This volume examines the making of new edition prints in the early modern north Alpine region and argues that it was a complex aesthetic strategy of creative appropriation.

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This is the first monographic study of the reception of Herman Hugo's emblem book Pia desideria (1624) in the Polish-Lithuanian Commonwealth. It discusses ten different translations and adaptations, showing how the engravings, elegies and exegetical extracts of the original edition were used by Polish-speaking authors. Attention is also given to the reception of the engravings in paintings. Furthermore, the author examines the reasons for the book's popularity, proving that it was determined by the interest of women who did not know Latin, yet constituted the most important target group for the numerous and varied Polish adaptations.

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Eleanor Dark (1901-1985) is one of Australia's most celebrated writers of the inter-war years. Born with the twentieth century - a Federation baby - she published ten novels, amongst them one of the best loved Australian stories of all time, The Timeless Land. Her life spanned successive global crises - two world wars, the economic depression of the 1930s, the Cold War - each issuing its own challenges to the artist and the people's writer she thought herself to be. By far the most privileged writer of her generation, her ultimate challenge was a personal one: to unlock the gates of her world-proof life to a society and a world in crisis. The first cross-cultural biography of this famous Australian writer, Marivic Wyndham's rich and controversial portrait of Eleanor Dark is based on extensive research of the author's public and private lives.

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The collection comprises around 1500 glass pastes from the 18th to early 19th century. A first part with 946 glass pastes of antique gems from the 6th century BC to the 5th century AD and of such post-antique gems from the 15th to 18th centuries that are directly related to them is presented here.

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Abiayalan Pluriverses: Bridging Indigenous Studies and Hispanic Studies looks for pathways that better connect two often siloed disciplines. This edited collection brings together different disciplinary experiences and perspectives to this objective, weaving together researchers, artists, instructors, and authors who have found ways of bridging Indigenous and Hispanic studies through trans-Indigenous reading methods, intercultural dialogues, and reflections on translation and epistemology. Each chapter brings rich context that bears on some aspect of the Indigenous Americas and its crossroads with Hispanic studies, from Canada to Chile. Such a hemispheric and interdisciplinary approach offers innovative and significant means of challenging the coloniality of Hispanic studies.

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In this rich memoir, the first of two volumes, Paul Farmer traces the story of A39, the Cornish political theatre group he co-founded and ran from the mid-1980s to the early 1990s. Farmer offers a unique insight into A39’s creation, operation, and artistic practice during a period of convulsive political and social change. The reader is plunged into the national miners’ strike and the collapse of Cornish tin mining, the impact of Thatcherism and ‘Reaganomics’, and the experience of touring Germany on the brink of reunification, alongside the influence on A39 of writers Bertolt Brecht, John McGrath and Keith Johnstone. Farmer, a former bus driver turned artistic director, details the theatre group’s inception and development as it fought to break down social barriers, attract audiences, and survive with little more than a beaten-up Renault 12, a photocopier and two second-hand stage lights at its disposal: the book traces the progress from these raw materials to the development of an integrated community theatre practice for Cornwall. Farmer’s candour and humour enliven this unique insight into 1980s theatre and politics. It will appeal to anyone with an interest in theatre history, life in Cornwall, and the relationship between performance and society during a turbulent era.

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Die Kunstsammlung der Universität Göttingen ist vor allem für ihren Bestand an Niederländischer Kunst des 17. Jahrhunderts bekannt. Dass sie darüber hinaus auch eine Kollektion von Gemälden des 19. Jahrhunderts umfasst, die einige wirkliche Schätze enthält, gleicht einer Neuentdeckung. Diese Kollektion wird hier erstmals in einem eigenen Bestandskatalog vorgestellt. Obwohl es sich um eine eher kleine Sammlung handelt, erweist sich diese doch als erstaunlich repräsentativ, um das Kunstverständnis des 19. Jahrhunderts mit seinen wechselnden Prämissen sowie kunsttheoretischen und künstlerischen Auseinandersetzungen an konkreten Kunstwerken aufzuzeigen. Eine zentrale Rolle spielt dabei die Gattungstheorie: Die seit der Frühen Neuzeit vertretene Ausdifferenzierung der Malerei in profane und religiöse Historie, Genre, Landschaft, Stillleben, Tierstück und Porträt wurde über das gesamte 19. Jahrhundert hinweg kontrovers diskutiert, blieb aber als wertsetzendes System lange präsent. Der vorliegende, von Dozenten und Studierenden des Kunstgeschichtlichen Seminars der Universität Göttingen gemeinsam erarbeitete Bestandskatalog nutzt die Gattungstheorie als „roten Faden“, um eine historische Perspektive auf den Bestand der Gemälde des 19. Jahrhunderts in der Göttinger Universitätskunstsammlung anzubieten.

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Die Kunstsammlung der Universität Göttingen ist vor allem für ihren Bestand an Niederländischer Kunst des 17. Jahrhunderts bekannt. Dass sie darüber hinaus auch eine Kollektion von Gemälden des 19. Jahrhunderts umfasst, die einige wirkliche Schätze enthält, gleicht einer Neuentdeckung. Diese Kollektion wird hier erstmals in einem eigenen Bestandskatalog vorgestellt. Obwohl es sich um eine eher kleine Sammlung handelt, erweist sich diese doch als erstaunlich repräsentativ, um das Kunstverständnis des 19. Jahrhunderts mit seinen wechselnden Prämissen sowie kunsttheoretischen und künstlerischen Auseinandersetzungen an konkreten Kunstwerken aufzuzeigen. Eine zentrale Rolle spielt dabei die Gattungstheorie: Die seit der Frühen Neuzeit vertretene Ausdifferenzierung der Malerei in profane und religiöse Historie, Genre, Landschaft, Stillleben, Tierstück und Porträt wurde über das gesamte 19. Jahrhundert hinweg kontrovers diskutiert, blieb aber als wertsetzendes System lange präsent. Der vorliegende, von Dozenten und Studierenden des Kunstgeschichtlichen Seminars der Universität Göttingen gemeinsam erarbeitete Bestandskatalog nutzt die Gattungstheorie als „roten Faden“, um eine historische Perspektive auf den Bestand der Gemälde des 19. Jahrhunderts in der Göttinger Universitätskunstsammlung anzubieten.

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Architecture and the Novel under the Italian Fascist Regime discusses the relationship between the novel and architecture during the Fascist period in Italy (1922-1943). By looking at two profoundly diverse aesthetic phenomena within the context of the creation of a Fascist State art, Billiani and Pennacchietti argue that an effort of construction, or reconstruction, was the main driving force behind both projects: the advocated “revolution” of the novel form (realism) and that of architecture (rationalism). The book is divided into seven chapters, which in turn analyze the interconnections between the novel and architecture in theory and in practice. The first six chapters cover debates on State art, on the novel and on architecture, as well as their historical development and their unfolding in key journals of the period. The last chapter offers a detailed analysis of some important novels and buildings, which have in practice realized some of the key principles articulated in the theoretical disputes.

