Anne Gray
- Published in print:
- 2010
- Published Online:
- October 2011
- ISBN:
- 9780199563739
- eISBN:
- 9780191701894
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199563739.003.0005
- Subject:
- History, World Modern History
This chapter examines the ways artists have portrayed the Australian landscape, and how this reflects both their own relationship to the environment and that of their society. It analyses how the ...
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This chapter examines the ways artists have portrayed the Australian landscape, and how this reflects both their own relationship to the environment and that of their society. It analyses how the continuities between European and colonial artistic styles and techniques produced the so-called ‘new visions from old’. It argues that that reliance on imperial borrowings was not the hallmark of an inauthentic, derivative culture but the key to an original vision of Australia’s Empire.Less
This chapter examines the ways artists have portrayed the Australian landscape, and how this reflects both their own relationship to the environment and that of their society. It analyses how the continuities between European and colonial artistic styles and techniques produced the so-called ‘new visions from old’. It argues that that reliance on imperial borrowings was not the hallmark of an inauthentic, derivative culture but the key to an original vision of Australia’s Empire.
David Roberts
- Published in print:
- 2011
- Published Online:
- August 2016
- ISBN:
- 9780801450235
- eISBN:
- 9780801460975
- Item type:
- chapter
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9780801450235.003.0001
- Subject:
- Art, Art History
This introductory chapter sets out the book’s purpose, namely to attempt an overview of the theory and history of the total work in European art since the French Revolution. This is perhaps the first ...
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This introductory chapter sets out the book’s purpose, namely to attempt an overview of the theory and history of the total work in European art since the French Revolution. This is perhaps the first book in English to treat the total work of art as a key concept in aesthetic modernism. It argues for twin lineages of the total work—a French revolutionary and a German aesthetic—which interrelate across the whole epoch of European modernism, culminating in the aesthetic and political radicalism of the avant-garde movements in response to the crisis of autonomous art and the accelerating political crisis of European societies from the 1890s on. This critical period from the turn of the century to the 1930s forms the central focus of the present study. These key years of the European avant-garde are explored from two closely related perspectives: the meta-aesthetic and the metapolitical. The remainder of the chapter sketches the framework of the present inquiry; provides the definition of the total work that underpins this study; followed by an outline of the subsequent chapters.Less
This introductory chapter sets out the book’s purpose, namely to attempt an overview of the theory and history of the total work in European art since the French Revolution. This is perhaps the first book in English to treat the total work of art as a key concept in aesthetic modernism. It argues for twin lineages of the total work—a French revolutionary and a German aesthetic—which interrelate across the whole epoch of European modernism, culminating in the aesthetic and political radicalism of the avant-garde movements in response to the crisis of autonomous art and the accelerating political crisis of European societies from the 1890s on. This critical period from the turn of the century to the 1930s forms the central focus of the present study. These key years of the European avant-garde are explored from two closely related perspectives: the meta-aesthetic and the metapolitical. The remainder of the chapter sketches the framework of the present inquiry; provides the definition of the total work that underpins this study; followed by an outline of the subsequent chapters.
David Martin-Jones
- Published in print:
- 2006
- Published Online:
- March 2012
- ISBN:
- 9780748622443
- eISBN:
- 9780748651085
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748622443.001.0001
- Subject:
- Film, Television and Radio, Film
This book challenges the traditional use of Deleuze's philosophy to examine European art cinema, exploring how Deleuze can be used to analyse national identity across a range of different cinemas. ...
