Dionysus on the Other Shore, Letizia Fusini argues that throughout his early exile years (late 1980s-1990s), Gao Xingjian gradually moved away from Absurdist Drama to develop a dramaturgical system with tragic characteristics. Drawing on a range of contemporary theories of tragedy, this book reconfigures some of the key tropes of Gao’s post-1987 theater as varied articulations of the Dionysian
sparagmos mechanism. They are the dismemberment of the dramatic self, the usage of constricted spaces, the divisive nature of gender relations, and the agony of verbal language. Through a text-based analysis of seven plays, the author ultimately aims to show that in Gao’s theater, tragedy is an ongoing and mostly subtextual dynamism generated by an interplay of psychic forces concurrently cohesive and divisive.
Smuggling the Renaissance: The Illicit Export of Artworks Out of Italy, 1861-1909 explores the phenomenon of art spoliation in Italy following Unification (1861), when the international demand for Italian Renaissance artworks was at an all-time high but effective art protection legislation had not yet been passed.
Making use of rich archival material Joanna Smalcerz narrates the complex and often dramatic struggle between the lawmakers of the new Italian State, and international curators (e.g., Wilhelm Bode), collectors (e.g., Isabella Stewart Gardner) and dealers (e.g., Stefano Bardini) who continuously orchestrated illicit schemes to export abroad Italian masterpieces. At the heart of the intertwinement of the art trade, art scholarship and art protection policies the author exposes the socio-psychological dynamics of unlawful collecting.
Die Untersuchung von Strukturen des Exemplarischen ist in den letzten Jahren vermehrt in den Fokus geisteswissenschaftlicher Forschung gerückt, doch wurde es bisher verabsäumt, die besonderen Funktionen von Bildern als Beispielen, Illustrationen und Exempla in systematischer und historischer Perspektive zu thematisieren. Im Mittelpunkt der vorliegenden Publikation steht die Frage, wie Bilder – sowohl in der Rolle von konkreten Artefakten als auch von »theoretischen Objekten« – in epistemologische, kunsttheoretische, psychoanalytische und philosophische Diskurse eingebunden sind. Die Grundannahme des Bandes lautet, dass im diskursiven Umgang mit Bildern eine Logik des Exemplarischen vorherrschend ist, welche die Allgemeinheit der Argumente an die konkrete Gegebenheit eines Anschaulichen bindet. »Logik« ist dabei in einem weiten, inklusiven Sinn zu verstehen, der die lange Tradition der Rhetorik ebenso umfasst wie Immanuel Kants Überlegungen zum reﬂexiven ästhetischen Urteil.
Chor-Denken« erkundet erstmals die Zusammengehörigkeit des griechischen Theaterchores und der antiken Sorge- und Wahrheits-Techniken, denen Michel Foucaults letzte Arbeiten galten. Dabei geht es auch um ein dezidiert nicht-heideggerianisches Verständnis des antiken Theaters. Denn was »die Griechen getan haben, war nicht, in einer welthistorischen Geste das Sein zu enthüllen oder das Offene zu entfalten. (...) Es besteht darin, das Außen umzubiegen, in praktischen Übungen.« (Deleuze)
Gleichzeitig widmet sich die Studie aus gegenwartsdiagnostischer Perspektive den überraschenden Berührungspunkten zwischen der antiken Schwellenzeit des 6. und 5. Jahrhunderts und der vernetzten »Kosmo-Polis« des 21. Jahrhunderts: Detaillierte Neulektüren von Sophokles, Aischylos, Euripides und Aristophanes setzen historische Transformationen des antiken Kosmosverständnisses in Bezug zur Entstehung kontrollgesellschaftlicher (Deleuze) bzw. environmentaler (Foucault) Regierungsformen, die heute Lebewesen und Dinge immer feinmaschiger über Umweltvariablen zu steuern versuchen.
China’s Old Churches, by Alan Sweeten, surveys the history of Catholicism in China (1600 to the present) as reflected by the location, style, and details of sacred structures in three crucial areas of north China. Closely examined are the most famous and important churches in the urban settings of Beijing and Tianjin, as well as lesser-known ones in rural Hebei Province.
