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The Land of Unlikeness

Hieronymus Bosch, The Garden of Earthly Delights

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Reindert Falkenburg

Hieronymus Bosch's Garden of Earthly Delights is one of the most enigmatic paintings in the history of western art. Apart from a brief description by an eyewitness in 1517, there are no contemporary records that tell us anything about the original commission of the painting, its placement, function or audience.

Reindert Falkenburg now offers a detailed analysis of Bosch's eye- and mind boggling play with pictorial traditions. He argues that the painting was created towards the end of the fifteenth century as a conversation piece for an audience of Burgundian nobles. He suggests that the Garden of Earthly Delights served as a multifaceted mirror for viewers to reflect on how humanity, while created in the image and likeness of God, in the course of history has lost its original identity and tends towards becoming one with a world that is susceptible to an all-perverting force of evil origin. This debatable nature of Bosch's imagery is central to any engaged viewership, historical or modern.

Books in Motion

Adaptation, Intertextuality, Authorship

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Edited by Mireia Aragay

Books in Motion addresses the hybrid, interstitial field of film adaptation. The introductory essay integrates a retrospective survey of the development of adaptation studies with a forceful argument about their centrality to any history of culture—any discussion, that is, of the transformation and transmission of texts and meanings in and across cultures. The thirteen especially composed essays that follow, organised into four sections headed ‘Paradoxes of Fidelity’, ‘Authors, Auteurs, Adaptation’, ‘Contexts, Intertexts, Adaptation’ and ‘Beyond Adaptation’, variously illustrate that claim by problematising the notion of fidelity, highlighting the role played by adaptation in relation to changing concepts of authorship and auteurism, exploring the extent to which the intelligibility of film adaptations is dependent on contextual and intertextual factors, and making a claim for the need to transcend any narrowly-defined concept of adaptation in the study of adaptation. Discussion ranges from adaptations of established classics like A Tale of Two Cities, Frankenstein, Henry V, Le temps retrouvé, Mansfield Park, Pride and Prejudice, ‘The Dead’ or Wuthering Heights, to contemporary (popular) texts/films like Bridget Jones’s Diary, Fools, The Governess, High Fidelity, The Hours, The Orchid Thief/Adaptation, the work of Doris Dörrie, the first Harry Potter novel/film, or the adaptations made by Alfred Hitchcock, Stanley Kubrick and Walt Disney. This book will appeal to both a specialised readership and to those accessing the dynamic field of adaptation studies for the first time.

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Sean Cubitt

For the last twenty years ecology, the last great political movement of the 20th century, has fired the imaginations not only of political activists but of popular movements throughout the industrialised world. EcoMedia is an enquiry into the popular mediations of environmental concerns in popular film and television since the 1980s. Arranged in a series of case studies on bio-security, relationships with animals, bioethics and biological sciences, over-fishing, eco-terrorism, genetic modification and global warming, EcoMedia offers close readings of Peter Jackson's The Lord of the Rings, Miyazake's Princess Mononoke, The Perfect Storm, X-Men and X2, The Day After Tomorrow and the BBC's drama Edge of Darkness and documentary The Blue Planet. Drawing on the thinking of Flusser, Luhmann, Latour, Agamben and Bookchin, EcoMedia discusses issues from whether animals can draw and why we like to draw animals, to how narrative films can imagine global processes, and whether wonder is still an ethical pleasure. Building on the thesis that popular film and television can tell us a great deal about the state of contemporary beliefs and anxieties, the book builds towards an argument that the polis, the human world, cannot survive without a three way partnership with physis and techne, the green world and the technological.