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Architectural drawings of the ›German Renaissance‹ have, with a few exceptions, remained unexplored objects. This is contrasted by the vast amount of surviving objects, of which roughly 8.000 drawings from the 16th to the early 17th century originate from the German territories. Despite being neglected for a long time, these drawings, however, convey a diverse picture of building in theory and practice, and are characterized by remarkable variations in their depiction of architecture.Aside from the various historical uses of the drawings, a closer examination can reveal the historical conditions for and the impacts of architectural drawing in general. The present study, therefore, aims to categorise the architectural drawings in order to extract their implied knowledge and to embed them in their respective historic discourses and epistemic systems.The main argument is that architectural drawings were not only tools for the design process of castles, gardens, civic buildings, or fortresses. Instead, they were part of complex communication processes, and were crucial objects of preserving architectural knowledge and invention. Architectural drawings should rather be understood as ›significant objects‹ (»Bedeutungsträger«) of cultural practices, conveying historic concepts of space and built environments.In order to determine the very diverse aspects of the architectural drawing in the Northern Renaissance, this study is based upon a select number of drawings from various regions of the German states and newly discovered written sources. Due to the lack of architectural drawings in the northern regions of Germany, the majority of the selected drawings are from the south and middle-east of Germany (e.g. in Dresden, Nuremberg, or Kassel).The lack of contemporary art historical studies on ›German Renaissance‹ architectural drawings has made it even more crucial to focus on historic material. Therefore, this study provides written sources dealing with concepts of ›drawing theories‹, as well as the thus far unknown concept of a treatise depicting design processes and functions of architectural drawings.In order to rethink the ›visual culture‹ of architectural drawings of the ›German Renaissance‹, this study relies on traditional art historical and historical methods (»Quellenkritik«) to evaluate the written and drawn sources, and on methods of media studies and visual studies (»Bildwissenschaft«) to disclose pictorial strategies of visualization and communication.This book is structured in four main chapters dealing with theory and profession, function and impact, practice, and design techniques of architectural drawings between 1500 and 1650 in the German countries. While the first three chapters are concerned with the theory, design techniques, historic, and social context of the drawings, the fourth chapter presents case studies reflecting their function, use, and impact.Although this analysis is hugely concerned with objects originating from the Holy Roman Empire, it aims to reconstruct a general idea of the complex phenomena of production, visualization, communication, display, and collecting of knowledge by the means of architectural drawings, which can easily be applied to objects from any other ›region‹ of that period.While being mainly used for common design processes, architectural drawings are defined by their wide-ranging utilisation, ranging from legal documents to material in the civic and princely education. It can be observed that draughtsmen of architectural drawings come from heterogeneous backgrounds to include not only architects, engineers, and town master masons, but also goldsmiths, structural draughtsmen, musicians, and even princes themselves. Accordingly, drawings could be plain administrative documents or, at times, valuable collection pieces, which is reflected in their depository – objects could be found at various places at the court or civic administration such as the registry, the library, and the armoury, but also in the Cabinet of Curiosities, or in the architect’s personal archive.Even with only a small number of known approaches theorizing architectural drawings and design practices during the 16th century, it is possible to reveal a broad influence on drawing theories, especially by perspective treatises and the so-called »Visier- und Messkunst« (measuring).Reconstructing the various places of producing, collecting, displaying, and studying architectural drawings shows that architectural drawings were a crucial part in cultural processes of understanding, organizing, and dealing with the built environment.

Architekturzeichnungen sind nicht nur Medien zur Planung und Visualisierung von Architektur, sondern bedeutende Quellen historischer Entwurfstheorien, Entwurfspraktiken und Wissensproduktion. Während italienische Architekturzeichnungen etablierte Quellen der Renaissanceforschung sind, wird hier erstmals der Blick auf bislang vernachlässigte Zeichnungen der ›deutschen Renaissance‹ gelegt. Die vorliegende Studie untersucht sowohl die zeichnerischen Darstellungstechniken und Theorien als auch ihre allgemeine Bedeutung als Form- und Wissensspeicher. Der Autor analysiert dabei etwa die variable Verwendung der Zeichnungen vom Entwurfsmedium über das Rechtsdokument bis hin zur Prinzenerziehung und hebt den Stellenwert von Zeichnung und Zeichnungstheorie für verschiedene Professionen sowie das Selbstverständnis der Architekten hervor. Zudem werden erste Einblicke in die fürstliche und reichsstädtische Sammlungsgeschichte von Architekturzeichnungen in Kunstkammern, Bibliotheken und Kanzleien gegeben. Anhand von exemplarischen Fallstudien und neu erschlossenem Quellenmaterial werden so nicht nur neue Einsichten in die Funktionen und Semantiken zeichnerischer Produktion eröffnet, sondern auch übergreifende Fragen der historischen Wahrnehmung von Architektur in der Frühen Neuzeit verhandelt.Sebastian Fitzner wurde 2013 im Fach Kunstgeschichte an der Ludwig-Maximilians-Universität bei Prof. Dr. Stephan Hoppe promoviert und war wissenschaftlicher Assistent am Institut für Kunstgeschichte der LMU (2010–2014). Zuvor war er wissenschaftlicher Mitarbeiter an der Sächsischen Landesbibliothek ‒ Staats- und Universitätsbibliothek Dresden (SLUB) im Rahmen des DFG-Projekts »Architektur- und Ingenieurzeichnungen der deutschen Renaissance. Digitalisierung und wissenschaftliche Erschließung des Zeichnungsbestandes von 1500‒1650« (2009–2010) und Mitglied des DFG-Forschungsnetzwerkes Schnittstelle Bild. Architekturgeschichte und Bildkritik im Dialog 1400–1800. Aktuell ist er Juniorprofessor für Architekturgeschichte und Architekturtheorie der Frühen Neuzeit in Europa und Amerika (1500–1800) am Kunsthistorischen Institut der Freien Universität Berlin.Beiträge zu seiner Forschung veröffentlicht er unter anderem in seinem Blog »ArchitecturalDrawings – Images and Representations of Architecture in the Early Modern Period«.Webseite: http://fu-berlin.academia.edu/SebastianFitzner

