WORD & IMAGE最新文献_第9页

Socio-metaphysical void: Yves Klein’s textual and imagistic performance of Théȃtre du vide 社会形而上学的空虚:伊夫·克莱因对《幻影》的文本与意象表现

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-10-02 DOI: 10.1080/02666286.2021.2016328

D. Ben-Shaul

{"title":"Socio-metaphysical void: Yves Klein’s textual and imagistic performance of Théȃtre du vide","authors":"D. Ben-Shaul","doi":"10.1080/02666286.2021.2016328","DOIUrl":"https://doi.org/10.1080/02666286.2021.2016328","url":null,"abstract":"Abstract Yves Klein’s conceptual project Theatre of the Void is associated with two well-known works: the single appearance of the newspaper Dimanche, which Klein published on 27 November 1960 with a declaration that the world is voided for twenty-four hours; and the iconic image Leap into the Void, which appears in it for the first time. This article reframes the project—by offering an inclusive, structural, and theoretically contextualized reading of its interrelated components. Seen as one level of action embedded within another, the simulated newspaper infiltrated the city; within the urban site it constitutes a declaratory performative act of total voiding; responding to the declaration, the leap is the agency of the total transformation into the voided world; and this world is potentially established and reflected by the interdisciplinary scenarios printed in Dimanche. Within this framework, the article discusses the project’s conceptual “socio-metaphysical” duality. One aspect of this duality is the project’s conception of total voiding as a metaphysical endeavor aiming at transcendence. The other is the insight that the project qualifies existence itself as a voided socio-political fabrication.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"7 1","pages":"361 - 374"},"PeriodicalIF":0.3,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78888473","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

Uroscopy diagrams, judgment, and the perception of color in late medieval England 中世纪晚期英国的泌尿镜检查图、判断和对颜色的感知

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-10-02 DOI: 10.1080/02666286.2021.1946374

Carly B. Boxer

{"title":"Uroscopy diagrams, judgment, and the perception of color in late medieval England","authors":"Carly B. Boxer","doi":"10.1080/02666286.2021.1946374","DOIUrl":"https://doi.org/10.1080/02666286.2021.1946374","url":null,"abstract":"Abstract Late medieval English uroscopy diagrams depict twenty colors of urine in bright, often garish, colors and gold leaf, arranged in correspondence to digestive states. This article argues that the use of color in these diagrams reveals medieval ideas about the perception of color more broadly, and that the images themselves could train practices of comparative looking and visual judgment. Appearing in multiple formats, these images facilitated the theorization and practice of uroscopy—the diagnosis of an ailment by the appearance of a patient’s urine—and survive in large numbers from late medieval England. Diagrams accompany treatises that describe at length the humoral causes, physical symptoms, and particular appearances of different colors of urine. Medieval digestive theory held that changes in the relative proportion of heat, cold, moisture, and dryness in the blood caused qualitative changes in the look of substances such as urine. Accounts of the appearance of bodily evidence in uroscopy treatises, however, relied on a slippery network of color descriptions and comparisons of colors of urine with other colorful objects. Diagrams made these relationships not only legible but also instructive. In juxtaposing text and image, this article incorporates uroscopy—perhaps the best documented medieval practical application of ideas about color—into broader discussions of medieval color theory.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"8 1","pages":"327 - 347"},"PeriodicalIF":0.3,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86113004","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

Poetic matters: Giovanni Aurelio Augurello (1441–1524), materiality, and the visual arts 诗歌:乔瓦尼·奥雷里奥·奥古列罗(1441-1524)、物质性和视觉艺术

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-10-02 DOI: 10.1080/02666286.2022.2045171

Chriscinda Henry, M. Soranzo

引用次数: 0

Capturing images: Baudelaire’s account of Meryon’s etchings 捕捉图像:波德莱尔对梅里恩蚀刻版画的描述

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-10-02 DOI: 10.1080/02666286.2022.2025731

Timothy Raser

{"title":"Capturing images: Baudelaire’s account of Meryon’s etchings","authors":"Timothy Raser","doi":"10.1080/02666286.2022.2025731","DOIUrl":"https://doi.org/10.1080/02666286.2022.2025731","url":null,"abstract":"Abstract Letters written over the course of 1859–60 tell of an effort on Charles Baudelaire’s part to republish Charles Meryon’s Vues sur Paris, augmented with descriptive texts by the poet. The collaboration failed and, ever since, readers have wondered what would have come of it. At the same time, Baudelaire was “courting” Victor Hugo, sending him new and not-quite-new poems dedicated to him. At the very end of 1859, Baudelaire includes his Salon description of Meryon’s etchings in a letter to Hugo, one Walter Benjamin qualifies as among Baudelaire’s best prose pieces. Further, Baudelaire cites Hugo in his description of Meryon’s etchings, and declares that the etchings would certainly please him. Was the promise of more texts about the etchings nothing more than the tail end of an effort to please Hugo? Whatever the case, the project’s failure is not simply to be laid to the account of Meryon, afflicted by “délire mélancolique compliqué d’hallucination,” and dying at Charenton the year following Baudelaire’s own death. Baudelaire’s decisions are difficult to understand, and seem as influenced by Hugo as by other considerations. In particular, in his description of Meryon’s etchings, Baudelaire seeks to “inscribe” something on them, much as Hugo sought to inscribe his father’s name in his representation of the Arc de Triomphe. In fact, Baudelaire imposes the story of a dispute between father and son, or more exactly, God and man, on the etchings, a story modeled on his own relations to Hugo. Later accounts of Meryon follow the same pattern, insisting on finding narratives in images that they all acknowledge as monumental. This insistence on finding diachrony in synchronic images is the madness that afflicted Meryon.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"15 1","pages":"375 - 393"},"PeriodicalIF":0.3,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84249898","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

