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Dafydd Sills-Jones, Jouko Aaltonen and Pietari Kaapa

Forthcoming
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Teatralidades del conflicto armado en Colombia

Dramaturgia de las victímas

Adriana Sánchez Gutiérrez

En momentos de crisis y conflictos políticos nacionales, el teatro se reconfigura como una de las artes que denuncia, devela e ilustra los quiebres sociales de un país. En esos términos, la dramaturgia en Colombia empodera nuevas estéticas en donde el ciudadano deviene protagonista de la escena, defendiendo derechos humanos y civiles que le han sido negados por el Estado. A partir de ese contexto, este libro analiza la producción de cuatro dramaturgos colombianos para descubrir cómo el cuerpo de las víctimas es representado en la escena y cuáles son las estéticas que se proponen en torno a los casos de desaparición forzada, ejecuciones extrajudiciales, desplazamientos, genocidios y masacres. Crímenes que, hasta el 2018, en el marco de un proceso de reparación y restitución a las víctimas, cuentan con más de ocho millones de casos en donde menos del cinco por ciento ha recibido condena por parte del Estado. En este estudio se propone el concepto de cuerpos-no-ausentes para entender la presencia corpo-política de las víctimas en la escena de las obras de Patricia Ariza, Felipe Vergara, Carlos Satizábal y Nohora Ayala.

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La chanson dans l'Espagne contemporaine (XIXe-XXIe siècles)

Variations, appropriations, métamorphoses

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Edited by Marie Franco and Miguel Olmos

Les chansons populaires, les hymnes politiques, les chants traditionnels, les compositions savantes ou les morceaux produits au sein de la culture de masse ont en commun d’exprimer, du xixe siècle à nos jours, les combats ou les rêves des Espagnols ; ils témoignent également, dans leurs avatars successifs, des sentiments identitaires en évolution et des crises traversées. Les contributeurs de ce livre s’interrogent sur la chanson comme forme musicale autonome associant un texte à une mélodie et générant une pluralité d’expériences de partage et d’écoute, dans une perspective d’histoire culturelle qui s’attache à examiner les interactions de l’individuel et de l’émotionnel, du sensoriel, du collectif et du politique.

Les notions de « variation » et d’« appropriation » permettent d’éclairer cette nature mouvante en soi de la chanson, dans laquelle surgissent parfois les échos du passé, ou les traces d’autres « performances ». Interprétée, adaptée, traduite, parodiée ou tout simplement incarnée dans des voix et des corps différents, elle se caractérise par cette aptitude à se laisser transformer en profondeur au fil des époques, des crises et des variations de goûts.

Les articulations thématiques de cet ouvrage la présentent successivement, à travers quelques cas d’étude, dans sa construction comme spectacle et expérience sensorielle et intellectuelle, comme investissement collectif, comme outil mémoriel ou témoin des rapports aux modernités successives et, enfin, comme un enjeu technique, en vue de sa reproductibilité, qui s’accompagne toujours d’évolutions esthétiques, mais aussi économiques. Forme mouvante en soi, nourrie de voix individuelles et collectives, la chanson est l’expression ultime de la culture comme circulation et bouillonnement infatigables.

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Lili Du

Depuis son adoption de la « Convention pour la sauvegarde du patrimoine culturel immatériel » en 2003, la Chine a lancé au niveau national, le répertoire de son patrimoine culturel immatériel, et a élaboré, mis en action des mesures pour sa sauvegarde. Pékin, ancienne capitale des cinq dynasties, possède une source abondante du patrimoine culturel immatériel. Les vieilles enseignes pékinoises représentent un vecteur particulier du patrimoine oral, l’art de la dénomination, l’art de l’enseigne, la culture traditionnelle à travers le Confucianisme ainsi que des savoir-faire. Cependant, par rapport à la valorisation économique, la valorisation culturelle de ces entreprises a été longtemps négligée. En recourant à la formulation du patrimoine culturel immatériel, le présent travail a voulu explorer et étudier la pluralité du patrimoine immatériel des vieilles enseignes pékinoises, afin de montrer son enjeu dans le développement et la pérennité de ces enseignes ainsi que pour la préservation de la culture locale de Pékin.

