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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

From Late Antiquity to ca. 1500, the exchange of artistic expressions, literary formulas and moral ideals allowed successive bishops to generate and transform the paradigmatic buildings and devices epitomising episcopal power, both in life and posthumously by dictating the manner in which they were to be com-memorated. Indispensable to this process of integration was the ability to absorb foreign artistic formulas, devise innovative creations and integrate them into mutated patterns that were always defined by local material and intellectual conditions and resources.

This volume explores the making and metamorphosis of images and memories of European Medieval Bishops as individual personalities or institutional figures within the framework of their respective cathedrals. The studies discuss the circumstances and factors that have determined funerary configurations and ritual remembrances of bishops in cathedrals and ecclesiastical colleges in the Medieval Latin Church. The authors of this volume adopt and implement a dual and complementary methodology. First, they take into account a wide range of factors, including specific community practices, liturgical ceremonies, church furnishings, and artistic equipment. Second, they explore to which the morphology of individual tombs can be ascribed to the preferences of patrons who, hypothetically, would also have imposed a religious protocol as the patrons of the future commemoration of their personalities.

In these novel studies, special attention is paid to the symbiosis of pictorial narratives, liturgical performativity, and spatial arrangement, which made up and propitiated a large part of the visual experience of episcopal memorials. The volume focuses on the use of the memorial devices of important bishops as a privileged lens to analyse the complexity and dynamics of the artistic landscape in western Europe during the Middle Ages.

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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.

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The Theatre of Tom MacIntyre

Strays from the Ether

Edited by Bernadette Sweeney and Marie Kelly

This long overdue anthology captures the soul of MacIntyre's dramatic canon - its ethereal qualities, its extraordinary diversity, its emphasis on the poetic and on performance - in an extensive range of visual, journalistic and scholarly contributions from writers and theatre practitioners.

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Chinese Cinema Culture

A Scene in the Fog

Dai Jinhua

From her early film studies to her most recent critiques of contemporary pop culture, Chinese Cinema Culture: A Scene in the Fog presents Dai Jinhua’s multiple theoretical moves toward writing difference into the Euro-American discourses current in China today; it is an account of both her interrogation of mainstream Western theories and her eventual flight from them. She searches for a theoretical strategy that enables her to narrate critically the intellectual and gendered film history and culture of the post-Mao and post-Deng eras without sacrificing it to the orientalizing gaze of the West. Her work demonstrates brilliant insights into China’s cinema tradition that is inseparable from both the political legacy of Maoism and current postcolonial order of cultural knowledge. This book includes 11 essays organized in three parts and one dialogue on Chinese cinema culture as the afterword.

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Anna Śliwińska

Running off the Anger. British New Wave includes several areas of research that suggest interpreting the cinema of the British New Wave in relation to social realism, the construction of the main characters, popular culture and the way New Wave played with film-making. Thanks to an in-depth analysis of key films of this trend, it is possible not only to understand the workings of social realism and examine character creation and their rebellion, but also to explore the intentionality of the utilising New Wave techniques that were known from nouvelle vague. The last chapter of this book is devoted to the most recent references to British New Wave Cinema.

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Andrzej Tuchowski

This book concerns the ways in which many different types of nationalism, chauvinism and racism penetrated into musical thought in the interwar period, and how the leading artistic personalities of that period reacted to these ideologies. The concept of "nationalism" is understood broadly in this book and covers the entire spectrum of its positive and negative aspects. The topics listed in the book’s title have been discussed on the example of selected four countries, significant with respect to population and territory and representing different social-political systems: Germany (mostly after 1933), Italy, Poland (after 1926) and Great Britain. This selection is also representative of the main ethnic groups in Europe: Anglo-Saxon, Germanic, Latin-Romance and Slavic.

