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Joanna Woodall

'Painting contains a divine force which not only makes the absent present, as friendship is said to do, but moreover makes the dead seem almost alive.' Taking up Alberti's connection between divine power, mimesis and friendship, this study explores the artistry of the Utrecht portrait specialist Anthonis Mor. It considers Mor's work in relation to reformation debates, and to the challenges to dynastic authority that took place during his lifetime, tracing the breakdown and transformation of belief in 'friendship' or love as a means of binding abstract authority and the embodied world together. Although Mor succeeded Titian as principal portraitist to the Habsburgs, his ambition was not limited to portrayal in a narrow sense. His work enters into dialogue with the elevated conceptions of the artist being enunciated by his humanist friends, and with devotional and allegorical imagery. The book brings Mor's arresting vision to a wider public and reveals its centrality to a broader understanding of how authority was conceived and reshaped in the sixteenth-century. previously published as hardback with isbn 9789040084218.

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Edited by Walter Bernhart and Werner Wolf

This volume contains a selection of nine essays with an interdisciplinary perspective. They were originally presented at the Sixth International Conference on Word and Music Studies, which was held at Edinburgh University in June 2007 and was organized by the International Association for Word and Music Studies (WMA).
The contributions to this volume focus on self-reference in various systematic, historical and intermedial ways. Self-reference – including, as a special case, metareference (the self-conscious reflection on music, literature and other medial concerns) – is explored, among others, in instrumental music by Mozart, Mahler and Satie, in the structure and performance of (meta-)operas, in operatic adaptations of drama and filmic adaptations of opera, as well as in intermedial novelistic references to music. The essays cover a historical range from the 18th century to the present and are of interest to literary and opera scholars and students, musicologists as well as all readers generally interested in medial self-reference and intermediality studies.

Skulptur lehren

Künstlerische, kunstwissenschaftliche und kunstpädagogische Perspektiven auf Skulptur im erweiterten Feld

Edited by Sara Hornäk

Die Skulptur heute umfasst Erscheinungsformen sehr unterschiedlicher Art. Plastische, skulpturale oder installative Werke lassen einen Gattungsbegriff zunehmend obsolet erscheinen.
Trotz vielfältiger Entgrenzungstendenzen in der zeitgenössischen Kunst wird die Skulptur der Gegenwart in diesem Band hinsichtlich der Besonderheiten ihres Verhältnisses zum Raum, zum Material, zur Zeit sowie zur Betrachterin und zum Betrachter untersucht. Veränderte Erlebnisqualitäten der im Erfahrungsraum des Subjekts verorteten Skulptur eröffnen mit der Erweiterung des Skulpturalen neue Perspektiven für Lehr- und Lernpro-zesse. Autorinnen und Autoren diskutieren in diesem Band aus Sicht von Kunstwissenschaft, Kunst und Kunstpädagogik verschiedene Formen skulpturalen Denkens und Handelns mit Blick auf Möglichkeiten und Schwierigkeiten, Kunst im Hinblick auf einen erweiterten Skulpturbegriff zu lehren.

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Edited by Walter Bernhart

Ulrich Weisstein, an international authority in the fields of comparative literature and comparative arts, has been a pioneer paving the way for present-day intermedia studies. Among his broad intermedial interests opera has always held a central place. For the first time this volume makes available his major contributions to opera criticism in compact form, thus meeting a serious scholarly demand.
The necessarily stringent selection of essays from Professor Weisstein’s large output on opera, reflecting fifty years of involvement with the genre, is primarily governed by the wish to present texts that are representative of their author’s work and, at the same time, are unlikely to be readily available through other channels. The fourteen essays collected are arranged in chronological order, some of them showing Ulrich Weisstein as an initiator of librettology, others tracing adaptive processes extending from textual sources to final operas, or investigating writer/composer collaborations. Further topics are satirical reflections on operatic activities in early-eighteenth-century Italy and practices of opera censorship, artist operas or definitions of romantic and epic opera. The essays are written in an accessible, essentially non-technical language and are expected to make both a profitable and a pleasurable reading for literary scholars as well as musicologists and general art lovers.
Modern Asian Art and Visual Culture is an academic series devoted to the visual culture of Asia of the modern period, spanning roughly from the mid-1850s up to the present day. It includes monographs and edited volumes on art and architecture; art history; art worlds and markets; visual materials related to propaganda; religion and art and also extends to the performing arts, cinema and media studies. It also actively seeks interdisciplinary or theoretical approaches to religion, literature, and the social sciences as well as projects that address modern Asian art and visual culture from a comparative or interregional perspective.

