Alastair Matthews
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199656998
- eISBN:
- 9780191742187
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199656998.003.0005
- Subject:
- Literature, European Literature, Early and Medieval Literature
This chapter examines the episode about Henry IV in the Kaiserchronik, which contains a substantial embedded narrative about Godfrey of Bouillon. Drawing on Eberhard Lämmert's concept of narrative ...
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This chapter examines the episode about Henry IV in the Kaiserchronik, which contains a substantial embedded narrative about Godfrey of Bouillon. Drawing on Eberhard Lämmert's concept of narrative strands, the chapter describes how the stories of the two figures are defined and combined with each other. A letter preserved in the Codex Udalrici and (apparently) sent to Pope Paschal II by Daimbert of Pisa, Godfrey, and Raymond of Saint-Gilles in 1099 provides the starting point for the analysis. The chapter describes how the content of the letter reappears, worked into the story of Godfrey, in the chronicles of Frutolf of Michelsberg and Ekkehard of Aura. A comparison of these Latin chronicles with the Kaiserchronik then shows that the latter develops more clearly than its predecessors the story of Godfrey as a self-contained narrative strand in its own right, one that is defined primarily by his presence as a character in itLess
This chapter examines the episode about Henry IV in the Kaiserchronik, which contains a substantial embedded narrative about Godfrey of Bouillon. Drawing on Eberhard Lämmert's concept of narrative strands, the chapter describes how the stories of the two figures are defined and combined with each other. A letter preserved in the Codex Udalrici and (apparently) sent to Pope Paschal II by Daimbert of Pisa, Godfrey, and Raymond of Saint-Gilles in 1099 provides the starting point for the analysis. The chapter describes how the content of the letter reappears, worked into the story of Godfrey, in the chronicles of Frutolf of Michelsberg and Ekkehard of Aura. A comparison of these Latin chronicles with the Kaiserchronik then shows that the latter develops more clearly than its predecessors the story of Godfrey as a self-contained narrative strand in its own right, one that is defined primarily by his presence as a character in it
Alexander Gelley
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9780823262564
- eISBN:
- 9780823266562
- Item type:
- book
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823262564.001.0001
- Subject:
- Literature, Criticism/Theory
In transposing the Freudian dream work from the individual subject to the collective, Walter Benjamin projected a “macroscosmic journey” of the individual sleeper to “the dreaming collective, which, ...
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In transposing the Freudian dream work from the individual subject to the collective, Walter Benjamin projected a “macroscosmic journey” of the individual sleeper to “the dreaming collective, which, through the arcades, communes with its own insides.” This book examines the figurative status of sleeping and awakening within the allegorical structure of The Arcades Project and in Benjamin’s thought more broadly. For Benjamin, memory is not antiquarian: it functions as a solicitation, a call to a collectivity to come. The motif of awakening involves a qualified but crucial performative intention that was central to Benjamin’s undertaking. Benjamin’s passages are not just the Paris arcades: they refer also to Benjamin’s effort to negotiate the labyrinth of his writings. In tracing these corridors of thought, the book treats many of Benjamin’s most important works and examines important critical questions: the interplay of aesthetics and politics, the genre of The Arcades Project, citation, language, messianism, aura and image, and the motifs of memory, the crowd, and awakening.Less
In transposing the Freudian dream work from the individual subject to the collective, Walter Benjamin projected a “macroscosmic journey” of the individual sleeper to “the dreaming collective, which, through the arcades, communes with its own insides.” This book examines the figurative status of sleeping and awakening within the allegorical structure of The Arcades Project and in Benjamin’s thought more broadly. For Benjamin, memory is not antiquarian: it functions as a solicitation, a call to a collectivity to come. The motif of awakening involves a qualified but crucial performative intention that was central to Benjamin’s undertaking. Benjamin’s passages are not just the Paris arcades: they refer also to Benjamin’s effort to negotiate the labyrinth of his writings. In tracing these corridors of thought, the book treats many of Benjamin’s most important works and examines important critical questions: the interplay of aesthetics and politics, the genre of The Arcades Project, citation, language, messianism, aura and image, and the motifs of memory, the crowd, and awakening.
Alexander Gelley
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9780823262564
- eISBN:
- 9780823266562
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823262564.003.0004
- Subject:
- Literature, Criticism/Theory
Benjamin’s discussion of Eugène Atget within “Little History of Photography” (1931) touches on some of the major issues not only of the essay itself but of all his subsequent work, notably, the ...
