The ubiquity of digital images is an effect of their distributive versatility. They can be stored almost indefinitely, transmitted instantaneously, reproduced without transformations, visualized in many layers, dated and processed. Their mobilization does not take place randomly, but follows a complex media logistics of format standards, infrastructures and transport calculations. Digital images will be and are distributed: not as sessile objects, bindingly fixed entities, but as stream-like modulated processes. The study conceptualizes actors and agendas of image data traffic, examines retro-digitized archive image corpora in terms of media history and distribution histories, and deals with 'calmed' image sensor operations in intelligent environments.
Wie dachten Intellektuelle und Schriftsteller:innen in historischen Krisenzeiten über Humanismus? In der Zeit zwischen den beiden Weltkriegen geriet der Humanismus nach dem Vorbild der Antike und der Renaissance in eine Krise. Die Beiträge des Bandes fragen nach einer Neubestimmung des Humanismus nach den Erfahrungen des Ersten Weltkriegs und unter dem Eindruck demokratischer und pazifistischer Vorhaben, aber auch angesichts des sich formierenden italienischen Faschismus und deutschen Nationalsozialismus. Das Spektrum der Antworten ist denkbar facettenreich, heterogen und ambivalent. Wissenschaftler:innen aus Italien, Österreich und Deutschland untersuchen in diesem Band Konzepte humanistischen Denkens bei Stefan Zweig, Thomas Mann, Heinrich Mann und Erika Mann, Joseph Roth, Ernst Robert Curtius, Ernst Cassirer und eröffnen historische Perspektiven auf interkulturelle Diskussionen über Humanismus in der Weimarer Republik und im Exil.
„Screening the Creative Process“ examines how biographical films about painters and writers depict the notoriously unfilmable process of artistic creation and asks what role gender plays in the conceptualisation of creativity and genius. Through the discussion of three very different 21st-century biopics focused on heterosexual artist couples, „Pollock“, „Frida“, and „Bright Star“, the book follows the hypothesis that the paradigm of creative genius remains uniquely powerful in this film genre. This distinguishes the biopic from other contemporary media and discourses in which the idea of singular, inborn genius has largely been replaced by the concept of creativity as a universal, trainable skill. The biopic's adherence to an emphatic notion of genius - a notion that appears not only obsolete but also politically problematic due to its historical exclusion of women - is especially relevant in light of how deeply these popular films shape public notions about history and art.
What is love, what kinds of love are there, how do these relate, and how does the Christian tradition articulate the problem of love in view of the triangulation of self, neighbour and God? In short, what is the relationship between human love (eros) and divine love (agape)? This is the problem of love at the heart of the Chrisitan tradition in which God is love (1 Jn 4.8). A historical overview shows that four models have addressed the problem of love in tradition: univocity, equivocity, analogy and metamorphosis. In the first, eros and agape collapse into one reality. According to the second, eros and agape are mutually exclusive realities. In the third model, eros and agape relate in terms of similarities and only to a limited degree. The model of metamorphosis orients desire towards an integrative and higher transformation of eros and agape. This book develops the model of metamorphosis based on a philosophical reading of "On the Song of Songs" by Bernard of Clairvaux (1090–1153).
This volume explores and expands a Wittgensteinian account of philosophy as an ongoing practice and exercise. It investigates the simultaneously aesthetic and ethical dimension of philosophical exercises, so as to uncover their transformative potential for and within ordinary practice, conceived of as a weave of trained, embodied habits. For this purpose, the volume focuses on three intertwined aspects:
1. It examines the aesthetic form of Wittgenstein’s texts, so as to consider the use of pictures, comparisons, and instructions as exercises to be enacted by readers, and further analyzes the transformative effects – both aesthetic and ethical – that such exercises bring out.
2. It draws a number of connections between Wittgenstein’s philosophical exercises and particular aesthetic practices.
3. It sheds light on continuities and discontinuities between Wittgenstein’s account of philosophy and the ancient conception of philosophy as an exercise and a way of life.