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Architectural drawings of the ›German Renaissance‹ have, with a few exceptions, remained unexplored objects. This is contrasted by the vast amount of surviving objects, of which roughly 8.000 drawings from the 16th to the early 17th century originate from the German territories. Despite being neglected for a long time, these drawings, however, convey a diverse picture of building in theory and practice, and are characterized by remarkable variations in their depiction of architecture.Aside from the various historical uses of the drawings, a closer examination can reveal the historical conditions for and the impacts of architectural drawing in general. The present study, therefore, aims to categorise the architectural drawings in order to extract their implied knowledge and to embed them in their respective historic discourses and epistemic systems.The main argument is that architectural drawings were not only tools for the design process of castles, gardens, civic buildings, or fortresses. Instead, they were part of complex communication processes, and were crucial objects of preserving architectural knowledge and invention. Architectural drawings should rather be understood as ›significant objects‹ (»Bedeutungsträger«) of cultural practices, conveying historic concepts of space and built environments.In order to determine the very diverse aspects of the architectural drawing in the Northern Renaissance, this study is based upon a select number of drawings from various regions of the German states and newly discovered written sources. Due to the lack of architectural drawings in the northern regions of Germany, the majority of the selected drawings are from the south and middle-east of Germany (e.g. in Dresden, Nuremberg, or Kassel).The lack of contemporary art historical studies on ›German Renaissance‹ architectural drawings has made it even more crucial to focus on historic material. Therefore, this study provides written sources dealing with concepts of ›drawing theories‹, as well as the thus far unknown concept of a treatise depicting design processes and functions of architectural drawings.In order to rethink the ›visual culture‹ of architectural drawings of the ›German Renaissance‹, this study relies on traditional art historical and historical methods (»Quellenkritik«) to evaluate the written and drawn sources, and on methods of media studies and visual studies (»Bildwissenschaft«) to disclose pictorial strategies of visualization and communication.This book is structured in four main chapters dealing with theory and profession, function and impact, practice, and design techniques of architectural drawings between 1500 and 1650 in the German countries. While the first three chapters are concerned with the theory, design techniques, historic, and social context of the drawings, the fourth chapter presents case studies reflecting their function, use, and impact.Although this analysis is hugely concerned with objects originating from the Holy Roman Empire, it aims to reconstruct a general idea of the complex phenomena of production, visualization, communication, display, and collecting of knowledge by the means of architectural drawings, which can easily be applied to objects from any other ›region‹ of that period.While being mainly used for common design processes, architectural drawings are defined by their wide-ranging utilisation, ranging from legal documents to material in the civic and princely education. It can be observed that draughtsmen of architectural drawings come from heterogeneous backgrounds to include not only architects, engineers, and town master masons, but also goldsmiths, structural draughtsmen, musicians, and even princes themselves. Accordingly, drawings could be plain administrative documents or, at times, valuable collection pieces, which is reflected in their depository – objects could be found at various places at the court or civic administration such as the registry, the library, and the armoury, but also in the Cabinet of Curiosities, or in the architect’s personal archive.Even with only a small number of known approaches theorizing architectural drawings and design practices during the 16th century, it is possible to reveal a broad influence on drawing theories, especially by perspective treatises and the so-called »Visier- und Messkunst« (measuring).Reconstructing the various places of producing, collecting, displaying, and studying architectural drawings shows that architectural drawings were a crucial part in cultural processes of understanding, organizing, and dealing with the built environment.

Architekturzeichnungen sind nicht nur Medien zur Planung und Visualisierung von Architektur, sondern bedeutende Quellen historischer Entwurfstheorien, Entwurfspraktiken und Wissensproduktion. Während italienische Architekturzeichnungen etablierte Quellen der Renaissanceforschung sind, wird hier erstmals der Blick auf bislang vernachlässigte Zeichnungen der ›deutschen Renaissance‹ gelegt. Die vorliegende Studie untersucht sowohl die zeichnerischen Darstellungstechniken und Theorien als auch ihre allgemeine Bedeutung als Form- und Wissensspeicher. Der Autor analysiert dabei etwa die variable Verwendung der Zeichnungen vom Entwurfsmedium über das Rechtsdokument bis hin zur Prinzenerziehung und hebt den Stellenwert von Zeichnung und Zeichnungstheorie für verschiedene Professionen sowie das Selbstverständnis der Architekten hervor. Zudem werden erste Einblicke in die fürstliche und reichsstädtische Sammlungsgeschichte von Architekturzeichnungen in Kunstkammern, Bibliotheken und Kanzleien gegeben. Anhand von exemplarischen Fallstudien und neu erschlossenem Quellenmaterial werden so nicht nur neue Einsichten in die Funktionen und Semantiken zeichnerischer Produktion eröffnet, sondern auch übergreifende Fragen der historischen Wahrnehmung von Architektur in der Frühen Neuzeit verhandelt.Sebastian Fitzner wurde 2013 im Fach Kunstgeschichte an der Ludwig-Maximilians-Universität bei Prof. Dr. Stephan Hoppe promoviert und war wissenschaftlicher Assistent am Institut für Kunstgeschichte der LMU (2010–2014). Zuvor war er wissenschaftlicher Mitarbeiter an der Sächsischen Landesbibliothek ‒ Staats- und Universitätsbibliothek Dresden (SLUB) im Rahmen des DFG-Projekts »Architektur- und Ingenieurzeichnungen der deutschen Renaissance. Digitalisierung und wissenschaftliche Erschließung des Zeichnungsbestandes von 1500‒1650« (2009–2010) und Mitglied des DFG-Forschungsnetzwerkes Schnittstelle Bild. Architekturgeschichte und Bildkritik im Dialog 1400–1800. Aktuell ist er Juniorprofessor für Architekturgeschichte und Architekturtheorie der Frühen Neuzeit in Europa und Amerika (1500–1800) am Kunsthistorischen Institut der Freien Universität Berlin.Beiträge zu seiner Forschung veröffentlicht er unter anderem in seinem Blog »ArchitecturalDrawings – Images and Representations of Architecture in the Early Modern Period«.Webseite: http://fu-berlin.academia.edu/SebastianFitzner

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Architectural drawings of the ›German Renaissance‹ have, with a few exceptions, remained unexplored objects. This is contrasted by the vast amount of surviving objects, of which roughly 8.000 drawings from the 16th to the early 17th century originate from the German territories. Despite being neglected for a long time, these drawings, however, convey a diverse picture of building in theory and practice, and are characterized by remarkable variations in their depiction of architecture.Aside from the various historical uses of the drawings, a closer examination can reveal the historical conditions for and the impacts of architectural drawing in general. The present study, therefore, aims to categorise the architectural drawings in order to extract their implied knowledge and to embed them in their respective historic discourses and epistemic systems.The main argument is that architectural drawings were not only tools for the design process of castles, gardens, civic buildings, or fortresses. Instead, they were part of complex communication processes, and were crucial objects of preserving architectural knowledge and invention. Architectural drawings should rather be understood as ›significant objects‹ (»Bedeutungsträger«) of cultural practices, conveying historic concepts of space and built environments.In order to determine the very diverse aspects of the architectural drawing in the Northern Renaissance, this study is based upon a select number of drawings from various regions of the German states and newly discovered written sources. Due to the lack of architectural drawings in the northern regions of Germany, the majority of the selected drawings are from the south and middle-east of Germany (e.g. in Dresden, Nuremberg, or Kassel).The lack of contemporary art historical studies on ›German Renaissance‹ architectural drawings has made it even more crucial to focus on historic material. Therefore, this study provides written sources dealing with concepts of ›drawing theories‹, as well as the thus far unknown concept of a treatise depicting design processes and functions of architectural drawings.In order to rethink the ›visual culture‹ of architectural drawings of the ›German Renaissance‹, this study relies on traditional art historical and historical methods (»Quellenkritik«) to evaluate the written and drawn sources, and on methods of media studies and visual studies (»Bildwissenschaft«) to disclose pictorial strategies of visualization and communication.This book is structured in four main chapters dealing with theory and profession, function and impact, practice, and design techniques of architectural drawings between 1500 and 1650 in the German countries. While the first three chapters are concerned with the theory, design techniques, historic, and social context of the drawings, the fourth chapter presents case studies reflecting their function, use, and impact.Although this analysis is hugely concerned with objects originating from the Holy Roman Empire, it aims to reconstruct a general idea of the complex phenomena of production, visualization, communication, display, and collecting of knowledge by the means of architectural drawings, which can easily be applied to objects from any other ›region‹ of that period.While being mainly used for common design processes, architectural drawings are defined by their wide-ranging utilisation, ranging from legal documents to material in the civic and princely education. It can be observed that draughtsmen of architectural drawings come from heterogeneous backgrounds to include not only architects, engineers, and town master masons, but also goldsmiths, structural draughtsmen, musicians, and even princes themselves. Accordingly, drawings could be plain administrative documents or, at times, valuable collection pieces, which is reflected in their depository – objects could be found at various places at the court or civic administration such as the registry, the library, and the armoury, but also in the Cabinet of Curiosities, or in the architect’s personal archive.Even with only a small number of known approaches theorizing architectural drawings and design practices during the 16th century, it is possible to reveal a broad influence on drawing theories, especially by perspective treatises and the so-called »Visier- und Messkunst« (measuring).Reconstructing the various places of producing, collecting, displaying, and studying architectural drawings shows that architectural drawings were a crucial part in cultural processes of understanding, organizing, and dealing with the built environment.

