WORD & IMAGE最新文献_第9页

Where there’s everything: Pistoletto, the Gruppo d’Arte “l’Arlecchino,” and localist internationalism in Presenze 那里什么都有:皮斯特莱托、阿莱奇诺艺术集团(Gruppo d’arlecchino)，以及当代的地方主义国际主义

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-04-03 DOI: 10.1080/02666286.2021.1969828

Tenley Bick

{"title":"Where there’s everything: Pistoletto, the Gruppo d’Arte “l’Arlecchino,” and localist internationalism in Presenze","authors":"Tenley Bick","doi":"10.1080/02666286.2021.1969828","DOIUrl":"https://doi.org/10.1080/02666286.2021.1969828","url":null,"abstract":"Abstract Recent scholarship on journals produced by postwar Italian avant-gardes has focused on artists’ use of publications to engage with aesthetic constructions of international and global modernisms after Fascist isolation. This scholarship, however, has not yet accounted for the different models of internationalism articulated in these publications, especially in those based outside of Italy’s major cultural centers. This article addresses the little-known arts and culture publication Presenze (1957–1960), established in late 1950s Turin by the multidisciplinary Gruppo d’Arte “l’Arlecchino” (Harlequin Art Group). Despite the historical significance of the group’s members, including artist Michelangelo Pistoletto (1933–), best known for his association with the late 1960s Italian avant-garde Arte Povera, no scholarship has been written on Presenze. Formal and social art-historical analysis of works of art, texts, and editorial layout, with special attention to Pistoletto’s work, is used to examine the model of Italian avant-gardism and internationalism constructed in Presenze. Presenze is found to have constituted a formative testing site for Pistoletto’s practice in the conflicted context of postwar Italian art, and a model of vanguard, localist internationalism for other artists working in 1950s Turin that counters existing ideas of internationalism in postwar Italy as a model of sprovincializzazione (de-provincialization). It is also found that Presenze’s espoused universalist ideology reinscribed Eurocentric models of East and West, foreshadowing later models in postwar Italian art.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"41 1","pages":"132 - 164"},"PeriodicalIF":0.3,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81119773","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

Production and design of early illustrated herbals 早期插图草药的制作和设计

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-04-03 DOI: 10.1080/02666286.2021.1951518

Andrew Griebeler

引用次数: 1

‘An Hour before the Day’: the dismembered Book of Hours in Elizabeth Siddal’s Clerk Saunders “黎明前一小时”:伊丽莎白·西达尔的《桑德斯书记员》中被肢解的《小时之书》

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-04-03 DOI: 10.1080/02666286.2021.1923316

Nat Reeve

{"title":"‘An Hour before the Day’: the dismembered Book of Hours in Elizabeth Siddal’s Clerk Saunders","authors":"Nat Reeve","doi":"10.1080/02666286.2021.1923316","DOIUrl":"https://doi.org/10.1080/02666286.2021.1923316","url":null,"abstract":"Abstract In 1855, the Pre-Raphaelite artist–poet Elizabeth Siddal was invited to examine John Ruskin’s collection of medieval manuscripts. Two years later, a manuscript—a Book of Hours, the popular late medieval prayer-book—appeared in Siddal’s painting Clerk Saunders. Siddal’s decision to include a Book of Hours in a scene from a medieval ballad encourages us to explore the painting’s creative strategies in new ways. This article examines how Clerk Saunders reinterprets the art of such prayer-books, focusing on Siddal’s reworking of the Annunciation. I shall explore the collision between this visual iconography and the language of the ballads from which the subject is taken, and trace how this literary-inspired pictorial dismemberment unsettles the medievalism of other Pre-Raphaelite works. I will demonstrate how Siddal’s disruptive medievalism is illuminated by queer theory; there have been queer readings of ‘Siddal’ the mythologized figure, but I will show how Siddal takes a queering approach to ballads and iconography in her art and poetry. My article will affirm Siddal’s work with the Book of Hours as an important contribution to Pre-Raphaelite medievalism, which speaks to anxieties about the destabilizing power of nineteenth-century creativity, and the tempestuous relationship between words and images across historical periods.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"12 1","pages":"73 - 87"},"PeriodicalIF":0.3,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81499916","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

