The Opaque Experience is a thorough investigation of the changes in aesthetics that occurred in Argentina and Brazil during the 1970s and 1980s. It analyses a slow transformation of the status of the literary, which has become increasingly manifest in writing practices against the backdrop of a wider aesthetic transformation that strongly questioned traditional conventions. Through readings of works by Silviano Santiago, Juan José Saer, Clarice Lispector, Néstor Perlongher and Ana Cristina Cesar – among others – in relation to the works of artists such as Hélio Oiticica and Lygia Clark, the book seeks to understand the evolution of the notion of art. Its central argument is that artistic works of the period traverse an experiential drive that transcends artistic form. Special importance is given to historical context: when the frontiers between public and private are demolished by the authoritarian state; when «bare life» becomes the political category par excellence; and when art positions itself in an «expanded field». Exposed to the face of the world, these art forms combine different and destabilizing logics that reveal a vulnerability of the subject, and of experience, that is not in harmony with the notion of autonomous subjects or work. It is not just a matter of a transformation of sensibilities, but rather a transformation of the meaning of art in contemporary society.
Literature and Disenchantment
A Memoir of Anew McMaster
Bishops and Cathedrals. Art in Late Medieval Castile
Edited by Maria Victoria Herráez
En el grupo de promotores medievales que, sin lugar a dudas, determinaron la forma, funcióny significado de las obras de arte, destacan los prelados. El papel de los obispos en las tareas constructivas y en el encargo de objetos suntuarios fue esencial porque, aunque muchos de ellos dedicaron poco tiempo a la atención de sus sedes y derivaron la responsabilidad de la organización de la Iglesia hacia el cabildo, mostraron interés en la promoción de nuevos edificios y de otros trabajos que contribuyeran a engrandecer el esplendor de la catedral y su propio prestigio personal.
Este libro es resultado de un proyecto de investigación titulado »Obispos y catedrales. Arte en la Castilla bajomedieval«, financiado por el Ministerio de Economía y Competitividad, en el que analizamos la ideología artística de los principales promotores episcopales en la Castilla bajomedieval y, a partir de ello, tratamos de hacer una interpretación más profunda y afinada de los trabajos llevados a cabo en las catedrales más relevantes del reino.
Within the group of medieval promoters that, without no doubt whatsoever, largely determined the shape, function and meaning of the artistic objects stand out the prelates. The role of the bishops in the building tasks and in the promotion of sumptuary works was essential because, although some of them devoted little time to the see and, to a large extend, they diverted the responsibility of the organization of the Church to the chapterhouse members, they did show interest in the promotion of new buildings and other works that could contribute to enlarge the splendour of the cathedral and also their own personal prestige.
This book is the result of a research project titled, »Bishops and Cathedrals. Art in late medieval Castile«, funded by the Spanish Ministry of Economy and Competitivity, in which we set out to get to know the artistic ideology of the main episcopal promoters in the Late Castilian Middle Ages and, through it, to make a deeper and more refined interpretation of the works carried out in the most relevant cathedrals of the kingdom.
Styles of soldiers’ commemoration reveal national self-images. US WW II military cemeteries in Italy and their German counterparts are analyzed as art-historical artifacts. Their aesthetics, together with results of archival research, reveal a self-assured US united in values, projecting victory and Pax-Americana while a struggling Germany searches for its democratic identity and a place within the community of civilized nations. In Italy, the US relied on imported European classicism as taught at the influential American Academy in Rome and interpreted through the personalities of the cemeteries’ designers. Germany’s designs, rejecting Nazi classicism, progressed through an inherited unique blend of medievalism with modernism toward a contemporary style that integrates modernism and expressionism. The US honors soldiers’ death as worthy sacrifice for the nation’s greatness and the world’s future. Germany focuses on mourning and interprets soldiers’ death as tragedy whose only meaning can be an admonition to seek peace.
Practices of Polish Butō Dancers
Magdalena Anna Zamorska
The author explores the practices of Polish butō dancers. Underlining the transcultural potential of the genre, she discusses in particular their individual body-mind practices and so-called butō techniques in order to produce a generalised account of butō training. Her argument is underpinned by complex field research which she carried out as an expert observer and a workshop participant. Drawing on a transdisciplinary approach, which combines insights and findings from the fields of cultural and performance studies, cultural anthropology and cognitive sciences, the book depicts the sequence of three phases which make up the processual structure of butō training: intro, following and embodiment.
Tanslated by Ernest Bernhardt-Kabisch
The present autobiography sets out from the contrast between "establishment" and "outsiders" in science and scholarship. It portrays a number of prominent composers, conductors and musicologists and seeks to illuminate the nature of the phenomenon of music from diverse vantage points, centering on cultural, biographic, psychological, philosophic, critical, aesthetic and axiological questions.