Architekturzeichnungen sind nicht nur Medien zur Planung und Visualisierung von Architektur, sondern bedeutende Quellen historischer Entwurfstheorien, Entwurfspraktiken und Wissensproduktion. Während italienische Architekturzeichnungen etablierte Quellen der Renaissanceforschung sind, wird hier erstmals der Blick auf bislang vernachlässigte Zeichnungen der ›deutschen Renaissance‹ gelegt. Die vorliegende Studie untersucht sowohl die zeichnerischen Darstellungstechniken und Theorien als auch ihre allgemeine Bedeutung als Form- und Wissensspeicher. Der Autor analysiert dabei etwa die variable Verwendung der Zeichnungen vom Entwurfsmedium über das Rechtsdokument bis hin zur Prinzenerziehung und hebt den Stellenwert von Zeichnung und Zeichnungstheorie für verschiedene Professionen sowie das Selbstverständnis der Architekten hervor. Zudem werden erste Einblicke in die fürstliche und reichsstädtische Sammlungsgeschichte von Architekturzeichnungen in Kunstkammern, Bibliotheken und Kanzleien gegeben. Anhand von exemplarischen Fallstudien und neu erschlossenem Quellenmaterial werden so nicht nur neue Einsichten in die Funktionen und Semantiken zeichnerischer Produktion eröffnet, sondern auch übergreifende Fragen der historischen Wahrnehmung von Architektur in der Frühen Neuzeit verhandelt.Sebastian Fitzner wurde 2013 im Fach Kunstgeschichte an der Ludwig-Maximilians-Universität bei Prof. Dr. Stephan Hoppe promoviert und war wissenschaftlicher Assistent am Institut für Kunstgeschichte der LMU (2010–2014). Zuvor war er wissenschaftlicher Mitarbeiter an der Sächsischen Landesbibliothek ‒ Staats- und Universitätsbibliothek Dresden (SLUB) im Rahmen des DFG-Projekts »Architektur- und Ingenieurzeichnungen der deutschen Renaissance. Digitalisierung und wissenschaftliche Erschließung des Zeichnungsbestandes von 1500‒1650« (2009–2010) und Mitglied des DFG-Forschungsnetzwerkes Schnittstelle Bild. Architekturgeschichte und Bildkritik im Dialog 1400–1800. Aktuell ist er Juniorprofessor für Architekturgeschichte und Architekturtheorie der Frühen Neuzeit in Europa und Amerika (1500–1800) am Kunsthistorischen Institut der Freien Universität Berlin.Beiträge zu seiner Forschung veröffentlicht er unter anderem in seinem Blog »ArchitecturalDrawings – Images and Representations of Architecture in the Early Modern Period«.Webseite: http://fu-berlin.academia.edu/SebastianFitzner

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Argentine Cinema and National Identity covers the development of Argentine cinema since the late 1950s to the mid-1970s, a period that has been understudied. This essential cultural history delves on the dialect tradition versus modernity that was in place during those years and also comprises an examination of the political economy of film production as well as the different laws, including that implementing censorship that regulated this cultural industry. It also pays particular attention to two historical film genres: the historical film genre per se and the gauchesque, a genre based on outlaw gauchos that was crucial for nation-building in the nineteenth century. This volume investigates the way Argentine cinema positioned itself when facing the competition of glossy American films and resorted to the historical and gauchesque to bridge the stark divisions between the Argentine left and right in the late 1960s.

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„Arranged Love“ deals with cross-cultural differences in understanding romantic love. All over the world we can find ideas of romantic love expressed by arts, poetry or material objects. The present publication attempts to show the varieties of romantic love exemplified by artifacts of Ethnographical collection of the Göttingen University’s Institute for Cultural and Social Anthropology.

Überall auf der Welt träumen Menschen von der großen Liebe. Wie sie ihre Gefühle ausleben, ist von Kultur zu Kultur verschieden. Vorstellungen von Liebe und romantische Ideen werden vor allem durch Kunst, Literatur und Musik überliefert. Schönheitsideale und Liebessymbole prägen unsere Wahrnehmung, und auch Gegenständliches beeinflusst unser Verhalten im Alltag. Anhand von ausgewählten Exponaten aus Asien, Afrika und Ozeanien, die aus der Ethnologischen Sammlung der Universität Göttingen stammen, wird versucht, folgenden Fragen nachzugehen: Wie verhält es sich mit romantischer Liebe in Gesellschaften, in denen die Anbahnung von Beziehungen und schließlich Ehen arrangiert werden? Wie drückt sich diese Liebe aus? Und welchem Wandel unterliegt sie?

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„Arranged Love“ deals with cross-cultural differences in understanding romantic love. All over the world we can find ideas of romantic love expressed by arts, poetry or material objects. The present publication attempts to show the varieties of romantic love exemplified by artifacts of Ethnographical collection of the Göttingen University’s Institute for Cultural and Social Anthropology.

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A systematic theory of DIY electronic culture, drawn from a century of artists who have independently built creative technologies.Since the rise of Arduino and 3D printing in the mid-2000s, do-it-yourself approaches to the creative exploration of technology have surged in popularity. But the maker movement is not new: it is a historically significant practice in contemporary art and design. This book documents, tracks, and identifies a hundred years of innovative DIY technology practices, illustrating how the maker movement is a continuation of a long-standing creative electronic subculture. Through this comprehensive exploration, Garnet Hertz develops a theory and language of creative DIY electronics, drawing from diverse examples of contemporary art, including work from renowned electronic artists such as Nam June Paik and such art collectives as Survival Research Laboratories and the Barbie Liberation Organization. Hertz uncovers the defining elements of electronic DIY culture, which often works with limited resources to bring new life to obsolete objects while engaging in a critical dialogue with consumer capitalism. Whether hacking blackboxed technologies or deploying culture jamming techniques to critique commercial labor practices or gender norms, the artists have found creative ways to make personal and political statements through creative technologies. The wide range of innovative works and practices profiled in Art + DIY Electronics form a general framework for DIY culture and help inspire readers to get creative with their own adaptations, fabrications, and reimaginations of everyday technologies.