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This book challenges the traditional use of Deleuze's philosophy to examine European art cinema, exploring how Deleuze can be used to analyse national identity across a range of different cinemas. Focusing on narrative time, it combines a Deleuzean approach with a vast range of non-traditional material. The films discussed are contemporary and popular (either financial or cult successes), and include Eternal Sunshine of the Spotless Mind, Terminator 3, Memento, Saving Private Ryan, Run Lola Run, Sliding Doors, Chaos and Peppermint Candy. Each film is examined in light of a major historical event – including 9/11, German reunification, and the Asian economic crisis – and the impact it has had on individual nations. This cross-cultural approach illustrates how Deleuze's work can enhance our understanding of the construction of national identity. It also enables a critique of Deleuze's conclusions by examining his work in a variety of national contexts. The book significantly broadens the field of work on Deleuze and cinema, placing equal emphasis on understanding mainstream North American genre films, and American independent and European art films. It also examines Asian thrillers, and gangster and art films in the light of Deleuze's work on time. With Asian films increasingly crossing over into Western markets, this is a timely addition to the expanding body of work on Deleuze and film.Less
This book challenges the traditional use of Deleuze's philosophy to examine European art cinema, exploring how Deleuze can be used to analyse national identity across a range of different cinemas. Focusing on narrative time, it combines a Deleuzean approach with a vast range of non-traditional material. The films discussed are contemporary and popular (either financial or cult successes), and include Eternal Sunshine of the Spotless Mind, Terminator 3, Memento, Saving Private Ryan, Run Lola Run, Sliding Doors, Chaos and Peppermint Candy. Each film is examined in light of a major historical event – including 9/11, German reunification, and the Asian economic crisis – and the impact it has had on individual nations. This cross-cultural approach illustrates how Deleuze's work can enhance our understanding of the construction of national identity. It also enables a critique of Deleuze's conclusions by examining his work in a variety of national contexts. The book significantly broadens the field of work on Deleuze and cinema, placing equal emphasis on understanding mainstream North American genre films, and American independent and European art films. It also examines Asian thrillers, and gangster and art films in the light of Deleuze's work on time. With Asian films increasingly crossing over into Western markets, this is a timely addition to the expanding body of work on Deleuze and film.
Sharon Hecker
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9780520294486
- eISBN:
- 9780520967564
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520294486.001.0001
- Subject:
- Art, Art History
Medardo Rosso (1858–1928) is one of the most original and influential figures in the history of modern art, and this book is the first historically substantiated critical account of his life and ...
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Medardo Rosso (1858–1928) is one of the most original and influential figures in the history of modern art, and this book is the first historically substantiated critical account of his life and work. An innovative sculptor, photographer, and draftsman, Rosso was vital in paving the way for the transition from the academic forms of sculpture that persisted in the nineteenth century to the development of new and experimental forms in the twentieth century. His antimonumental, antiheroic work reflected alienation in the modern experience yet showed deep feeling for interactions between self and other. Rosso's art was transnational: he refused allegiance to a single culture or artistic heritage and declared himself both a citizen of the world and a maker of art without national limits. This book develops a narrative that is an alternative to the dominant Franco-centered perspective on the origin of modern sculpture in which Rodin plays the role of lone heroic innovator. Offering an original way to comprehend Rosso, the book negotiates the competing cultural imperatives of nationalism and internationalism that shaped the European art world at the fin de siècle.Less
Medardo Rosso (1858–1928) is one of the most original and influential figures in the history of modern art, and this book is the first historically substantiated critical account of his life and work. An innovative sculptor, photographer, and draftsman, Rosso was vital in paving the way for the transition from the academic forms of sculpture that persisted in the nineteenth century to the development of new and experimental forms in the twentieth century. His antimonumental, antiheroic work reflected alienation in the modern experience yet showed deep feeling for interactions between self and other. Rosso's art was transnational: he refused allegiance to a single culture or artistic heritage and declared himself both a citizen of the world and a maker of art without national limits. This book develops a narrative that is an alternative to the dominant Franco-centered perspective on the origin of modern sculpture in which Rodin plays the role of lone heroic innovator. Offering an original way to comprehend Rosso, the book negotiates the competing cultural imperatives of nationalism and internationalism that shaped the European art world at the fin de siècle.
Alison Taylor
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9781474415224
- eISBN:
- 9781474434829
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474415224.001.0001
- Subject:
- Film, Television and Radio, Film
Extreme violence in contemporary European art cinema is generally interpreted for its affective potential, but what about the significance of the everyday that so often frames and forms the majority ...
