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Focusing on the most definition-resistant art movement in history and departing from its two chief characteristics: intermediality and interactivity, this book develops an original theory of practice, the experiential philosophy of non-duality, which is the philosophy of dynamic co-constitutivity. This is done by tracing the performativity of intermedial works – works that fall conceptually between the art and the life media, such as Bengt af Klintbergs’s event score: “Eat an orange as if it were an apple” – in five key areas of human experience: language, temporality, the sensorium, social rites and rituals, and systems of economic exchange. The main argument, woven with the aid of the Derridian blind tactics, the Gramscian production of social life and the Zen-derived interexpression of Kitaro Nishida, is that the practical philosophy of co-constitutivity arises from the logic of the intermedium. In pursuing this argument, the book does three things: (1) it theorises an oeuvre that has remained under-theorised due to its fundamentally non-discursive nature and in doing so reinstates Fluxus as an influential cultural, rather than a “merely” artistic paradigm; (2) it serves as a companion to thinking by doing since most Fluxus intermedia are ready-mades, and, as such, readily available in the everyday environment; and (3) it establishes the counter-hegemonic logic of fluxing while tracing its legacy in contemporary practices as diverse as the culture-jamming activism of The Yes Men, the paradoxical performance work of Song Dong and the pervasive game worlds of Blast Theory.
The Practice of Non-Duality
Author:
Focusing on the most definition-resistant art movement in history and departing from its two chief characteristics: intermediality and interactivity, this book develops an original theory of practice, the experiential philosophy of non-duality, which is the philosophy of dynamic co-constitutivity. This is done by tracing the performativity of intermedial works – works that fall conceptually between the art and the life media, such as Bengt af Klintbergs’s event score: “Eat an orange as if it were an apple” – in five key areas of human experience: language, temporality, the sensorium, social rites and rituals, and systems of economic exchange. The main argument, woven with the aid of the Derridian blind tactics, the Gramscian production of social life and the Zen-derived interexpression of Kitaro Nishida, is that the practical philosophy of co-constitutivity arises from the logic of the intermedium. In pursuing this argument, the book does three things: (1) it theorises an oeuvre that has remained under-theorised due to its fundamentally non-discursive nature and in doing so reinstates Fluxus as an influential cultural, rather than a “merely” artistic paradigm; (2) it serves as a companion to thinking by doing since most Fluxus intermedia are ready-mades, and, as such, readily available in the everyday environment; and (3) it establishes the counter-hegemonic logic of fluxing while tracing its legacy in contemporary practices as diverse as the culture-jamming activism of The Yes Men, the paradoxical performance work of Song Dong and the pervasive game worlds of Blast Theory.
Author:
Marguerite Yourcenar a répété qu’on ne comprenait bien l’histoire du présent qu’à la lumière du passé. Dans cette affirmation, il y a assurément une vérité difficilement réfutable. Cependant, ne juger que d’après le passé, n’est-ce pas poser a priori que le présent n’en est que la reproduction et que rien ne change jamais dans l’histoire de l’humanité universelle ? Cela revient à nier toute idée de progrès et d’évolution et à entériner le concept d’éternel retour. Cette notion qui n’est pas neutre du point de vue idéologique incite à scruter l’image que Yourcenar donne de l’histoire contemporaine avec un esprit critique, aussi bien en ce qui concerne le style que les choix opérés par la romancière. Une observation se dégage de l’étude des rapports sociaux et des questions morales, intellectuelles ou plus nettement politiques dans les romans de Yourcenar. Elle se rattache toujours à un courant de pensée traditionaliste, voire conservateur, caractéristique de l’idéologie politique de la droite européenne du XXe siècle.
Author:
Marguerite Yourcenar a répété qu’on ne comprenait bien l’histoire du présent qu’à la lumière du passé. Dans cette affirmation, il y a assurément une vérité difficilement réfutable. Cependant, ne juger que d’après le passé, n’est-ce pas poser a priori que le présent n’en est que la reproduction et que rien ne change jamais dans l’histoire de l’humanité universelle ? Cela revient à nier toute idée de progrès et d’évolution et à entériner le concept d’éternel retour. Cette notion qui n’est pas neutre du point de vue idéologique incite à scruter l’image que Yourcenar donne de l’histoire contemporaine avec un esprit critique, aussi bien en ce qui concerne le style que les choix opérés par la romancière. Une observation se dégage de l’étude des rapports sociaux et des questions morales, intellectuelles ou plus nettement politiques dans les romans de Yourcenar. Elle se rattache toujours à un courant de pensée traditionaliste, voire conservateur, caractéristique de l’idéologie politique de la droite européenne du XXe siècle.
