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The artistic and literary maze of Latin-occupied Greece cannot be analysed by a conventional approach. Follow the author and the historical protagonists of his tales in a journey through a fragmentary shape-shifting corpus, from the medieval translations of Aristotle to pornographic animal tales carved on church columns. The book explains how art and literature were intertwined, how they evolved from the times of Nicetas Choniates to those of Isabella of Lusignan, and under what influences. It is based on the assumption that history is a form of literature, as they both share an “arbitrary distribution of emphasis” (Isaiah Berlin).
Este libro busca contribuir al impulso del estudio del actual cine poético hispanoamericano e íbero-peninsular, analizando aquellos modos contra-narrativos que enfatizan las particularidades formales del medio audiovisual, a la vez que rebajan el desarrollo del contenido --desplazando la acción fuera de plano. El presente libro parte asimismo de la premisa que la modernidad cinematográfica constituye el marco de referencia teórico-artístico al que muchos directores de cine poético recurren para elaborar sus propuestas fílmicas. Por ello, se propone también analizar las estrategias de composición vinculadas a la tradición cinematográfica de la modernidad que han sido críticamente reexaminadas en las películas producidas en el ámbito hispanoamericano e íbero-peninsular durante las primeras dos décadas del siglo XXI.

This book explores the shared approach to Spanish and Latin American filmmakers with experimental film practices and strategies of composition and links these to a tradition of cinematic modernity that is being critically re-assessed by these filmmakers. By adopting a decidedly transnational perspective, the author investigates the distinctive elements of contemporary poetic cinematographic productions that shape present-day Hispanic art house cinematic productions. Thus, the book reassesses the notion of poetic cinema as an interstitial film practice. The author first examines the multiple meanings that the notion of poetry in cinema has historically had. Second, she explores how Hispanic cinema inherited the artistic principles of European cinematic modernity, blending them with the Latin American cinematographic tradition of neorealist influence.
Théorie littéraire et fragilité du divers
L’infini culturel est autour de nous, mais, comme l’horizon, il tend à fuir sous nos yeux. Il est sur les murs investis par le street art ; ou dans les toiles d’araignée auxquelles Tomás Saraceno a rendu hommage ; ou dans les timbres-poste qui, comme savaient Walter Benjamin et Italo Calvino, sont des fenêtres ouvertes sur le monde.
Quelle que soient ses manifestations, l’infini nous engage à considérer l’extraordinaire diversité de la planète.
Face à lui, que faire, en littérature ?
Rester humble, par exemple, et formuler des hypothèses adéquates. Tenter de déjouer les asymétries qui empêchent les uns et les autres de s’exprimer partout dans de bonnes conditions. Revoir les fondements de la world literature et se mettre en résonance avec une culture authentiquement planétaire.

Cultural infinity surrounds us; but, just like the horizon, it tends to run away right in front of our eyes. It might appear on walls full of street art; in the spider webs deeply esteemed by Tomás Saraceno; in postage stamps which, as Walter Benjamin and Italo Calvino acknowledged, are open windows on the world.
Whatever its manifestations, the infinite dares us to consider the extraordinary diversity of the planet. In front of such a challenge, what can we do with literature?
Stay humble, for example, and formulate adequate hypotheses. Try to reduce the asymmetries that prevent us from expressing ourselves everywhere in good conditions. Build the foundations of world literature and resonate with an authentically global culture.
This co-edited volume offers new insights into the complex relations between Brussels and Vienna in the turn-of-the-century period (1880-1930). Through archival research and critical methods of cultural transfer as a network, it contributes to the study of Modernism in all its complexity.
Seventeen chapters analyse the interconnections between new developments in literature (Verhaeren, Musil, Zweig), drama (Maeterlinck, Schnitzler, Hofmannsthal), visual arts (Minne, Khnopff, Masereel, Child Art), architecture (Hoffmann, Van de Velde), music (Schönberg, Ysaÿe, Kreisler, Kolisch), as well as psychoanalysis (Varendonck, Anna Freud) and café culture. Austrian and Belgian artists played a crucial role within the complex, rich, and conflictual international networks of people, practices, institutions, and metropoles in an era of political, social and technological change and intense internationalization.

Contributors: Sylvie Arlaud, Norbert Bachleitner, Anke Bosse, Megan Brandow-Faller, Alexander Carpenter, Piet Defraeye, Clément Dessy, Aniel Guxholli, Birgit Lang, Helga Mitterbauer, Chris Reyns-Chikuma, Silvia Ritz, Hubert Roland, Inga Rossi-Schrimpf, Sigurd Paul Scheichl, Guillaume Tardif, Hans Vandevoorde.
Arabian Identity and Material Culture
Volume Editors: and
By employing the innovative lenses of ‘thing theory’ and material culture studies, this collection brings together essays focused on the role played by Arabia’s things - from cultural objects to commodities to historical and ethnographic artifacts to imaginary things - in creating an Arabian identity over time. The Arabian identity that we convey here comprises both a fabulous Arabia that has haunted the European imagination for the past three hundred years and a real Arabia that has had its unique history, culture, and traditions outside the Orientalized narratives of the West. All Things Arabia aims to dispel existing stereotypes and to stimulate new thinking about an area whose patterns of trade and cosmopolitanism have pollinated the world with lasting myths, knowledge, and things of beauty.

