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Dafydd Sills-Jones, Jouko Aaltonen and Pietari Kaapa

Forthcoming
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Mariacruz Castro Ricalde, Mauricio Díaz Calderón and James Ramey

"It was a great night for Mexico, as usual." Donald Trump's words about Alejandro González Iñárritu on Oscars’ night 2014 were a preview of his now-notorious attitude toward Mexicans: "He´s walking away with all the gold? Was it that good? I don´t hear that. It was certainly a big night for them." Although the future president’s comments were offensive, for scholars interested in transnational film and literature, his words were themselves pure gold. For they raise questions about "nation" as a category of representation. When we invoke "Mexican cinema," for example, we imply that some kind of "national cinema" exists – but what is a national cinema? Is the cinema made in the US a national cinema in the same way as that of Mexico’s? And is a film made by a foreigner in Mexico part of Mexican cinema? What does it mean for a film or a literary work to cross a border? And are borders to be defined in geographical terms only, or can they also be cast in terms of gender, sexual orientation, race, or language itself? This book, in short, reflects on the implications of the term "transnational" in relation to film and literature conceived – in any way, shape, or form – as "Mexican."

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Beyond the Broadway

Performance, Culture and Social Change in Southall

Jerri Daboo

Forthcoming
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Listening and Understanding

The Language of Music and How to Interpret It Translated by Ernest Bernhardt-Kabisch

Constantin Floros

To grasp music in its depth dimension is an art that can be learned and perfected. Categories of formal analysis here play a subordinate role – at least as important it is to be consciously aware of timbres, dynamic processes, musical characters and expressions. Following general reflections about the art of listening, the volume in hand presents exemplary work analyses. The roster of composers introduced extends from Mozart to Bernstein, that of the genres discussed from the piano piece to the opera. A detailed register and a survey of the chief works referred to make this book an indispensable companion for both scholars and laymen.

About the German edition of this book:

«In Floros’ book all these details unite to form a magnificent mosaic. Individual works discussed meet us in an entirely new light, and we begin to decipher the language of music with a different set of tools.»

(Helmut Peters)

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Gustavo Vicente

The way the body is considered and explored in the performing arts has assumed a growing importance, introducing new questions and cross-cutting perspectives on our understanding of the political, sociological and philosophical relevance of the body today.

This book is a meeting point for these questions, bringing together a set of contributors experienced in examining the body’s presence in live performances. It interweaves several disciplinary outlooks, addressing current theoretical debates on the body relating to the theory of affects, ethics, gender, age, discourse and representation.

Looking at recent practice in Portugal, the volume examines several cases where the body and issues of corporeality raise questions of memory, identity, experience and existence. It opens a rare window onto the distinctive Portuguese post-colonial legacy, which has given rise to an intensified search for new forms of bodily affirmation in the world. In so doing, the book conjures up the transformative power of performing arts today: from body into Being.

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Critique d'art et nationalisme

Regards français sur l’art européen au XIXe siècle

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Thierry Laugée and Carole Rabiller

En histoire de l’art, la critique est l’un des miroirs identitaires d’une nation, la résultante d’un héritage façonné par les codes sociaux et culturels d’un pays. Elle repose sur des conventions qui lui sont propres et admises, consciemment ou non, par ses auteurs et son public. Les textes de critique d’art français informent par conséquent tout autant sur la culture de l’observateur que sur celle de l’observé.

Ce volume réunit douze études du discours français sur l’art des pays voisins dans un contexte de rivalités ou de compétitions internationales. Par l’analyse de commentaires de salons, de comptes rendus d’expositions ou encore d’ouvrages d’histoire de l’art du XIXe siècle, les contributions interrogent la part de chauvinisme, de protectionnisme ou de géopolitique inhérente aux transferts culturels européens. Que ce soit à travers les notions d’école artistique ou de nation, la critique d’art française est devenue un important vecteur de diffusion des stéréotypes nationaux et des conflits ou alliances au sein de l’Europe. Dès lors, le point de vue du critique sur l’œuvre d’un artiste est un matériau de premier choix pour comprendre les dynamiques identitaires. La réunion de ces études vise ainsi à révéler les dimensions anthropologiques et politiques de la critique d’art française du XIXe siècle permettant d’appréhender le discours sur l’art comme une participation à la conscience collective de la spécificité d’une nation.