The series has published an average of one volume per year since 2013.

Pushkin's Mozart and Salieri

Themes, Character, Sociology

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Robert Reid

Mozart and Salieri, probably the best known of Pushkin's `Little Tragedies', was written in 1830 during the peak of the poet's creative powers. Like the other Little Tragedies it is a `closet drama' which concentrates on the devastating effects of an all-consuming human passion, in this case envy. Mozart and Salieri typifies Pushkin's implicational technique of character construction: the salient points of a fictional psyche are highlighted sufficiently to suggest inner depth while stopping short of precise concretication; this allows full play to lectorial inference on a plurality of connotational levels - thematic, psychological and sociological. The present work, the first of its kind in English, isolates two major thematic dominants in the play - envy and music - and these form the focus for its aesthetic and psychological preoccupations respectively. A variety of psychological approaches are brought to bear on the play's protagonists including adaptations of the theories of Freud, Adler, Jung and Klages. The readiness with which these contrastive but complementary approaches yield new insights into the nature and motivations of the protagonists of Mozart and Salieri points to a work of profound cultural significance, something all the more remarkable given its modest compass. The sociological and anthropological approaches applied to the drama in this study dwell particularly on theories of social interaction and theories of alienation, anomie and suicide. Pushkin has often been regarded as an enigmatic phenomenon in the west, the compactness and economy of his works often seeming at odds with the degree of impact which they have made on subsequent generations of Russian writers. The present work seeks to lay bare what is typical for Pushkin: the intimation of great psychological and philosophical truths via a superficially unassuming medium. It is not surprising, therefore, that the influence of Pushkin's Mozart and Salieri, and of the aesthetic and ideological positions they represent, can be felt in the works of later Russian writers, notably Dostoyevsky.

Word and Music Studies

Essays on Music and the Spoken Word and on Surveying the Field

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Edited by Suzanne M. Lodato and David Francis Urrows

The nine interdisciplinary essays in this volume were presented in 2003 in Berlin at the Fourth International Conference on Word and Music Studies, which was sponsored by The International Association for Word and Music Studies (WMA). The nine articles in this volume cover two areas: “Surveying the Field” and “Music and the Spoken Word”. Topics include postmodernism, philosophy, German literary modernism, opera, film, the Lied, radio plays, and “verbal counterpoint”. They cover the works of such philosophers, critics, literary figures, and composers as Argento, Beckett, Deleuze, Guattari, Feldman, Glenn Gould, Nietzsche, Schubert, Strauss, Wagner, and Wolfram. Three films are discussed: Casablanca, The Fisher King, and Thirty Two Short Films About Glenn Gould.

Uncertain Territories

Boundaries in Cultural Analysis

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Inge E. Boer

Tracing and theorizing the concept of the boundaries through literary works, visual objects and cultural phenomena, this book argues against the reification of boundaries as fixed and empty non-spaces that simply divide the world. Expanding on her previous work on gender and Orientalism, Inge Boer takes us into uncertain territories of fashion and art, tourism and travel, skilfully engaging the ambivalence of boundaries, as both protecting and confining, as bringing distinction while existing by virtue of their ability to be transgressed. In her close readings of that boundaries as desert, as frame, as home (or lack of it), Boer shows that boundaries are spaces within, through, and in the name of which negotiations take place. They are not lines but spaces ; neither fixed nor empty but flexible and inhabited.
With the publication of this book, Boer’s intellectual legacy stretches beyond her untimely passing. The writings that she left behind can be said to have inaugurated the future of her work, presented in the latter part by several of Boer’s intellectual companions. In their original essays, the contributors elaborate on Boer’s theme of boundaries as spaces where opposition yields to negotiation. Committed to the artefact as cultural stimulant, as the embodiment of thought, their analyses span a multitude of artefacts and media, ranging from literature to photography, to art installation and presentation, to film and song. Fanning out from Boer ‘s central focus – Orientalism – to other places of contestation, boundaries are shown to mediate the relationship between self and other ; they are, ultimately, spaces of encounter.