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Extreme violence in contemporary European art cinema is generally interpreted for its affective potential, but what about the significance of the everyday that so often frames and forms the majority of these films? Why do the sudden moments of violence that punctuate films like Catherine Breillat’s Fat Girl (2001), Gaspar Noé’s Irreversible (2002) and Markus Schleinzer’s Michael (2011) seem so reliant on everyday routines and settings for their impact? Addressing these questions through a series of case studies, and considering notorious films in their historical and philosophical context, Troubled Everyday offers the first detailed examination of the relationship between violence and the everyday in European art cinema. It calls for a re-evaluation of what gives these films such affective force and such a prolonged grip on our imagination.Less
Extreme violence in contemporary European art cinema is generally interpreted for its affective potential, but what about the significance of the everyday that so often frames and forms the majority of these films? Why do the sudden moments of violence that punctuate films like Catherine Breillat’s Fat Girl (2001), Gaspar Noé’s Irreversible (2002) and Markus Schleinzer’s Michael (2011) seem so reliant on everyday routines and settings for their impact? Addressing these questions through a series of case studies, and considering notorious films in their historical and philosophical context, Troubled Everyday offers the first detailed examination of the relationship between violence and the everyday in European art cinema. It calls for a re-evaluation of what gives these films such affective force and such a prolonged grip on our imagination.
Karol Berger
- Published in print:
- 2007
- Published Online:
- May 2012
- ISBN:
- 9780520250918
- eISBN:
- 9780520933699
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520250918.003.0001
- Subject:
- Music, History, Western
This chapter introduces the main themes and arguments of the book, claiming that, in the later eighteenth century, European art music began to take seriously the flow of time from past to future. ...
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This chapter introduces the main themes and arguments of the book, claiming that, in the later eighteenth century, European art music began to take seriously the flow of time from past to future. Until then, music was simply “in time”; “earlier” and “later” mattered little to the way it was experienced and understood. From that point on, music added the experience of linear time, of time's arrow, to its essential subject matter. It could no longer be experienced with understanding unless one recognized the temporal ordering of events. The chapter also argues that this change in the shape of musical time was not a development internal to music alone, but rather, with the onset of modernity, part of a larger transformation in the way educated Europeans began to conceive of time.Less
This chapter introduces the main themes and arguments of the book, claiming that, in the later eighteenth century, European art music began to take seriously the flow of time from past to future. Until then, music was simply “in time”; “earlier” and “later” mattered little to the way it was experienced and understood. From that point on, music added the experience of linear time, of time's arrow, to its essential subject matter. It could no longer be experienced with understanding unless one recognized the temporal ordering of events. The chapter also argues that this change in the shape of musical time was not a development internal to music alone, but rather, with the onset of modernity, part of a larger transformation in the way educated Europeans began to conceive of time.
Sharon Hecker
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9780520294486
- eISBN:
- 9780520967564
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520294486.003.0001
- Subject:
- Art, Art History
This introductory chapter discusses how nineteenth-century art, defined by the birth of the nation-state and nationalism, is teeming with transnational forms of circulation. Italian sculptor Medardo ...
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This introductory chapter discusses how nineteenth-century art, defined by the birth of the nation-state and nationalism, is teeming with transnational forms of circulation. Italian sculptor Medardo Rosso took advantage of new international networks being created by so-called “cultural mediators” (middlemen—art dealers, critics and literary figures—who regularly traveled abroad), including exhibition opportunities and art markets throughout Europe. In doing so, he presaged the nomadic, itinerant status of twentieth- and twenty-first-century sculpture. The chapter offers a methodological challenge to the grand narrative of the nineteenth century by reframing a single artist within a cultural context characterized by transnational exchange and new forms of mobility. It provides an original, transnational way to comprehend Rosso and is intended as a model for future studies of pan-European modern art.Less
This introductory chapter discusses how nineteenth-century art, defined by the birth of the nation-state and nationalism, is teeming with transnational forms of circulation. Italian sculptor Medardo Rosso took advantage of new international networks being created by so-called “cultural mediators” (middlemen—art dealers, critics and literary figures—who regularly traveled abroad), including exhibition opportunities and art markets throughout Europe. In doing so, he presaged the nomadic, itinerant status of twentieth- and twenty-first-century sculpture. The chapter offers a methodological challenge to the grand narrative of the nineteenth century by reframing a single artist within a cultural context characterized by transnational exchange and new forms of mobility. It provides an original, transnational way to comprehend Rosso and is intended as a model for future studies of pan-European modern art.
