WORD & IMAGE最新文献_第10页

Materiality in perspective: monuments, object relations, and post-war Berlin 透视中的物质性:纪念碑、对象关系和战后柏林

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2021-07-03 DOI: 10.1080/02666286.2021.1927458

Robin Schuldenfrei

{"title":"Materiality in perspective: monuments, object relations, and post-war Berlin","authors":"Robin Schuldenfrei","doi":"10.1080/02666286.2021.1927458","DOIUrl":"https://doi.org/10.1080/02666286.2021.1927458","url":null,"abstract":"Abstract After the rise of monumental fascist architecture in Europe and the subsequent devastation of the Second World War, architects struggled to come to grips—via writing and design—with what should follow. In the view of architects, artists and cultural critics, monumentality in architecture and urbanism was no longer tenable—tainted as it was by the fascists’ use of classicism, monumental scale, and their proposals for extreme perspectival views in large-scale urban planning. Monuments and monumentality were reappraised, to be replaced by objects that were described as ‘things that remind’, a concept introduced by architectural critic Siegfried Giedion in his ground-breaking essay ‘The Need for a New Monumentality’ (1944). This essay examines how monumentality was scaled down and revised in post-war period literature and structures—replaced by the idea of small monuments that ‘remind’, which offered opportunities for inner perspective. By considering Berlin’s situated urban materiality and artefacts, including the Berlin Wall, in the light of such manifestos on monuments as Giedion’s, this article argues that post-war Berlin building was often at odds with, even against, perspective.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"26 1","pages":"275 - 287"},"PeriodicalIF":0.3,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86571640","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Painting Molière as an act of rebellion: Honoré Daumier, censored speech, and revivals of theatrical satire 把莫里埃尔画成一种反叛行为:尊敬的多米埃、被审查的言论和戏剧讽刺的复兴

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2021-04-03 DOI: 10.1080/02666286.2020.1866992

Erin Duncan-O’Neill

{"title":"Painting Molière as an act of rebellion: Honoré Daumier, censored speech, and revivals of theatrical satire","authors":"Erin Duncan-O’Neill","doi":"10.1080/02666286.2020.1866992","DOIUrl":"https://doi.org/10.1080/02666286.2020.1866992","url":null,"abstract":"Abstract Best known as a caricaturist who skewered the politicians and social mores of nineteenth-century France, Honoré Daumier also had a deep and abiding engagement with the seventeenth-century playwright Molière. This article examines Daumier’s paintings of Molière’s plays Le Malade imaginaire (1673) and Les Fourberies de Scapin (1671), initiated shortly after Daumier was fired from a thirty-year position working for the illustrated press. Rather than understanding these paintings in relationship to his broader political project, scholars tend to interpret them in isolation from his lithographs, with the inadequate justification that the formality of the stage diverges from the humor of his cartoons. Daumier—who, like Molière, had negotiated shifting censorship restrictions throughout his career—painted Molière’s plays when they were being revived by nineteenth-century theaters because new material was heavily censored. In moments of intense repression, audiences and playhouses used these plays to stage oblique attacks on the government. This article examines the legal frameworks linking a caricatural style of painting to theatrical performance and argues that, by turning to Molière as a subject in paint when explicitly political material was being censored in print, Daumier’s works intervene in the contested space of speech in Second Empire France.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"39 1","pages":"206 - 219"},"PeriodicalIF":0.3,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90254104","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

On bats and bees: Rubens in the Republic of Letters 论蝙蝠与蜜蜂:《文坛》中的鲁本斯

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2021-04-03 DOI: 10.1080/02666286.2020.1866977

Tamar Cholcman

引用次数: 0

Bellicose things: the inner lives of Byzantine warfare implements 好战的事物:拜占庭战争工具的内在生活

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2021-04-03 DOI: 10.1080/02666286.2020.1866972

Roland Betancourt

引用次数: 1

A surrealist ‘little sister’?: Dorothea Tanning’s (femme) Fatala (1947), metaphysical painting, and the roman policier 超现实主义的“小妹妹”?:多萝西娅·坦宁(Dorothea Tanning)的《法塔拉》(Fatala, 1947)，玄学绘画和罗马政治家

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2021-04-03 DOI: 10.1080/02666286.2020.1866976