Missionaries built Western-looking churches to make a broad religious statement important to themselves and Chinese worshippers. Non-Catholics, however, tended to see churches as sociopolitically foreign and culturally invasive. The physical-visual impact of church buildings is significant. Today, restored old churches and new sacred structures are still mostly of Western style, but often include a sacred grotto dedicated to Our Lady of China--a growing number of Catholics supporting Marian-centered activities.
The book discusses the history and the archaeology of Jerusalem in the Roman period (70-400 CE) following a chronological order, from the establishment of the Tenth Roman Legion’s camp on the ruins of Jerusalem in 70 CE, through the foundation of Aelia Capitolina by Hadrian, in around 130 CE, and the Christianization of the population and the cityscape in the fourth century. Cemeteries around the city, the rural hinterland, and the imperial roads that led to and from Aelia Capitolina are discussed as well. Due to the paucity of historical sources, the book is based on archaeological remains, suggesting a reconstruction of the city's development and a discussion of the population’s identity.
New Directions and Paradigms for the Study of Greek Architecture comprises 20 chapters by nearly three dozen scholars who describe recent discoveries, new theoretical frameworks, and applications of cutting-edge techniques in their architectural research. The contributions are united by several broad themes that represent the current directions of study in the field, i.e.: the organization and techniques used by ancient Greek builders and designers; the use and life history of Greek monuments over time; the communication of ancient monuments with their intended audiences together with their reception by later viewers; the mining of large sets of architectural data for socio-economic inference; and the recreation and simulation of audio-visual experiences of ancient monuments and sites by means of digital technologies.
This volume, edited by Natasha Constantinidou and Han Lamers, investigates modes of receiving and responding to Greeks, Greece, and Greek in early modern Europe (15th-17th centuries). The book's seventeen detailed studies illuminate the reception of Greek culture (the classical, Byzantine, and even post-Byzantine traditions), the Greek language (ancient, vernacular, and 'humanist'), as well as the people claiming, or being assigned, Greek identities during this period in different geographical and cultural contexts.
Discussing subjects as diverse as, for example, Greek studies and the Reformation, artistic interchange between Greek East and Latin West, networks of communication in the Greek diaspora, and the ramifications of Greek antiquarianism, the book aims at encouraging a more concerted debate about the role of Hellenism in early modern Europe that goes beyond disciplinary boundaries, and opening ways towards a more over-arching understanding of this multifaceted cultural phenomenon.
Contributors: Aslıhan Akışık-Karakullukçu, Michele Bacci, Malika Bastin-Hammou, Peter Bell, Michail Chatzidakis, Federica Ciccolella, Calliope Dourou, Anthony Ellis, Niccolò Fattori, Maria Luisa Napolitano, Janika Päll, Luigi-Alberto Sanchi, Niketas Siniossoglou, William Stenhouse, Paola Tomè, Raf Van Rooy, and Stefan Weise.
A Companion to the Early Modern Cardinal is the first comprehensive overview of its subject in English or any language. Cardinals are best known as the pope’s electors, but in the centuries from 1400 to 1800 they were so much more: pastors, inquisitors, diplomats, bureaucrats, statesmen, saints; entrepreneurs and investors; patrons of the arts, of music, literature, and science. Thirty-five essays explain their social background, positions and roles in Rome and beyond, and what they meant for wider society. This volume shows the impact which those men who took up the purple had in their respective fields and how their tenure of office shaped the entangled histories of Rome and the Catholic Church from a European and global perspective.
Fragile Images: Jews and Art in Yugoslavia, 1918-1945, Mirjam Rajner traces the lives and creativity of seven artists of Jewish origin. The artists - Moša Pijade, Daniel Kabiljo, Adolf Weiller, Bora Baruh, Daniel Ozmo, Ivan Rein and Johanna Lutzer - were characterized by multiple and changeable identities: nationalist and universalist, Zionist and Sephardic, communist and cosmopolitan.
These fluctuating identities found expression in their art, as did their wartime fate as refugees, camp inmates, partisans and survivors. A wealth of newly-discovered images, diaries and letters highlight this little-known aspect of Jewish life and art in Yugoslavia, illuminating a turbulent era that included integration into a newly-founded country, the catastrophe of the Holocaust, and renewal in its aftermath.