Contributors include: Ileana Baird, Marie-Claire Bakker, Joseph Donica, Holly Edwards, Yannis Hadjinicolaou, Victoria Hightower, Jennie MacDonald, Kara McKeown, Rana Al-Ogayyel, Ceyda Oskay, Chrysavgi Papagianni, James Redman, Eran Segal, Hülya Yağcıoğlu, and William Gerard Zimmerle.
World Political Theatre and Performance: Theories, Histories, Practices is the second collection of essays to emerge from the Political Performances Working Group at the International Federation for Theatre Research. Bringing together scholars and practitioners from multiple locations, the book analyses a range of examples – historical and contemporary – of counter-hegemonic theatre and performance.
Part 1 offers a diachronic view of the relationship between activism and performance; Part 2 focuses on the changing nature of what constitutes ‘political theatre’ today. Case studies from Finland to India and from Chile to China are framed by section introductions that underline both commonalities and tensions, while the general introduction reflects on what a radical practice can look like in the face of global neoliberalism.

Contributors: Julia Boll, Paola Botham, Marco Galea, Aneta Głowacka, Pujya Ghosh, Camila González Ortiz, Bérénice Hamidi-Kim, Fatine Bahar Karlıdağ, Madli Pesti, José Ramón Prado-Pérez, Trish Reid, Mikko-Olavi Seppälä, Andy Smith, Evi Stamatiou, Wei Zheyu.
Volume Editor:
The Culture of Boredom is a collection of essays by well-known specialists reflecting from philosophical, literary, and artistic perspectives, in which the reader will learn how different disciplines can throw light on such an appealing, challenging, yet still not fully understood, phenomenon. The goal is to clarify the background of boredom, and to explore its representation through forgotten cross-cutting narratives beyond the typical approaches, i.e. those of psychology or psychiatry. For the first time this experienced group of scholars gathers to promote a cross-border dialogue from a multidisciplinary perspective.
Volume Editors: and
In the years that followed the end of apartheid, South African theatre was characterized by a remarkable productivity, which resulted in a process of constant aesthetic reinvention. After 1994, the “protest” theatre template of the apartheid years morphed into a wealth of diverse forms of stage idioms, detectable in the works of Greg Homann, Mike van Graan, Craig Higginson, Lara Foot, Omphile Molusi, Nadia Davids, Magnet Theatre, Rehane Abrahams, Amy Jephta, and Reza de Wet, to cite only a few prominent examples. Marc and Jessica Maufort’s multivocal edited volume documents some of the various ways in which the “rainbow” nation has forged these innovative stage idioms. This book’s underlying assumption is that creolization reflects the processes of identity renegotiation in contemporary South Africa and their multi-faceted theatrical representations.

Contributors: Veronica Baxter, Marcia Blumberg, Vicki Briault Manus, Petrus du Preez, Paula Fourie, Craig Higginson, Greg Homann, Jessica Maufort, Marc Maufort, Omphile Molusi, Jessica Murray, Jill Planche, Ksenia Robbe, Mathilde Rogez, Chris Thurman, Mike van Graan, and Ralph Yarrow.
Volume Editors: and
The contributors to this volume share the assumption that popular narrative, when viewed with an evolutionary lens, offers an incisive index into human nature. In theory, narrative art could take a near infinity of possible forms. In actual practice, however, particular motifs, plot patterns, stereotypical figures, and artistic devices persistently resurface, indicating specific predilections frequently at odds with our actual living conditions. Our studies explore various media and genres to gauge the impact of our evolutionary inheritance, in interdependence with the respective cultural environments, on our aesthetic appreciation. As they suggest, research into mass culture is not only indispensable for evolutionary criticism but may also contribute to our understanding of prehistoric selection pressures that still influence modern preferences in popular narrative.

Contributions by David Andrews, James Carney, Mathias Clasen, Brett Cooke, Tamás Dávid-Barrett, Tom Dolack, Kathryn Duncan, Isabel Behncke Izquierdo, Joe Keener, Alex C. Parrish, Todd K. Platts, Anna Rotkirch, Judith P. Saunders, Michelle Scalise Sugiyama, Dirk Vanderbeke, and Sophia Wege.
"Il buono amore è di bellezza disio"
Beauty is a central concept in the Italian cultural imagination throughout its history and in virtually all its manifestations. It particularly permeates the domains that have governed the construction of Italian identity: literature and language. The Idea of Beauty in Italian Literature and Language assesses this long tradition in a series of essays covering a wide chronological and thematic range, while crossing from historical linguistics to literary and cultural studies. It offers elements for reflection on cross-disciplinary approaches in the humanities, and demonstrates the power of beauty as a fundamental category beyond aesthetics.