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Studia Philosophica Wratislaviensia
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the ginger man
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The Museums of Contemporary Art
Where, how, by whom and for what were the first museums of contemporary art created? These are the key questions addressed by J. Pedro Lorente in this new book. In it he explores the concept and history of museums of contemporary art, and the shifting ways in which they have been imagined and presented. Following an introduction that sets out the historiography and considering questions of terminology, the first part of the book then examines the paradigm of the Musée des Artistes Vivants in Paris and its equivalents in the rest of Europe during the nineteenth century. The second part takes the story forward from 1930 to the present, presenting New York's Museum of Modern Art as a new unive...
White Fever
No one in their right mind travels across Siberia in the middle of winter in a modified Russian jeep, with only a CD player (which breaks on the first day) for company. But Jacek Hugo–Bader is no ordinary traveler. As a fiftieth birthday present to himself, Jacek Hugo–Bader sets out to drive from Moscow to Vladivostok, traversing a continent that is two and a half times bigger than America, awash with bandits, and not always fully equipped with roads. But if his mission sounds deranged it is in keeping with the land he is visiting. For Siberia is slowly dying — or, more accurately, killing itself. This is a traumatized post–Communist landscape peopled by the homeless and the hopeless: alcoholism is endemic, as are suicides, murders, and deaths from AIDS. As he gets to know these communities and speaks to the people, Hugo–Bader discovers a great deal of tragedy, but also dark humor to be shared amongst the reindeer shepherds, the former hippies, the modern–day rappers, the homeless and the sick, the shamans, and the followers of ‘one of the six Russian Christs,’ just one of the many arcane religions that flourish in this isolated, impossible region.
The Alexander Romance
The Alexander Romance is a difficult text to define and to assess justly. From its earliest days it was an open text, which was adapted into a variety of cultures with meanings that themselves vary, and yet seem to carry a strong undercurrent of homogeneity: Alexander is the hero who cannot become a god, and who encapsulates the desires and strivings of the host cultures. The papers assembled in this volume, which were originally presented at a conference at the University of Wroc?aw, Poland, in October 2015, all face the challenge of defining the Alexander Romance. Some focus on quite specific topics while others address more overarching themes. They form a cohesive set of approaches to the delicate positioning of the text between history and literature. From its earliest elements in Hellenistic Egypt, to its latest reworkings in the Byzantine and Islamic Middle East, the Alexander Romance shows itself to be a work that steadily engages with such questions as kingship, the limits of human (and Greek) nature, and the purpose of history. The Romance began as a history, but only by becoming literature could it achieve such a deep penetration of east and west.
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