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This book’s premise is not only the commonly accepted cultural
relativity of economic concepts, but also the observation that the
current shift in the meaning of concepts like “market,”
“currency,” “exchange,” and “money” suggests that
culture is undergoing a change with unpredictable economic and
political consequences. The essays in the book raise basic
questions concerning exchange – what is exchanged, who exchanges
and how, which kind of currency is used, and indeed what is money
and how does it convey and retain value over time. These issues are
all classical objects of economic theory, but less often have they
been approached from a cultural perspective. Works treating
economic and monetary issues from a cultural perspective are few
and far apart, and this book aims to contribute to such a
perspective with a variety of approaches.
Contents: Introduction Joan Ramon Resina. 1. Tough Beauty: Bilboa As Ruin, Architecture and Allegory Joseph Zulaika 2. Santiago de Compostela or the Obsession with Identity Javier Gomez-Montero 3. A Walk About Lisbon Miguel Tamen 4. Getting to Salamanca (And Away): One Approach, Nine Vistas and a Retrospective that Does not Take Place Hans Ulrich Gumbrecht
This book's premise is not only the commonly accepted cultural
relativity of economic concepts, but also the observation that the
current shift in the meaning of concepts like "market," "currency,"
"exchange," and "money" suggests that culture is undergoing a
change with unpredictable economic and political consequences. The
essays in the book raise basic questions concerning exchange - what
is exchanged, who exchanges and how, which kind of currency is
used, and indeed what is money and how does it convey and retain
value over time. These issues are all classical objects of economic
theory, but less often have they been approached from a cultural
perspective. Works treating economic and monetary issues from a
cultural perspective are few and far apart, and this book aims to
contribute to such a perspective with a variety of approaches.
Autobiography is a long-established literary modality of
self-exposure with commanding works such as Augustine's
Confessions, Rousseau's book of the same title, and Salvador Dali's
paradoxical reformulation of that title in his Unspeakable
Confessions. Like all genres with a distinguished career,
autobiography has elicited a fair amount of critical and
theoretical reflection. Classic works by Kate Hamburger and
Philippe Lejeune in the 1960s and 70s articulated distinctions and
similarities between fiction and the genre of personal declaration.
Especially since Foucault's seminal essay on "Self Writing,"
self-production through writing has become more versatile, gaining
a broader range of expression, diversifying its social function,
and colonizing new media of representation. For this reason, it
seems appropriate to speak of life-writing as a concept that
includes but is not limited to classic autobiography. Awareness of
language's performativity permits us to read life-writing texts not
as a record but as the space where the self is realized, or in some
instances de-realized. Such texts can build identity, but they can
also contest ascribed identity by producing alternative or
disjointed scenarios of identification. And they not only relate to
the present, but may also act upon the past by virtue of their
retrospective effects in the confluence of narrator and witness.
The Ghost in the Constitution offers a reflection on the political
use of the concept of historical memory foregrounding the case of
Spain. The book analyses the philosophical implications of the
transference of the notion of memory from the individual
consciousness to the collective subject and considers the
conflation of epistemology with ethics. A subtheme is the origins
and transmission of political violence, and its endurance in the
form of symbolic violence and "negationism" in the post-Franco era.
Some chapters treat of specific "traumatic" phenomena such as the
bombing of Guernica and the Holocaust.
The Ghost in the Constitution offers a reflection on the political
use of the concept of historical memory foregrounding the case of
Spain. The book analyses the philosophical implications of the
transference of the notion of memory from the individual
consciousness to the collective subject and considers the
conflation of epistemology with ethics. A subtheme is the origins
and transmission of political violence, and its endurance in the
form of symbolic violence and "negationism" in the post-Franco era.
Some chapters treat of specific "traumatic" phenomena such as the
bombing of Guernica and the Holocaust.
Autobiography is a long-established literary modality of
self-exposure with commanding works such as Augustine's
Confessions, Rousseau's book of the same title, and Salvador Dali's
paradoxical reformulation of that title in his Unspeakable
Confessions. Like all genres with a distinguished career,
autobiography has elicited a fair amount of critical and
theoretical reflection. Classic works by Kate Hamburger and
Philippe Lejeune in the 1960s and 70s articulated distinctions and
similarities between fiction and the genre of personal declaration.
Especially since Foucault's seminal essay on "Self Writing,"
self-production through writing has become more versatile, gaining
a broader range of expression, diversifying its social function,
and colonizing new media of representation. For this reason, it
seems appropriate to speak of life-writing as a concept that
includes but is not limited to classic autobiography. Awareness of
language's performativity permits us to read life-writing texts not
as a record but as the space where the self is realized, or in some
instances de-realized. Such texts can build identity, but they can
also contest ascribed identity by producing alternative or
disjointed scenarios of identification. And they not only relate to
the present, but may also act upon the past by virtue of their
retrospective effects in the confluence of narrator and witness.
Luchino Visconti (1906-1976) was one of Europe's most prestigious
filmmakers, who rose to prominence as part of the Italian
neo-realist movement, alongside contemporaries Vittorio De Sica and
Roberto Rossellini. Famous for his elegant lifestyle, as friend of
Jean Renoir and Coco Chanel amongst others, his vibrant
technicolour dramas are also known for their decadence and stunning
display of aesthetic mastery and sensory pleasure. Looking beyond
this colourful facade, however, Resina explores the philosophical
implications of decadence with a particular focus on three films
from the late phase in Visconti's production, Damned (1969), Death
in Venice (1971), and Ludwig (1972). From the incestuous
relationship between decadence and power to decadence as an outcome
of straining toward formal perfection, Resina uncovers the unity
and philosophical cohesiveness of these films that deal with
different subjects and historical periods. Reading these films and
their decadence in light of the time of filming and Visconti's own
sense of cultural doom, Resina further demonstrates the relevance
of Visconti's philosophy today and how much they still have to say
to our contemporary situation.