Aaron Baker
- Published in print:
- 2011
- Published Online:
- April 2017
- ISBN:
- 9780252036057
- eISBN:
- 9780252093012
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252036057.001.0001
- Subject:
- Film, Television and Radio, Film
Steven Soderbergh's feature films present a diverse range of subject matter and formal styles: from the self-absorption of his breakthrough hit Sex, Lies, and Videotape to populist social problem ...
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Steven Soderbergh's feature films present a diverse range of subject matter and formal styles: from the self-absorption of his breakthrough hit Sex, Lies, and Videotape to populist social problem films such as Erin Brockovich, and from the modernist discontinuity of Full Frontal and filmed performance art of Gray's Anatomy to a glossy, star-studded action blockbuster such as Ocean's Eleven. Arguing that Soderbergh practices an eclectic type of moviemaking indebted both to the European art cinema and the Hollywood genre film, this book charts the common thematic and formal patterns present across Soderbergh's oeuvre. Almost every movie centers on an alienated main character, and he represents the unconventional thinking of his outsider protagonists through a discontinuous editing style. Including detailed analyses of major films as well as two interviews with the director, this volume illustrates Soderbergh's hybrid flexibility in bringing an independent aesthetic to wide audiences.Less
Steven Soderbergh's feature films present a diverse range of subject matter and formal styles: from the self-absorption of his breakthrough hit Sex, Lies, and Videotape to populist social problem films such as Erin Brockovich, and from the modernist discontinuity of Full Frontal and filmed performance art of Gray's Anatomy to a glossy, star-studded action blockbuster such as Ocean's Eleven. Arguing that Soderbergh practices an eclectic type of moviemaking indebted both to the European art cinema and the Hollywood genre film, this book charts the common thematic and formal patterns present across Soderbergh's oeuvre. Almost every movie centers on an alienated main character, and he represents the unconventional thinking of his outsider protagonists through a discontinuous editing style. Including detailed analyses of major films as well as two interviews with the director, this volume illustrates Soderbergh's hybrid flexibility in bringing an independent aesthetic to wide audiences.
Adam Mestyan
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9780691172644
- eISBN:
- 9781400885312
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691172644.003.0004
- Subject:
- History, Middle East History
This chapter focuses on the creation of spaces which brought a new political aesthetics—the European political aesthetics. Strikingly different from Muslim patriotism, images of Ismail Pasha as a ...
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This chapter focuses on the creation of spaces which brought a new political aesthetics—the European political aesthetics. Strikingly different from Muslim patriotism, images of Ismail Pasha as a sovereign ruler were created according to western European styles of representation. This representation system was a tool to fabricate the sovereign image of the khedive, to obscure his Ottomanness. The government production of a history of “independence” started at this moment with the instrumentalization of European art. The chapter then looks at the life of Paul Draneht Bey, who helped to fabricate this “internal Europe” and directed the theaters between 1869 and 1878. It concludes with an exploration of the “portrait of the pasha” and the main product of early khedivial culture: Giuseppe Verdi's opera, Aida (1871).Less
This chapter focuses on the creation of spaces which brought a new political aesthetics—the European political aesthetics. Strikingly different from Muslim patriotism, images of Ismail Pasha as a sovereign ruler were created according to western European styles of representation. This representation system was a tool to fabricate the sovereign image of the khedive, to obscure his Ottomanness. The government production of a history of “independence” started at this moment with the instrumentalization of European art. The chapter then looks at the life of Paul Draneht Bey, who helped to fabricate this “internal Europe” and directed the theaters between 1869 and 1878. It concludes with an exploration of the “portrait of the pasha” and the main product of early khedivial culture: Giuseppe Verdi's opera, Aida (1871).
