|
Showing 1 - 25 of
44 matches in All Departments
|
Saying It (Book)
Mieke Bal, Michelle Williams Gamaker, Renate Farro; Edited by Stefan van der Lecq
|
R202
Discovery Miles 2 020
|
Ships in 12 - 17 working days
|
The theory of narrative, or narratology, was developed in the first
part of the twentieth century as a way of accounting for the wide
appeal of the novel as the predominant literary genre and has since
become a central theory in literary study (itself a growing and
specializing area of the humanities). However, the concept really
rose to prominence in the west in the 1960s, inspired by the work
of leading cultural thinkers such as Roland Barthes, and was a
significant factor in the so-called 'linguistic turn' in the human
sciences. Following the more recent development of cultural
studies, narratology is currently enjoying a kind of comeback due
to its long history of engaging non-literary objects. culture has
opened up a dialogue between narratology and visual art, which has
been made indispensable by the flourishing development of film
studies courses. Narrative theory therefore has relevance for a
wide number of academic disciplines, including: anthropology;
communication; cultural & media studies; history; organization
studies; philosophy; post-colonial studies; religious studies and
women's/gend studies. This set of volumes sketches the history,
breadth, and applicability of narrative theory, thus demonstrating
its value as analytical instrument. The collection includes
articles from the leading names of narrative theory, such as Roland
Barthes, Mikhail Bakhtin, Tzvetan Todorov and Jean-Francoise
Lyotard, as well as lesser-known, though equally important,
contributions.
Mieke Bal is one of Europe's leading theorists and critics. Her
work within feminist art history and cultural studies provides a
fascinating alternative to prevailing thinking in these fields. The
essays in this collection include Bal's brilliant analyses of the:
Myth of Rembrandt
Imagery of Vermeer
Baroque of Caravaggio
Neo-Baroque of David Reed
Culture of the museum
Visual representation of rape
Closet in Proust
Bal brings a keen visual sense to these studies, as well as an
understanding of how literature represents visuality and how the
ethics and aesthetics present within museums affect the cultural
artifacts displayed.
In his engaging commentary, eminent art historian Norman Bryson
shows how Bal's original approach to the interdisciplinary study of
art and visual culture has had wide- reaching influence.
A feminist literary theorist, specialist in Rembrandt, and a
scholar with a knack for reading Old Testament stories, Mieke Bal
weaves a tapestry of signs and meanings that enrich our senses. Her
subject is the act of showing, the gesture of exposing to view. In
a museum, for example, the object is on display, made visually
available. "That's how it is," the display proclaims. But who says
so?
Bal's subjects are displays from the American Museum of Natural
History, paintings by such figures as Courbet, Caravaggio,
Artemisia Gentileschi, and Rembrandt, as well as works by
twentieth-century artists, and such literary texts as Shakespeare's
"Rape of Lucrece."
The second volume of The Ethics of Narrative completes
the project of bringing together nearly all of Hayden White's
uncollected essays from the last two decades of his life, including
articles, essays, and previously unpublished lectures. As in the
first volume, volume two features White's trenchant articulations
of his influential theories, as well as his explorations of a wide
range of ideas and authors at the frontiers of critical theory,
literature, and historical studies. These include the concept of
utopia in history, modernism and postmodernism, constructivism, the
conceptualization of historical periods such as "the Sixties" and
"the Enlightenment," the representation of the Holocaust in
scholarly and literary writing, as well as essays on Frank Kermode,
Saul Friedländer, and Krzysztof Pomian.
Mieke Bal is one of Europe's leading theorists and critics. Her
work within feminist art history and cultural studies provides a
fascinating alternative to prevailing thinking in these fields. The
essays in this collection include Bal's brilliant analyses of the:
Myth of Rembrandt
Imagery of Vermeer
Baroque of Caravaggio
Neo-Baroque of David Reed
Culture of the museum
Visual representation of rape
Closet in Proust
Bal brings a keen visual sense to these studies, as well as an
understanding of how literature represents visuality and how the
ethics and aesthetics present within museums affect the cultural
artifacts displayed.
In his engaging commentary, eminent art historian Norman Bryson
shows how Bal's original approach to the interdisciplinary study of
art and visual culture has had wide- reaching influence.
