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An Alternative Guide to the Eternal City, 1989-2014
Author: Kaspar Thormod
In Artistic Reconfigurations of Rome Kaspar Thormod examines how visions of Rome manifest themselves in artworks produced by international artists who have stayed at the city’s foreign academies. Structured as an alternative guide to Rome, the book represents an interdisciplinary approach to creating a dynamic visual history that brings into view facets of the city’s diverse contemporary character. Thormod demonstrates that when artists successfully reconfigure Rome they provide us with visions that, being anchored in a present, undermine the connotations of permanence and immovability that cling to the ‘Eternal City’ epithet. Looking at the work of these artists, the reader is invited to engage critically with the question: what is Rome today? – or perhaps better: what can Rome be?
The Role of Visual Arts and Artists in the Making of the Latvian Identity, 1905-1940
Focusing on the role of arts in the construction of national identity, Suzanne Pourchier-Plasseraud has chosen to study the case of a country lacking an ancient state history of its own, Latvia. This book analyses the part played by the visual arts in transmuting the cultural concept of a nation, advocated by a small intelligentsia, into a widespread claim for independence. By the end of the 19th century, fretting under Russian political domination and German economic and cultural supremacy, the Latvians turned back to their own language, culture and folklore, with a special interest for their dainas, their timeless common heritage rooted into a mythical golden age. Latvian artists thus found themselves entrusted with the mission of creating a national iconographic representation and a specifically Latvian art, freed from Russian and German influences. The author shows how the links between the cultural and political spheres evolved between 1905 and 1940, including during the period of authoritarian government preceding WWII. An enlightening contribution to understanding how art and history can be turned into social and political instruments, this book reaches far beyond the Latvian case to a European and even global scope.

Editors: Marco Folin and Monica Preti
Natural hazards punctuate the history of European towns, moulding their shape and identity: this book is devoted to the artistic representation of those calamities, from the late Middle Ages to the 20th century. It contains nine case studies which discuss, among others, the relationship between biblical imagery and the realistic depiction of urban disasters; the religious, political and ritual meanings of “destruction subjects” in early modern painting; the image of fire in Renaissance treatises on architecture; the first photographic campaigns documenting earthquakes’ damages; the role of contemporary art in the elaboration of a cultural memory of urban destructions. Thus, this book intends to address one of the main issues of Western civilization: the relationship of European towns with their own past and its discontinuities.
Contributors are Alessandro Del Puppo, Isabella di Lenardo, Marco Folin, Sophie Goetzmann, Emanuela Guidoboni, Philippe Malgouyres, Olga Medvedkova, Fabrizio Nevola, Monica Preti and Tiziana Serena.
Decentring the Avant-Garde presents a collection of articles dealing with the topography of the avant-garde. The focus is on different responses to avant-garde aesthetics in regions traditionally depicted as cultural, geographical and linguistic peripheries. Avant-garde activities in the periphery have to date mostly been described in terms of a passive reception of new artistic trends and currents originating in cultural centres such as Paris or Berlin. Contesting this traditional view, Decentring the Avant-Garde highlights the importance of analysing the avant-garde in the periphery in terms of an active appropriation of avant-garde aesthetics within different cultural, ideological and historical settings. A broad collection of case studies discusses the activities of movements and artists in various regions in Europe and beyond. The result is a new topographical model of the international avant-garde and its cultural practices.
The volume explores the relationship of artists and intellectuals from ancient Greece to modern times. Special attention is paid to Plato, Augustan poets (including the reception), Soviet art (Mayakowsky) and Jewish intellectuals. Non European contexts (China, Turkey) are treated as well.
Britain and Germany in a (Post)Colonial World
While cultural diversity and hybridity have often been celebrated, they also challenge traditional concepts of national and cultural identity – challenges which have caused considerable anxiety. Various disciplines have often investigated the impact of cultural hybridity, multiculture, and (post)colonialism in relative isolation and with a tendency towards over-theorization and loss of specificity. Greater interdisciplinary cooperation can counter this tendency and encourage sustained comparisons between different former empires and across language boundaries.