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Růžena Zátková

Un’artista dimenticata

Marina Giorgini

La figura di Růžena Zátková (České Budějovice 1885 – Leysin 1923), artista boema generalmente associata al futurismo italiano ma per alcuni versi più vicina all’avanguardia russa, risulta tanto affascinante quanto ancora semisconosciuta al grande pubblico e non solo. Affascinante perché la sua vita, e tutta la sua straordinaria storia, costituiscono di per sé la trama esemplare di un romanzo avventuroso e tragico al contempo. Figlia di una prestigiosa famiglia dell’aristocrazia boema, si legò in un matrimonio infelice a Vasilij Khvoschinskij, coltissimo diplomatico dell’Ambasciata Russa a Roma, dove entrò immediatamente negli ambienti più rinomati e prestigiosi. Musa e amante platonica dello scultore croato Ivan Meštrović, del pittore messicano Roberto Montenegro e del compositore russo Igor’ Stravinskij, cara amica del maestro futurista Giacomo Balla, gravitò inoltre nell’orbita dei Balletti Russi di Djagilev, legandosi in una profonda e sincera amicizia a Larionov e alla Gončarova. Protagonista di una serie di sedute spiritiche tenutesi alla presenza delle personalità più eminenti e stravaganti della capitale italiana, scoprendo grazie allo spiritismo "la legittima realtà dell’astrazione", si ammalò gravemente di tubercolosi e venne ricoverata in un isolato sanatorio svizzero per ben tre anni. Sposò in seconde nozze Arturo Cappa, membro eminente del Partito Comunista italiano vicino ad Antonio Gramsci e futuro cognato di Filippo Tommaso Marinetti. Fu infine amica sincera e confidente di Benedetta Cappa Marinetti e dell’archeologo e umanista Umberto Zanotti-Bianco. Morì a soli 38 anni per l’aggravarsi della tisi proprio mentre la sua carriera stava decollando.

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Horror

A Companion

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Edited by Simon Bacon

What is Horror?

Horror is an inherently sensational and popular phenomenon. Extreme violence, terrifying monsters and jarring music shock, scare and excite us out of our everyday lives. The horror genre gives shape to the particular anxieties of society but also reveals the fundamental nature of what it is to be human.

This volume provides an introduction to horror in compact and accessible essays, from classics such as Stanley Kubrick’s The Shining to contemporary throwbacks like the Duffer Brothers’ Stranger Things. Beginning with the philosophical and historical background of horror, this book touches upon seminal figures such as Poe, Lovecraft, Quiroga, Jackson, King and Suzuki and engages with the evolution of the genre across old and new media from literature, art and comics to film, gaming and social media. Alongside this is a consideration of established and emerging areas like smart horror (Jordan Peele’s Get Out), queer horror (Brad Falchuk’s American Horror Story), eco-horror (Alex Garland’s Annihilation), horror video games (P.T.) and African American horror (Tananarive Due’s Ghost Summer: Stories).

This volume provides an invaluable resource for experts, students and general readers alike for further understanding the horror genre and the ways it is developing into the future.

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Edited by Ros Dixon and Irina Ruppo Malone

Ibsen and Chekhov on the Irish Stage presents articles on the theories of translation and adaptation, new insights on the work of Brian Friel, Frank McGuinness, Thomas Kilroy, and Tom Murphy, historical analyses of theatrical productions during the Irish Revival, interviews with contemporary theatre directors, and a round-table discussion with the playwrights, Michael West and Thomas Kilroy.

Ibsen and Chekhov on the Irish Stage challenges the notion that a country’s dramatic tradition develops in cultural isolation. It uncovers connections between past productions of plays by Ibsen and Chekhov and contemporary literary adaptations of their works by Irish playwrights, demonstrating the significance of international influence for the formation of national canon.

Conceived in the spirit of a round-table discussion, Ibsen and Chekhov on the Irish Stage is a collective study of the intricacies of trans-cultural migration of dramatic works and a re-examination of Irish theatre history from 1890 to the present day.