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Comics and Agency
This volume aims to intensify the interdisciplinary dialogue on comics and related popular multimodal forms (including manga, graphic novels, and cartoons) by focusing on the concept of medial, mediated, and mediating agency. To this end, a theoretically and methodologically diverse set of contributions explores the interrelations between individual, collective, and institutional actors within historical and contemporary comics cultures. Agency is at stake when recipients resist hegemonic readings of multimodal texts. In the same manner, “authorship” can be understood as the attribution of agency of and between various medial instances and roles such as writers, artists, colorists, letterers, or editors, as well as with regard to commercial rights holders such as publishing houses or conglomerates and reviewers or fans. From this perspective, aspects of comics production (authorship and institutionalization) can be related to aspects of comics reception (appropriation and discursivation), and circulation (participation and canonization), including their potential for transmedialization and making contributions to the formation of the public sphere.
Early Printed Narrative Literature in Western Europe
The essays in this volume are concerned with early printed narrative texts in Western Europe. The aim of this book is to consider to what extent the shift from hand-written to printed books left its mark on narrative literature in a number of vernacular languages. Did the advent of printing bring about changes in the corpus of narrative texts when compared with the corpus extant in manuscript copies? Did narrative texts that already existed in manuscript form undergo significant modifications when they began to be printed? How did this crucial media development affect the nature of these narratives? Which strategies did early printers develop to make their texts commercially attractive? Which social classes were the target audiences for their editions? Around half of the articles focus on developments in the history of early printed narrative texts, others discuss publication strategies. This book provides an impetus for cross-linguistic research. It invites scholars from various disciplines to get involved in an international conversation about fifteenth- and sixteenth-century narrative literature.
The Untold Story of the Talking Book
Afterword: Speed Listening -- Notes -- Credits -- Acknowledgments -- Index
Imaging Identity
Imaging Identity presents potent reflections on the human condition through the prism of portraiture. Taking digital imaging technologies and the dynamic and precarious dimensions of contemporary identity as critical reference points, these essays consider why portraits continue to have such galvanising appeal and perform fundamental work across so many social settings. This multidisciplinary enquiry brings together artists, art historians, art theorists and anthropologists working with a variety of media. Authors look beyond conventional ideas of the portrait to the wider cultural contexts, governmental practices and intimate experiences that shape relationships between persons and pictures. Their shared purpose centres on a commitment to understanding the power of images to draw people into their worlds. Imaging Identity tracks a fundamental symbiosis — to grapple with the workings of images is to understand something vital of what it is to be human.
Anonymity in Eighteenth-Century Italian Publishing
This book focuses on the different forms in which authorship came to be expressed in eighteenth-century Italian publishing. It analyses both the affirmation of the “author function”, and, above all, its paradoxical opposite: the use of anonymity, a centuries-old practice present everywhere in Europe but often neglected by scholarship. The reasons why authors chose to publish their works anonymously were manifold, including prudence, fear of censorship, modesty, fear of personal criticism, or simple divertissement. In many cases, it was an ethical choice, especially for ecclesiastics. The Italian case provides a key perspective on the study of anonymity in the European context, contributing to the analysis of an overlooked topic in academic studies.
Europe At the Seaside
Mass tourism is one of the most striking developments in postwar western societies, involving economic, social, cultural, and anthropological factors. For many countries it has become a significant, if not the primary, source of income for the resident population. The Mediterranean basin, which has long been a very popular destination, is explored here in the first study to scrutinize the region as a whole and over a long period of time. In particular, it investigates the area’s economic and social networks directly involved in tourism, which includes examining the most popular spots that attract tourists and the crucial actors, such as hotel entrepreneurs, travel agencies, charter companies, and companies developing seaside resort networks. This important volume presents a fascinating picture of the economics of tourism in one of the world’s most visited destinations.
Memory & Oblivion
Memory is a subject that recently has attracted many scholars and readers not only in the general historical sciences, but also in the special field of art history. However, in this book, in which more than 130 papers given at the XXIXth International Congress of the History of Art (Amsterdam) 1996 have been compiled, Memory is also juxtaposed to its counterpart, Oblivion, thus generating extra excitement in the exchange of ideas. The papers are presented in eleven sections, each of which is devoted to a different aspect of memory and oblivion, ranging from purely material aspects of preservation, to social phenomena with regard to art collecting, from the memory of the art historian to workshop practices, from art in antiquity, to the newest media, from Buddhist iconography to the Berlin Wall. The book addresses readers in the field of history, history of art and psychology.
From Handwriting to Footprinting
How do we currently preserve and access texts, and will our current methods be sustainable in the future? In From Handwriting to Footprinting, Anne Baillot seeks to answer this question by offering a detailed analysis of the methods that enable access to textual materials, in particular, access to books of literary significance. Baillot marshals her considerable expertise in the field of digital humanities to establish a philological overview of the changing boundaries of ‘access’ to literary heritage over centuries, deconstructing the western tradition of archiving and how it has led to current digital dissemination practices. Rigorously examining the negative environmental impact of di...
The Human Tradition in Modern France
The Human Tradition in Modern France gives a human perspective of the history of France from 1789 to the present, revealed in essays that highlight individuals and intriguing events that too often have been lost under labels and statistics. Students will gain an understanding of the humor and passion in French history from these new, original essays by well-established scholars. This collection also relates the individuals, events, and controversies to current historiographical debates. The Human Tradition in Modern France is an excellent supplementary text for courses on French history and is also useful for courses in world history and Western Civilization.
Henri Michaux
Henri Michaux is both a recognised poet and visual artist, arguably one of the greatest ‘double artists’ of the twentieth century. This book presents the first detailed examination of a particular interdisciplinary aspect of his production, namely, the innovative experimentation with signs contained in four works: Mouvements, Par la voie des rythmes, Saisir and Par des traits. Questions arise concerning their literary and visual status as, in their attempt to render interior rhythm and dynamism, they occupy an interstitial space between writing and drawing, between the book and the canvas, between the Western alphabet and Chinese characters. This study addresses these questions by analysing the conception, production and reception of Michaux’s signs and the literary and artistic contexts in which they were produced.