This volume contributes to such developments by combining contributions from history, English and German studies, cultural geography, theatre studies, and film studies; by covering both the colonial and the postcolonial period; and by looking comparatively at two different (post)colonial contexts: the United Kingdom and Germany.
The result is productive dialogue across the distinct colonial and migration histories of the UK and Germany, which brings out divergent concepts of cultural difference – but, importantly, without neglecting similarities and transnational developments. The interdisciplinary outlook extends beyond political definitions of identity and difference to include consumer culture, literature, film, and journalism – cultural and social practices that construct, represent, and reflect personal and collective identities.
Section I discusses the historical and contemporary role of colonial experience and its remembrance in the construction of national identities. Section II follows on by tracing the reflections of (post)coloniality and twentieth-century migration in the specific fields of economic history and consumer culture. Section III centres on recent debates about multiculture and national/cultural identity in politics, literature, and film.
Cities, Spaces and Architectures in Latin America
Transculturation: Cities, Spaces and Architectures in Latin America explores the critical potential inherent in the notion of “transculturation” in order to understand contemporary architectural practices and their cultural realities in Latin America. Despite its enormous theoretical potential and its importance within Latin American cultural theory, the term transculturation had never permeated into architectural debates. In fact, none of the main architectural theories produced in and about Latin America during the second half of the twentieth century engaged seriously with this notion as a way to analyze the complex social, cultural and political circumstances that affect the development of the continent’s cities, its urban spaces and its architectures. Therefore, this book demonstrates, for the first time, that the term transculturation is an invaluable tool in dismantling the essentialist, genealogical and hierarchical perspectives from which Latin American architectural practices have been viewed. Transculturation: Cities, Spaces and Architectures in Latin America introduces new readings and interpretations of the work of well-known architects, new analyses regarding the use of architectural materials and languages, new questions to do with minority architectures, gender and travel, and, from beginning to end, it engages with important political and theoretical debates that have rarely been broached within Latin American architectural circles.
Kriegserlebnis und Kriegsdeutung in deutschen Medien der Nachkriegszeit (1945-1961) Internationale Konferenz vom 01.-04.09.1999 in Berlin
Der Beginn des Zweiten Weltkrieges liegt mehr als 50 Jahre zurück. Bis heute haben aber die Fragen, mit denen dieses katastrophale Ereignis alle Deutschen konfrontiert, nicht an Bedeutung und Aktualität verloren. Vielmehr fordert das öffentliche Gedächtnis mit jedem Generationswechsel neue Bilder von diesem Krieg. Im Rückblick auf den Zeitraum seit 1945 läßt sich ein Zyklus von Erinnern, Verstummen und erneutem Erinnern ausmachen, der bereits dreifach durchlaufen worden ist. Insofern ist der Umgang mit dem Thema in den deutschen Medien gleich nach Kriegsende auch für die Gegenwart aufschlußreich. Deutungen und Formen des Gedenkens, die heute praktiziert werden, haben selber inzwischen eine Geschichte. Mehrfach glaubte man bereits in beiden Teilen Deutschlands, daß die Schuldfrage gelöst sei und die Kriegserfahrung bewältigt. Jedesmal stellte sich heraus, daß die Deutschen noch immer in der Schuld sind, nicht nur aus der Perspektive ihrer europäischen Nachbarn. Die Beiträge in diesem Band gehen auf den Anfang eines unabgeschlossenen Prozesses zurück. Die Befragung gilt nicht den Menschen, sondern den Medien. Gefragt wird, wie in der Literatur, in der Presse, im Fernsehen und Film in den 40er und 50er Jahren mit dem Krieg umgegangen worden ist, welche Bilder davon die Literatur, die Presse, Fernsehen, Film und Hörspiel anzubieten hatten und welche Tendenzen sich dabei in den beiden deutschen Staaten, in Österreich, Polen und Frankreich nachweisen lassen. Eine Reflexion auf die neunziger Jahre macht das Thema spannend, denn dadurch wird den Bildern vom Krieg, die im wiedervereinigten Deutschland im Umlauf sind, ihr Ort im Zyklus zugewiesen: Ein Beitrag zur wieder nötig gewordenen Orientierung.
