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Images, the main object of imagological analysis, are by nature value-charged. Despite this fact, previous research has neglected the axiological foundations of imagology. This article discusses in brief some fundamental axiological questions of imagological investigations. The here analysed corpus includes an eighteenth-century visual-textual source (the so-called "Leopold-Stich"), and a famous imagological handbook ("Imagology", by Beller and Leerssen). The analysis starts with the problem of value connotations of the signifier of geocultural spaces and continues with a cluster of questions concerning the nature of value of imagotypical representations. The final part examines two relevant imagological phenomena—diachronic changes in evaluation of certain geocultural spaces and a somewhat opposite phenomenon of evaluative apriorism.
Imagological analysis can be fruitfully applied to political discourse, most importantly the discourse of international antagonism and national self-positioning used in government decision-making circles. Historians studying that discourse have tended to see its rhetoric of national characterization merely as a distracting accompaniment to actual, factually driven policies and developments. This, it is argued here, questionably presupposes that those policies were never driven by anything but cerebral reasons of state (such as these are seen by latter-day historians); it makes us unduly heedless of an important historical corpus throwing light on the force of emotive and national prejudice in policymaking.
With this volume, the editors Katharina Edtstadler, Sandra Folie, and Gianna Zocco propose an extension of the traditional conception of imagology as a theory and method for studying the cultural construction and literary representation of national, usually European characters. Consisting of an instructive introduction and 21 articles, the book relates this sub-field of comparative literature to contemporary political developments and enriches it with new interdisciplinary, transnational, intersectional, and intermedial perspectives. The contributions offer [1] a reconsideration and update of the field's methods, genres, and theoretical frames; [2] trans-/post-national, migratory, and marginalized perspectives beyond the European nation-state; [3] insights into geopolitical dichotomies such as Orient/Occident; [4] intersectional approaches considering the entanglements of national images with notions of age, class, gender, sexuality, and ethnicity/race; [5] investigations of the role of national images in visual narratives and music.
With this volume, the editors Katharina Edtstadler, Sandra Folie, and Gianna Zocco propose an extension of the traditional conception of imagology as a theory and method for studying the cultural construction and literary representation of national, usually European characters. Consisting of an instructive introduction and 21 articles, the book relates this sub-field of comparative literature to contemporary political developments and enriches it with new interdisciplinary, transnational, intersectional, and intermedial perspectives. The contributions offer [1] a reconsideration and update of the field's methods, genres, and theoretical frames; [2] trans-/post-national, migratory, and marginalized perspectives beyond the European nation-state; [3] insights into geopolitical dichotomies such as Orient/Occident; [4] intersectional approaches considering the entanglements of national images with notions of age, class, gender, sexuality, and ethnicity/race; [5] investigations of the role of national images in visual narratives and music.
Havana's apartment-galleries have been vital venues for the city's art scene since the 1990s, hosting art exhibitions, workshops, and conferences. In the context of Cuba's limited art market and dearth of cultural institutions with international reach, these residential spaces have offered artists a unique opportunity to display their work and to connect with international art circuits. Focusing on the histories of three specific apartment-galleries - El Apartamento, Estudio Figueroa-Vives, and Avecez Art Space - this chapbook reflects on the complex interplay of the local and the global in the 'worlding' of cultural institutions.
As is well known, beauty is in the eyes of the beholder and what is considered beautiful is contextual. The itinerant symposium "Medicine, Beauty, and the Body: Materials, Texts and Artifacts" which took place from September 24 to 28, 2023 in Innsbruck, Salzburg and Vienna explored this topic in an interdisciplinary way and examined the intertwining of beauty, health and medicine from antiquity to early modern Europe. The event was a cooperation between the programme "Figurations of Transitions" of the inter-university institution Science and Art of the Paris-Lodron-University Salzburg and the University Mozarteum in Salzburg, Schloss Ambras and the Museumsverband Kunsthistorisches Museum Wien. Not only the sheer diversity of sources in the field of historical beauty cultures became apparent, but also their circulation and transformation through time and space as well as their significance as social, political, religious, and economic variables. The practical approach of the event in particular showed new paths in the field of historical beauty studies.
