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THE HORRID LAWS OF POLITICAL ECONOMY 政治经济学的可怕法则
Edgar Allan Poe Review Pub Date : 2021-09-14 DOI: 10.2307/j.ctv1t1kfrc.6
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引用次数: 0
CULTURE OF SURFACES 表面培养
Edgar Allan Poe Review Pub Date : 2021-09-14 DOI: 10.2307/j.ctv1t1kfrc.12
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引用次数: 0
From the Editor 来自编辑
Edgar Allan Poe Review Pub Date : 2021-06-22 DOI: 10.5040/9781492595755.0011
B. Cantalupo
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引用次数: 0
The Curious Case of Aubrey Beardsley's Poe "Illustrations" Beardsley爱伦·坡“插图”的奇案
Edgar Allan Poe Review Pub Date : 2021-06-01 DOI: 10.5325/edgallpoerev.22.1.0110
Nathan J. Timpano
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引用次数: 0
A Journey That Wasn't: Pierre Huyghe's Graphic Film 一个不存在的旅程:皮埃尔·于格的平面电影
Edgar Allan Poe Review Pub Date : 2021-06-01 DOI: 10.5325/edgallpoerev.22.1.0167
M. Hines
{"title":"A Journey That Wasn't: Pierre Huyghe's Graphic Film","authors":"M. Hines","doi":"10.5325/edgallpoerev.22.1.0167","DOIUrl":"https://doi.org/10.5325/edgallpoerev.22.1.0167","url":null,"abstract":"Abstract:This article considers the influence of Edgar Allan Poe's 1838 novel The Narrative of Arthur Gordon Pym of Nantucket on contemporary artist Pierre Huyghe's 2005 video installation A Journey That Wasn't, a documentation of the artist's journey to the Antarctic and its subsequent reenactment as a performance in New York City's Central Park. Whereas cinema has been attracted to the graphicality of Poe's writing, his ability to create compelling images in words, A Journey distinguishes itself from that tradition. This article employs a close reading of Poe's definition of graphicality in order to expand the critical interpretation of Poe's neologism and relate it to contemporary debates about the nature of representation in art's documentary turn and artistic research, both genres that emerged in the mid-1990s and to which Huyghe's project relates. It argues that graphicality is a theory of representation specifically positioned against objectivity as the sole means of producing shared knowledge. It demonstrates graphicality's relevance for A Journey, which is concerned with contemporary debates surrounding art and film's relationship to science and knowledge production.","PeriodicalId":40986,"journal":{"name":"Edgar Allan Poe Review","volume":"22 1","pages":"167 - 187"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45789190","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The Symbolist Conception of Illustration and Tyra Kleen's Nevermore 象征主义的插画概念与Tyra Kleen的Nevermore
Edgar Allan Poe Review Pub Date : 2021-06-01 DOI: 10.5325/edgallpoerev.22.1.0188
Birte Bruchmüller
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引用次数: 0
The Man of the Crowd: Edgar Allan Poe and the City by Scott Peeples (review) 《人群中的人:埃德加·爱伦·坡与城市》斯科特·皮尔普斯著(书评)
Edgar Allan Poe Review Pub Date : 2021-06-01 DOI: 10.5325/edgallpoerev.22.1.200
I. Finseth
{"title":"The Man of the Crowd: Edgar Allan Poe and the City by Scott Peeples (review)","authors":"I. Finseth","doi":"10.5325/edgallpoerev.22.1.200","DOIUrl":"https://doi.org/10.5325/edgallpoerev.22.1.200","url":null,"abstract":"","PeriodicalId":40986,"journal":{"name":"Edgar Allan Poe Review","volume":"22 1","pages":"200 - 202"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44231682","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
CFP for 2022 Conference 2022年会议CFP
Edgar Allan Poe Review Pub Date : 2021-06-01 DOI: 10.5325/edgallpoerev.22.1.0220
Nathan J. Timpano, A. Golahny, Margarita Rigal-Aragón, Fernando González-Moreno, Ana González-Rivas Fernández, John Gruesser, Devin Zuber, Megan Hines, Birte Bruchmüller, Travis Montgomery, I. Finseth, John A. Dern, Christopher P. Semtner, Heyward Ehrlich, Amy Branam Armiento, Ann Siladi, B. Cantalupo