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Benjamin’s discussion of Eugène Atget within “Little History of Photography” (1931) touches on some of the major issues not only of the essay itself but of all his subsequent work, notably, the relation of technology, work of art, and aura. Atget’s Paris photographs serve, first of all, to illustrate the political dimension of the fading of aura. Further, Benjamin develops the idea of a retrograde futurity in the photograph: "to find the inconspicuous spot where in the immediacy of that long-forgotten moment the future nests so eloquently that we, looking back, may rediscover it.” When Benjamin associates the urban scene of Atget’s photographs with a Tatort, a crime scene, he has in mind a forensic reading that goes beyond the investigation of crime in the usual sense. He anticipates here the kind of phenomenology of urban space that he will later, in the book on Baudelaire, draw from Poe’s Dupin stories, where the urban milieu serves to signify not a moral transgression, but rather the means of instituting a specific quest. Urban space is made available for a new kind of revelation, whereby what was hitherto invisible is disclosed and invested with evidentiary value.Less
Benjamin’s discussion of Eugène Atget within “Little History of Photography” (1931) touches on some of the major issues not only of the essay itself but of all his subsequent work, notably, the relation of technology, work of art, and aura. Atget’s Paris photographs serve, first of all, to illustrate the political dimension of the fading of aura. Further, Benjamin develops the idea of a retrograde futurity in the photograph: "to find the inconspicuous spot where in the immediacy of that long-forgotten moment the future nests so eloquently that we, looking back, may rediscover it.” When Benjamin associates the urban scene of Atget’s photographs with a Tatort, a crime scene, he has in mind a forensic reading that goes beyond the investigation of crime in the usual sense. He anticipates here the kind of phenomenology of urban space that he will later, in the book on Baudelaire, draw from Poe’s Dupin stories, where the urban milieu serves to signify not a moral transgression, but rather the means of instituting a specific quest. Urban space is made available for a new kind of revelation, whereby what was hitherto invisible is disclosed and invested with evidentiary value.
Maria José A. de Abreu
- Published in print:
- 2012
- Published Online:
- May 2013
- ISBN:
- 9780823249800
- eISBN:
- 9780823252480
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823249800.003.0012
- Subject:
- Religion, Religion and Society
This chapter presents a meditation on the efforts of Brazil's Catholic Charismatic Renewal (CCR) to replenish modern technological airspace. In order to understand the CCR's embodied techniques for ...
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This chapter presents a meditation on the efforts of Brazil's Catholic Charismatic Renewal (CCR) to replenish modern technological airspace. In order to understand the CCR's embodied techniques for breathing and for occupying space, and in an effort to critique the metaphors of surface and depth that have been used to interpret the CCR movement as a whole, the chapter revisits medieval conceptions of the air as a substance rather than an empty dimension. The chapter then demonstrates how those understandings have shaped religious and technological developments in Brazil, culminating in the construction of a monastery dedicated to the medieval order of the Poor Clares located directly within a CCR-supported global media religious network, based in Sao Paulo. Questions about space, time, and technology emerge in the course of this analysis, leading to the chapter's concluding reassessment of Walter Benjamin's notion of “aura,” not so much as a visual representation but rather, more fundamentally, as something that is breathed.Less
This chapter presents a meditation on the efforts of Brazil's Catholic Charismatic Renewal (CCR) to replenish modern technological airspace. In order to understand the CCR's embodied techniques for breathing and for occupying space, and in an effort to critique the metaphors of surface and depth that have been used to interpret the CCR movement as a whole, the chapter revisits medieval conceptions of the air as a substance rather than an empty dimension. The chapter then demonstrates how those understandings have shaped religious and technological developments in Brazil, culminating in the construction of a monastery dedicated to the medieval order of the Poor Clares located directly within a CCR-supported global media religious network, based in Sao Paulo. Questions about space, time, and technology emerge in the course of this analysis, leading to the chapter's concluding reassessment of Walter Benjamin's notion of “aura,” not so much as a visual representation but rather, more fundamentally, as something that is breathed.
Adam Zachary Newton
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9780823263516
- eISBN:
- 9780823266470
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823263516.003.0005
- Subject:
- Religion, Judaism
Chapter 3 examines the limit-case of what might be called écriture trouvé: found writing that has fallen into the hands and under the critical gaze of (unintended) readers. “Touch” and “tact” in the ...
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Chapter 3 examines the limit-case of what might be called écriture trouvé: found writing that has fallen into the hands and under the critical gaze of (unintended) readers. “Touch” and “tact” in the sense developed in the book’s Introduction, provide a fulcrum for exposition. The twinning of religious and secular currents continues in this chapter, and the pairing of figures is purposefully off-kilter: mathematician and inventor, philosopher and pietist Blaise Pascal and “author, artist, sorry saint, protector of children” Henry Darger. Each figure serves to illustrate the pathos of authority and molestation (Edward Said’s terms for an originating act of creative will and subsequent encroachments upon it by time and convention), as they impinge upon authorial intention and method. Their coupling is illuminated with recourse to Levinasian tropes of sensibility and “friction” in sympathetic resonance with Walter Benjamin’s more familiar notion of aura.Less
Chapter 3 examines the limit-case of what might be called écriture trouvé: found writing that has fallen into the hands and under the critical gaze of (unintended) readers. “Touch” and “tact” in the sense developed in the book’s Introduction, provide a fulcrum for exposition. The twinning of religious and secular currents continues in this chapter, and the pairing of figures is purposefully off-kilter: mathematician and inventor, philosopher and pietist Blaise Pascal and “author, artist, sorry saint, protector of children” Henry Darger. Each figure serves to illustrate the pathos of authority and molestation (Edward Said’s terms for an originating act of creative will and subsequent encroachments upon it by time and convention), as they impinge upon authorial intention and method. Their coupling is illuminated with recourse to Levinasian tropes of sensibility and “friction” in sympathetic resonance with Walter Benjamin’s more familiar notion of aura.