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Der Kunst ausgesetzt

Beiträge des 5. Internationalen Kongresses für Kirchenmusik, 21.–25. Oktober 2015 in Bern

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Thomas Gartmann and Andreas Marti

Ein reiches Programm mit Konzerten und Gottesdiensten, Referaten und Diskussionen prägte den 5. Internationalen Kirchenmusikkongress, der Ende Oktober 2015 in Bern stattfand. Dabei wurde das Verhältnis von Religion, Kirche und Liturgie zur Musik aus musikwissenschaftlicher, historischer und theologischer Sicht betrachtet. Der Kongressband enthält die Hauptreferate, aber auch Beiträge zu einigen der Workshops, die zwischen Reflexion und Praxis vermittelten – von Perspektiven des zukünftigen Orgelbaus bis zu Möglichkeiten des Zusammenwirkens von Musik und Liturgie.
Aufgenommen wurde auch eine Auswahl von Einblicken in die Arbeitsgebiete von Doktorandinnen und Doktoranden, die diese im Rahmen eines Forschungskolloquiums präsentiert hatten; zudem wird der Schlussgottesdienst des Kongresses im Berner Münster dokumentiert – mit der Predigt, Beiträgen zur Zusammenarbeit und zum Entstehungsprozess der Neukomposition von Lukas Langlotz und Gedanken von Teilnehmenden.
Ergänzt wird der Band durch eine Übersicht über alle Veranstaltungen und einen Bericht zu den vorhergehenden Kongressen.

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Buhol Buhol / Entanglement

Contemporary Theatre in Metropolitan Manila

Sir Anril Pineda Tiatco

This book proposes entanglement as a useful idiom for understanding the contemporary Manila theatre. Drawing on its Tagalog counterpart, buhol-buhol, entanglement is conceived not only as a juxtaposition among elements, but also as a process of muddling and snaring. Taken together, these affirm the entangled character of contemporary Manila theatre in overlapping representations, histories, relationships and genres, while at the same time marking some problematic limitations in the treatment of chosen subjects by Manilan artists. The reason for this is that while these entanglements render Manila theatre far more complex than the accusations of mimicry and inauthenticity frequently leveled at Filipino culture, artists are often caught up in a more intractable buhol-buhol than they are willing or able to recognize. Four figures of buhol-buhol are identified in this book: pista (fiesta), kapuluan (archipelago), patibong (trap), and nangingibang-bayan (overseas-worker). In conceptualizing these figures of entanglement, the discussions start by illustrating their materiality and performativity before proceeding to reflections about how these are directed towards the complexity of Manila theatre.

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Mariacruz Castro Ricalde, Mauricio Díaz Calderón and James Ramey

"It was a great night for Mexico, as usual." Donald Trump's words about Alejandro González Iñárritu on Oscars’ night 2014 were a preview of his now-notorious attitude toward Mexicans: "He's walking away with all the gold? Was it that good? I don't hear that. It was certainly a big night for them." Although the future president’s comments were offensive, for scholars interested in transnational film and literature, his words were themselves pure gold. For they raise questions about "nation" as a category of representation. When we invoke "Mexican cinema," for example, we imply that some kind of "national cinema" exists – but what is a national cinema? Is the cinema made in the US a national cinema in the same way as that of Mexico’s? And is a film made by a foreigner in Mexico part of Mexican cinema? What does it mean for a film or a literary work to cross a border? And are borders to be defined in geographical terms only, or can they also be cast in terms of gender, sexual orientation, race, or language itself? This book, in short, reflects on the implications of the term "transnational" in relation to film and literature conceived – in any way, shape, or form – as "Mexican."

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Bühnenkämpfe

Autor-Dramaturgen in der frühen DDR: Brecht, Kipphardt, Hacks

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Silke Flegel

Die theaterwissenschaftliche Studie reflektiert die Aufgabenstellung, Funktion und Problematik der Dramaturgen im Spannungsfeld von Theaterkunst und Kulturpolitik in der DDR. In der konzeptuellen «Denkfigur» des «Autor-Dramaturgen» beleuchtet sie zugleich zentrale Aspekte dieser besonderen Theatergeschichte. Die am konkreten theaterhistorischen Bühnengeschehen entwickelten Befunde werden mit interpretativen Zugriffen innerhalb dieses Spannungsfelds verortet, in der Denkfigur des Autor-Dramaturgen gewinnen sie ihren übergreifenden Anspruch. Mit der Charakterisierung von Brecht, Kipphardt und Hacks entwickelt die Studie keine ausgearbeitete Theorie des Autor-Dramaturgen in der DDR, sondern formuliert einen Vorschlag für eine an eine bestimmte historische und theatrale Situation gebundene Konstellation.