Catherine M. Soussloff
- Published in print:
- 2017
- Published Online:
- September 2018
- ISBN:
- 9781517902414
- eISBN:
- 9781452958804
- Item type:
- book
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9781517902414.001.0001
- Subject:
- Philosophy, Aesthetics
Catherine M. Soussloff argues that Michel Foucault’s sustained engagement with European art history critically addresses present concerns about the mediated nature of the image in the digital age. ...
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Catherine M. Soussloff argues that Michel Foucault’s sustained engagement with European art history critically addresses present concerns about the mediated nature of the image in the digital age. She explores the meaning of painting for Foucault’s philosophy, and for contemporary art theory, proposing a new relevance for a Foucauldian view of ethics and the pleasures and predicaments of contemporary existence.Less
Catherine M. Soussloff argues that Michel Foucault’s sustained engagement with European art history critically addresses present concerns about the mediated nature of the image in the digital age. She explores the meaning of painting for Foucault’s philosophy, and for contemporary art theory, proposing a new relevance for a Foucauldian view of ethics and the pleasures and predicaments of contemporary existence.
Angelos Koutsourakis and Mark Steven (eds)
- Published in print:
- 2015
- Published Online:
- January 2018
- ISBN:
- 9780748697953
- eISBN:
- 9781474416160
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748697953.001.0001
- Subject:
- Film, Television and Radio, Film
This book is the first critical assessment of one of the leading figures of modernist European art cinema. Assessing his complete works, the book brings together a team of internationally regarded ...
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This book is the first critical assessment of one of the leading figures of modernist European art cinema. Assessing his complete works, the book brings together a team of internationally regarded experts and emerging scholars from multiple disciplines, to provide a definitive account of Theo Angelopoulos' formal reactions to the historical events that determined life during the twentieth and early twenty-first centuries. Refusing to restrict its approach to the confines of the Greek national film industry, the book approaches Angelopoulos' work as representative of modernism more generally, and in particular of the modernist imperative to document its allusive historical objects through artistic innovation. Retrospective in nature, the book argues that Angelopoulos' films are not emblems of a bygone historical and cultural era or abstract exercises in artistic style, but are foreshadowing documents that speak to the political complexities and economic contradictions of the present.Less
This book is the first critical assessment of one of the leading figures of modernist European art cinema. Assessing his complete works, the book brings together a team of internationally regarded experts and emerging scholars from multiple disciplines, to provide a definitive account of Theo Angelopoulos' formal reactions to the historical events that determined life during the twentieth and early twenty-first centuries. Refusing to restrict its approach to the confines of the Greek national film industry, the book approaches Angelopoulos' work as representative of modernism more generally, and in particular of the modernist imperative to document its allusive historical objects through artistic innovation. Retrospective in nature, the book argues that Angelopoulos' films are not emblems of a bygone historical and cultural era or abstract exercises in artistic style, but are foreshadowing documents that speak to the political complexities and economic contradictions of the present.
Catherine M. Soussloff
- Published in print:
- 2017
- Published Online:
- September 2018
- ISBN:
- 9781517902414
- eISBN:
- 9781452958804
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9781517902414.003.0003
- Subject:
- Philosophy, Aesthetics
The historio-critical situation for Foucault’s writings on painting, including a discussion of significant issues of translation and reception that impinge on the specific theoretical matters ...
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The historio-critical situation for Foucault’s writings on painting, including a discussion of significant issues of translation and reception that impinge on the specific theoretical matters addressed by each of his texts about painting.Less
The historio-critical situation for Foucault’s writings on painting, including a discussion of significant issues of translation and reception that impinge on the specific theoretical matters addressed by each of his texts about painting.
Susan McClary
- Published in print:
- 2000
- Published Online:
- May 2012
- ISBN:
- 9780520221062
- eISBN:
- 9780520928084
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520221062.003.0003
- Subject:
- Music, Theory, Analysis, Composition
At first glance, eighteenth-century European art music would seem to have little in common with the blues. Not only do the musical practices themselves bear scant resemblance to one another, but the ...