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Arts therapy is a form of psychotherapy that uses artistic media, the creative process, and artwork as its primary forms of communication. The arts therapies cover six areas of specialization: visual arts, music, dance and movement, drama, psychodrama, and bibliotherapy. Several studies and reviews have demonstrated its effectiveness for adult populations (e.g., Regev and Cohen-Yatziv, 2018), as well as for children and adolescents (e.g., Cohen-Yatziv and Regev, 2019). Academic writing and research, which have evolved extensively in recent decades, have underscored the considerable significance of arts therapies especially for children and adolescents.This Special Issue, “Arts Therapies with Children and Adolescents”, is dedicated to presenting research and clinical writing in the field of the Arts Therapies with Children and Adolescents in a variety of settings, including hospitals, the education system, mental health clinics, and others. I hope that this Special Issue will serve as a repository of knowledge for arts therapists and as a fertile terrain for further research in the field. It should also pave the way for more professionals working with children and adolescents to better understand the meaning and uniqueness of the therapeutic work in arts therapies and the dedicated ways in which arts therapists use assessment tools and arts-based interventions to better understand the world of children and adolescents.

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Objektivität ist ein Stilmerkmal - strategisch eingesetzt und historisch wandelbar. Die kultur- und geschichtswissenschaftliche Forschung hat die Geschichte der Objektivität zunehmend zum Thema gemacht, dabei aber die Berührungslinien zwischen Kunst und Naturwissenschaft nur wenig beachtet. Tatsächlich aber hatten die Kunsthistoriker, Mediziner, Schriftsteller und Künstler des 19. Jh. ein gemeinsames Thema: die Suche nach dem »wahren Bild«. Was künstlerische Wahrheit sei und was ein wissenschaftliches Verfahren ausmache, wurde in aller Breite sowohl in der Kunst als auch in den Wissenschaften diskutiert. Die beiden kulturellen Figuren des 'Künstlers' und des 'Wissenschaftlers' konturierten sich dabei parallel zu einem zeitgenössischen Geschlechterdiskurs, der in die neue Bestimmung von Objektivität mit einfloss. Der Band behandelt die Vorgeschichte der heutigen Trennung von Kunst und Wissenschaft und ist zugleich ein Beitrag zur Geschichte der visuellen Objektivität.

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Digitale Technologien und soziale Medien verändern die Selbst- und Körperwahrnehmung und verzerren, verstärken oder produzieren dabei spezifische Körperbilder. Die Beiträger*innen kartographieren diese Phänomene, fragen nach ihrer medialen Existenzweise sowie nach den Möglichkeiten ihrer Kritik. Dabei begegnen sie ihrer Neuartigkeit mit einer transdisziplinären Herangehensweise. Aus sowohl der Perspektive künstlerischer und gestalterischer Forschung als auch der Kunst-, Kultur- und Medienwissenschaft sowie der Psychologie und Neurowissenschaft wird die Landschaft rezenter Körperbilder und Techniken einer digitalen Körperlichkeit untersucht.

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Bristol born Banksy is usually categorized as a Street Artist, although his art, in content and form, transcends a narrow understanding of this term. This publication primarily deals with Banksy as a contemporary Urban Artist and his relationship with consumer culture. It examines Banksy not only in light of his illicit work on the street, but also in regard to his gallery exhibitions. The study highlights representative works of his art, pieces which demonstrate his versatility, but also stand for different periods of his oeuvre. This book presents the first academic study of Banksy’s art in English; with a history and discussion of the terms Graffiti, Street Art and Urban Art and a rich array of biographical information. It will be of interest to academics and the general public as well.
This book is made open access as part of the Knowledge Unlatched KU Select 2018: HSS Backlist Books

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Taking a bottom-up perspective, this book explores local framings of a wide range of issues related to benefit-sharing, a growing concept in global environmental governance. Benefit-sharing in Environmental Governance draws on original case studies from South Africa, Namibia, Greece, Argentina, and Malaysia to shed light on what benefit-sharing looks like from the local viewpoint. These local-level case studies move away from the idea of benefit-sharing as defined by a single international organization or treaty. Rather, they reflect different situations where benefit-sharing has been considered, including agriculture, access to land and plants, wildlife management, and extractives industries. Common themes in the experiences of local communities form the basis for an exploration of spaces for local voices at the international level in the Convention on Biological Diversity (CBD), often argued to be the most open arena to non-state actors, and therefore vital to how local voices may be included at the global level. The book analyzes the decisions of the CBD parties to produce an in-depth reflection on how this arena builds and delimits spaces for the expression of local community themes, and paths for local community participation including community protocols. The book then situates the bottom-up findings in the wider debate about global civil society and deliberative democracy in environmental governance. This interdisciplinary book will be of great interest to students and scholars of environmental politics, environmental law, political ecology and global governance, as well as practitioners and policymakers involved in multilateral environmental agreements.

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Ein multidisziplinärer Sammelband zu literarischen Porträtfilmen mit einem Schwerpunkt auf der deutschsprachigen Schweizer Literatur.Filmporträts über lebende und verstorbene Autor:innen gehören heute zu den wichtigsten Formen der öffentlichen Vermittlung von Literatur. Sie bilden oft den ersten, wenn nicht ausschließlichen Zugang zur Belletristik und prägen deren Bild in der breiten Öffentlichkeit.Die Formen und Anwendungen von Autor:innenporträts erstrecken sich über das ganze Spektrum von Kinofilmen über Fernsehporträts und Serien bis hin zu Kurzfilmen auf Websites. So werden fortlaufend Elemente einer plurimedialen und autorzentrierten Literaturgeschichtsschreibung produziert, die der vorliegende Band kritisch reflektiert.Neben exemplarischen Untersuchungen zur Frage nach dem in Porträtfilmen vermittelten Bild von Autorschaft richtet der vorliegende Band sein besonderes Augenmerk auf den filmischen Umgang mit Archivalien und deren Funktion. Im Gespräch mit Filmautor:innen und Schriftstellern wird zudem die Möglichkeit der Repräsentation des Werks im Film ausgelotet. Damit verknoten sich die mediengeschichtlichen Perspektiven: Die Porträtfilme erweisen sich nicht nur als Bestandteile einer »bewegten Literaturgeschichte«, sondern zugleich als Elemente einer Geschichte des Autor:innenfilms.Beiträge zu Matthias Diggelmann, Friedrich Dürrenmatt, Annie Ernaux, Hermann Hesse, Patricia Highsmith und Ludwig Hohl

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The museum’s holdings are rich in examples of Native ceramics from throughout the Western Hemisphere, stretching across forty centuries to the present day. In this book, four scholars introduce important and little-known ceramic figures and vessels representing the cultures of the Andes, Mexico, the American Southwest, and the eastern United States. Extensively illustrated with beautiful new photographs of objects from the museum’s collections, including many pieces published here for the first time, Born of Clay brings curatorial and Native artistic perspectives together to present a lively and concise introduction to Native American ceramics.

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This deeply researched collection offers a comprehensive introduction to the eighteenth-century trade in street literature – ballads, chapbooks, and popular prints – in England and Scotland. Offering detailed studies of a selection of the printers, types of publication, and places of publication that constituted the cheap and popular print trade during the period, these essays delve into ballads, slip songs, story books, pictures, and more to push back against neat divisions between low and high culture, or popular and high literature. The breadth and depth of the contributions give a much fuller and more nuanced picture of what was being widely published and read during this period than has previously been available. It will be of great value to scholars and students of eighteenth-century popular culture and literature, print history and the book trade, ballad and folk studies, children’s literature, and social history.