Author:
Over the period 1999-2005, choreographer and dancer Tess de Quincey and a team of international artists conducted a series of art-laboratories and performances in and around the Central Desert town of Alice Springs. These art-labs culminated in the 2005 performance of Dictionary of Atmospheres, staged during the Alice Desert Festival. Drawing upon practice-based research conducted while interning with de Quincey during the development and staging of Dictionary of Atmospheres, Anderson contemplates the way in which moments from the production illustrate the artist’s approach to and articulation of place. Meeting Places offers meditation on the nature of experience as it manifests in serial site-specific art encounters in desert locations.
Author:
Over the period 1999-2005, choreographer and dancer Tess de Quincey and a team of international artists conducted a series of art-laboratories and performances in and around the Central Desert town of Alice Springs. These art-labs culminated in the 2005 performance of Dictionary of Atmospheres, staged during the Alice Desert Festival. Drawing upon practice-based research conducted while interning with de Quincey during the development and staging of Dictionary of Atmospheres, Anderson contemplates the way in which moments from the production illustrate the artist’s approach to and articulation of place. Meeting Places offers meditation on the nature of experience as it manifests in serial site-specific art encounters in desert locations.
Post-Millennial Essays from East to West
This exciting new volume presents recent research by internationally recognised Joyce scholars from Europe and North America. Entitled Joycean Unions: Post-Millennial Essays from East to West, it pays particular attention to contemporary Eastern and Western European perspectives on the immensely influential work of the Irish writer James Joyce (1882-1941). The essays collected in this volume uncover various European sources of inspiration for Joyce’s early aesthetic theories, for the “Sirens”, “Cyclops”, “Circe” and “Eumaeus” episodes of his modernist masterwork Ulysses (1922) and for his last tour de force Finnegans Wake (1939). They present inspiring new ways of reading Joyce’s work, re-investigate the fascinating phenomenon of literary “error”, and review aspects of Joyce’s varied afterlife in Ireland and Eastern Europe. The book will be of interest to scholars, students and the general audience interested in English literature, Modernism, European Studies, Irish Studies and of course the works of James Joyce.
Post-Millennial Essays from East to West
This exciting new volume presents recent research by internationally recognised Joyce scholars from Europe and North America. Entitled Joycean Unions: Post-Millennial Essays from East to West, it pays particular attention to contemporary Eastern and Western European perspectives on the immensely influential work of the Irish writer James Joyce (1882-1941). The essays collected in this volume uncover various European sources of inspiration for Joyce’s early aesthetic theories, for the “Sirens”, “Cyclops”, “Circe” and “Eumaeus” episodes of his modernist masterwork Ulysses (1922) and for his last tour de force Finnegans Wake (1939). They present inspiring new ways of reading Joyce’s work, re-investigate the fascinating phenomenon of literary “error”, and review aspects of Joyce’s varied afterlife in Ireland and Eastern Europe. The book will be of interest to scholars, students and the general audience interested in English literature, Modernism, European Studies, Irish Studies and of course the works of James Joyce.
Ecocriticism and the Event of Postcolonial Fiction
Author:
This book addresses the role and potential of literature in the process of contesting and re-evaluating concepts of nature and animality, describing one’s individual environment as the starting point for such negotiations. It employs the notion of the ‘literary event’ to discuss the specific literary quality of verbal art conceptualised as EnvironMentality. EnvironMentality is grounded on the understanding that fiction does not explain or second scientific and philosophical notions but that it poses a fundamental challenge to any form of knowledge manifesting in processes determined by the human capacity to think beyond a given hermeneutic situation. Bartosch foregrounds the dialectics of understanding the other by means of literary interpretation in ecocritical readings of novels by Amitav Ghosh, Zakes Mda, Yann Martel, Margaret Atwood and J.M. Coetzee, arguing that EnvironMentality helps us as readers of fiction to learn from the books we read that which can only be learned by means of reading: to “think like a mountain” (Aldo Leopold) and to know “what it is like to be a bat” (Thomas Nagel).
Ecocriticism and the Event of Postcolonial Fiction
Author:
This book addresses the role and potential of literature in the process of contesting and re-evaluating concepts of nature and animality, describing one’s individual environment as the starting point for such negotiations. It employs the notion of the ‘literary event’ to discuss the specific literary quality of verbal art conceptualised as EnvironMentality. EnvironMentality is grounded on the understanding that fiction does not explain or second scientific and philosophical notions but that it poses a fundamental challenge to any form of knowledge manifesting in processes determined by the human capacity to think beyond a given hermeneutic situation. Bartosch foregrounds the dialectics of understanding the other by means of literary interpretation in ecocritical readings of novels by Amitav Ghosh, Zakes Mda, Yann Martel, Margaret Atwood and J.M. Coetzee, arguing that EnvironMentality helps us as readers of fiction to learn from the books we read that which can only be learned by means of reading: to “think like a mountain” (Aldo Leopold) and to know “what it is like to be a bat” (Thomas Nagel).