Mieke Bal takes us on a journey through the range of her work,
using the concept of image-thinking as a point of connection
between cultural analysis and artistic practice. Sharing a lifetime
of experience of writing about art, making films and installations,
as well as curating exhibitions, she shows us how these may be
brought into dialogue with insights from theory.Bal teaches us how
to think with images, but also how to write and think as artists
and writers about our own creative work. This is Mieke Bal at her
most personal and her best.
The sculptor Louise Bourgeois is best known for her monumental
abstract sculptures, one of the most striking of which is the
installation "Spider" (1997). Too vast in scale to be viewed all at
once, this elusive structure resists simple narration. It fits both
no genre and all of them--architecture, sculpture, installation.
Its contents and associations evoke social issues without being
reducible to any one of them. Here, literary critic and theorist
Mieke Bal presents the work as a theoretical object, one that can
teach us how to think, speak, and write about art.
Known for her commentary on the issue of temporality in art, Bal
argues that art must be understood in relationship to the present
time of viewing as opposed to the less-immediate contexts of what
has preceded the viewing, such as the historical past of influences
and art movements, biography and interpretation. In ten short
chapters, or "takes," Bal demonstrates that the closer the
engagement with the work of art, the more adequate the result of
the analysis. She also confronts issues of biography and
autobiography--key themes in Bourgeois's work--and evaluates the
consequences of "ahistorical" experiences for art criticism,
drawing on diverse sources such as Bernini and Benjamin, Homer and
Eisenstein.
This short, beautiful book offers both a theoretical model for
analyzing art "out of context" and a meditation on a key work by
one of the most engaging artists of our era.
The second volume of The Ethics of Narrative completes
the project of bringing together nearly all of Hayden White's
uncollected essays from the last two decades of his life, including
articles, essays, and previously unpublished lectures. As in the
first volume, volume two features White's trenchant articulations
of his influential theories, as well as his explorations of a wide
range of ideas and authors at the frontiers of critical theory,
literature, and historical studies. These include the concept of
utopia in history, modernism and postmodernism, constructivism, the
conceptualization of historical periods such as "the Sixties" and
"the Enlightenment," the representation of the Holocaust in
scholarly and literary writing, as well as essays on Frank Kermode,
Saul Friedländer, and Krzysztof Pomian.
In times of intercultural tensions and conflicts, sincerity
matters. Traditionally, sincerity concerns a performance of
authenticity and truth, a performance that in intercultural
situations is easily misunderstood. Sincerity plays a major role in
law, the arts--literature, but especially the visual and performing
arts--and religion. Sincerity enters the English language in the
sixteenth century, when theatre emerged as the dominant idiom of
secular representation, during a time of major religious changes.
The present historical moment has much in common with that era;
with its religious and cultural conflicts and major transformations
in representational idioms and media. "The Rhetoric of Sincerity"
is concerned with the ways in which the performance of sincerity is
culturally specific and is enacted in different media and
disciplines. The book focuses on the theatricality of sincerity,
its bodily, linguistic, and social performances, and the success or
failure of such performances.
A unique and compelling view of the work of leading contemporary
artist Nalini Malani through the lens of her most recent commission
This publication presents the latest work of Nalini Malani (b.
1946), recipient of the 2022 National Gallery Contemporary
Fellowship with ArtFund. For over five decades, Malani's art has
focused on giving a voice to the stories of those marginalized by
history -particularly women. She is one of the most incisive
artists of our time, and the acute analysis and poetic compassion
of her experimental film, photography, painting, and drawing has
influenced generations of others from the 1960s to the present day.
For her first museum commission in the United Kingdom, Malani has
created an immersive installation of large-scale, animated drawings
inspired by the sites, histories, and collections of the National
Gallery, London, and the Holburne Museum, Bath. With a floating
palimpsest of digital images, Malani reveals, annotates, and shares
new, underlying stories in some of Europe's best-known paintings,
offering a contemporary and critical dialogue between past and
present. With leading articles based on new research, sumptuous
illustrations, and artist-led design, this extensive study
documents the Fellowship alongside the artist's previous work.
Published by National Gallery Global/Distributed by Yale University
Press Exhibition Schedule: Holburne Museum, Bath October 7,
2022-January 8, 2023 The National Gallery, London March 2-June 11,
2023
In this compelling publication, two masters come face-to-face when
the works of Edvard Munch are juxtaposed against Gustave Flaubert's
groundbreaking novel Madame Bovary. Munch's art is presented in
stills taken from an elaborate video installation, Madame B (2014),
created by Michelle Williams Gamaker and the internationally
acclaimed cultural theorist, video artist, and curator Mieke Bal.
