Aspekte der Re-Inszenierung im Fotobuch SEX von Madonna und Steven Meisel
Gregory Lynall and Marcus Walsh
The body of the Persian Great King was carefully and skilfully constructed through text and image as a series of signs to be decoded and read. Placing the Persian royal body within the context of general Near Eastern ideologies of the monarchic body, this chapter explores the codified meanings of, firstly, the royal head because the Great King’s eyes, nose, beard, and hair are rich in cultural and symbolic meaning. But more than anything it is the clothed body of the king that speaks in a uniquely ‘Persian voice’. The chapter explores how the monarch’s clothed body is a site of representation, an emblem of his power, potency, legitimacy, and strength.
Perspektiven einer trans-epochalen Hermeneutik
The article structure and „effetto“ in Gesualdo’s madrigal „moro lasso“. Perspectives of a trans-epochal hermeneutics methodically includes two starting-points: From the analytical and semantic point of view it is on the one hand orientated strictly historical in using the term of a released „effetto“, which in art history is to be proved especially with Giovanni Paolo Lomazzo (Trattato dell’Arte de la Pittura, Milano 1584). On the other hand the article goes even further than this strictly historical starting-point and transfers Gesualdo’s vocal technique, his dealing with the human voice and his phonetic way of composing – this means breaking up the text of the madrigal into its smallest units of phonemes, the cries of pain represented in the interjection „ahi“ – into the current form of textual composition of the late 20th century. That is especially the case with Luigi Nono and Klaus Huber – two composers, who dealt intensively with Gesualdo. The final contribution in this book achieves in its starting-point a direct connection with my first article, in so far as it translates the epistemic and aesthetic categories of signatures and fantasies, which constitute the present book, into the categories of the aesthetics of composing, which form the structural counterpoint and „effetto“. The „effetto“, which is the completely surprising effect, has ever been a keyword not only in Roland Barthes’ interpretation of Arcimboldo (in the meaning of a re-organization of the rhetorical figures), but it was also the topic for the standard book with the title L’effetto Arcimboldo (The Arcimboldo Effect , London 1987).
standing mute in a huge, floodlit but empty auditorium, listening to a recording of her own as well as her ventriloquised voice. Her eyes stare awkwardly into the bright light, the dummy looks prostrate, deflated, and at the same time, there is a sense of anticipation: some sort of reveal has to happen, an
Philosophy and the Perspectives of Art History
Edited by Michael Squire and Paul A. Kottman
Given the recent resurgence of interest in ›global‹ art history, and calls for more comparative approaches to »visual culture«, the volume asks what role Hegel has played or could play within the field. What can a historical treatment of art accomplish? How should we explain the »need« for certain artistic forms at different historical junctures? Has art history been »Hegelian« without fully acknowledging the fact? Indeed, in what ways have art historians shirked the fundamental questions that Hegel raised?
over-rated anyway but, for the first semester, did not read out their work in their real voice. The former visual theory students felt motif was anti-ideological but, for the first semester, proposed a diagrammatic answer to each rhizomatic problem. What was at stake in the first few months of the