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At first glance, eighteenth-century European art music would seem to have little in common with the blues. Not only do the musical practices themselves bear scant resemblance to one another, but the temporal, geographical, and social locations of the personnel involved—disenfranchised African Americans versus composers working under the patronage of Italian courts and German churches—demand radically different modes of historical analysis. Yet just as many artists during our own era have found the blues a compelling template for musical and cultural expression, so eighteenth-century musicians embraced with great enthusiasm the particular cluster of conventions we call tonality. By juxtaposing these highly conventionalized discourses from two very distant cultural contexts, this chapter proposes to defamiliarize temporarily the musical premises those in musicology most often accept as “purely musical.” As with the blues in Chapter 2, it asks how eighteenth-century procedures intersected with and helped to structure the social world in which they played active roles. The eighteenth century was a period of almost unparalleled confidence in the viability of a public sphere in which ideas could be successfully communicated, differences negotiated, consensus achieved. The chapter asks why the particular musical conventions that crystallized during this period appealed so much to musicians and audiences of the Enlightenment. What needs did they satisfy, what functions did they serve, what kinds of cultural work did they perform? The chapter concentrates especially on tonality, the convention that undergirds and guarantees all the others, discussing how it constructed musical analogs to such emergent ideals as rationality, individualism, progress, and centered subjectivity.Less
At first glance, eighteenth-century European art music would seem to have little in common with the blues. Not only do the musical practices themselves bear scant resemblance to one another, but the temporal, geographical, and social locations of the personnel involved—disenfranchised African Americans versus composers working under the patronage of Italian courts and German churches—demand radically different modes of historical analysis. Yet just as many artists during our own era have found the blues a compelling template for musical and cultural expression, so eighteenth-century musicians embraced with great enthusiasm the particular cluster of conventions we call tonality. By juxtaposing these highly conventionalized discourses from two very distant cultural contexts, this chapter proposes to defamiliarize temporarily the musical premises those in musicology most often accept as “purely musical.” As with the blues in Chapter 2, it asks how eighteenth-century procedures intersected with and helped to structure the social world in which they played active roles. The eighteenth century was a period of almost unparalleled confidence in the viability of a public sphere in which ideas could be successfully communicated, differences negotiated, consensus achieved. The chapter asks why the particular musical conventions that crystallized during this period appealed so much to musicians and audiences of the Enlightenment. What needs did they satisfy, what functions did they serve, what kinds of cultural work did they perform? The chapter concentrates especially on tonality, the convention that undergirds and guarantees all the others, discussing how it constructed musical analogs to such emergent ideals as rationality, individualism, progress, and centered subjectivity.
- Published in print:
- 2003
- Published Online:
- June 2013
- ISBN:
- 9780853237785
- eISBN:
- 9781846314063
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9780853237785.003.0004
- Subject:
- Literature, European Literature
This chapter examines the selective history of European art which underpins the cultural and romantic pilgrimages of the character of Léon Delmont in Michel Butor's novel La Modification. It analyzes ...
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This chapter examines the selective history of European art which underpins the cultural and romantic pilgrimages of the character of Léon Delmont in Michel Butor's novel La Modification. It analyzes the symbolic, psychological and reflexive functions of the various clusters of art-historical references that constitute the cultural coordinates both in Léon's conscious thought-processes and in the subconscious workings of his dreams. It argues that the references to the visual arts in the novel not only reflect the preoccupations and situation of the central character but also serve to ‘universalise’ those preoccupations and that situation.Less
This chapter examines the selective history of European art which underpins the cultural and romantic pilgrimages of the character of Léon Delmont in Michel Butor's novel La Modification. It analyzes the symbolic, psychological and reflexive functions of the various clusters of art-historical references that constitute the cultural coordinates both in Léon's conscious thought-processes and in the subconscious workings of his dreams. It argues that the references to the visual arts in the novel not only reflect the preoccupations and situation of the central character but also serve to ‘universalise’ those preoccupations and that situation.