Chris Uhlenbeck and Marije Jansen

Hiroshige Shaping the Image of Japan
is a comprehensive overview of Hiroshige's work as a woodblock print artist. Utagawa Hiroshige (1797-1858) is one of the great masters in the history of Japanese printmaking and this publication coincides with the 150th anniversary of his death. Hiroshige has worked in virtually every genre of ukiyo-e or 'images of the floating world'. He designed prints of beautiful women and brave heroes, but achieved his greatest fame through his depictions of the Japanese landscape, showing famous places in different seasons and at various times of day. These landscape prints, with their bright colors and strong compositions, were not only popular in Japan, but also found favor with European artists at the turn of the 19th century.

The main body of this publication includes a general introduction, sketching the cultural and economic environment of the artist Hiroshige, the development of his oeuvre, and the rise of his his artistic reputation in Japan and the West. This is followed by a chronological presentation of 140 full-color prints, selected from public and private collections.

Biographical data are sparse and only very few details of his life help explain the nature of his output. However, by carefully piecing together the information which can be gleaned from the works themselves, and combining it with the current knowledge on print production methods, the authors present a picture of Hiroshige as an artist-cum-craftsman who efficiently produced for his publishers, creating in the process an image of Japan which endures until this day.


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Edited by H. Perry Chapman, Frits Scholten and Joanna Woodall

The recent wave of renovations of Netherlandish museums inspired this volume of the Nederlands Kunsthistorisch Jaarboek, which focuses on display as a key approach to the visual culture of the Netherlands from the early modern period to the present. The volume opens with a critical discussion of the newly reinstalled Rijksmuseum. It includes analyses of the depiction of aggressive interactions with artworks, the ways in which meaning is mobilised by changing displays of paintings by Rubens, and the politics of display in a seventeenth-century palace and in Fascist and De Stijl exhibitions. Display in domestic spaces, including Rembrandt’s house and a museum of Asiatic art, is considered, as are the implications of plinths and curtains. Display emerges as a complex praxis that determines interpretation and implicates the beholder.

Table of Contents
H. Perry Chapman, Frits Scholten, Joanna Woodall, The politics of display
Mariët Westermann, What’s on at the new Rijks?
Marlise Rijks, Defenders of the image. Painted collectors’ cabinets and the display of display in Counter-Reformation Antwerp
Frits Scholten, Displaying the "Farnese bull". Adriaen de Vries’s revolving pedestal
Rebecca Tucker, The politics of display at Honselaarsdijk
Robert Fucci. Parrhasius and the art of display. The illusionistic curtain in seventeenth-century Dutch painting
Deborah Babbage Iorns, Viewing between the frames. Considering the display of Rembrandt’s pendant marriage portraits
H. Perry Chapman, Rembrandt on display. The Rembrandthuis as portrait of an artist
Justus Lange, From iconographical program to individual artwork. The display of Rubens’s "The triumph of the victor"
Gaëtane Maës, From Antwerp Cathedral to the Musée Napoléon. Rubens’s "Descent from the Cross" between devotion, delectation and nationalism
William J. Diebold, ‘A living source of our civilization’. The exhibition "Deutsche Groesse / Grandeur de l’Allemagne / Duitsche Grootheid" in Brussels, 1942
Marie Yasunaga, How to exhibit the un-exhibitable. Karl With and the Yi Yuan Museum of Eduard von der Heydt in Amsterdam
Samantha Hoekema, Framing De Stijl. Rietveld’s 1951 exhibition installation as image strategy