‘Both a poet and a painter’: typography and textual images in Christopher Logue’s War Music “既是诗人又是画家”:克里斯托弗·罗格的《战争音乐》中的排版和文本图像

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-10-02 DOI: 10.1080/02666286.2022.2028524

Megan Dyson

引用次数: 0

‘This Lotus Spell is Intenser’: sources and selections in Emma Stebbins’s The Lotus-Eater “这莲花咒是强烈的”:来源和选自艾玛·斯特宾斯的莲花食者

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-10-02 DOI: 10.1080/02666286.2022.2068310

Melissa L Gustin

{"title":"‘This Lotus Spell is Intenser’: sources and selections in Emma Stebbins’s The Lotus-Eater","authors":"Melissa L Gustin","doi":"10.1080/02666286.2022.2068310","DOIUrl":"https://doi.org/10.1080/02666286.2022.2068310","url":null,"abstract":"Abstract Emma Stebbins’s untraced statue The Lotus-Eater (c.1857–60) purports to illustrate Alfred Tennyson’s poem of the same title, in turn derived from an episode in the Odyssey of Homer. This essay addresses the tension between Stebbins’s sculpture and Tennyson’s text. It brings to the discussion a body of antique visual and literary material to which Stebbins had access, images of and references to Antinous, the youthful and tragic lover of the Emperor Hadrian. Although the great flowering of Antinous scholarship and critique for queer men developed later in the nineteenth century, this study argues that the material was readily available for Stebbins, particularly through the writings of Johann Joachim Winckelmann and the objects in Rome, where she worked; later authors, such as John Addington Symonds, developed their commentary and fiction on Antinous from the same sources. The article brings together the thematic and visual resonances, references, and overlaps between the texts and images. It uses close attention to the formal qualities of the sculpture and the content of Tennyson’s poem to consider roads not taken, and how those options demonstrate the ambiguity in Stebbins’s finished sculpture: that is, its lack of clear moral or didactic content through its selection of the lotus-eater and Antinoan imagery, rather than a martial or moralizing figure from the poem. It demonstrates the complexity and subtlety of Stebbins’s selection of sources for her sculpture, and her rich, multivalent play between texts and images.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"19 1","pages":"478 - 498"},"PeriodicalIF":0.3,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74106805","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

Put yourself in his shoes: embodying the archive in Joe Sacco’s The Fixer 设身处地为他想想:在乔·萨科的《修理者》中体现档案

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-10-02 DOI: 10.1080/02666286.2022.2068121

Iva Ančić

{"title":"Put yourself in his shoes: embodying the archive in Joe Sacco’s The Fixer","authors":"Iva Ančić","doi":"10.1080/02666286.2022.2068121","DOIUrl":"https://doi.org/10.1080/02666286.2022.2068121","url":null,"abstract":"Abstract This article interrogates the notion that comics that engage with history do so primarily within the scope of the archive. I argue, instead, that drawing and seeing/reading comics are embodied practices that generate meaning and memory in ways that exceed the discursive logic of the archive. Building on existing scholarship on embodied acts of memory within performance studies, I suggest that comics might better be seen in proximity to what Diana Taylor calls “the repertoire”: cultural memory embodied in live gestures, rather than deposited in language. Seen through the lens of the repertoire, a comic such as Joe Sacco’s The Fixer (2003) offers new ways to make visible and legible the histories that have been left outside the official archives. By opening up for analysis the body, its staging, and its gestures on the page, the lens of the repertoire makes good use of what archival memory dismisses as the site of traumatic aporia: the unreliable testimony of the perpetrator. Rather than dismissing such material, the methodology of the repertoire transforms it into a repository of cultural meanings, which provide an insight into the collective fantasies and imaginaries on which the nationalist archive tends to stay silent.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"76 1","pages":"464 - 477"},"PeriodicalIF":0.3,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83308761","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

