to imperial power, also then faith and worship were marked by diversity and dynamism, tying the Congo into broader African and global movements. The contributions in this book provide insight into the multifaceted history of the interaction between religion and colonization. The authors focus on the institutional (including legal) political framework, examine the complex interaction between indigenous and 'imported' non-African religious beliefs and practices, and zoom in on the part religions played in the independence movement as well as on their reaction to independence itself. Contributors: Piet Clement (Bank of International Settlements), Bram Cleys (Vrije Universiteit Brussel), Anne Cornet (Royal Museum for Central Africa, Tervuren) Marie Dunkerley (Exeter University), Zana Aziza Etambala (Royal Museum for Central Africa, Tervuren), Anne-Sophie Gijs (Universit Catholique de Louvain), Miguel Bandeira Jer nimo (University of Coimbra), Emery Kalema Masua (University of the Witwatersrand), Sindani E. Kiangu (Universit de Kinshasa), Elisabeth Mudimbe-Boyi (Stanford University) Dominic Pistor (Simon Fraser University), Jean-Luc Vellut (Universit Catholique de Louvain), Vincent Viaene

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Romancier bien connu du pantheon litteraire belge, Georges Eekhoud (1854-1927) ne s'est pas limite aux pratiques d'auteur prestigieuses et a la langue francaise. Son " hard labour " quotidien - comme il le qualifiait lui-meme - de chroniqueur bilingue et de feuilletoniste anonyme franchissait continuellement les frontieres linguistiques et nationales. Tantot douanier, tantot contrebandier, il a colporte, adapte et manipule des discours patriotiques en francais et en neerlandais entre Anvers, Paris et Bruxelles. L'etude de ces activites inedites, aux confins de l'ecriture et de la traduction, offre une vision meconnue des relations interculturelles en Belgique a la Belle Epoque.

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Boredom and melancholy in the experience of reading. Contemporary graphic novels show an interesting shift from the extraordinary to the ordinary in slice-of-life stories in which nothing happens. Present-day graphic accounts are inhabited by melancholic characters whining about the lack of meaning in life. This book examines this intriguing transition and brings a historical, aesthetical and narratological approach to comics in which boredom is not only a topic, but also awakens a deliberate affective response in the very experience of reading. This volume brings together close readings of work by Lewis Trondheim, Chris Ware and Adrian Tomine. With a foreword by Raphäel Baroni (University of Lausanne). This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

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In-depth analysis of Victor Burgin’s video installation Parzival (2013). In commemoration of the destruction of the University Library of Leuven (Belgium) in August 1914, the projection work Parzival, created by Victor Burgin (°UK, 1941) in 2013, was installed within the rebuilt Library. The installation uniquely marked the 100th anniversary of the beginning of World War I, which left its profound traces on both the consciousness and physiognomy of the city of Leuven. Parzival is a montage piece combining digital images of ruins and bombed out cities with audio-visual and literary material that references, amongst other works, Richard Wagner’s opera Parsifal (premiere in 1882), Roberto Rossellini’s Germany Year Zero (1948) and Milan Kundera’s novel Identity (1998). This publication provides an in-depth analysis of Parzival, a work that is inspired by the period of seven months that Wagner spent in Venice (1858-1859). Burgin’s Parzival raises questions about some of the most fundamental elements in Wagner’s operatic work: the longing for a savior, the complex connection between violence and catharsis, and the presentiment that destruction awaits humanity in the future (Götterdämmerung). In an associative manner, Parzival brings together various artistic and political features to confront the romantic ideal of the ruin with the horrors that might result from such a myth. In addition, this book contains a reprint of Michel Foucault’s essay “The Imagination of the Nineteenth Century” (1980). This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).Contributors: Geert Bouckaert (KU Leuven), Victor Burgin (University of California, University of London, University of Southampton), Alexander Streitberger (Université catholique de Louvain), Stéphane Symons (KU Leuven), Hilde Van Gelder (KU Leuven)