Emma and Edvard Looking Sideways: Loneliness and the Cinematic
explores the filmic aspect of Munch's art by combining contemporary
art theory with Bal's own idiosyncratic way of looking at art -
directly and closely. The reader can reflect upon how we view each
other in social situations and question what happens when we are
denied visual dialogue. Distributed for Mercatorfonds Exhibition
Schedule: Munch Museum, Oslo (02/04/17-04/17/17)
The phenomenon of martyrdom is more than 2000 years old but, as
contemporary events show, still very much alive. Martyrdom:
Canonisation, Contestation and Afterlives examines the
canonisation, contestation and afterlives of martyrdom and connects
these with cross-cultural acts and practices of remembrance.
Martyrdom appeals to the imagination of many because it is a highly
ambiguous spectacle with thrilling deadly consequences. Imagination
is thus a vital catalyst for martyrdom, for martyrs become martyrs
only because others remember and honour them as such. This
memorialisation occurs through rituals and documents that
incorporate and re-interpret traditions deriving from canonical
texts. The canonisation of martyrdom generally occurs in one of two
ways: First, through ritual commemoration by communities of inside
readers, listeners, viewers and participants, who create and
recycle texts, re-interpreting them until the martyrs ultimately
receive a canonical status, or second, through commemoration as a
means of contestation by competing communities who perceive these
same people as traitors or terrorists. By adopting an
interdisciplinary orientation and a cross-cultural approach, this
book goes beyond both the insider admiration of martyrs and the
partisan rejection of martyrdoms and concisely synthesises key
interpretive questions and themes that broach the canonised,
unstable and contested representations of martyrdom as well as
their analytical connections, divergences and afterlives in the
present.
This volume presents an interdisciplinary approach to humanistic
scholarship, one that can be situated somewhere between cultural
studies and cultural history while being more specific than either.
Cultural analysis as a critical practice is based on a keen
awareness of the critic's situatedness in the present--the social
and cultural present from which we look, and look back, at objects
that are already of the past, objects that we take to define our
present culture. Thus it can be summarized by the phrase "cultural
memory in the present." Far from being indifferent to history,
cultural analysis is devoted to understanding the past as "part of"
the present, as what we have around us.
The essays gathered here represent the current state of an emerging
field of inquiry. At the same time, they suggest to the larger
academic world what cultural analysis can and should do, or be, as
an interdisciplinary practice. The challenge for this volume is to
counter the common assumption that interdisciplinarity makes the
object of inquiry vague and the methodology muddled. In meeting
that challenge, it offers close textual and visual readings of
subjects ranging from Vermeer to abstract expressionism, from the
Book of Ruth to Djuna Barnes's "Nightwood," from the history of
cinema to popular culture in Zaire.
The essays in Part I, "Don't Look Now: Visual Memory in the
Present," explore in detailed case studies centered on the theme of
visuality or looking, the tricky consequences of the uncertainties
regarding history that the presentness of the past entails. Part
II, "Close-ups and Mirrors: The Return of Close Reading, with a
Difference," demonstrates and advocates "listening" to the object
without the New Critical naivete that claims the text speaks for
itself. Instead, the essays create the kind of dialogical situation
that is a major characteristic of cultural analysis; the text does
not speak for itself, but it does speak back. The essays in Part
III, "Method Matters: Reflections on the Identity of Cultural
Analysis," do not propose any "directions for use" or authoritative
statements on how to do cultural analysis. Arranged in pairs of
opposites, the essays represent the kind of fruitful tension that
stimulates debate. Though no definite answers are proposed, and
conflicting views are left in conflict, the essays stimulate a
(self-)reflection on cultural analysis, its practices, and its
understandings.
Combining literary criticism and feminist analysis, Death and
Dissymmetry radically reinterprets not only the Book of Judges but
also the tradition of its reception and understanding in the West.
In Mieke Bal's account, Judges documents the Israelite culture
learning to articulate itself in a decisive period of transition.