Photographs of the Warsaw Ghetto Uprising in Geoffrey Hill’s The Triumph of Love 杰弗里·希尔的《爱的胜利》中华沙犹太人起义的照片

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-04-03 DOI: 10.1080/02666286.2021.1959249

H. Phillips

{"title":"Photographs of the Warsaw Ghetto Uprising in Geoffrey Hill’s The Triumph of Love","authors":"H. Phillips","doi":"10.1080/02666286.2021.1959249","DOIUrl":"https://doi.org/10.1080/02666286.2021.1959249","url":null,"abstract":"Abstract Geoffrey Hill’s approaches to memorializing the Holocaust in his poetry have been widely examined for his innovative, self-conscious, elegiac practice and their embodiment of the anxieties of the postmemorial witness. His 1998 book-length poem The Triumph of Love attempts to bear witness to the trauma of the Holocaust through numerous cross-cutting and argumentative sections which meditate on history, memory, and the role of the poet after atrocity. What is most striking about Hill’s witnessing of the Holocaust in The Triumph of Love is his linguistic representations of photographs of the Warsaw Ghetto Uprising (1943), a complicated encounter between word and image which has not been previously examined. Hill selects photographs taken by Nazi photographers during the suppression of the Warsaw Ghetto Uprising in his poetic memorialization of the Holocaust. I argue that Hill depicts these photographs in order to refocus the narrative of perpetration embedded within the images. These reimagined photographs become linguistic objects capable of fostering a state memorialization within Hill’s poem. I investigate The Triumph of Love by considering the role that perpetrator photographs can play in literary representations of post-Holocaust memory.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"12 1","pages":"123 - 131"},"PeriodicalIF":0.3,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81545137","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 the Notion of Creativity 论创造力的概念

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-01-31 DOI: 10.1017/9781009053556.002

引用次数: 0

Methodological Principles 方法论的原则

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-01-31 DOI: 10.1017/9781009053556.004

引用次数: 4

Theoretical Foundations of Our Research 本研究的理论基础

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-01-31 DOI: 10.1017/9781009053556.003

引用次数: 0

There is a poet underneath here: Louise Bourgeois’s Unknown Masterpiece 1 下面是一位诗人:路易丝·布尔乔亚的无名杰作

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-01-02 DOI: 10.1080/02666286.2021.1941681

L. Vuong

{"title":"There is a poet underneath here: Louise Bourgeois’s Unknown Masterpiece 1","authors":"L. Vuong","doi":"10.1080/02666286.2021.1941681","DOIUrl":"https://doi.org/10.1080/02666286.2021.1941681","url":null,"abstract":"Abstract Through a focus on ‘Moi, Eugénie Grandet’, one of the last exhibitions Louise Bourgeois worked on before her death in 2010, this article explores the artist’s writings, both public and private, and her interactions with writers, to assess the potentially literary nature of her written and visual works. Arguing that Bourgeois’s dialogues with Honoré de Balzac’s novel Eugénie Grandet is a contemporary and feminist response to a longstanding tradition of pictorial appropriations of Balzac’s work—from Paul Cézanne’s ‘Frenhofer, c’est moi!’ to Pablo Picasso’s illustrations for the centenary edition of Balzac’s The Unknown Masterpiece—this article brings to light a literary intertext to Bourgeois’s visual works and contends that it is a crucial aspect of her œuvre. Reckoning with a growing critical interest in the artist’s archives and a rising number of edited volumes devoted to her writings, this article considers existing claims that identify Bourgeois as a writer and a poet. Aligning with Roland Barthes’s definition of the literary text as a ‘new cloth woven with old quotations’ and the figure of active reader developed in Barthes’s own dialogues with Balzac, this article contends that Bourgeois’s literariness is found in simultaneous writing, reading and visual practices and in the ambivalence—between dependency and resistance—towards the words they rely on. Ultimately, this exploration of Bourgeois’s words participates in a wider debate on the status of artists’ writings, first articulated in Linda Goddard’s 2012 special issue of this journal, where they are defined through their ‘heightened awareness of the inescapable tensions and crossovers between practice and discourse’ and the way they ‘bear the trace of this consciousness’.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"251 1","pages":"61 - 71"},"PeriodicalIF":0.3,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82918136","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

Les journaux de Louise Bourgeois: perspectives nouvelles sur le féminisme et l’érotisme 路易丝·布尔乔亚的报纸:女权主义和色情的新视角