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For the first time, an edited volume presents a major survey dedicated to Chinese reverse glass painting, tracing its history, its local and global diffusion, and its artistic and technical characteristics. Manufactured for export to Europe as well as for local consumption within China, the fragile artworks constitute a paramount part of Chinese visual culture and attest to the intensive cultural and artistic exchange between China and the West.

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How the use of machine learning to analyze art images has revived formalism in art history, presenting a golden opportunity for art historians and computer scientists to learn from one another.Though formalism is an essential tool for art historians, much recent art history has focused on the social and political aspects of art. But now art historians are adopting machine learning methods to develop new ways to analyze the purely visual in datasets of art images. Amanda Wasielewski uses the term “computational formalism” todescribe this use of machine learning and computer vision technique in art historical research. At the same time that art historians are analyzing art images in new ways, computer scientists are using art images for experiments in machine learning and computer vision. Their research, says Wasielewski, would be greatly enriched by the inclusion of humanistic issues.The main purpose in applying computational techniques such as machine learning to art datasets is to automate the process of categorization using metrics such as style, a historically fraught concept in art history. After examining a fifteen-year trajectory in image categorization and art dataset creation in the fields of machine learning and computer vision, Wasielewski considers deep learning techniques that both create and detect forgeries and fakes in art. She investigates examples of art historical analysis in the fields of computer and information sciences, placing this research in the context of art historiography. She also raises questions as which artworks are chosen for digitization, and of those artworks that are born digital, which works gain acceptance into the canon of high art.

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The second volume dedicated to the 42nd International Conference of the Unione Italiana per il Disegno takes up the theme of 'Connecting' in reflecting on the topic Drawing: Languages, Distances, Technologies, also suggested by the remote condition that made it impossible for us to meet physically, and prompted and relaunched the conference itself. Languages, distances, technologies lead us to constantly review the dynamics that regulate the connections with drawing, and the historical and social context that in the last year and a half has characterized it. Drawing and visual Languages seen in the light of the multiple articulations that derive from them. Like a metaphor for language, drawing alludes, illudes, reveals and deceives. Drawing and Distances brings us to the practices of surveying, but also to the meaning of the word distancing, with all that it implies, to help us overcome the insurmountable physical separateness. Drawing and Technologies leads to the evidence of the digital world, viewed in its implications with the different sciences, transforming the computer from an instrument of calculation into an expressive source of communication, even artistic, for the development of a new digital aesthetic. In this volume, disciplines are intertwined, and even research sectors: a perfect path of contamination in which very different competencies come into play. And thus these three words, 'languages', 'distances', 'technologies', create a perfect circle that, rotating around drawing in a synchronous and often overlapping way, resumes and relaunches connections for creating new and ancient drawings.

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This is an open access book. Creativity is a difficult concept, how can it best be defined, understood, applied, and practiced? This book provides important answers to these questions. Technology can enable artists to be more creative. Scientific and artistic thinking give us two complementary tools to understand the complexity of the world, with science reducing subjective experience to essential principles and art intensifying and expanding our experiences. These examples also show how artists can push the boundaries of technology into exciting new realms that have not been explored before. The impact that art and art practice can have on culture, society, and social responsibility is explored in detail through examples and case studies. In addition, the book presents how artists are creating and reflecting cultural and societal resonance in their work. Can other disciplines help artists to be more creative? All are part of an interrelated wider society and enables artists to develop artwork fit for highly interfaced and conceptually broad contemporary contexts. This is illustrated with examples which show exciting and challenging results. Creativity in Art, Design and Technology is relevant for artists, designers, scientists and technologists. All can benefit in a major way from a greater understanding of creativity, and the ways in which mutual interaction and collaboration enables all areas to develop. The potential for the future is immense and this book signposts the way forward.

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Embark on an intellectual exploration by addressing the intricate connections between education and the defining challenges of our era in this captivating collection. "Creativity, Intelligence, and Collaboration in 21st Century Education" delves into the demands of our dynamic world, intertwining various perspectives from psychology, creativity studies, and educational sciences. Uncover the significance of 20th-century skills, explore the transformative impact of digital technology, and examine the intersection of creativity and artificial intelligence, among other lively issues that shape the educational landscape. From STEM education to the creative process of master’s students, this volume serves as a guiding beacon for researchers, educators, policymakers, and inquisitive minds interested in the evolving trends and fresh perspectives in education. Challenge assumptions, envision a landscape where creativity and collaboration flourish, and emerge with a profound understanding of the future of education.

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Digital Art History has often aligned itself with the practical concerns of digital technology and the responsibilities of art institutions and associated institutional roles such as collection managers, information specialists, curators, and conservators. This emphasis on practicalities and implementation, while undeniably important, has often meant that there is little room for critical examination of the broader implications of digital technology and computational methodologies in art history. This anthology seeks to address the dearth of critical reflection by approaching the use of digital technology in art history from a theoretical perspective and critically assessing specific case study examples. This book also considers the political dimensions associated with the large-scale digitization and the application of digital tools within museums and collection management. A long-standing concern of the field—and also a major focal point of this book—is museum and collecting practices in the digital era. While there is a certain degree of continuity in the field, there are some important shifts and changes too. One of the key changes is the widespread uptake of artificial intelligence tools and an increased attention to both the broader historical and societal aspects of the use of digital tools within museums and collection management.

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Cultural Cleansing and Mass Atrocities: Protecting Cultural Heritage in Armed Conflict Zones addresses the connection between cultural heritage and cultural cleansing, mass atrocities, and the destruction of cultural heritage. Pulling together various threads of discourse and research, Cultural Cleansing and Mass Atrocities outlines the issues, challenges, and options effecting change.

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Cultural Genocide and the Protection of Cultural Heritage examines the various lenses through which the international community defines attacks on cultural heritage—legal, accountability, security, counterterrorism, and atrocity prevention—and proposes a sixth, cultural genocide, that can be used to recast the debate over how to best protect the world’s cultural heritage.

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Starting 2011, Fabrizia Venuta has developed projects of seasons of foreign language films addressed to schools, focused on specific topics also deepened with seminars. Students taking part in the projects have to make a final composition, that will be exhibited during a project’s final event taking place at the University Federico II. The sixth season entitled “From Outside in”, from which this book derived its title, took place from November 2019 until May 2020, had an enthusiastic students’ attendance and emotional involvements reflected in the fairy tales, short stories, essays, lyrics and poems they wrote both in Italian and English. In this book all the literary works have been collected, ordered by genres and grouped in a first part in Italian and a second part in English. This book is an invitation to reflect on the path that can lead a teenager from a situation of initial exclusion to the integration in his/her own social context and on how the way in which they go through this process may help adults to better understand them and to became better human beings and parents.

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Das Gegendenkmal gilt gemeinhin als Erfolgsmodell der bundesdeutschen Erinnerungskultur seit den 1980er Jahren. Dieses Buch untersucht anhand zweier Fallstudien erstmals die politische Funktion des neuen Denkmaltypus: Wie sich zeigt, bringen das »Harburger Mahnmal gegen Faschismus« wie auch der Kasseler »Aschrottbrunnen« trotz ihrer avantgardistischen Strategien letztlich problematische Identifikationsangebote hervor. Die Analyse erschließt Erzählungen von feminisierten Opfern, heroischer Männlichkeit und symbolischen Wunden der Nation. Eine akteursspezifische Perspektive macht sichtbar, wie sich dabei geschichtspolitische, generations- und geschlechtsspezifische Anliegen verknüpfen.