Kriegserlebnis und Kriegsdeutung in deutschen Medien der Nachkriegszeit (1945-1961) Internationale Konferenz vom 01.-04.09.1999 in Berlin
Der Beginn des Zweiten Weltkrieges liegt mehr als 50 Jahre zurück. Bis heute haben aber die Fragen, mit denen dieses katastrophale Ereignis alle Deutschen konfrontiert, nicht an Bedeutung und Aktualität verloren. Vielmehr fordert das öffentliche Gedächtnis mit jedem Generationswechsel neue Bilder von diesem Krieg. Im Rückblick auf den Zeitraum seit 1945 läßt sich ein Zyklus von Erinnern, Verstummen und erneutem Erinnern ausmachen, der bereits dreifach durchlaufen worden ist. Insofern ist der Umgang mit dem Thema in den deutschen Medien gleich nach Kriegsende auch für die Gegenwart aufschlußreich. Deutungen und Formen des Gedenkens, die heute praktiziert werden, haben selber inzwischen eine Geschichte. Mehrfach glaubte man bereits in beiden Teilen Deutschlands, daß die Schuldfrage gelöst sei und die Kriegserfahrung bewältigt. Jedesmal stellte sich heraus, daß die Deutschen noch immer in der Schuld sind, nicht nur aus der Perspektive ihrer europäischen Nachbarn. Die Beiträge in diesem Band gehen auf den Anfang eines unabgeschlossenen Prozesses zurück. Die Befragung gilt nicht den Menschen, sondern den Medien. Gefragt wird, wie in der Literatur, in der Presse, im Fernsehen und Film in den 40er und 50er Jahren mit dem Krieg umgegangen worden ist, welche Bilder davon die Literatur, die Presse, Fernsehen, Film und Hörspiel anzubieten hatten und welche Tendenzen sich dabei in den beiden deutschen Staaten, in Österreich, Polen und Frankreich nachweisen lassen. Eine Reflexion auf die neunziger Jahre macht das Thema spannend, denn dadurch wird den Bildern vom Krieg, die im wiedervereinigten Deutschland im Umlauf sind, ihr Ort im Zyklus zugewiesen: Ein Beitrag zur wieder nötig gewordenen Orientierung.
Of the many fine scholars who made and have maintained the high reputation of the Dutch Republic in the sixteenth and seventeenth centuries, Franciscus Junius the Younger (1591-1677) is one who has not yet been given the attention he deserves. Born and brought up among the élite Calvinist scholars of Leiden University, he began his career as a theologian. As a consequence of the religious quarrels between the Arminians and Gomarists, he resigned from his office, and went to England where in 1620 he was attached as a tutor and librarian to the household of the Earl of Arundel, an assiduous art-collector. His work as Arundel's librarian resulted in the publication in 1637 of De pictura veterum, a penetrating analysis of the Classical arts. This book laid the foundation of modern art-history. Later in his life Junius devoted most of his time and energy to the study of the Old Germanic languages, culminating in 1665 in the publication of the first edition of the Gothic Bible, together with a Gothic dictionary.
The present volume contains contributions on many aspects of Junius's life, his work as an art-historian, as a Neo-Latin author, his studies of Philip Sydney and Edmund Spencer, and of his Germanic philology. A check-list of his correspondence completes the volume. Contributors include C.S.M. Rademaker, Philipp Fehl, Colette Nativel, Judith Dundas, Chris H. Heesakkers, Ph.H. Breuker, Peter J. Lucas, E.G. Stanley and Rolf H. Bremmer Jr., and Sophie van Romburgh.