Lutz Lesle (Das Orchester, 2018): At the price of being deemed an outsider, Floros has devoted a major part of his life's work to the semantic dimension of music, from the Viennese Classics to Postmodernism. His endeavor has been to preserve for music the dignity of manifold meaning that the school of bean counters were stripping from it by reducing musical scores to structure-analytical databases. "To simply ignore the spiritual depth dimension of important musical art works," the author bluntly proclaims, "and to limit oneself to the investigation of the 'tonal body': to me there is no greater aberration."
Roberta Di Carmine
Cultural Metamorphoses in Contemporary Italian Cinema explores four different areas of study in contemporary Italian cinema: the migrants’ social struggle, the decline of the middle class, the isolation of the elderly, and gender inequality. This book focuses on four films produced between 2007 and 2013, specifically Io sono Li (Shun Li and the Poet, 2011), Giorni e nuvole (Days and Clouds, 2007), Pranzo di ferragosto (Mid-August Lunch, 2008), and Viaggio sola (A Five Star Life, 2013), examining a slice of contemporary Italian cinema to highlight specific socio-economic changes within the country over the past decade. Italian filmmakers Andrea Segre, Silvio Soldini, Gianni Di Gregorio, and Maria Sole Tognazzi concentrate on themes that refer to "metamorphoses" to exemplify several Italian societal changes deeply affected by economic challenges and strongly rooted in male-dominant ideology. These Italian filmmakers reevaluate cultural traditions and societal roles by depicting unconventional narratives and identities in their films and giving "voice to the voiceless."
The Studio di Fonologia years
Edited by Germán Toro-Pérez
This book is dedicated to the topic of performance practice of electroacoustic music, focusing mainly on the production of RAI’s Studio di Fonologia in Milan between the 1950s and 1970s. It is the result of an in-depth dialogue between musicology and musical practice, presenting musicological and practice-based contributions, some dealing with specific problems of performance practice, in particular the analysis and interpretation of the aesthetic prerequisites and production conditions of the repertoire from a musicological perspective, others focusing on specific works and on their realisation from a performer’s perspective. Overall, this publication is intended as a contribution to the performance culture of the repertoire.
Edited by Jacques Chamay and Jean-Paul Descoeudres
Adonis, the beautiful youth, born of the myrrh tree, loved by both Aphrodite and Persephone, hardly needs any introduction. His legend, of Oriental origin, spread early and rapidly to Greece and Italy. In Athens, his cult is attested as early as the 5th century, though representations of him in the arts remain surprisingly rare. Not so in South Italy, where from the early 4th century on his myth inspired some of the greatest vase-painters, especially in Apulia.
As the present systematic and richly illustrated analysis of his representations in South Italian Vase-painting, shows, Adonis played in Magna Graecia a much more important role than had hitherto been suspected.
Internationally recognized as the expert on South Italian Vase-painting, Alexander Cambitoglou has co-authored with Arthur Dale Trendall the fundamental work on its main school: The Red-figured Vases of Apulia, I: Early and Middle Apulian (1978) and II: Late Apulian (1982), and First and Second Supplement to The Red-figured Vases of Apulia (1983 and 1991). With Chr. Aellen and J. Chamay he has published Le peintre de Darius et son milieu in 1986 and again with J. Chamay in 1997, Céramique de Grande Grèce. La collection de fragments H. A. Cahn, and in 2006 Le don de la vigne: vase antique du baron Edmond de Rothschild (Matteo Campagnolo co-author). More recently, the two first Australian CVA fascicules have appeared in which he presents, with M. Turner as co-author, the collection of red-figured pottery from Apulia held by The University of Sydney’s Nicholson Museum (fasc. 1: 2008, 2: 2014). His work on Adonis’ plants has just come out in J. Chamay’s translation: Les plantes d’Adonis. Essai (Etudes genevoises sur l’Antiquité. Cahiers vol. 2, 2018).
A Lived Experience of Celebration
This book is an autobiographical account of the development of an authentic interiority. It charts the way in which the Christian faith in which the author was enculturated was refined by her lived experience of music, abuse, forgiveness, interfaith dialogue, gender and vocation (into teaching and priesthood). The author describes how music and spirituality can create a route into forgiveness by creatively transforming («mulching») childhood abuse into celebration. Her work challenges established therapeutic models and suggests a variety of alternative tools, including created ritual.
The volume is set out as a series of meditations on the themes contained in the Lord’s Prayer; it can be read in separate sections, as well as in its totality. The author’s life is perceived as a crystal that can be viewed through various lenses, illustrated by different styles of writing. These include narrative accounts written in a personal style; hymns, songs and poems that condense her thinking around a theme; and more academic reflection, using other people’s writing and experiences to understand her own.