Counter to standard readings of Judges, Bal's interpretation
demonstrates that the book has a political and ideological
coherence in which the treatment of women plays a pivotal role. Bal
concentrates here not on the assassinations and battles that rage
through Judges but on the violence in the domestic lives of
individual characters, particularly sexual violence directed at
women. Her skillful reading reveals that murder, in this text,
relates to gender and reflects a social structure that is
inherently contradictory. By foregrounding the stories of women and
subjecting them to subtle narrative analysis, she is able to expose
a set of preoccupations that are essential to the sense of these
stories but are not articulated in them. Bal thereby develops a
"countercoherence" in conflict with the apparent emphases of
Judges-the politics, wars, and historiography that have been the
constant focus of commentators on the book. Death and Dissymmetry
makes an important contribution to the development of a feminist
method of interpreting ancient texts, with consequences for
religious studies, ancient history, literary theory, and gender
studies.
Mieke Bal has had a significant impact on every field she has
touched, from Old Testament scholarship and narratology to critical
methods and visual culture. This brilliant and controversial
intellectual invariably performs a high-wire act at the point where
critical issues and methods intersect--or collide. She is deeply
interested in the problems of cultural analysis across a range of
disciplines. "A Mieke Bal Reader "brings together for the first
time a representative collection of her work that distills her
broad interests and areas of expertise.
This "Reader "is organized into four parts, reflecting the fields
that Bal has most profoundly influenced: literary study,
interdisciplinary methodology, visual analysis, and postmodern
theology. The essays include some of Bal's most characteristic and
provocative work, capturing her at the top of her form. "Narration
and Focalization," for example, provides the groundwork for Bal's
ideas on narrative, while "Reading Art?" clearly outlines her
concept of reading images. "Religious Canon and Literary Identity"
reenvisions Bal's own work at the intersection of theology and
cultural analysis, while "Enfolding Feminism" argues for a new
feminist rallying cry that is not a position but a metaphor. More
than a dozen other essays round out the four sections, each of
which is interdisciplinary in its own right: the section devoted to
literature, for instance, ranges widely over psychoanalysis,
theology, photography, and even autobiography.
"A Mieke Bal Reader" is the product of a capacious intellect and a
sustained commitment to critical thinking. It will prove to be
instructive, maddening, and groundbreaking--in short, all the
hallmarks ofintellectual inquiry at its best.
Eine Minute und dreissig Sekunden ist die durchschnittliche Lange,
die fur einen Beitrag in einem Nachrichtenblock vorgesehen ist. Die
Kunstlerin Monika Huber fotografiert seit uber zehn Jahren taglich
Bilder aus Nachrichtenbeitragen, die von Protest, Aufruhr, Krieg,
Gewalt und deren Folgen zeugen. Sie speichert die Bilder digital,
druckt sie aus und uberarbeitet sie mit den Mitteln der Malerei und
Zeichnung. UEber die Jahre ist so ein Archiv entstanden, das eine
"Grammatik" der Nachrichtenbilder offenlegt und uns zu einer
kritischen Auseinandersetzung mit der Krisenberichterstattung in
Fernsehnachrichten einladt. Die Auswahl von uber 100 Bildern aus
dem Archiv wird begleitet von Beitragen, die das Archiv
Einsdreissig aus kunsthistorischer, philosophischer,
politikwissenschaftlicher und journalistischer Perspektive
verorten. Kunstlerische Entlarvung der Rhetorik der Medienbilder
Mit Beitragen von Ernst van Alphen, Mieke Bal, James W. Davis,
Antje Kapust, Ute Schaeffer, Ulrich Wilmes und einer Einfuhrung von
Bernhart Schwenk
This volume presents an interdisciplinary approach to humanistic
scholarship, one that can be situated somewhere between cultural
studies and cultural history while being more specific than either.
Cultural analysis as a critical practice is based on a keen
awareness of the critic's situatedness in the present--the social
and cultural present from which we look, and look back, at objects
that are already of the past, objects that we take to define our
present culture. Thus it can be summarized by the phrase "cultural
memory in the present." Far from being indifferent to history,
cultural analysis is devoted to understanding the past as "part of"
the present, as what we have around us.
The essays gathered here represent the current state of an emerging
field of inquiry. At the same time, they suggest to the larger
academic world what cultural analysis can and should do, or be, as
an interdisciplinary practice. The challenge for this volume is to
counter the common assumption that interdisciplinarity makes the
object of inquiry vague and the methodology muddled. In meeting
that challenge, it offers close textual and visual readings of
subjects ranging from Vermeer to abstract expressionism, from the
Book of Ruth to Djuna Barnes's "Nightwood," from the history of
cinema to popular culture in Zaire.