Noel Polk
- Published in print:
- 2008
- Published Online:
- March 2014
- ISBN:
- 9781934110843
- eISBN:
- 9781604733235
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781934110843.003.0007
- Subject:
- Literature, 20th-century Literature and Modernism
In William Faulkner’s novel A Fable, which takes place in France during World War I, two scenes highlight modern European sculpture and painting. Thomas L. McHaney suggests that the painting might be ...
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In William Faulkner’s novel A Fable, which takes place in France during World War I, two scenes highlight modern European sculpture and painting. Thomas L. McHaney suggests that the painting might be one in Paul Cézanne’s Chateau Noir series. These modernist works of art form part of a multitude of references to European art, politics, and history throughout the novel, including references to the Levant. This chapter examines the paintings in A Fable and Cézanne’s stature as precursors of modernism and considers Faulkner’s introduction of the modern in twentieth-century European art as interpellations in the larger narrative.Less
In William Faulkner’s novel A Fable, which takes place in France during World War I, two scenes highlight modern European sculpture and painting. Thomas L. McHaney suggests that the painting might be one in Paul Cézanne’s Chateau Noir series. These modernist works of art form part of a multitude of references to European art, politics, and history throughout the novel, including references to the Levant. This chapter examines the paintings in A Fable and Cézanne’s stature as precursors of modernism and considers Faulkner’s introduction of the modern in twentieth-century European art as interpellations in the larger narrative.
Catherine M. Soussloff
- Published in print:
- 2017
- Published Online:
- September 2018
- ISBN:
- 9781517902414
- eISBN:
- 9781452958804
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9781517902414.003.0002
- Subject:
- Philosophy, Aesthetics
Where does a new theory of painting belong in the context of Foucault’s larger philosophical project?
Where does a new theory of painting belong in the context of Foucault’s larger philosophical project?
Alistair Fox
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9781474429443
- eISBN:
- 9781474438438
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474429443.003.0001
- Subject:
- Film, Television and Radio, Film
This chapter outlines the generic characteristics, categories, and dominant tropes of the coming-of-age film, relating it to the Bildungsroman in literature, and showing the influence on its ...
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This chapter outlines the generic characteristics, categories, and dominant tropes of the coming-of-age film, relating it to the Bildungsroman in literature, and showing the influence on its evolution of the French New Wave and European art cinema. The chapter concludes by speculating on why coming-of-age films are such a prominent feature in national cinemas, arguing that they play an important role in the development of collective memory and the transmission and reshaping of cultural values.Less
This chapter outlines the generic characteristics, categories, and dominant tropes of the coming-of-age film, relating it to the Bildungsroman in literature, and showing the influence on its evolution of the French New Wave and European art cinema. The chapter concludes by speculating on why coming-of-age films are such a prominent feature in national cinemas, arguing that they play an important role in the development of collective memory and the transmission and reshaping of cultural values.
Alistair Fox
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9781474429443
- eISBN:
- 9781474438438
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474429443.003.0006
- Subject:
- Film, Television and Radio, Film
This chapter explores how Vincent Ward exploits a characteristic coming-of-age story as a vehicle for addressing cultural dislocation on one hand, and Oedipal tensions and ambivalent attachments on ...
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This chapter explores how Vincent Ward exploits a characteristic coming-of-age story as a vehicle for addressing cultural dislocation on one hand, and Oedipal tensions and ambivalent attachments on the other, so that these personal issues are turned into a paradigmatic exemplification of a more general predicament faced by settlers living in a postcolonial situation. Ward’s use of techniques imitated from European art cinema is examined, along with the origins of the film in Ward’s own biography.
Less
This chapter explores how Vincent Ward exploits a characteristic coming-of-age story as a vehicle for addressing cultural dislocation on one hand, and Oedipal tensions and ambivalent attachments on the other, so that these personal issues are turned into a paradigmatic exemplification of a more general predicament faced by settlers living in a postcolonial situation. Ward’s use of techniques imitated from European art cinema is examined, along with the origins of the film in Ward’s own biography.