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Imagined Cosmopolis

Internationalism and Cultural Exchange, 1870s–1920s

Edited by Charlotte Ashby, Grace Brockington, Daniel Laqua and Sarah Victoria Turner

The period from the 1870s to the 1920s was marked by an interplay between nationalisms and internationalisms, culminating in the First World War, on the one hand, and the creation of the League of Nations, on the other. The arts were central to this debate, contributing both to the creation of national traditions and to the emergence of ideas, objects and networks that forged connections between nations or that enabled internationalists to imagine a different world order altogether. The essays presented here explore the ways in which the arts operated internationally during this crucial period of nation-making, and how they helped to challenge national conceptions of citizenship, society, homeland and native tongue. The collection arises from the AHRC-funded research network Internationalism and Cultural Exchange, 1870–1920 (ICE; 2009–2014) and its enquiry into the histories of cultural internationalism and their historiographical implications.

This collection has been edited by members of the ICE network convened by Grace Brockington and Sarah Victoria Turner.

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Queer Ventennio

Italian Fascism, Homoerotic Art, and the Nonmodern in the Modern

John Gerard Champagne

Given fascist proscriptions against homosexuality, a surprising number of artists under Mussolini’s regime were queer. Exploring the contribution of Italy to our understanding of both the history of homosexuality and European modernism, this ground-breaking study analyses three queer modernists—writer Giovanni Comisso, painter and writer Filippo de Pisis, and painter Corrado Cagli. None self-identified as fascists; none, however, were consistent critics of the regime. All understood their own sexuality via the idea of the primitive – a discourse fascism also employed in its efforts to secure consent for the dictatorship. What happens when we return to these men and their work minus the assumption that our most urgent task is identifying their fascist tendencies or political quietism? Variously infantilized, pathologized, marginalized, and stigmatized, treated as both cause and effect of fascism, queer ventennio artists are an easy target, not brave or selfless or savvy enough to see their common struggle with fascism’s other victims. Revisiting their works and lives with an eye toward neither rehabilitation nor condemnation allows us to ponder more carefully the relationship between art and politics, how homophobia has structured art criticism, the need to further bring queer perspectives to Italian cultural analysis, and how such men disrupt our sense of modern homo/heterosexual definition.
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Solveig McIntosh

Rivers of Sacred Sound traces the flow of influences from East to West, from

BC to AD and from wordless jubilations to the setting of texts. It takes the

discussion about western chant beyond a European perspective.

The text of this book, preceded by an introduction, is presented in seven

chapters and covers a period of approximately five thousand years. There are

many references all over the world to praising the divine with sound. Thus

the starting point is the praise song, a fundamental impulse in mankind. The

Rg-Veda requests that our loudest-sounding hymn be accepted, as food most

delightful to the Gods. The Psalms request us to make a joyful noise unto God

and to sing forth the honour of His name. Spontaneous songs became ritual

events. In an aural culture what was the role of gesture and what is its role

now? There are many doors to open in pursuing these and other questions.

This book opens some of them.

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The Memory of the Bishop in Medieval Cathedrals

Ceremonies and Visualizations

Edited by Gerardo Boto Varela, Isabel Escandell and Esther Lozano Lopez

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Ludwik Bielawski

From Aristotle to Heidegger, philosophers distinguished two orders of time, before, after and past, present, future, presenting them in a wide range of interpretations. It was only around the turn of the 1970s that two theories of time which deliberately went beyond that tradition, enhancing our notional apparatus, were produced independently of one another. The nature philosopher Julius T. Fraser, founder of the interdisciplinary International Society for the Study of Time, distinguished temporal levels in the evolution of the Cosmos and the structure of the human mind: atemporality, prototemporality, eotemporality, biotemporality and nootemporality. The author of the book distinguishes two ‘dimensions’ in time: the dimension of the sequence of time (syntagmatic) and the dimension of the sizes of duration or frequency (systemic). On the systemic scale, the author distinguishes, in human ways of existing and acting, a visual zone, zone of the psychological present, zone of works and performances, zone of the natural and cultural environment, zone of individual and social life and zone of history, myth and tradition. In this book, the author provides a synthesis of these theories.

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Bengt Edlund

This book gives a critical account of various methods used in music analysis. In the first chapter, a number of current approaches such as semiotics, musical implications, Schenkerian analysis, and generative theory are demonstrated on Mozart’s K. 331 theme. Five essays deal with important concepts in music analysis: ambiguity, formal proportions, and similarity within and between works. A further chapter provides a discussion of probability, kinship, and influence – decisive criteria when judging musical plagiarism. The last essay, studying a piece by Schubert, sifts the prospects of deciphering a composer’s sexual leanings from his music.