Künstler-Bilder

Zur produktiven Auseinandersetzung mit der schöpferischen Persönlichkeit

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Edited by Hans Ester, Guillaume van Gemert and Christiaan Janssen

Bereits in der Antike entwickelte sich eine Metakunst, die die Kunst und das Künstlertum selber zum Objekt von Kunstäusserungen machte. In der Zeit der Postmoderne ist die Thematisierung realer Kunst und realer Künstlergestalten in der Kunst nicht mehr wegzudenken. Künstler-Bilder vereint zehn Aufsätze, die sich mit literarischen Werken befassen, in denen der Autor sich historischen Künstlergestalten zuwendet, um sich so in ihnen zu spiegeln. Objekt der Darstellung sind Musiker, bildende Künstler und, vor allem, Dichter. Zeitlich reicht das Spektrum von Jakob Michael Reinhold Lenz’ Umgang mit Goethe als verehrtem Vorbild im 18. bis zu Hanns-Josef Ortheils eigenwilliger Sicht aus dem späten 20. Jahrhunderts auf die römischen Abenteuer Goethes. Ihm treten Mörike und Mozart, Stefan Zweig und Balzac, Hodler und Pedretti, Bernhard und Freumbichler, Härtling und Hölderlin, Kühn und Schumann sowie Grass und Fontane, um nur einige zu nennen, an die Seite.
Nur selten ist die historische Künstlergestalt Gegenstand der Verehrung oder der Idealisierung. Vereinnahmung, Vergegenwärtigung, Problematisierung oder gar Ironisierung waren und sind in der Auseinandersetzung mit ihr nicht weniger ergiebig. Die Vielfalt der Möglichkeiten im produktiven Umgang mit historischem Schöpfertum will der vorliegende Band aufscheinen lassen.

Essays on the Song Cycle and on Defining the Field

Proceedings of the Second International Conference on Word and Music Studies at Ann Arbor, MI, 1999

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Edited by Walter Bernhart and Werner Wolf

This volume assembles twelve interdisciplinary essays that were originally presented at the Second International Conference on Word and Music Studies at Ann Arbor, MI, in 1999, a conference organized by the International Association for Word and Music Studies (WMA).
The contributions to this volume focus on two centres of interest. The first deals with general issues of literature and music relations from culturalist, historical, reception-aesthetic and cognitive points of view. It covers issues such as conceptual problems in devising transdisciplinary histories of both arts, cultural functions of opera as a means of reflecting postcolonial national identity, the problem of verbalizing musical experience in nineteenth-century aesthetics and of understanding reception processes triggered by musicalized fiction.
The second centre of interest deals with a specific genre of vocal music as an obvious area of word and music interaction, namely the song cycle. As a musico-literary genre, the song cycle not only permits explorations of relations between text and music in individual songs but also raises the question if, and to what extent words and/or music contribute to creating a larger unity beyond the limits of single songs. Elucidating both of these issues with stimulating diversity the essays in this section highlight classic nineteenth- and twentieth-century song cycles by Franz Schubert, Robert Schumann, Hugo Wolf, Richard Strauss and Benjamin Britten and also include the discussion of a modern successor of the song cycle, the concept album as part of today’s popular culture.

Schuld und Sühne? 2

Kriegserlebnis und Kriegsdeutung in deutschen Medien der Nachkriegszeit (1945-1961) Internationale Konferenz vom 01.-04.09.1999 in Berlin

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Edited by Ursula Heukenkamp

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.

Christine de Pizan 2000

Studies on Christine de Pizan in Honour of Angus J. Kennedy

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Edited by John Campbell and Nadia Margolis

Christine de Pizan (ca. 1364-ca. 1430)—whether read as lyric poet, prose polemicist or historian, feminist or universal moralist—has over the past thirty years become more widely read than any other medieval French author. The attraction of her works continues to grow amongst the general public, as well as among critics and historians of literature, ideas, science and the visual arts, political scientists and philologists, and specialists in feminist theory. Christine intrigues readers by her intellectual paradoxes as much as by her prefiguration of modern attitudes by and toward women.
This collection of essays honours Angus J. Kennedy, an illustrious scholar who has greatly contributed to fostering this modern growth in interest. The editors here present a significant sampling of varieties of inquiry on Christine: a broad range of contributors, from around the world, represent different approaches and levels of experience. The volume contains two indexes, and a bibliography structured to serve as an integrated and integral reference source to pertinent primary and secondary materials. This volume thus charts the progress of Christine de Pizan studies at the start of the new millennium. True to the spirit of its honoree, it also aims to serve as a gateway to future research.