Ara H. Merjian

{"title":"A surrealist ‘little sister’?: Dorothea Tanning’s (femme) Fatala (1947), metaphysical painting, and the roman policier","authors":"Ara H. Merjian","doi":"10.1080/02666286.2020.1866976","DOIUrl":"https://doi.org/10.1080/02666286.2020.1866976","url":null,"abstract":"Abstract Dorothea Tanning’s painting Fatala (1947) reveals a solitary female figure reaching her hand through a door. This borrows plainly from an artist renowned for rendering women as statues or storefront mannequins: the Greek-born Italian artist Giorgio de Chirico, whose early corpus formed one of Surrealism’s most prominent—and fraught—precedents. Yet Tanning’s canvas also conjures up another of the Surrealists’ elected forebears: Marcel Allain’s series of detective fiction books, titled Fatala: Grand roman policier (1930–31). Co-authored with Pierre Souvestre, Allain’s first series of pulp novels, Fantômas (1911–13),had proven enormously popular in Parisian avant-garde circles, first in the circle of the poet-critic Guillaume Apollinaire, and later among the Surrealists. Michel Nathan has described Allain’s Fatala as “Fantômas in a walking skirt” (“Fantômas en jupe trotteuse”). This cast-off epithet offers a fitting aegis under which to consider both Tanning’s use of various Surrealist modes in Fatala and their resonance in the context of the movement’s late iterations and sexual politics. For with Fatala, Tanning takes on a higher mathematics of masculine precedent—both Metaphysical painting and the detective novel—as well as their adoption by a host of male Surrealist artists. It is on the male-centered ground of the Metaphysical cityscape and the roman policier that Tanning sets her femme fatale in Fatala, finding in it a readymade stage for the apparition of other identities.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"255 1","pages":"178 - 191"},"PeriodicalIF":0.3,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76166654","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Ekphrasis as evidence: forensic rhetoric in contemporary documentary poetry 以措辞为证据:当代纪实诗歌中的法庭修辞

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2021-04-03 DOI: 10.1080/02666286.2020.1866969

Olivia Milroy Evans

{"title":"Ekphrasis as evidence: forensic rhetoric in contemporary documentary poetry","authors":"Olivia Milroy Evans","doi":"10.1080/02666286.2020.1866969","DOIUrl":"https://doi.org/10.1080/02666286.2020.1866969","url":null,"abstract":"Abstract Contemporary lyric series deploy many strategies from forensic (courtroom) rhetoric to persuade their readers that an injustice has taken place. Ekphrasis is one of the primary overlapping strategies in both forensic rhetoric and the lyric, documenting what cannot be seen, what has been lost, or framing an object to serve persuasive ends. Returning to ancient definitions of ekphrasis as any kind of vivid description expands ekphrasis’s scope from a “verbal representation of visual representation” to include descriptions of people and events. This article reads ekphrastic descriptions of violence against female bodies in recent poems by Natasha Trethewey, Tyehimba Jess, and Maggie Nelson to demonstrate how poets use the evidentiary function of ekphrasis. Documentary poets treat ekphrasis as a form of testimony, simultaneously subjective and factual. This article shows how ekphrasis straddles the boundary between the world as a material reality and our conceptions of it, inhabiting the liminal space where interpretation and ethical formation transpire. By composing imaginative ekphraseis of unavailable evidence, documentary poets challenge the hegemonic powers of the archive and empower us to imagine “what the body can say.” By positioning ekphrasis within the frame of forensic rhetoric, documentary poetry transforms the reader into a witness.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"74 1","pages":"142 - 151"},"PeriodicalIF":0.3,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86297908","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Bound images: maps, books, and reading in material and digital contexts 装订图像:地图、书籍和阅读材料和数字环境

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2021-04-03 DOI: 10.1080/02666286.2020.1801262

Jordana Dym, Carla Lois

引用次数: 3

The poem as meme? Pop video poetry in the digital age (Warsan Shire/Beyoncé) 这首诗作为梗?数字时代的流行视频诗歌(Warsan Shire/ beyonc<e:1>)

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2021-04-03 DOI: 10.1080/02666286.2020.1866970

