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Paragone: Past and Present

A Journal on Rivalry in the Arts

Sarah Lippert

THE RELEASE OF THE FIRST ISSUE OF THIS JOURNAL IS DELAYED TILL 2021 DUE TO THE UNEXPECTED AND TRAGIC DEATH OF THE SERIES EDITOR, SARAH LIPPERT.

Paragone: Past and Present is dedicated to featuring scholarship on the history of competition between the arts from antiquity into the present. Rivalry is interpreted in the broadest terms from all global contexts. For instance, scholars consider rivalries between individual artists, patrons of the arts, nationalistic competition, aesthetic theory, arts-related organisations, debates over the superiority of one art versus another, ut pictura poesis and word/image studies, etc. Examples of relevant artistic media include graphic design, animation, painting, sculpture, performance, conceptual art, music, literature, theatre, dance, film, and others. Many scholarly disciplines in the humanities will represent the study of these media, such as literary history, philosophy, critical theory, visual communications, art history, and musicology.

Journal of the Society for Paragone Studies.

Emanuel Winternitz

177 EMANUEL WINTERNITZ Rembrandt's 'Christ Presented to the People' -1655 A Meditation on Justice and Collective Guilt') REMBRANDT'S etching of Christ presented to the people is a monumental work, full of enigmas that have not as yet been satisfactorily interpreted. One might have expected that

Manufacturing a Past for the Present

Forgery and Authenticity in Medievalist Texts and Objects in Nineteenth-Century Europe

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Edited by János M. Bak, Patrick J. Geary and Gábor Klaniczay

In search of specific national traditions nineteenth-century artists and scholars did not shy of manipulating texts and objects or even outright manufacturing them. The essays edited by János M. Bak, Patrick J. Geary and Gábor Klaniczay explore the various artifacts from outright forgeries to fruits of poetic phantasy, while also discussing the volatile notion of authenticity and the multiple claims for it in the age.

Contributors include: Pavlína Rychterová, Péter Dávidházi, Pertti Anttonen, László Szörényi, János M. Bak, Nóra Berend, Benedek Láng, Igor P. Medvedev, Dan D.Y. Shapira, János György Szilágyi, Cristina La Rocca, Giedrė Mickūnaitė, Johan Hegardt and Sándor Radnóti.

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.

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Edited by Mark S. Byron

This collection of essays – the first volume in the Dialogue series – brings together new and experienced scholars to present innovative critical approaches to Samuel Beckett’s play Endgame. These essays broach a broad range of topics, many of which are inherently controversial and have generated significant levels of debate in the past. Critical readings of the play in relation to music, metaphysics, intertextuality, and time are counterpointed by essays that consider the nature of performance, the history of the theater and the music hall, Beckett’s attitudes to directing his play, and his responses to other directors. This collection will be of special interest to Beckett scholars, to students of literature and drama, and to drama theorists and practitioners.

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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

Serpil Bağcı

palace. The historian Selaniki (alive in 1600) notes that Kalender Çavuş was appointed as the trustee of Sultan Selim I’s endowments in late April/early May 1598 ( evāḫir-i Ramażān 1006). He also identifies him as steward at the Porte ( ḳapu ketḫüdası ) and cites him among those presented with robes of

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Ann Davies

Abstract

Despite a tendency of critics to perceive don Juan as an unchanging, mythical figure, the don Juan phenomenon functions as a Foucauldian ‘discourse of sex’, conveying moral and sexual mores that change over time, and becoming increasingly pathological. This paper focuses specifically on shifts in attitudes towards female sexual morality, with examples taken principally from two major Spanish plays, Tirso de Molina’s El burlad or de Sevilla and Zorrilla’s Don Juan Tenorio. Tirso’s play reveals that female sexual morality is negotiable, where neither men nor women possess moral superiority, but women act as best they can in order to attain their own desires and survive a hostile environment. Female sexual morality in Zorrilla’s play is presented more clearly as a non-negotiable moral absolute: elevated attitudes towards the principal female character disguise greater subjection to men and curtailed freedom to act.