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Revisionary Narratives
Revisionary Narratives examines the historical and formal evolutions of Moroccan women’s auto/biography in the last four decades, particularly its conflation with testimony and its expansion beyond literary texts. The book analyzes life narratives in Arabic, colloquial Moroccan Darija, French, and English in the fields of prison narratives, visual arts, theater, and digital media. The various case studies highlight narrative strategies women use to relate their experiences of political violence, migration, displacement, and globalization, while engaging patriarchal and (neo)imperial norms and practices. Using a transdisciplinary interpretative lens, the analyses focus on how women authors, artists, and activists collapse the boundaries between autobiography, biography, testimony, and sociopolitical commentary to revise dominant conventions of authorship, transgress oppressive definitions of gender roles and relations, and envision change. Revisionary Narratives marks auto/biography and testimony as a specific field of inquiry within the study of women’s postcolonial cultural productions in the Moroccan and, more broadly, the Maghrebi and Middle Eastern contexts.
Figures of Chance I
Figures of Chance I: Chance in Literature and the Arts (16th–21st Centuries) proposes a transhistorical analysis that will serve as a reference work on the evolution of literary and artistic representations of chance and contingency. Alongside its multidisciplinary companion volume (Figures of Chance II), it considers how the projective and predictive capacity of societies is shaped by representations and cultural models of a reality that is understood, to varying degrees, to be contingent, unpredictable, or chaotic. Giving special emphasis to the French context while also developing broad cross-cultural comparisons, this volume examines the dialogue between evolving conceptions and changing representations of chance, from Renaissance figures of Fortune to the data-driven world of the present. Written by recognized specialists of each of the periods studied, it identifies and historicizes the main fictional and factual modes of portraying, narrating, and comprehending chance in the West.
Audioliterary Poetry Between Performance and Mediatization / Audioliterale Lyrik Zwischen Performance und Mediatisierung
This book critically examines how the production and reception of performed poetry has changed in the wake of digitalization. The interdisciplinary chapters in this volume deal with fundamental questions confronting performed poetry in the digital age: How are concepts like liveness and performativity being adapted to mediatized digital environments? How are platforms like YouTube, Instagram, and TikTok helping to popularize performed poetry, and what online formats are emerging? How is the ubiquity of digital technologies transforming fields like experimental sound poetry, and how are they performed on stage? Bringing together authors from various countries and disciplines, this volume addresses diverse topics such as the evolution of poetry readings in Scandinavia; poetry slams as political criticism and a social practice in Brazil, the UK, the US, and Italy; the performance of AI poetry; posthuman entanglements between gendered bodies and technological devices in experimental sound poetry; the aesthetics and practices of poetic activism on the street and social media; and how recordings of performed poetry are being circulated in our current platformized, digital environment.
Psychical Realism
Comprehensive overview of a highly influential contemporary artist’s work Victor Burgin counts among the most versatile figures within art and visual culture since the late 1960s. His artwork both connects with and reacts to minimalism, conceptual art, staged photography, appropriation art, video art and, more recently, computer-based imaging. As a scholar his thinking is informed by phenomenology, semiotics, poststructuralism, feminist theory, and psychoanalysis. This monograph provides a comprehensive and unique overview of Victor Burgin’s body of work over the past five decades. Identifying the concept of ‘psychical realism’ as an overarching umbrella term, Alexander Streitberger ...
Situating Scandinavian Poetry in the Computational Network Environment
How to grasp poetry in its contemporary digital situation, a situation wherein poetry travels across digital and analoge media platforms and intended or not collaborates with computers? Situating Scandinavian Poetry in the Computational Network environment investigates how heterogeneous forms of poetry in Scandinavia interact with and work in a digital media environment, how digital programmable and network media intervene with and shape new poetic forms or remediate older forms of poetry, and how digital and digitalized poetry through its self-reflexivity sheds light on digital media technology and its role for poetry and potentially for literature and aesthetics more in general. In doing s...
Contemporary Photography in France
This compelling publication traces the broad arc of photography’s development in France from the 1970s to the present day. A decade-by-decade account reveals unexpected points of convergence between practices that are not usually considered in a comparative perspective. These include photographic practices in contemporary art, documentary, photojournalism, and fashion. Author Olga Smith sets these practices in dialogue with French philosophy – the writings of Roland Barthes, Jean Baudrillard, and Jacques Rancière – to produce an innovative study of the intersections between the photographic image, text, practice, and theory. This analysis is guided by an understanding of photography as deeply engaged with historical, cultural, and intellectual events that defined French national experience in the contemporary period. Landscape provides a particular focus to study issues of key significance, including national identification, colonial past, legacies of modernization and environmental breakdown.
A Gust of Photo-Philia
The first transnational history of photography’s accommodation in the art museum Photography was long regarded as a “middle-brow” art by the art institution. Yet, at the turn of the millennium, it became the hot, global art of our time. In this book—part institutional history, part account of shifting photographic theories and practices—Alexandra Moschovi tells the story of photography’s accommodation in and as contemporary art in the art museum. Archival research of key exhibitions and the contrasting collecting policies of MoMA, Tate, the Guggenheim, the V&A, and the Centre Pompidou offer new insights into how art as photography and photography as art have been collected and exhibited since the 1930s. Moschovi argues that this accommodation not only changed photography’s status in art, culture, and society, but also played a significant role in the rebranding of the art museum as a cultural and social site.
Literature as Document
Literature as Document considers the relationship between documents and literary texts in Western Literature of the 1930s. More specifically, the volume deals with the notion of the “document” and its multifaceted and complex connections to literary “texts” and attempts to provide answers to the problematic nature of that relationship. In an effort to determine a possible theoretical definition, many different disciplines have been taken into account, as well as individual case studies. In order to observe dynamics and trends, the idea for this investigation was to look at literature, taking its practices, its factual-looking and concrete applications, as a point of departure – that is to say, then, starting from the literary object itself.
Understanding Barthes, Understanding Modernism
Understanding Barthes, Understanding Modernism is a general assessment of the modern literary and philosophical contributions of Roland Barthes. The first part of the volume focuses on work published prior to Barthes's death in 1980 covering the major periods of his development from Writing Degree Zero (1953) to Camera Lucida: Reflections on Photography (1980). The second part focuses both on the posthumously published material and the legacies of his work after his death in 1980. This later work has attracted attention, for example, in conjunction with notions of the neutral, gay writing, and critiques of everyday life. The third part is devoted to some of the critical vocabulary of Barthes in both the work he published during his lifetime, and that which was published posthumously.