{"title":"CFP for 2022 Conference","authors":"Nathan J. Timpano, A. Golahny, Margarita Rigal-Aragón, Fernando González-Moreno, Ana González-Rivas Fernández, John Gruesser, Devin Zuber, Megan Hines, Birte Bruchmüller, Travis Montgomery, I. Finseth, John A. Dern, Christopher P. Semtner, Heyward Ehrlich, Amy Branam Armiento, Ann Siladi, B. Cantalupo","doi":"10.5325/edgallpoerev.22.1.0220","DOIUrl":"https://doi.org/10.5325/edgallpoerev.22.1.0220","url":null,"abstract":"Abstract:Poe's references to the visual arts have long been noted, but rarely examined for personal and original content. Barbara Cantalupo's recent monograph is an exception in this regard and proposes that Poe's interest in the arts was deep and generally concerned beauty and aesthetic issues. Facile with aspects of antiquity, the Renaissance, and the Baroque, Poe had an enthusiasm for artists working in the United States that was more personal than his interest in those from the European past. He knew firsthand works by Joshua Shaw, Clark Mills, and Hiram Powers. Without traveling to continental Europe, Poe became familiar with Renaissance and Baroque art through his reading and by viewing works in New York and Philadelphia. He was sufficiently familiar with foremost artists and antiquities to make references that strengthened his characters and settings. In commenting on exhibits in New York, Poe revealed his opinions, both positive and negative. Conversant with the typical qualities of major categories of art, Poe did not stray from the generally received information about past art but evidently relied on his own observations for current art. Ultimately, Poe's interest in the visual arts depended on how he could use painting and sculpture in his writings.","PeriodicalId":40986,"journal":{"name":"Edgar Allan Poe Review","volume":"22 1","pages":"1 - 109 - 110 - 141 - 142 - 166 - 167 - 187 - 188 - 195 - 196 - 199 - 200 - 202 - 203 - 205 - 206 -"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47123379","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Poe-Land: The Hallowed Haunts of Edgar Allan Poe by J. W. Ocker (review) 《爱伦·坡的土地：埃德加·爱伦·坡神圣的灵魂》，J·W·奥克著（评论）
Edgar Allan Poe Review Pub Date : 2021-06-01 DOI: 10.5325/edgallpoerev.22.1.203
John A. Dern
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引用次数: 0
Poe's References to the Visual Arts 爱伦坡对视觉艺术的借鉴
Edgar Allan Poe Review Pub Date : 2021-06-01 DOI: 10.5325/edgallpoerev.22.1.0006
A. Golahny
{"title":"Poe's References to the Visual Arts","authors":"A. Golahny","doi":"10.5325/edgallpoerev.22.1.0006","DOIUrl":"https://doi.org/10.5325/edgallpoerev.22.1.0006","url":null,"abstract":"Abstract:Poe's references to the visual arts have long been noted, but rarely examined for personal and original content. Barbara Cantalupo's recent monograph is an exception in this regard and proposes that Poe's interest in the arts was deep and generally concerned beauty and aesthetic issues. Facile with aspects of antiquity, the Renaissance, and the Baroque, Poe had an enthusiasm for artists working in the United States that was more personal than his interest in those from the European past. He knew firsthand works by Joshua Shaw, Clark Mills, and Hiram Powers. Without traveling to continental Europe, Poe became familiar with Renaissance and Baroque art through his reading and by viewing works in New York and Philadelphia. He was sufficiently familiar with foremost artists and antiquities to make references that strengthened his characters and settings. In commenting on exhibits in New York, Poe revealed his opinions, both positive and negative. Conversant with the typical qualities of major categories of art, Poe did not stray from the generally received information about past art but evidently relied on his own observations for current art. Ultimately, Poe's interest in the visual arts depended on how he could use painting and sculpture in his writings.","PeriodicalId":40986,"journal":{"name":"Edgar Allan Poe Review","volume":"22 1","pages":"29 - 6"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45604339","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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