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-01-02 DOI: 10.1080/02666286.2021.1941669

A. Evrard

{"title":"Les journaux de Louise Bourgeois: perspectives nouvelles sur le féminisme et l’érotisme","authors":"A. Evrard","doi":"10.1080/02666286.2021.1941669","DOIUrl":"https://doi.org/10.1080/02666286.2021.1941669","url":null,"abstract":"Résumé L’ouverture des archives privées de Louise Bourgeois aux chercheurs a joué un grand rôle dans la découverte de l’influence de la psychanalyse sur son œuvre. Mais ses archives offrent des possibilités de découvertes en dehors du champ psychanalytique. En effet, dans les nombreux entretiens qu’elle accorde à partir des années 1980, Bourgeois racontera beaucoup d’anecdotes sur son enfance et sa vie en France. Ces déclarations sont devenues la source principale d’analyses et d’interprétations de ses œuvres. Mais, dans ses discours publics, Bourgeois est moins prolixe en ce qui concerne sa vie après son arrivée aux États-Unis en 1938 jusqu’à sa mort en mai 2010. En particulier lorsqu’on l’interroge sur ses œuvres sexuellement explicites ou sur ses liens avec le féminisme, elle devient très réticente. Une lecture approfondie de son journal intime, en particulier les carnets des années 1970, permet de combler ces lacunes. Dans son journal, Bourgeois inscrit méticuleusement son quotidien, ce qui nous permet de retracer ses activités à cette époque On y découvre notamment ses liens avec trois organisations féministes, Women in the Arts, Women’s Interart Center et Fight Censorship Group, liens qui n’avaient jusqu’ici jamais été documentés. Elle y évoque également ses œuvres, parfois accompagnées de croquis, d’adjectifs ou noms différents de ceux qu'on connaissait ne laissant aucun doute quant à la portée sexuelle et érotique de certaines pièces. Plus que remplir des blancs, les écrits de Bourgeois nous renseignent donc sur ces liens avec le mouvement féministe, mais également sur la manière dont l’artiste perçoit elle-même ses œuvres.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"321 1","pages":"30 - 38"},"PeriodicalIF":0.3,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86770245","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

Parodying girlhood trauma in Louise Bourgeois’s writings 在路易丝·布尔乔亚的作品中模仿少女时代的创伤

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2022-01-02 DOI: 10.1080/02666286.2021.1941678

Natasha Silver

{"title":"Parodying girlhood trauma in Louise Bourgeois’s writings","authors":"Natasha Silver","doi":"10.1080/02666286.2021.1941678","DOIUrl":"https://doi.org/10.1080/02666286.2021.1941678","url":null,"abstract":"Abstract Critics have become increasingly cognisant of the limitations of interpreting Louise Bourgeois’s artworks through the lens of autobiographical and psychoanalytic narratives, preferring a focus on their form. However, it would be a mistake to dismiss the function of these narratives in her œuvre altogether, for a study of the archival material reveals a different use of narrativity that is explicitly parodic. Demonstrating how Bourgeois’s diverse writings reframe confession as an aesthetic genre, this essay draws attention to the literary and cultural influences that shape her construction of girlhood trauma. The mechanism of parody is illustrated by Bourgeois’s photo essay ‘Child Abuse: A Project by Louise Bourgeois’ (1982), in which the artist identifies with the confusing world of childhood in the face of adult sexuality, whilst also deftly staging this identification and thus politicizing the narratives in play. Applying this focus on parody to a study of the archive writings brings their striking intertextuality to the fore. Notable references include Honoré de Balzac’s Eugénie Grandet (1833) and Françoise Sagan’s Bonjour Tristesse (1954), novels that each centre on the subject position of a daughter with whom Bourgeois self-reflexively identifies. By parodying these canonical stories of French literature, Bourgeois both inhabits the identity of victim and stands outside of it: ‘Little orphan Annie’, she mockingly describes herself. Bourgeois’s writings thereby indicate how the parodic mode may help to establish distance from a traumatic past by giving form to undetermined affect. Equally, the emerging archive attests to the centrality of writing in Bourgeois’s creative process, as a means of developing ideas that would become prime material for her art.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"4 1","pages":"48 - 60"},"PeriodicalIF":0.3,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89052819","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