Since the closing decades of the nineteenth century, Barcelona has
striven to sustain an image of modernity that distinguishes itself
within Spain. "Barcelona's Vocation of Modernity" traces the
development of that image through texts that foreground key social
and historical issues. It begins with Barcelona's "coming of age"
in the 1888 Universal Exposition and focuses on the first major
narrative work of modern Catalan literature, "La febre d'or,"
Positing an inextricable link between literature and modernity,
Resina establishes a literary framework for the evolution of the
image of Barcelona's modernity through the 1980s, when the
consciousness of modernity took on an ironic circularity. Because
the city is an aggregation of knowledge, Resina draws from
sociology, urban studies, sociolinguistics, history,
psychoanalysis, and literary history to produce a complex account
of Barcelona's self-reflection through culture. The last chapter
offers a glimpse into the "post-historical" city, where temporality
has been sacrificed to the spatialization associated with the
seductions of the spectacle.
Luchino Visconti (1906-1976) was one of Europe's most prestigious
filmmakers, who rose to prominence as part of the Italian
neo-realist movement, alongside contemporaries Vittorio De Sica and
Roberto Rossellini. Famous for his elegant lifestyle, as friend of
Jean Renoir and Coco Chanel amongst others, his vibrant
technicolour dramas are also known for their decadence and stunning
display of aesthetic mastery and sensory pleasure. Looking beyond
this colourful facade, however, Resina explores the philosophical
implications of decadence with a particular focus on three films
from the late phase in Visconti's production, Damned (1969), Death
in Venice (1971), and Ludwig (1972). From the incestuous
relationship between decadence and power to decadence as an outcome
of straining toward formal perfection, Resina uncovers the unity
and philosophical cohesiveness of these films that deal with
different subjects and historical periods. Reading these films and
their decadence in light of the time of filming and Visconti's own
sense of cultural doom, Resina further demonstrates the relevance
of Visconti's philosophy today and how much they still have to say
to our contemporary situation.
Of late the term Iberian Studies has been gaining academic
currency, but its semantic scope still fluctuates. For some it is a
convenient way of combining the official cultures of two states,
Portugal and Spain; yet for others the term opens up disciplinary
space, altering established routines. A relational approach to
Iberian Studies shatters the state's epistemological frame and
complexifies the field through the emergence of lines of inquiry
and bodies of knowledge hitherto written off as irrelevant. This
timely volume brings together contributions from leading
international scholars who demonstrate the cultural and linguistic
complexity of the field by reflecting on the institutional
challenges to the practice of Iberian Studies. As such, the book
will be required reading for all those working in the field.
Repetition is constitutive of human life. Both the species and the
individual develop through repetition. Unlike simple recall,
repetition is permeated by the past and the present and is oriented
toward the future. Repetition of central actions and events plays
an important role in the lives of individuals and the life of
society. It helps to create meaning and memory. Because repetition
is a central aspect of human life, it plays a role in all social
and cultural spheres. It is important for several branches of the
humanities and social studies. This book presents studies of an
array of repetitive phenomena and to show that repetition analysis
is opening up a new field of study within single disciplines and
interdisciplinary research. Recommended for scholars of literature,
music, culture, and communication.
Criticism on the textual and iconographic construction of the city
is extensive, yet the problem of historical change in
representations of "the urban" has received little attention.
Believing traditional accounts are limited by their reflection of a
specific historical moment, Joan Ramon Resina and Dieter Ingenschay
focus, by contrast, on transition. In essays written for this
volume, scholars of literary and visual studies, the history of
architecture, cultural theory, and urban geography explore the ways
perceptual or conceptual paradigms of the city supersede or replace
others, while at the same time retaining the "after-image" of what
went before.The writers touch on a wide variety of issues related
to contemporary urban cultures as they journey through cities
including New York, Barcelona, Madrid, Paris, Tijuana, Berlin, and
London. Drawing on the work of Roland Barthes, Walter Benjamin,
Camilo Jose Cela, Honore de Balzac, and Alfred Stieglitz, their
approach is broadly cultural rather than technical. After-Images of
the City takes into account the intrinsic instability of the image
and reveals that representations of the modern metropolis cannot be
fixed in time and history."
Pedro AlmOdovar may have helped put queer Iberian cinema on the
map, but there are also multitudes of other LGBTQ filmmakers from
Catalonia, Portugal, Castile, Galicia, and the Basque Country who
have made the Peninsula one of the world's most vital sources for
queer film. Together, they have produced a cinema whose expressions
of queer desire have challenged the region's conservative religious
and family values, while intervening in vital debates about
politics, history, and nation. Iberian Queer Cinema is a unique
collection that offers in-depth analyses of fifteen different
films, each by a different director, produced in the region over
the past fifty years, from Narciso IbANez Serrador's La residencia
(The House That Screamed, 1970) to JoAo Pedro Rodrigues' O
ornitOlogo (The Ornithologist, 2016). Together, they show how queer
Iberian cinema has responded to historical traumas ranging from the
AIDS crisis to the repressive and homophobic Franco regime. Yet
they also explore how these films gesture towards a more fluid
understanding of sexuality, gender, and national identity. This
book will thus give readers a new appreciation for both the
cultural diversity of Iberia and the richness of its moving and
thought-provoking queer cinema.
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