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Author: Jane Gilmer
The Alchemical Actor – Performing the Great Work: Imagining Alchemical Theatre offers an imagination for new theatre inspired by the directives of Antonin Artaud. The alchemical four elements – earth, water, air and fire and four alchemical stages – nigredo, albedo, citrino and rubedo perform initiatory steps in the practice of alchemical transformational consciousness. The depth psychological work of Carl G. Jung, theatre techniques of Michael Chekhov, Rudolf Steiner, William Shakespeare and others compose this ‘Great Work’. Jane Gilmer conjures the magical unknown leading the reader through material cognition towards gold-making heart-thinking - key to new and future theatre.
Networks in Literature, Visual and Performing Arts, and other Cultural Practices
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.
Completed shortly before her death in 2019, Tragedy and Philosophy is the sum of Agnes Heller’s reflections on European history and culture, seen through the prism of Europe’s two unique literary creations: tragedy and philosophy. Part 1 traces their parallel history from ancient Athens to rebirth in early modern London and Paris. Part 2 explores the interactions between post-metaphysical philosophy and post-tragic drama from the eighteenth through to the twentieth centuries. Heller’s perspective is post-Hegelian: the story of European culture can only be told from its end, the generalization of modernity across the globe. In this sense Part 3 is Heller’s farewell to the grand narrative of European history and culture as well as her own personal farewell to philosophy.
Variations on Racinian Excuses
Author: Edward Forman
This comparative literary study re-evaluates the reciprocal relationship between tragic drama and current approaches to guilt and extenuation. Focussing on Racine but ranging widely, it sheds original light on tragic archetypes (Phaedra, Oedipus, Clytemnestra, Medea and others) through the lenses of performance theory and modern attitudes towards blame.
Tragic drama and legal systems both aim to evaluate the merits of excuses provided on behalf of perpetrators of catastrophic acts. Edward Forman wittily and provocatively explores modern judicial concepts – diminished responsibility, provocation, trauma, ignorance, scapegoating – through the responses of characters in tragedy. Attention is paid to the way in which classical plays (ancient Greek and seventeenth-century French) have been re-interpreted in performance in the light of modern perceptions of human responsibility and helplessness.
Author: Tiago de Luca

The world envisioned by the idea of world cinema is often tied to a conception of the planet in terms of the global circulation of films and networks of production, consumption and distribution. This article argues for the need to confront the world as a representational and aesthetic category in and of itself.

In: Studies in World Cinema
Author: Ewa Mazierska

This article examines the term ‘World Cinema’ by comparing it to ‘world literature’, as understood by two German thinkers of the Romantic period: Johann Wolfgang von Goethe and Karl Marx, who attributed universal appeal to it. It argues that World cinema, like world literature, testifies to the unequal distribution of economic and cultural power. World Cinema refers to cinemas of peripheries, cinematic production of ‘developing’ or Third World countries or non-Hollywood. Moreover, it does not encompass everything which is produced in the peripheries, but only that part, which lends itself to the gaze of (broadly understood) western scholars. Inevitably, such gaze privileges ‘canonical works’, which have already received national recognition and which due to their subjects, forms or ideologies, align themselves with the production in the centre. However, there are also films created in the peripheries which transcended national boundaries despite being openly local and even hostile to the idea of competing with other films on the global market, especially films made in Hollywood or modelled on Hollywood, such as Third Cinema, whose analysis concludes the discussion.

In: Studies in World Cinema

The article explores the concept of world cinema as an other to global cinema from a marketing perspective. Special attention is given to the way the world cinema universe is presented on video-on-demand platforms in Western markets. To demonstrate that the stories, scope and concerns of this universe vary according to marketing objectives, the article compares presentations on three platforms with contrasting business models and marketing algorithms: Netflix, Filmin, and FilmDoo. This leads to an important conclustion: presentations on platforms with an apparently more ethical business model are not necessarily more progressive and more advantageous to world cinema in terms of avoiding its “genre-fication”.

In: Studies in World Cinema
Author: William Brown

In this essay, I engage with the concept of ‘world cinema,’ identifying ways in which the term ‘world’ might always already come loaded with masculine and, in particular, white connotations, such that a turn to ‘world cinema’ runs the risk of reaffirming the centrality of masculinity and whiteness—at a time when, perhaps it is of utmost importance, for the sake of the continuation of human and other life, to challenge and perhaps even to negate that centrality. What applies to ‘world’ (which may be a shorthand for white masculinity) may also apply to cinema, and so it is that cinema and white masculinity alike that must be abandoned for human life on Earth to progress. To propose a turn to world cinema may thus not ‘work’ as a means to develop film studies in an ethical, more inclusive direction, since both world and cinema are by nature exclusive, rather than inclusive.

In: Studies in World Cinema

This paper argues for the political urgency of the project of World Cinema, and an understanding of World Cinema as a dynamic totality. Totality here is not a generic, macroscopic lens, but a system that accounts for the co-existence of all cinemas as well as the uneven power relationships that determine the relative visibility or invisibility of cinemas in the global system. This structural inequity, a condition that underlies the differentiated cinematic flows, is also a methodological ruse in that it can only point to unequal relationships in discourses that define the current conceptions of World Cinema. An awareness of totality, we argue, makes it possible to return to films themselves as nodal points from which to begin the mapping of World Cinema through its complex networks of financing, distribution, and its circuits of legitimation (film festivals, academic discourses) which shape world cinema as a body of knowledge.

In: Studies in World Cinema
In: Guilt and Extenuation in Tragedy
In: Guilt and Extenuation in Tragedy
In: Guilt and Extenuation in Tragedy
In: Guilt and Extenuation in Tragedy
In: Guilt and Extenuation in Tragedy
In: Guilt and Extenuation in Tragedy
In: Guilt and Extenuation in Tragedy
In: Guilt and Extenuation in Tragedy
Volume Editor: Andrew H. Weaver
A Companion to Music at the Habsburgs Courts in the Sixteenth and Seventeenth Centuries, edited by Andrew H. Weaver, is the first in-depth survey of Habsburg musical patronage over a broad timeframe. Bringing together existing research and drawing upon primary sources, the authors, all established experts, provide overviews of the musical institutions, the functions of music, the styles and genres cultivated, and the historical, political, and cultural contexts for music at the Habsburg courts. The wide geographical scope includes the imperial courts in Vienna and Prague, the royal court in Madrid, the archducal courts in Graz and Innsbruck, and others. This broad view of Habsburg musical activities affirms the dynasty’s unique position in the cultural life of early modern Europe.

Contributors are Lawrence Bennett, Charles E. Brewer, Drew Edward Davies, Paula Sutter Fichtner, Alexander J. Fisher, Christine Getz, Beth L. Glixon, Jeffrey Kurtzman, Virginia Christy Lamothe, Honey Meconi, Sara Pecknold, Jonas Pfohl, Pablo L. Rodríguez, Steven Saunders, Herbert Seifert, Louise K. Stein, and Andrew H. Weaver.