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The specifics of ecological destruction often take a cruel turn, affecting those who can least resist its impacts and are least responsible for it. Deep Horizons: A Multisensory Archive of Ecological Affects and Prospects gathers contributions from multiple disciplines to investigate intersectional questions of how the changing planet affects specific peoples, communities, wildlife species, and ecosystems in varying and inequitable ways. A multisensory, artistic-archival supplement to the Mellon Sawyer Environmental Futures Project, the volume enriches current conversations bridging the environmental humanities and affect theory with insights from Native and Indigenous philosophies as well as by highlighting artistic practices that make legible the long-term durational effects of ecological catastrophe. Poems, nonfiction essays, sound-texts, photographs, and other artworks invite readers and viewers to consider the less visible losses and prospects of environmental transformation. Gathering contributions from multiple disciplines, this multimodal, multisensorial volume pushes the boundaries of scholarship with an experimental, born-digital format that offers a set of responses to collective traumas such as climate change, environmental destruction, and settler colonialism. The artists and authors honor the specificity of real historical and material injustices while also reflecting the eclectic nature of such assorted feelings, working through them in creative and border-crossing modes. With contributions from Robert Bailey, Nina Elder, Erin Espelie, Hock E Aye Vi Edgar Heap of Birds, Maya Livio, Erika Osborne, Craig Santos Perez, Kim Tallbear, Julianne Warren, and Kyle Powys White. ""The compelling juxtaposition of poetry, music, video, audio, photography, printmaking, and traditional essays is among Deep Horizons' considerable strengths. I don’t know of any other project quite like this one. The subject is timely—indeed, urgent—and the innovative approach to archiving environmental change will interest scholars and artists in a range of disciplines and resonate with a wide audience."" —Jennifer Ladino, University of Idaho

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Textilien waren zentrales Material und Medium des europäischen Interieurs im frühneuzeitlichen West- und Mitteleuropa. Diese transmediale Studie eröffnet neue kulturwissenschaftliche Blickwinkel auf die Ästhetik des Rokoko und legt dabei besonderen Fokus auf das textile Kunsthandwerk. Am Beispiel von Tapisserien, Seidenwandbespannungen und Paravents bietet sie neue Perspektiven auf die plurale Autorschaft der Kunsthandwerker, die visuellen Wirkweisen der Raumausstattungen und das ambivalente Verhältnis zwischen Zünften, Manufakturen und Akademien im 18. Jahrhundert. Die drei reich bebilderten Teile zeigen anschaulich, wie Textilien Räume und Raumillusionen erschufen.

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This open access book describes methods for research on and research through design. It posits that ethnography is an appropriate method for design research because it constantly orients itself, like design projects, towards social realities. In research processes, designers acquire project-specific knowledge, which happens mostly intuitively in practice. When this knowledge becomes the subject of reflection and explication, it strengthens the discipline of design and makes it more open to interdisciplinary dialogue. Through the use of the ethnographic method in design, this book shows how design researchers can question the certainties of the everyday world, deconstruct reality into singular aesthetic and semantic phenomena, and reconfigure them into new contexts of signification. It shows that design ethnography is a process in which the epistemic and creative elements flow into one another in iterative loops. The goal of design ethnography is not to colonize the discipline of design with a positivist and objectivist scientific ethos, but rather to reinforce and reflect upon the explorative and searching methods that are inherent to it. This innovative book is of interest to design researchers and professionals, including graphic artists, ethnographers, visual anthropologists and others involved with creative arts/media.

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"This is an open access title available under the terms of a CC BY-NC-ND 4.0 International License. It is free to read at Oxford Scholarship Online and offered as a free PDF download from OUP and selected open access locations, thanks to a generous grant from the Andrew W. Mellon Foundation, as part of The Sustainable History Monograph Pilot.The histories of East and West Germany traditionally emphasize the Cold War rivalries between the communist and capitalist nations. Yet, even as the countries diverged in their political directions, they had to create new ways of working together economically. In Designing One Nation, Katrin Schreiter examines the material culture of increasing economic contacts in divided Germany from the 1940s until the 1990s. Trade events, such as fairs and product shows, became one of the few venues for sustained links and knowledge between the two countries after the building of the Berlin Wall. Schreiter uses industrial design, epitomized by the furniture industry, to show how a network of politicians, entrepreneurs, and cultural brokers attempted to nationally re-inscribe their production cultures, define a postwar German identity, and regain economic stability and political influence in postwar Europe. What started as a competition for ideological superiority between East and West Germany quickly turned into a shared, politically legitimizing quest for an untainted post-fascist modernity. This work follows products from the drawing board into the homes of ordinary Germans to offer insights into how converging visions of German industrial modernity created shared expectations about economic progress and living standards. Schreiter reveals how intra-German and European trade policies drove the creation of products and generated a certain convergence of East and West German taste by the 1980s. Drawing on a wide range of sources from governments, furniture firms, industrial design councils, home lifestyle magazines, and design exhibitions, Designing One Nation argues that an economic culture linked the two Germanies even before reunification in 1990."

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Erstmals in der Geschichte des Schweizer Corpus Vitrearum sind im Band zum Kanton Thurgau auch die Glasmalereien des 19. und frühen 20. Jahrhunderts erfasst. Während die Erforschung der vor 1800 geschaffenen Glasgemälde Erkenntnisse zum Stiftungswesen in einem von den eidgenössischen Orten gemeinsam verwalteten Gebiet bringt, lässt sich anhand der jüngeren Werke der handwerkliche und künstlerische Betrieb zur Zeit des Historismus, des Jugendstils und der Moderne beleuchten. Die Auswertung der Kirchgemeindearchive lieferte detaillierte Einsichten in die Entstehungsgeschichte dieser Glasmalereien.

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Diffraktionsereignisse handeln im Kern von einem affektiv durchtränkten Zustande-Kommen eines komplexen, performativen Relationsmoments. Aus einer neo-materialistischen Perspektive spürt Alisa Kronberger dieses Phänomen in der feministischen Gegenwartskunst auf. Sie fragt erstmalig dezidiert nach der Aktualität der historischen Nähe zwischen Feminismus und Videokunst und bietet - an den Schnittstellen von Medien- und Kunstwissenschaft verortet - neue Einblicke in einen aktuellen Diskurs um einen Neuen Materialismus in der Medienkunst.

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A timely examination of the use of emerging technologies in the arts in recent decades, from the first wave of Virtual Reality through to the current use of Mixed, Augmented and Extended Realities. It highlights the necessity of understanding technological experiences through the assumption that all experience is embodied. An explosion of digital culture and experience has most certainly given artists and creative practitioners new ways of exploring a hybridisation of creative practices with access to technological tools only previously dreamt of. Further, there are a number of threads around digital embodiment and its centrality to the digital experience.The book is divided into 3: Section 1 explores the whole notion of embodied experience through a study of space and virtuality, imagination, and technology. Section 2 lays the ground for a more explicit understanding of the role the body has in our engagement with the digital technologies focussing on three distinct bodies: the gravitational body, the virtual body, and finally the hybrid body. Section 3 is split into three chronological chapters in terms of technological developments, that of VR, Virtual Worlds, and Augmented, Mixed, and Extended Realities. While individual aspects and themes covered here can be found in some recent books, there is little that places digital embodiment within the arts in the way this book does. A unique synthesis.

