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Over and Over and Over Again
Over the last twenty years, reenactment has been appropriated by both contemporary artistic production and art-theoretical discourse, becoming a distinctive strategy to engage with history and memory. As a critical act of repetition, which is never neutral in reactualizing the past, it has established unconventional modes of historicization and narration. Collecting work by artists, scholars, curators, and museum administrators, the volume investigates reenactment's potential for a (re)activation of layered temporal experiences, and its value as an ongoing interpretative and political gesture performed in the present with an eye to the future. Its contributions discuss the mobilization of archives in the struggle for inclusiveness and cultural revisionism; the role of the body in the presentification and rehabilitation of past events and (impermanent) objects; the question of authenticity and originality in artistic practice, art history, as well as in museum collections and conservation practices.
Terrorizing Images
It is broadly accepted that “terrorizing” images are often instrumentalized in periods of conflict to serve political interests. This volume proposes that paying attention to how images of trauma and conflict are described in literary texts, i.e. to the rhetorical practice known as “ekphrasis”, is crucial to our understanding of how such images work. The volume’s contributors discuss verbal images of trauma and terror in literary texts both from a contemporary perspective and as historical artefacts in order to illuminate the many different functions of ekphrasis in literature. The articles in this volume reflect the vast developments in the field of trauma studies since the 1990s, a field that has recently broadened to include genres beyond the memoir and testimony and that lends itself well to new postcolonial, feminist, and multimedia approaches. By expanding the scholarly understanding of how images of trauma are described, interpreted, and acted out in literary texts, this collected volume makes a significant contribution to both trauma and memory studies, as well as more broadly to cultural studies.
Historical Turns
Historical Turns reassesses Weimar cinema in light of the "crisis of historicism" widely diagnosed by German philosophers in the early twentieth century. Through bold new analyses of five legendary works of German silent cinema—The Cabinet of Dr. Caligari, Destiny, Rhythm 21, The Holy Mountain, and Metropolis—Nicholas Baer argues that films of the Weimar Republic lent vivid expression to the crisis of historical thinking. With their experiments in cinematic form and style, these modernist films revealed the capacity of the medium to engage with fundamental questions about the philosophy of history. Reconstructing the debates over historicism that unfolded during the initial decades of moving-image culture, Historical Turns proposes a more reflexive mode of historiography and expands the field of film and media philosophy. The book excavates a rich archive of ideas that illuminate our own moment of rapid media transformation and political, economic, and environmental crises around the globe.
Over and Over and Over Again
Over the last twenty years, reenactment has been appropriated by both contemporary artistic production and art-theoretical discourse, becoming a distinctive strategy to engage with history and memory. As a critical act of repetition, which is never neutral in reactualizing the past, it has established unconventional modes of historicization and narration. Collecting work by artists, scholars, curators, and museum administrators, the volume investigates reenactment's potential for a (re)activation of layered temporal experiences, and its value as an ongoing interpretative and political gesture performed in the present with an eye to the future. Its contributions discuss the mobilization of archives in the struggle for inclusiveness and cultural revisionism; the role of the body in the presentification and rehabilitation of past events and (impermanent) objects; the question of authenticity and originality in artistic practice, art history, as well as in museum collections and conservation practices.
Computational Processing of the Portuguese Language
This book constitutes the refereed proceedings of the 13th International Conference on Computational Processing of the Portuguese Language, PROPOR 2018, held in Canela, RS, Brazil, in September 2018. The 42 full papers, 3 short papers and 4 other papers presented in this volume were carefully reviewed and selected from 92 submissions. The papers are organized in topical sections named: Corpus Linguistics, Information Extraction, LanguageApplications, Language Resources, Sentiment Analysis and Opinion Mining, Speech Processing, and Syntax and Parsing.
OECD Reviews of School Resources: Portugal 2018
This country review offers an independent analysis of major issues facing the use of school resources in Portugal from an international perspective. It provides a description of national policies, an analysis of strengths and challenges and options for possible future approaches.
Computational Processing of the Portuguese Language
This book constitutes the refereed proceedings of the 13th International Conference on Computational Processing of the Portuguese Language, PROPOR 2018, held in Canela, RS, Brazil, in September 2018. The 42 full papers, 3 short papers and 4 other papers presented in this volume were carefully reviewed and selected from 92 submissions. The papers are organized in topical sections named: Corpus Linguistics, Information Extraction, Language Applications, Language Resources, Sentiment Analysis and Opinion Mining, Speech Processing, and Syntax and Parsing.
O Cinema Como Refugio Da Escrita
Este livro conduz o leitor para um universo de escritores que tornaram-se roteiristas e/ou cineastas. Eles encontraram no cinema um refúgio para suas crises de uma escrita restrita à tradições literárias. Ao longo da pesquisa, são apresentadas obrasc inematográficas assinadas por Bertolt Brecht, F. S. Fitzgerald, Robbe-Grillet, Peter Weiss, Pasolini, Marguerite Duras, Pérec e Samuel Beckett. O cerne do percurso analisa a escrita de Peter Handke, seus filmes, peças e sua colaboração como roteirist a de três longas de Wim Wenders. Nesse travelling de letras compartilham-se roteiros não filmados de alguns desses escritores, o que sugere novos vértices do amplo diálogo entre cinema e literatura.
