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Showing 1 - 25 of 44 matches in All Departments
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:
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?
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.
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:
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.
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.
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.
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.
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
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.
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.
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.
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 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." |
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