Wie steht es um den Materialismus in den Literaturwissenschaften? Gibt es ‚den‘ Materialismus oder eine Pluralität von Materialismen? Wie bringen wir das Verhältnis der Dinge und Texte zu den Bedingungen ihres Erscheinens auf den Begriff? Und wie gestaltet sich dabei das Verhältnis der neuen zu den alten Materialismen? Man müsse, heißt es bei Marx, die Hegelsche Dialektik „umstülpen, um den rationellen Kern in der mystischen Hülle zu entdecken“. Im Anschluss an die vielschichtige Metapher des Umstülpens unternimmt das Buch eine Neuvermessung der Landkarte materialistischer Analyseformate in den Literaturwissenschaften. Auf der Grundlage einer kritischen Rekonstruktion marxistischer Traditionslinien werden gegenwärtige Einsätze vorgestellt und mittels theoretischer Situierung und exemplarischer Analysen auf ihre Potentiale hin befragt: Dabei erweisen sich der Realismus- und der Ideologiebegriff mit materialistischen Theorien der Form oder der Produktion von Literatur eng verwoben. Ansätze einer materialistischen Weltliteraturforschung werden mit postkolonialen und intersektionalen Perspektiven ins Gespräch gebracht. Zum Horizont aktueller Debatten gehören schließlich Fragen der Sorgearbeit oder ‚platform work‘ in der Gegenwartsliteratur. Der Band widmet sich u.a. theoretischen Positionen von Pierre Macherey, Roberto Schwarz, Karen Barad und des Warwick Research Collective sowie literarischen Texten von Wilhelm Raabe, Anna Seghers, Kōbō Abe und Gertraud Klemm. Das Resultat ist keine vollständige Darstellung des Diskursfeldes, sondern eine Orientierungshilfe, die es trotz der Unabgeschlossenheit der Begriffsbildung erlaubt, materialistische Theorie literaturwissenschaftlich fruchtbar zu machen.
Few ideas are as universally key, basic and primal as “home”. Few ideas require more attention and new, critical re-examination in recognition of ongoing social change. In the post-pandemic and ecological reflection on how we live and approach “home” in its diverse definitions, engagement with this topic is only bound to grow in the future. This rapidly rising interest in the multidisciplinary field of housing studies is reflected also by our collection, which can be seen as an introduction to the entire research area thanks to the opening chapter, outlining its history and complexity. The following chapters by an international group of scholars representing different generations and methodological approaches examine some of the many meanings of home, houses or housing as they have been expressed in Western culture, not only across time but also across varied media: from traditional and digital theatre, through varied literary genres, to film and television, photography and street art.
Bis zum 31.12.2022 gilt der Subskriptionspreis € 998,00 - später: € 1.298.00
Cy Twombly (1928–2011), one of America’s most important artists, inscribed on his works written notes and fragments of poetry, even whole poems, throughout the whole period of his creative activity. The present Catalogue of Inscriptions for the first time collects in six opulent volumes all 901 of Twombly’s written notations, presenting them in transcription and in the context of their 113 different literary sources, and so traces the artist’s lifelong intellectual engagement with poetry and the forms of the scriptural. More than 90% of the decipherment and more than half of the authors quoted by Twombly are first assignments.
Roland Barthes described Cy Twombly’s oeuvre as a “work of writing”. In fact, Twombly’s use of written texts clearly sets him apart from other second generation representatives of the New York School (Robert Rauschenberg, Jasper Johns). Twombly provided around 40% of his pictorial works from 1953 onwards with textual notations and literary quotations from poets from antiquity to the present day, such as Sappho, Praxilla, Rumi, ʿAbbās ibn al-Aḥnaf, Keats, Rilke, Bachmann, Faiz Ahmed Faiz or Patricia Waters. Yet the level of meaning of the handwritten inscriptions remains an element of his pictorial language whose interpretation is still disputed today, since only 19 poets have been cited to date.
On the basis of the publication, the scriptural becomes clearly recognizable for the first time as an equal element in the structure of Cy Twombly’s work and an essential medium of signification in his pictorial world. The introductory volume, drawing on the results of the work of transcription and ascription, analyzes how Twombly’s inscriptional practice developed and how complex constellations of iconotextual references are created between the scriptural and the graphic in his works. Against the background of the conception of poetics of Charles Olson, Twombly’s teacher at Black Mountain College, it becomes evident that in Twombly the scriptural is the principal bearer of “remanence”, the phenomenon that enables a re-enactment, in each present moment of reception, of what is represented. Cy Twombly described this energy force and emotional intensity as “the phenomenon of finding the memory of something that has vanished and left no trace of itself”.
This essay develops a theory of improvisation as practice of aesthetic sense-making. While considering all arts, references are made to many concrete cases. A topic in vogue since the XX. century, as evidenced by the great philosophers who were interested in it (Ryle, Derrida, Eco among others), improvisation, a felicitous mixture of habit and creativity, norm and freedom, is constitutive of human action. Human practices – including very well-regulated activities such as playing chess, piloting airplanes, or medicine – permit and often require it to varying degrees.
Improvisation is also the true source of artistic experience. Consequently, the aesthetics of improvisation result in a philosophy of art: Art was born as improvisation. Yet improvisation has its own aesthetic dimension: that of a "grammar of contingency" in which notions such as emergence, presence, curiosity and authenticity explain the pleasures of joyful adventure and empathic involvement elicited by improvisation.
Cultural memory has been a concept for already 30 years. But what is social memory? The topics of memory, remembering and forgetting are meeting with increasing resonance in sociology. This introduction to the sociology of memory is the first to systematically develop some of the basic theories in this field and to provide an overview of the issues and problems involved.