The essays in Part I, "Don't Look Now: Visual Memory in the
Present," explore in detailed case studies centered on the theme of
visuality or looking, the tricky consequences of the uncertainties
regarding history that the presentness of the past entails. Part
II, "Close-ups and Mirrors: The Return of Close Reading, with a
Difference," demonstrates and advocates "listening" to the object
without the New Critical naivete that claims the text speaks for
itself. Instead, the essays create the kind of dialogical situation
that is a major characteristic of cultural analysis; the text does
not speak for itself, but it does speak back. The essays in Part
III, "Method Matters: Reflections on the Identity of Cultural
Analysis," do not propose any "directions for use" or authoritative
statements on how to do cultural analysis. Arranged in pairs of
opposites, the essays represent the kind of fruitful tension that
stimulates debate. Though no definite answers are proposed, and
conflicting views are left in conflict, the essays stimulate a
(self-)reflection on cultural analysis, its practices, and its
understandings.
In times of intercultural tensions and conflicts, sincerity
matters. Traditionally, sincerity concerns a performance of
authenticity and truth, a performance that in intercultural
situations is easily misunderstood. Sincerity plays a major role in
law, the arts--literature, but especially the visual and performing
arts--and religion. Sincerity enters the English language in the
sixteenth century, when theatre emerged as the dominant idiom of
secular representation, during a time of major religious changes.
The present historical moment has much in common with that era;
with its religious and cultural conflicts and major transformations
in representational idioms and media. "The Rhetoric of Sincerity"
is concerned with the ways in which the performance of sincerity is
culturally specific and is enacted in different media and
disciplines. The book focuses on the theatricality of sincerity,
its bodily, linguistic, and social performances, and the success or
failure of such performances.
Narratology in Practice opens up the well-known theory of narrative
to various disciplines in the humanities and social sciences.
Written as a companion to Mieke Bal's international classic
Narratology: Introduction to the Theory of Narrative, in which the
examples focus almost exclusively on literary studies, this new
book offers more elaborate analyses of visual media, especially
visual art and film. Read independently or in parallel with its
companion, Narratology in Practice enables readers to use the
suggested concepts as tools to assist them in practising narrative
analysis.
The clear-cut distinction between texts (literature) and images
(art) has been challenged by a culture saturated with television
and by an increased emphasis on interdisciplinary studies. From the
viewpoint of our present culture, the author suggests, we can now
see how some of the great writers and artists of the past
overstepped the boundaries of the media in which they worked. "The
Mottled Screen" studies as an example of this process a great
literary work that cannot be confined to language alone, even
though it consists exclusively of words: Proust's "Remembrance of
Things Past."
The author of "Reading Rembrandt: Beyond the Word-Image
Opposition," a widely acclaimed study of Rembrandt's discursive,
rhetorical, and narrative painting, now offers a symmetrical
counterpart to that study with this sustained "visual" reading of
Proust's masterpiece, pointing out its visual strategies of
representation, fantasy, and poetic thought. She focuses on the
narrative and descriptive passages, examining how they make us
"see," arguing that this visual writing is by no means a derivative
writing that uses visual imagery as an inspiration or model.
Instead, it is the writing of a true vision.
Beginning with the attempts to emulate painting, the book develops
a Proust a la Chardin, working around Chardin's painting "The
Skate," but only after first reading Chardin through Proust.
Viewing a Chardin with anxieties and emulation, Proust writes in
Chardin's mood when he sets up the mottled screen as the metaphor
of reading. Chardin's appeal to a wavering, roving eye is matched
by Proust's uncertain perceptions, and the nervous quality of "The
Skate" is matched by the famous passages recording Proust's disgust
at the debris of the breakfast table.
The second part of the book is devoted to Proust's use of optical
instruments--such as the magnifying glass, the eyeglass, the
telescope--to produce or enhance the visions that constitute the
raw material of his poetic imagination. These optical instruments
guide the probing of the paradoxes of seeing close-up or at a
distance, the latter flattening out, the former blinding.
The final part reads the specifically "photographic" writing that
permeates "Remembrance" as a highly original and astonishing
contemporary, almost postmodern, poetics. The photographic shows in
the way Proust's narrator frames what he sees, contrasts light and
dark, zooms in and out, and represents "contact sheets" of
snapshots rapidly taken so as to capture the most fleeting
sensations and visions.
|
|