Elisa Ronzheimer

{"title":"The poem as meme? Pop video poetry in the digital age (Warsan Shire/Beyoncé)","authors":"Elisa Ronzheimer","doi":"10.1080/02666286.2020.1866970","DOIUrl":"https://doi.org/10.1080/02666286.2020.1866970","url":null,"abstract":"Abstract The adaptation of texts by contemporary British-Somali poet Warsan Shire for Beyoncé’s visual album Lemonade, released in 2016, raises several questions about poetic representation in the twenty-first-century mediascape. Shire’s poems, which have been composed for a variety of media, ranging from print distribution to audio recordings to online circulation, serve as transitions between the musical tracks in Lemonade, thus accompanying the overarching narrative of black female empowerment. Frictions between image and text present the starting point for an enquiry into the changes that contemporary lyric poetry undergoes when it “becomes pop.” Shaped by processes of circulation and reappropriation, Shire’s poems emerge as “memetic media.” Does this “meme-ification” of poetry, the digital mobilization and de-contextualization of poetic form, in turn affect the dynamics of poetic representation? A close reading of the texts as they are integrated into the visual album shows how Shire’s poems enter into a dialogue with Lemonade’s imagery, while remaining impervious to the narrative of positive transformation. In becoming “meme,” these poems retain their refractory qualities, thus presenting a design of lyric poetry for the contemporary mediascape.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"1 1","pages":"152 - 159"},"PeriodicalIF":0.3,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89874946","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The Sèvres Service des Départements and the anxiety of the fragment 服务性人格人格和焦虑的碎片

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2021-01-02 DOI: 10.1080/02666286.2021.1866480

Kelly Presutti

{"title":"The Sèvres Service des Départements and the anxiety of the fragment","authors":"Kelly Presutti","doi":"10.1080/02666286.2021.1866480","DOIUrl":"https://doi.org/10.1080/02666286.2021.1866480","url":null,"abstract":"Abstract The Sèvres porcelain Service des Départements (begun 1824) was an ambitious attempt to depict the whole of France, including its colonies, on a set of dessert plates. It was conceived as both an encyclopedic account of France’s riches and a way of tangibly offering the nation to its monarch, Charles X. But in the 1820s, France remained a fragmented and disconnected entity. To picture it, the artisans at Sèvres relied on pre-existing landscape representation for the plates’ central views, while extensive ornamentation on the plates’ borders worked to generate a sense of unified identity across the set. It was through textual additions, however, that the Service most clearly wrestled with the complicated construction of France as a diverse but united nation. Painted words describe the landscape views, label portrait medallions, and detail regional attributes; a reference guide on the back of each plate reinforces this interdependence between word and image. The text, unusual in Sèvres porcelain of the time, betrays a particular anxiety about the ability of landscape representation to stand for the nation, especially at a moment when France was itself disunified. The tension within the Service between particularity and cohesion further invokes a relationship between part and whole best described by the Romantic trope of the “fragment.” Drawing on theories of the literary fragment, this essay describes both the ambition and the ultimate failure of the Service to represent France.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"174 1","pages":"21 - 31"},"PeriodicalIF":0.3,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74292980","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Fragmentation and bricolage in Victor Hugo’s Hauteville House 维克多·雨果的《豪特维尔故居》中的碎片和拼凑

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2021-01-02 DOI: 10.1080/02666286.2020.1809227

P. Chu

{"title":"Fragmentation and bricolage in Victor Hugo’s Hauteville House","authors":"P. Chu","doi":"10.1080/02666286.2020.1809227","DOIUrl":"https://doi.org/10.1080/02666286.2020.1809227","url":null,"abstract":"ABSTRACT Soon after his move, in 1855, to the Channel island of Guernsey, Victor Hugo bought a large house, which he called Hauteville House after the quarter of Saint Peter Port in which it was located. Over the next six years, he led a massive decoration campaign, during which he transformed the interior of the house into what many contemporaries saw as an ultimate form of self-expression. One of the main characteristics of the Hauteville House interior was that it was furnished entirely with antiques and bric-à-brac that Hugo had acquired in Guernsey as well as on the European continent. The poet was a passionate collector who scoured the antique shops in Guernsey for old chests, furniture, fabrics, etc. These he brought home not to restore them to their former glory but to take them apart and make new pieces of furniture out of them. In this article I link Hugo’s process of fragmentation and reformulation to his writing method, especially his historical novels and historical dramas, as well as to contemporary historiography. I also link his process to Claude Lévi-Strauss’s concept of bricolage in an effort to show that Hugo’s opportunistic strategy of using available fragments of earlier cultural epochs and remaking them into new forms is analogous to the process of mythical thought. Indeed, I argue that Hugo’s bricolage process in Hauteville House was a conscious process of self-mythologizing.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"39 1","pages":"61 - 73"},"PeriodicalIF":0.3,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78519380","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0