Richard Taruskin
- Published in print:
- 2008
- Published Online:
- May 2012
- ISBN:
- 9780520249790
- eISBN:
- 9780520942806
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520249790.003.0019
- Subject:
- Music, History, Western
The Love for Three Oranges was the only one of Sergey Prokofieff's eight operas to enjoy unqualified success and repertory status during the composer's lifetime. The opera, however, owes the credits ...
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The Love for Three Oranges was the only one of Sergey Prokofieff's eight operas to enjoy unqualified success and repertory status during the composer's lifetime. The opera, however, owes the credits for its title, and for the general outline of its plot, to the celebrated fiaba teatrale (fable for the theater) by Carlo Gozzi (1761). With each telling, the tale became further encrusted with theatrical artifice and literary doctrine, even as the tellers advertised naive simplicity. The end result manifested 250 years down the line, in a composition written by a Russian for performance in Chicago, in French. The core of the composition retained the original foretaste of the ban on all pathos that would dominate European art between the world wars in the name of a re-imagined “eighteenth century.” This was the one time that Prokofieff shone ahead of his time.Less
The Love for Three Oranges was the only one of Sergey Prokofieff's eight operas to enjoy unqualified success and repertory status during the composer's lifetime. The opera, however, owes the credits for its title, and for the general outline of its plot, to the celebrated fiaba teatrale (fable for the theater) by Carlo Gozzi (1761). With each telling, the tale became further encrusted with theatrical artifice and literary doctrine, even as the tellers advertised naive simplicity. The end result manifested 250 years down the line, in a composition written by a Russian for performance in Chicago, in French. The core of the composition retained the original foretaste of the ban on all pathos that would dominate European art between the world wars in the name of a re-imagined “eighteenth century.” This was the one time that Prokofieff shone ahead of his time.
Rob Stone
- Published in print:
- 2013
- Published Online:
- November 2015
- ISBN:
- 9780231165532
- eISBN:
- 9780231850407
- Item type:
- book
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231165532.001.0001
- Subject:
- Film, Television and Radio, Film
From Slacker (1991) to The School of Rock (2003), from Before Sunrise (1995) to Before Sunset (2004), from the walking and talking of his no/low-budget American independent films to conversing with ...
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From Slacker (1991) to The School of Rock (2003), from Before Sunrise (1995) to Before Sunset (2004), from the walking and talking of his no/low-budget American independent films to conversing with the philosophical traditions of the European art house, Richard Linklater's films are some of the most critical, political, and spiritual achievements of contemporary world cinema. Examinations of Linklater's collaborative working practices and deployment of rotoscoping and innovative distribution strategies all feature in this book, which aspires to walk and talk with the filmmaker and his films. Informed by a series of original interviews with the artist, in both his hometown and frequent film location of Austin, Texas, this study of the director who made Dazed and Confused (1993), A Scanner Darkly (2006), and Bernie (2011) explores the theoretical, practical, contextual, and metaphysical elements of these works along with his documentaries and side-projects and finds fanciful lives and lucid dreams have as much to do with his work as generally alternative notions of America, contemporary society, cinema, and time.Less
From Slacker (1991) to The School of Rock (2003), from Before Sunrise (1995) to Before Sunset (2004), from the walking and talking of his no/low-budget American independent films to conversing with the philosophical traditions of the European art house, Richard Linklater's films are some of the most critical, political, and spiritual achievements of contemporary world cinema. Examinations of Linklater's collaborative working practices and deployment of rotoscoping and innovative distribution strategies all feature in this book, which aspires to walk and talk with the filmmaker and his films. Informed by a series of original interviews with the artist, in both his hometown and frequent film location of Austin, Texas, this study of the director who made Dazed and Confused (1993), A Scanner Darkly (2006), and Bernie (2011) explores the theoretical, practical, contextual, and metaphysical elements of these works along with his documentaries and side-projects and finds fanciful lives and lucid dreams have as much to do with his work as generally alternative notions of America, contemporary society, cinema, and time.