Mark Twain’s undictionarial Italian: the politics and visual humor of mistranslating newspaper scraps, c.1900 马克·吐温的非词典式意大利语:误译报纸碎片的政治和视觉幽默，约1900年

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-07-03 DOI: 10.1080/02666286.2021.1934371

J. Greenhill

{"title":"Mark Twain’s undictionarial Italian: the politics and visual humor of mistranslating newspaper scraps, c.1900","authors":"J. Greenhill","doi":"10.1080/02666286.2021.1934371","DOIUrl":"https://doi.org/10.1080/02666286.2021.1934371","url":null,"abstract":"Abstract Can a writer be considered a visual humorist? If words are the writer’s primary material, can they be bent into caricatural or grotesque formations? Through what filters must words be processed or mediated for comic pictures to emerge? This article seeks to answer these questions by focusing on an understudied short story that Mark Twain wrote in Florence, Italy: “Italian Without a Master,” published in Harper’s Weekly in 1904. The story offers a wild ride through the Italian language from the perspective of an English-speaking narrator who espouses “undictionarial” methods of translating the words he finds in the daily newspaper. To encourage readers to look at words with fresh eyes, Twain supplied, as his illustrations, clippings cut from the Italian papers. With these word-filled illustrations, Twain tests an expanded and experimental visuality, I argue, while also reimagining the terms of visual caricature. The story thus announces the capaciousness and elasticity of the writer’s comic vision, demonstrating his mastery over multiple domains. At the same time, however, the story also criticizes the impulse to expand into new territory by subtly gesturing to the geopolitics of imperialist “mastery,” which Twain railed against repeatedly at the turn of the century.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"50 1","pages":"165 - 189"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76497327","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 text inside us: text on screen and the intertexual self in Bakemonogatari 我们内心的文本:《Bakemonogatari》中屏幕上的文本和互文的自我

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-07-03 DOI: 10.1080/02666286.2021.1988481

Christopher Smith

{"title":"The text inside us: text on screen and the intertexual self in Bakemonogatari","authors":"Christopher Smith","doi":"10.1080/02666286.2021.1988481","DOIUrl":"https://doi.org/10.1080/02666286.2021.1988481","url":null,"abstract":"Abstract Bakemonogatari (Monster Story) is a 2009 television anime (Japanese animation) produced by Studio Shaft and directed by Shinbō Akiyuki. To the plot and clever dialogue of the novels on which the show is based, the anime adds several striking filmic elements which create an entirely new layer of expression. Most notable among these elements is the profuse and reflexive use of text on the screen. The series is nearly overflowing with text, much of it highly conspicuous and disruptive, taunting the viewer with the promise of hidden meaning. Rather than attempt to decode this text, however, this article argues that the use of text to disrupt and infiltrate the narrative world engenders certain notable effects. For one, it creates a Brechtian alienation effect and reflexively calls attention to the construction of the anime. Most importantly, however, the use of text foregrounds intertextuality as a major theme; not only is Bakamonogatari itself intertextual, but also the anime attempts to show that everything from interior thought to sexual desire is ultimately intertextual in nature, linked through text to specifically historicized social constructs. Alienating text pervades everything, and therefore mediates everything, leaving nothing authentic or unique to the self.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"9 1","pages":"254 - 264"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86515368","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

Lydgate and the Lanterne: discourse, heresy and the ethics of architecture in early fifteenth-century England 《利德盖特和灯笼:15世纪早期英国建筑的话语、异端和伦理》

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-07-03 DOI: 10.1080/02666286.2021.2006525

G. Byng

{"title":"Lydgate and the Lanterne: discourse, heresy and the ethics of architecture in early fifteenth-century England","authors":"G. Byng","doi":"10.1080/02666286.2021.2006525","DOIUrl":"https://doi.org/10.1080/02666286.2021.2006525","url":null,"abstract":"Abstract At the turn of the fifteenth century, architectural ethics acquired renewed prominence in England. A long-established discourse that had been developed by major figures in Europe’s intellectual history, and that threatened to reject all but the most utilitarian church-building projects, was given new energy, as well as a new English vocabulary and a newly extensive application, in heretical tracts and poems. At the same time, the poet most associated with the Lancastrian court, John Lydgate, was translating a lavish paean to ingenious and luxurious craftsmanship, while his patron’s circle was engaged in a wave of lavish building projects in cathedrals, universities, and parish churches—and, indeed, was prosecuting Lollards for their criticism of the same. Most remarkable, however, is that, having been scrupulously suppressed in the 1410s, a concern for restrained architecture would re-emerge twenty years later as a widely shared architectural ideology among England’s elite, including the king, Henry VI. For thirty years, it would come to shape a series of significant building projects. This article argues that this change must be understood as representing the reconstitution of a number of ideas and claims, necessitated by the dissolution of the interdependent antagonisms of the 1410s, in the context of newly influential spiritual, ethical, and sensory discourses.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"68 1 1","pages":"296 - 311"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87293501","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