Freud in the Light of Heidegger’s Temporality
Author:
In A Question of Time, Joel Pearl offers a new reading of the foundations of psychoanalytic thought, indicating the presence of an essential lacuna that has been integral to psychoanalysis since its inception. Pearl returns to the moment in which psychoanalysis was born, demonstrating how Freud had overlooked one of the most principal issues pertinent to his method: the question of time. The book shows that it is no coincidence that Freud had never methodically and thoroughly discussed time and that the metaphysical assumption of linear time lies at the very heart of Freudian psychoanalysis. Pearl’s critical reading of Freud develops through an original dialogue that he creates with the philosophy of Martin Heidegger and, specifically, with the German philosopher’s notion of temporality. Pearl traces the encounter between Freud and Heidegger by observing the common inspiration shaping their thinking: philosopher Franz Brentano, who taught both Freud and Edmund Husserl, Heidegger’s mentor. The book travels down an alternate path, one overlooked by Freudian thought – a path leading from Brentano, through Husserl and onto Heidegger’s notion of time, which is founded on the ecstatic’ interrelation of past, present and future.
Freud in the Light of Heidegger’s Temporality
Author:
In A Question of Time, Joel Pearl offers a new reading of the foundations of psychoanalytic thought, indicating the presence of an essential lacuna that has been integral to psychoanalysis since its inception. Pearl returns to the moment in which psychoanalysis was born, demonstrating how Freud had overlooked one of the most principal issues pertinent to his method: the question of time. The book shows that it is no coincidence that Freud had never methodically and thoroughly discussed time and that the metaphysical assumption of linear time lies at the very heart of Freudian psychoanalysis. Pearl’s critical reading of Freud develops through an original dialogue that he creates with the philosophy of Martin Heidegger and, specifically, with the German philosopher’s notion of temporality. Pearl traces the encounter between Freud and Heidegger by observing the common inspiration shaping their thinking: philosopher Franz Brentano, who taught both Freud and Edmund Husserl, Heidegger’s mentor. The book travels down an alternate path, one overlooked by Freudian thought – a path leading from Brentano, through Husserl and onto Heidegger’s notion of time, which is founded on the ecstatic’ interrelation of past, present and future.
Reading, Rebellion, Revolution?
Although a number of publications have appeared in recent years marking the importance of the ‘swinging sixties’, many tend to be personally reflective in nature and London-centric in their coverage. By contrast, The Scottish Sixties: Reading, Rebellion, Revolution? addresses this misrepresentation and in so doing fills a gap in both Scottish and British literary and cultural studies. Through a series of academic analyses based on archival records, ephemera and work produced during the 1960s, this volume focuses, uniquely, on Scotland. In its concern with some of the key figures of Scottish cultural life, the book considers amongst other topics the implications of censorship, the role of little magazines in shaping cultural debates, the radical nature of much Scottish literature of the time, developments in the avant-garde and the role of experiment in theatre, film, TV, fine art and music.
Reading, Rebellion, Revolution?
Although a number of publications have appeared in recent years marking the importance of the ‘swinging sixties’, many tend to be personally reflective in nature and London-centric in their coverage. By contrast, The Scottish Sixties: Reading, Rebellion, Revolution? addresses this misrepresentation and in so doing fills a gap in both Scottish and British literary and cultural studies. Through a series of academic analyses based on archival records, ephemera and work produced during the 1960s, this volume focuses, uniquely, on Scotland. In its concern with some of the key figures of Scottish cultural life, the book considers amongst other topics the implications of censorship, the role of little magazines in shaping cultural debates, the radical nature of much Scottish literature of the time, developments in the avant-garde and the role of experiment in theatre, film, TV, fine art and music.
Literature as cultural discourse has always courted mobility. From the nomadic wanderings of the heroes of Homer and Virgil through the adventures of the medieval knight-errants to the travellers of modern times, movement and mobility have been constitutive elements of story-telling. Since writers have begun to explore the experiential dimension of movement their texts have embraced the essential changeability and instability of ‘mobile worlds’. In this sense literature reflects and processes the transformative force of movement on the perception of the world and is part of the broader cultural discourses of mobility.
From the 1936 film Night Mail to the rapid movements of the dime novel detective and the metaphorical coding of automobility in Futurist poetry, the essays in this volume offer new perspectives on the phenomenon of mobility at the intersection between the literary imagination and cultural experience. They explore movement as a decisive force of change in the history of modernity and show how literature in its representation of mobility simultaneously aims both to mirror and to grasp the phenomenon.