In scholarly discussions, ancient didactic poetry is sometimes considered a 'technical' form of literature. The 'technical' aspect of didactic poems would seem to concern mainly their contents, not the poems' form, which is described instead as literary. And so, didactic poetry appears to be both 'technical' and, at the same time, more than just technical. To what extent were didactic poems considered 'artistic' in our modern sense? Or should we call them simply 'technical' poems in the sense that they deal with 'techne' as a form of practical expertise? Was the 'art' of ancient didactic poems one specific domain that ancient audiences easily identified? Or was this somewhat unclear? These are some of the key questions that I am concerned with, as I wish to explore to what extent the ancient poets themselves utilize the idea of 'techne' and what is the added value that the concept of 'techne' brings to their poetic works. I will present three authors to address these questions, namely in order: Ovid, whom I take as example of a poet who grandly advertises the presence of 'ars' in his poem; then, Archestratus of Gela, the first, partly extant poet to write 'didactic poems' in Greece in the manner that will impose itself in the following centuries, and an early example of how this poetry engages with what idea(s) about 'ars'; and, lastly, Aratus of Soli, the likely most canonical author of this type of poetry in Antiquity. This selection of authors, to be sure, does not provide a full picture of didactic poetry in Antiquity, with all its peculiarities. But it does have some paradigmatic meaning for two reasons. First, Archestratus and Aratus are significant within the history of didactic poetry, as I anticipated, because the former is a pioneer in this genre and the latter is a widely popular and influential author. Thus, analysis of their poems is useful to understand also certain features of the didactic genre more in general. Ovid's "Ars Amatoria", on the other hand, while perhaps being less influential for the whole history of the genre, becomes paradigmatic in so far as one explores the issue of didactic 'art'. For, this work features the topic of 'techne' much more extensively than many other didactic poems. But before I move to these authors, I wish to make a preamble about ancient didactic poetry as genre. For one might then wonder whether these questions about didactic poetry and 'techne' would find an easy solution if one considered first the meaning and category of the 'didactic' - a name that by itself seems to evoke the idea of knowledge and the sharing of a certain form of expertise.
"Ulysses, Dante, and Other Stories" presents a unique form of creative scholarship. It employs Dante's late medieval take on Ulysses and his tragic pursuit of 'virtue and knowledge' as a prism that refracts an ancient myth of journey and return into a modern story of discovery and nostalgia. Working notes, fragments from Ulysses' many stories, personal memories, illuminations, and rewritings combine to form a new chain of narratives about the desire to create, the art of travelling, and the will of self-reinvention.
Through a contrastive comparison between the classic detective Sherlock Holmes and contemporary research agencies such as Forensic Architecture, this paper examines a recent shift in the "evidential paradigm" (Ginzburg). Based on the role that the "evidential paradigm" plays for critical literary and cultural studies, the state-supporting positivism of Sherlock Holmes is distinguished from the state-critical constructivism of Forensic Architecture: Whereas Holmes conceived of the trace as a positive datum, in Forensic Architecture's virtual investigations it becomes an emergent from data. However, this juxtaposition needs to be differentiated when critically examining the "aesthetics of objectivity" (Charlesworth) of the animated videos Forensic Architecture use to present their findings. The essay closes by asking what conclusions can be drawn from the new forms of knowledge generation for the methodology of literary and cultural studies.
Das zusammengesetzte chinesische Wort 東西 hat die Doppelbedeutung von 'Ost-West' und 'Ding' bzw. 'Objekt'. In der Gedichtsammlung des Hongkonger Schriftstellers Leung Ping-kwan mit dem Titel 東西 ('Dong-Xi', Ost-West-Angelegenheiten) erscheinen der Osten und der Westen jeweils als eine Erweiterung des anderen, wobei ihre anhaltenden Interaktionen eine vitale Welt offenbaren, die unaufhörlich im Entstehen begriffen ist. Umgekehrt erweisen sich das Globale und das Lokale nicht nur als geografische Signifikanten, sondern auch als zeitliche Indikatoren von Sinneswahrnehmungen, Erinnerungen, Erfahrungen, Gefühlen und Vorstellungen, deren dynamisches Zusammenspiel eine poetische Welt fortwährend erschafft und wieder auflöst. Leungs Lyrik, die die traditionelle poetische Form des 'Dinggedichts' aufgreift, versucht durch die Würdigung alltäglicher Objekte, deren Formen, Gerüche und Farben im modernen Leben oft ignoriert werden, zu einer Wiederverzauberung der Welt zu gelangen. Leungs Dinggedichte führen uns in eine Welt, in der Objekte von ihrer Funktionalität gelöst und mit einer eigenen Sensibilität versehen werden. Dabei verändert sich auch die Sensibilität der Leser:innen. Leungs Dinggedichte können als Inbegriff von 'Sinngemeinschaften' gelesen werden, deren Zusammenhalt von der Bereitschaft der Mitglieder zur Offenheit für Andersartigkeit sowie zur eigenen Veränderung abhängt.