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The attraction and repulsion between the Roman Catholic Church and modernity in Europe between 1750 and 2000Emiel Lamberts (1941), professor emeritus of contemporary history at KU Leuven, is an international expert in the political and religious history of Europe in the 19th and 20th centuries.His work and the central themes in his research are the starting point in World Views and Worldly Wisdom. No less than eighteen leading international researchers put different aspects of his work in the spotlight. A recurring theme, however, is the attraction and repulsion between the Roman Catholic Church and modernity in Europe between 1750 and 2000.The ambivalent relationship with modernity is therefore the leitmotiv of the first part of this volume, whereas the second part focuses on the repositioning of the Church and the tensions between religion, ideology and politics. In this way the volume reflects Lamberts’s fascination for the history of political institutions as well as his research on Christian democracy. The contributions address – in a comparative way and from a transatlantic viewpoint – this broad period of time in history, which gave rise to different social movements and different models of society in Belgium and elsewhere.This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content). Contributors: Winfried Becker (Universität Passau), Bruno Béthouart (Université du Littoral Côte d’Opale), Hans Blom (Universiteit van Amsterdam), Alfredo Canavero (Università degli Studi di Milano), Philippe Chenaux (Pontificia Università Lateranense, Roma), Andrea Ciampani (LUMSA, Roma), Jo Deferme (KU Leuven), Jan De Maeyer (KADOC KU Leuven), Henk De Smaele (Universiteit Antwerpen), Carine Dujardin (KADOC KU Leuven), Jean-Dominique Durand (Université Lyon 3), Michael Gehler (Jean Monnet Chair, Universität Hildesheim - Institut für Neuzeit- und Zeitgeschichtsforschung, Wien), Susana Monreal (Universidad Católica del Uruguay), Patrick Pasture (KU Leuven), Patrick M.W. Taveirne (The Chinese University of Hong Kong), Peter Van Kemseke (Europese Commissie, KU Leuven), Vincent Viaene (Attaché bij het Huis van Koning Filip), Els Witte (Vrije Universiteit Brussel)

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Human genetics is not the playground of science alone. Genetics concerns all of us, for we all have DNA, genes, genomes, and chromosomes. In fact, our genes determine our appearance and our behaviour. They even define our talents and our health risks. The authors of The Human Recipe explain clearly and with humour what exactly is understood by human genetics. With anecdotes and topical examples they demonstrate how genetics interferes with our everyday lives. What if a DNA analysis reveals that your biological father is someone else than the person you have been calling dad for years? Why do Africans excel in athletics, Asians in gymnastics, and Europeans mainly in sports testing physical strengths? What is the difference between a genetic disease and a contagious illness? The newest developments in human genetics also raise ethical questions and provoke actual debates which the authors do not bypass. Why are many people reluctant to the conception of designer babies and less to rescue babies? Is it possible to eliminate cancer? And are preventive surgeries and amputations the most appropriate solutions to do so? What about privacy in DNA research and forensic databases? Can DNA be stolen and is this considered a serious crime? The Human Recipe is a smart guide to all you want to know about human genetics in our current society.

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Témoignage intéressant sur la vie intellectuelle et la vie tout court des grands humanistes Le présent recueil entend apporter une nouvelle contribution à la connaissance des écrits des grands humanistes du 15ème au 16ème siècle. Certes, le volume consacré à l’échange de lettres entre Budé et Vives est mince: il ne comporte que dix lettres au total. Malgré leur petit nombre, ces lettres apportent indéniablement, à l’instar des lettres publiées précédemment, un témoignage intéressant sur la vie intellectuelle, voire, dans le cas de Budé, sur la vie tout court d’humanistes. Toutes les lettres sont accompagnées d'un commentaire exhaustif et d’une traduction française, ainsi que d’un index nominum et d’un index fontium. Interesting testimony to the intellectual life and life itself of the great humanistsThis book aims to make a new contribution to the knowledge on writings of the great humanists of the fifteenth and sixteenth centuries. Certainly, the volume on the exchange of letters between Budé and Vives is thin: it has only ten letters. Despite the small number, these letters undeniably bring an interesting testimony to the intellectual life or, in the case of Budé, on life itself of the humanists. All letters are accompanied by an exhaustive commentary and a French translation, as well as an index fontium and an index nominum.Introduction, édition critique et annotations par Gilbert Tournoy. Avant-propos et traduction française par Monique Mund-Dopchie

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Critical study of the ‘second part’ of Henry’s Summa devoted to the Persons of the Trinity Henry of Ghent’s Summa, art. 53-55, was composed shortly after Christmas of 1281, at the height of Henry’s teaching career in the Theology Faculty at the University in Paris. These questions, which begin the ‘second part’ of his Summa, are devoted to the Persons of the Trinity. They contain Henry’s philosophical analyses of the theoretical concepts person, relation, and universals. The text has been reconstructed based upon manuscripts copied from a first and second Parisian university exemplar. In the critical study that precedes the Latin text, the editors argue that the manuscript, Biblioteca VATICANA, Borghese 17, which contains the texts of these articles and which has, in the latter part of this manuscript, many of the features of an exemplar divided into pecia, could not have been the exemplar divided into pecia for these particular articles. The volume concludes with the typical tables. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

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