European Avant-Garde

New Perspectives

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Edited by Dietrich Scheunemann

This collection of critical essays is designed to lay the foundations for a new theory of the European avant-garde. It starts from the assumption that not one all-embracing intention of all avant-garde movements - i.e. the intention of “reintegrating art into the practice of life” (Peter Bürger) - but the challenge of new cultural technologies, in particular photography and cinema, constitutes the main driving force of the formation and further development of the avant-garde. This approach permits to establish a theoretical framework that takes into account the diversity of artistic aims and directions of the various art movements and encourages a wide and open exploration of the multifaceted and often contradictory nature of the great variety of avant-gardist innovations.
Following the theoretical foundation of the new approach, individual contributions concentrate on a diverse range of avant-gardist concepts, trends and manifestations from cubist painting and the literary work of Apollinaire and Gertrude Stein to the screeching voices of futurism, dadaist photomontage and film, surrealist photographs and sculptures and neo-avant-gardist theories as developed by the French group OuLiPo. The volume closes with new insights gained from placing the avant-garde in the contexts of literary institutions and psychoanalytical and sociological concepts.
The main body of the volume is based on presentations and discussions of a three-day research seminar held at Yale University, New Haven, in February 2000. The research group formed on this occasion will continue with its efforts to elaborate a new theory of the avant-garde in the coming years.

"New" Exoticisms

Changing Patterns in the Construction of Otherness

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Edited by Isabel Santaolalla

All civilisations have both feared and been fascinated by what lies beyond their limits, and have to a greater or lesser extent construed their “others” as exotics. Given that, even in its most consumerist fashion, the adoption of the exotic goes back a long way, what, then —if anything— is new in contemporary versions of exoticism? This volume attempts to offer some answers to this question. The first of its three sections serves as an extended introduction to the concept and practice of exoticism, considering the phenomenon from a number of theoretical and critical positions, explicitly examining —sometimes via significant examples— the particular attributes of exoticism. The second and third sections are more strictly text-based, relying on the analysis of specific instances of film in the former and literature in the latter, in order to tease out some specific uses of the exotic –whether ethnic, gendered, sexual or other. This volume will be of interest to scholars and students working in the fields of representation, cultural theory, postcolonialism, gender, ethnicity, sexuality, cinema and literature.

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Edited by Annette W. Balkema and Henk Slager

In the 21st century, the screen - the Internet screen, the television screen, the video screen and all sorts of combinations thereof - will be booming in our visual and infotechno culture. Screen-based art, already a prominent and topical part of visual culture in the 1990s, will expand even more. In this volume, digital art - the new media - as well as its connectedness to cinema will be the subject of investigation. The starting point is a two-day symposium organized by the Netherlands Media Art Institute Montevideo/TBA, in collaboration with the L&B (Lier en Boog) series and the Amsterdam School of Cultural Analysis (ASCA).
Issues which emerged during the course of investigation deal with questions such as: How could screen-based art be distinguished from other art forms? Could screen-based art theoretically be understood in one definite model or should one search for various possibilities and/or models? Could screen-based art be canonized? What are the physical and theoretical forms of representation for screen-based art? What are the idiosyncratic concepts geared towards screen-based art? This volume includes various arguments, positions, and statements by artists, curators, philosophers, and theorists. The participants are Marie-Luise Angerer, Annette W. Balkema, René Beekman, Raymond Bellour, Peter Bogers, Joost Bolten, Noël Carroll, Sean Cubitt, Cãlin Dan, Chris Dercon, Honoré d'O, Anne-Marie Duquet, Ken Feingold, Ursula Frohne, hARTware curators, Heiner Holtappels, Aernout Mik, Patricia Pisters, Nicolaus Schafhausen, Jeffrey Shaw, Peter Sloterdijk, Ed S. Tan, Barbara Visser and Siegfried Zielinski.