From the 1936 film Night Mail to the rapid movements of the dime novel detective and the metaphorical coding of automobility in Futurist poetry, the essays in this volume offer new perspectives on the phenomenon of mobility at the intersection between the literary imagination and cultural experience. They explore movement as a decisive force of change in the history of modernity and show how literature in its representation of mobility simultaneously aims both to mirror and to grasp the phenomenon.
Series:
Spatial Practices, Volume: 17
Literature as cultural discourse has always courted mobility. From the nomadic wanderings of the heroes of Homer and Virgil through the adventures of the medieval knight-errants to the travellers of modern times, movement and mobility have been constitutive elements of story-telling. Since writers have begun to explore the experiential dimension of movement their texts have embraced the essential changeability and instability of ‘mobile worlds’. In this sense literature reflects and processes the transformative force of movement on the perception of the world and is part of the broader cultural discourses of mobility.
From the 1936 film Night Mail to the rapid movements of the dime novel detective and the metaphorical coding of automobility in Futurist poetry, the essays in this volume offer new perspectives on the phenomenon of mobility at the intersection between the literary imagination and cultural experience. They explore movement as a decisive force of change in the history of modernity and show how literature in its representation of mobility simultaneously aims both to mirror and to grasp the phenomenon.
From the 1936 film Night Mail to the rapid movements of the dime novel detective and the metaphorical coding of automobility in Futurist poetry, the essays in this volume offer new perspectives on the phenomenon of mobility at the intersection between the literary imagination and cultural experience. They explore movement as a decisive force of change in the history of modernity and show how literature in its representation of mobility simultaneously aims both to mirror and to grasp the phenomenon.
This volume focuses on the contribution of German-speaking refugees from Nazism to the performing arts in Britain, evaluating their role in broadcasting, theatre, film and dance from 1933 to the present. It contains essays evaluating the role of refugee artists in the BBC German Service, including the actor Martin Miller, the writer Bruno Adler and the journalist Edmund Wolf. Miller also made a career in the English theatre transcending the barrier of language, as did the actor Gerhard Hinze, whose transition to the English stage is an instructive example of adaptation to a new theatre culture. In film, language problems were mitigated by the technical possibilities of the medium, although stars like Anton Walbrook received coaching in English. Certainly, technicians from Central Europe, like the cameraman Wolf Suschitzky, helped establish the character of British film in the 1950s and 1960s. In dance theatre, language played little role, facilitating the influence in Britain of dance practitioners like Kurt Jooss and Sigurd Leeder. Finally, evaluating the reverse influence of émigrés on Germany, two essays discuss Erich Fried’s translations of Shakespeare and Peter Zadek’s early theatre career in Germany.
This volume focuses on the contribution of German-speaking refugees from Nazism to the performing arts in Britain, evaluating their role in broadcasting, theatre, film and dance from 1933 to the present. It contains essays evaluating the role of refugee artists in the BBC German Service, including the actor Martin Miller, the writer Bruno Adler and the journalist Edmund Wolf. Miller also made a career in the English theatre transcending the barrier of language, as did the actor Gerhard Hinze, whose transition to the English stage is an instructive example of adaptation to a new theatre culture. In film, language problems were mitigated by the technical possibilities of the medium, although stars like Anton Walbrook received coaching in English. Certainly, technicians from Central Europe, like the cameraman Wolf Suschitzky, helped establish the character of British film in the 1950s and 1960s. In dance theatre, language played little role, facilitating the influence in Britain of dance practitioners like Kurt Jooss and Sigurd Leeder. Finally, evaluating the reverse influence of émigrés on Germany, two essays discuss Erich Fried’s translations of Shakespeare and Peter Zadek’s early theatre career in Germany.
A Study of Post-War Rumour in Tartu
Author:
Under certain conditions, some rumours, which were established as part of folklore already long ago, may become fixed in the memory and the subconscious of several generations. This is what happened with the rumour about a human sausage factory after the Second World War. In Tartu, Estonia, this rumour obtained a symbolic meaning and power due to the politics of the totalitarian Soviet regime. The memories of the post-war period are still vivid in the collective mind, and the onetime rumour of sausage factories incorporates the population’s tensions, pain, loss, choices, defiance and irreconcilability. The individual and community emotions that are brought to a focus in this discourse are an indicator of defining social boundaries and behaviour, of ‘us’ and ‘them’. When describing the events that took place in Tartu, folklore becomes a powerful tool with which to construe the meaning of the era at the social level.
Through documents, photos and people’s memories, the book offers an insight into the city of Tartu after the Second World War and reveals the several layers of meaning represented by rumour in this period.
Through documents, photos and people’s memories, the book offers an insight into the city of Tartu after the Second World War and reveals the several layers of meaning represented by rumour in this period.