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The Legacy of Antiquity
Recent years have seen an increase of interest in classicism and the reception and survival of antiquity. Classical Reception Studies is a rapidly developing field of research and teaching, and a growing number of new scholars are investigating issues of reception of classical texts, ideas, performance, and material culture across different cultural contexts and in different media. This volume adds new perspectives in this growing field of scholarship. This collection of essays explores the uses of the past from a wide range of perspectives. The papers are drawn from a spectrum of cultures and chronological periods; from medieval to modern times, from Italian to Byzantine, from French to Bri...
Is It Ours?
If you have tattoos, who owns the rights to the imagery inked on your body? What about the photos you just shared on Instagram? And what if you are an artist, responding to the surrounding landscape of preexisting cultural forms? Most people go about their days without thinking much about intellectual property, but it shapes all aspects of contemporary life. It is a constantly moving target, articulated through a web of laws that are different from country to country, sometimes contradictory, often contested. Some protections are necessary—not only to benefit creators and inventors but also to support activities that contribute to the culture at large—yet overly broad ownership rights st...
The Art of Urban Living
This volume is based on papers given at the conference 'Imagining the City' held in Cambridge in 2004. Together they examine the city as imagined space and as a matrix for imagined worlds, using French, German, English, Italian, Russian and North American examples.
Italian Modernism
Italian Modernism was written in response to the need for an historiographic and theoretical reconsideration of the concepts of Decadentismo and the avant-garde within the Italian critical tradition. Focussing on the confrontation between these concepts and the broader notion of international modernism, the essays in this important collection seek to understand this complex phase of literary and artistic practices as a response to the epistemes of philosophical and scientific modernity at the end of the nineteenth century and in the first three decades of the twentieth. Intellectually provocative, this collection is the first attempt in the field of Italian Studies at a comprehensive account of Italian literary modernism. Each contributor documents how previous critical categories, employed to account for the literary, artistic, and cultural experiences of the period, have provided only partial and inadequate descriptions, preventing a fuller understanding of the complexities and the interrelations among the cultural phenomena of the time.
Rethinking Malevich
The Russian artist Kazimir Malevich was one of the great figures of twentieth-century art, and a pioneer of abstraction, whose painting The Black Square of 1915 has become an icon of modernism. Yet he is a creative figure about whom much still remains to be elucidated. Soviet scholarship ignored him for decades, and Western scholars were inevitably only able to work with the limited visual and documentary material that was available to them. It was only after the fall of Communism in 1991 that access to such material became easier. This book represents the fruits of the research that has been conducted since then by a range of Russian and Western scholars who have been able to shed vital new light on the artist's life, his training, his art, his career, his relationships with other artists and movements, and his theories.
The Symbolist Roots of Modern Art
With the words ?A new manifestation of art was ... expected, necessary, inevitable,? Jean Mor? announced the advent of the Symbolist movement in 1886. When Symbolist artists began experimenting in order to invent new visual languages appropriate for representing modern life in all its complexity, they set the stage for innovation in twentieth-century art. Rejecting what they perceived as the superficial descriptive quality of Impressionism, Naturalism, and Realism, Symbolist artists delved beneath the surface to express feelings, ideas, scientific processes, and universal truths. By privileging intangible concepts over perceived realities and by asserting their creative autonomy, Symbolist a...
Modern Art and the Idea of the Mediterranean
The Mediterranean is an invented cultural space, on the frontier between North and South, West and East. Modern Art and the Idea of the Mediterranean examines the representation of this region in the visual arts since the late eighteenth century, placing the 'idea of the Mediterranean' - a cultural construct rather than a physical reality - at the centre of our understanding of modern visual culture. This collection of essays features an international group of scholars who examine competing visions of the Mediterranean in terms of modernity and cultural identity, questioning and illuminating both European and non-European representations. An introductory essay frames the analysis in terms of...
Art of Enigma
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The History of Futurism
Futurism began as an artistic and social movement in early twentieth-century Italy. Until now, much of the scholarship available in English has focused only on a single individual or art form. This volume seeks to present a more complete picture of the movement by exploring the history of the movement, the events leading up to the movement, and the lasting impact it has had as well as the individuals involved in it. The History of Futurism: The Precursors, Protagonists, and Legacies addresses the history and legacy of what is generally seen as the founding avante-garde movement of the twentieth century. Geert Buelens, Harald Hendrix, and Monica Jansen have brought together scholarship from an international team of specialists to explore the Futurism movement as a multidisciplinary movement mixing aesthetics, politics, and science with a particular focus on the literature of the movement.
Modernism on Stage
Modernism on Stage restores Serge Diaghilev?s Ballets Russes to its central role in the Parisian art world of the 1910s and 1920s. During those years, the Ballets Russes? stage served as a dynamic forum for the interaction of artistic genres - dance, music and painting - in a mixed-media form inspired by Richard Wagner?s Gesamtkunstwerk (total work of art). This interdisciplinary study combines a broad history of Diaghilev?s troupe with close readings of four ballets designed by canonical modernist artists: Pablo Picasso, Sonia Delaunay, Henri Matisse, and Giorgio de Chirico. Experimental both in concept and form, these productions redefine our understanding of the interconnected worlds of t...