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The first academic volume to theorize and historicize contemporary artistic practices and culture from Chile in the English language, Dismantling the Nation takes as its point of departure a radical criticism against the nation-state of Chile and its colonial, capitalist, heteronormative, and extractivist rule, proposing otherwise forms of inhabiting, creating, and relating in a more fluid, contingent, ecocritical, feminist, and caring worlds. From the case of Chile, the book expands the scholarly discussion around decolonial methodologies, attending to artistic practices and discourses from distinct and distant locations—from Arica and the Atacama Desert to Wallmapu and Tierra del Fuego, and from the Central Valley, the Pacific coast, and the Andes to territories beyond the nation's modern geographical borders. Analyzing how these practices refer to issues such as the environmental and cultural impact of extractivism, as well as memory, trauma, collectivity, and resistance towards neoliberal totality, the volume contributes to the fields of art history and visual culture, memory, ethnic, gender, and Indigenous studies, filmmaking, critical geography, and literature in Chile, Latin America, and other regions of the world, envisioning art history and visual culture from a transnational and transdisciplinary perspective.

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The first academic volume to theorize and historicize contemporary artistic practices and culture from Chile in the English language, Dismantling the Nation takes as its point of departure a radical criticism against the nation-state of Chile and its colonial, capitalist, heteronormative, and extractivist rule, proposing otherwise forms of inhabiting, creating, and relating in a more fluid, contingent, ecocritical, feminist, and caring worlds. From the case of Chile, the book expands the scholarly discussion around decolonial methodologies, attending to artistic practices and discourses from distinct and distant locations—from Arica and the Atacama Desert to Wallmapu and Tierra del Fuego, and from the Central Valley, the Pacific coast, and the Andes to territories beyond the nation's modern geographical borders. Analyzing how these practices refer to issues such as the environmental and cultural impact of extractivism, as well as memory, trauma, collectivity, and resistance towards neoliberal totality, the volume contributes to the fields of art history and visual culture, memory, ethnic, gender, and Indigenous studies, filmmaking, critical geography, and literature in Chile, Latin America, and other regions of the world, envisioning art history and visual culture from a transnational and transdisciplinary perspective.

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Forschung wird zunehmend aus Sicht ihrer Ergebnisse gedacht - nicht zuletzt aufgrund der Umwälzungen im System Wissensschaft. Der Band lenkt den Fokus jedoch auf diejenigen Prozesse, die Forschungsergebnisse erst ermöglichen und Wissenschaft konturieren. Dabei ist der Titel Doing Research als Verweis darauf zu verstehen, dass forschendes Handeln von spezifischen Positionierungen, partiellen Perspektiven und Suchbewegungen geformt ist. So knüpfen alle Beitragenden auf reflexive Weise an ihre jeweiligen Forschungspraktiken an. Ausgangspunkt sind Abkürzungen - die vermeintlich kleinsten Einheiten wissenschaftlicher Aushandlung und Verständigung. Der in den Erziehungs-, Sozial-, Medien- und Kunstwissenschaften verankerte Band zeichnet ein vieldimensionales Bild gegenwärtigen Forschens mit transdisziplinären Anknüpfungspunkten zwischen Digitalität und Bildung.

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This collection of essays investigates elements of the human voice and performance, and their implications for gender and sexuality. The chapters address affect, pleasure, and memory in the enjoyment of musical and theatrical performance. Rosenberg also examines contemporary feminist performance, anti-racist interventions, activist aesthetics, and political agency especially with regard to feminist and queer interpretations of opera and theatre. She contextualizes her work within broader developments in gender and queer studies, and within the feminist movement by highlighting important contributions of artists who draw from the above to create performance. The book will be welcomed by opera and theatre lovers, students, academics, and the wider public that is interested in the performing arts and its queer feminist potential.

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This collection of essays investigates elements of the human voice and performance, and their implications for gender and sexuality. The chapters address affect, pleasure, and memory in the enjoyment of musical and theatrical performance. Rosenberg also examines contemporary feminist performance, anti-racist interventions, activist aesthetics, and political agency especially with regard to feminist and queer interpretations of opera and theatre. She contextualizes her work within broader developments in gender and queer studies, and within the feminist movement by highlighting important contributions of artists who draw from the above to create performance. The book will be welcomed by opera and theatre lovers, students, academics, and the wider public that is interested in the performing arts and its queer feminist potential.

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This collection explores the complex world of early cinema in China, Hong Kong, and Taiwan. The story of how cinema established itself in China has not been well-understood. Cultural models for cinema-going and industry practices varied widely across China. By looking at several centers of cinematic activity, going beyond commercial fiction film to include non-fiction films (such as educational film), and taking on Cantonese as well as Mandarin productions. Beyond the Silver Screens presents early cinema in China in a new light Highlights Hong Kong, Taipei and Guangzhou as well as better-know examples from Shanghai, these essays foreground the cinema’s relationships with imperialism and colonialism, examining how cinematic culture established itself by adapting to distinctive local social and artistic practices, emphasizing the potency of cinema as a sociocultural institution.

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This collection explores the complex world of early cinema in China, Hong Kong, and Taiwan. The story of how cinema established itself in China has not been well-understood. Cultural models for cinema-going and industry practices varied widely across China. By looking at several centers of cinematic activity, going beyond commercial fiction film to include non-fiction films (such as educational film), and taking on Cantonese as well as Mandarin productions. Beyond the Silver Screens presents early cinema in China in a new light Highlights Hong Kong, Taipei and Guangzhou as well as better-know examples from Shanghai, these essays foreground the cinema’s relationships with imperialism and colonialism, examining how cinematic culture established itself by adapting to distinctive local social and artistic practices, emphasizing the potency of cinema as a sociocultural institution.

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This collection explores the complex world of early cinema in China, Hong Kong, and Taiwan. The story of how cinema established itself in China has not been well-understood. Cultural models for cinema-going and industry practices varied widely across China. By looking at several centers of cinematic activity, going beyond commercial fiction film to include non-fiction films (such as educational film), and taking on Cantonese as well as Mandarin productions. Beyond the Silver Screens presents early cinema in China in a new light Highlights Hong Kong, Taipei and Guangzhou as well as better-know examples from Shanghai, these essays foreground the cinema’s relationships with imperialism and colonialism, examining how cinematic culture established itself by adapting to distinctive local social and artistic practices, emphasizing the potency of cinema as a sociocultural institution.

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This book presents a varied and nuanced analysis of the dynamics of the printing, publication, and trade of music in the sixteenth and early seventeenth centuries across in Europe. Engaging with the theoretical turns in the humanities towards material culture, mobility studies and digital research, this book offers a wealth of new insights that will be relevant to researchers of early modern music and early print culture alike.

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This book collects the artistic and academic life of ten women and men who have stood out not only in the teaching field at the Center for Research, Teaching and Artistic Extension (CIDEA), but also in the national and international artistic sphere. They, like many other theater artists at heart, have contributed their expertise and life experiences to the artistic environment and for the School of Scenic Art it is a pleasure to demonstrate their artistic and teaching career in this book.

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