Eric S. Jenkins
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9780748695478
- eISBN:
- 9781474406413
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748695478.003.0006
- Subject:
- Film, Television and Radio, Film
This chapter analyzes Disney's full-length features to illustrate how Disney develops mutual affection-images as interfaces for the mode of animistic mimesis. It is in these mutual affection-images ...
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This chapter analyzes Disney's full-length features to illustrate how Disney develops mutual affection-images as interfaces for the mode of animistic mimesis. It is in these mutual affection-images where viewers were most likely to feel wonder. The chapter then argues that such images entice and instruct in a different mode of consumerism, one closer to fetishism than the lifestyle consumer promoted by classical Hollywood. Disney contributes uniquely to consumer culture by making newly visible a daydreaming consumer oriented towards their own fantasies, not towards the views or opinions of others.Less
This chapter analyzes Disney's full-length features to illustrate how Disney develops mutual affection-images as interfaces for the mode of animistic mimesis. It is in these mutual affection-images where viewers were most likely to feel wonder. The chapter then argues that such images entice and instruct in a different mode of consumerism, one closer to fetishism than the lifestyle consumer promoted by classical Hollywood. Disney contributes uniquely to consumer culture by making newly visible a daydreaming consumer oriented towards their own fantasies, not towards the views or opinions of others.
Paul G. Hackett
- Published in print:
- 2014
- Published Online:
- November 2015
- ISBN:
- 9780231158879
- eISBN:
- 9780231530378
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231158879.003.0001
- Subject:
- Religion, Buddhism
This chapter describes Theos Casimir Bernard's early life and education in Arizona. Bernard was born in Pasadena, California, on December 10, 1908, to Glen Agassiz Bernard and Aura Georgina Crable. ...
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This chapter describes Theos Casimir Bernard's early life and education in Arizona. Bernard was born in Pasadena, California, on December 10, 1908, to Glen Agassiz Bernard and Aura Georgina Crable. He was raised by his mother in Tombstone, Arizona, having been abandoned by his father before the age of two. Working as a postmistress in the town and filling in as pastor in the local Episcopal church, Aura formally divorced Glen and seven years later remarried, to Jon Gordon, a local mining engineer from Scotland. With Gordon, Aura had three more sons, Ian, Dugald, and Marvene, and together they raised the four boys in the deserts of southern Arizona. His stepfather tried to instill in Theos and his brothers an appreciation for a scientific, though not a rigid, approach to life. Theos entered college in Tucson at the newly founded University of Arizona, and was accepted to the College of Arts and Sciences. He also learned the basics of yoga.Less
This chapter describes Theos Casimir Bernard's early life and education in Arizona. Bernard was born in Pasadena, California, on December 10, 1908, to Glen Agassiz Bernard and Aura Georgina Crable. He was raised by his mother in Tombstone, Arizona, having been abandoned by his father before the age of two. Working as a postmistress in the town and filling in as pastor in the local Episcopal church, Aura formally divorced Glen and seven years later remarried, to Jon Gordon, a local mining engineer from Scotland. With Gordon, Aura had three more sons, Ian, Dugald, and Marvene, and together they raised the four boys in the deserts of southern Arizona. His stepfather tried to instill in Theos and his brothers an appreciation for a scientific, though not a rigid, approach to life. Theos entered college in Tucson at the newly founded University of Arizona, and was accepted to the College of Arts and Sciences. He also learned the basics of yoga.
Jeffrey Knapp
- Published in print:
- 2017
- Published Online:
- January 2017
- ISBN:
- 9780190634063
- eISBN:
- 9780190634094
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780190634063.003.0006
- Subject:
- Literature, Shakespeare Studies
The third section of the book, “Junk and Art,” focuses on a problem that twentieth-century critics insisted was distinctly and depressingly modern. According to Aldous Huxley in 1934, recent ...
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The third section of the book, “Junk and Art,” focuses on a problem that twentieth-century critics insisted was distinctly and depressingly modern. According to Aldous Huxley in 1934, recent technological “advances” in catering to “an enormous public” meant that “in all the arts the output of trash is both absolutely and relatively greater than it was in the past.” But chapter 5, “Mocked with Art,” demonstrates how Shakespeare and his rival dramatist Ben Jonson were themselves obsessed with the question whether it was ever possible to pursue artistic distinction while at the same time catering to “the rude multitude.”Less
The third section of the book, “Junk and Art,” focuses on a problem that twentieth-century critics insisted was distinctly and depressingly modern. According to Aldous Huxley in 1934, recent technological “advances” in catering to “an enormous public” meant that “in all the arts the output of trash is both absolutely and relatively greater than it was in the past.” But chapter 5, “Mocked with Art,” demonstrates how Shakespeare and his rival dramatist Ben Jonson were themselves obsessed with the question whether it was ever possible to pursue artistic distinction while at the same time catering to “the rude multitude.”
