Pub Date : 1900-01-01DOI: 10.33675/2021-82537264-13
Ingrid Pfandl-Buchegger, G. Rottensteiner
Focussing on the double meaning of the concept of »movement« as both physical and emotional movement within the interdisciplinary frame of literary and dance studies, this paper examines the complex connections between the representation of emotional and dance movements in Jane Austen’s novel ‚Pride and Prejudice‘ (1813) by tracing an aesthetics of restraint, reticence and control (in compliance with the code of conduct promoted by contemporary dance treatises) in Austen’s writing: in the depiction of emotions in her text, in (the delineation of) her characters’ physical and emotional behaviour, and in the almost complete absence of references to dance per se and to dancemovements in her dance scenes. Dance scenarios are mainly used to provide implicit kinetic and cultural information for the representation of her characters’ sentiments.
{"title":"»To be fond of dancing was a certain step towards falling in love.«","authors":"Ingrid Pfandl-Buchegger, G. Rottensteiner","doi":"10.33675/2021-82537264-13","DOIUrl":"https://doi.org/10.33675/2021-82537264-13","url":null,"abstract":"Focussing on the double meaning of the concept of »movement« as both physical and emotional movement within the interdisciplinary frame of literary and dance studies, this paper examines the complex connections between the representation of emotional and dance movements in Jane Austen’s novel ‚Pride and Prejudice‘ (1813) by tracing an aesthetics of restraint, reticence and control (in compliance with the code of conduct promoted by contemporary dance treatises) in Austen’s writing: in the depiction of emotions in her text, in (the delineation of) her characters’ physical and emotional behaviour, and in the almost complete absence of references to dance per se and to dancemovements in her dance scenes. Dance scenarios are mainly used to provide implicit kinetic and cultural information for the representation of her characters’ sentiments.","PeriodicalId":211782,"journal":{"name":"Bewegungsszenarien der Moderne","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124243178","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.33675/2021-82537264-11
K. Maar
The contribution aims to look at the figure of the scenario as a format directed toward the future, which introduces into the choreographic process the potential agencies of singular materials and media, procedures and practices. On the one hand, the scenario connects to the context of its emergence and on the other, it emphasizes the unpredictable which occurs within the relationality of singular agencies and their assemblages. The various practices of scenography open up the spatial dimension of choreographic assignments and their negotiation within the occurring arrangements. To examine these different ideas and link them to each other, the essay looks at William Forsythe’s ‚Human Writes‘ and explores the concept of his choreographic objects as a mode of expanded choreography, as well Meg Stuart’s ‚sketches / notebook‘ as an interdisciplinary ritual.
{"title":"Szenarien des Entwerfens","authors":"K. Maar","doi":"10.33675/2021-82537264-11","DOIUrl":"https://doi.org/10.33675/2021-82537264-11","url":null,"abstract":"The contribution aims to look at the figure of the scenario as a format directed toward the future, which introduces into the choreographic process the potential agencies of singular materials and media, procedures and practices. On the one hand, the scenario connects to the context of its emergence and on the other, it emphasizes the unpredictable which occurs within the relationality of singular agencies and their assemblages. The various practices of scenography open up the spatial dimension of choreographic assignments and their negotiation within the occurring arrangements. To examine these different ideas and link them to each other, the essay looks at William Forsythe’s ‚Human Writes‘ and explores the concept of his choreographic objects as a mode of expanded choreography, as well Meg Stuart’s ‚sketches / notebook‘ as an interdisciplinary ritual.","PeriodicalId":211782,"journal":{"name":"Bewegungsszenarien der Moderne","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126542195","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.33675/2021-82537264-3
W. Hülk
Paul Valéryʼs remark »Nouvelle mythologie / les formes en mouvement / connaître c’est former« (1894) states the argument of the present article. Its intention is to highlight the importance of movement in modern arts and research studies. It observes the fascination which movement held for artists and scientists who were trying to comprehend the dynamics of physical and mental processes in creative work and to find appropriate forms for volatility and complexity in traditional and recent arts and media. The focal point of this article are the works of Charles Baudelaire, Hippolyte Taine and the futurist avantgarde, especially Umberto Boccioni, as well as physiological studies on the effects of huge cities, crowds, sports, acceleration, and aeroplanes (Angelo Mosso, William James). In this context, Valéry’s poems, essays and notes appear as a crossover project and Valéry himself as a protagonist of the intense dialogue between the arts, media and sciences concerningmovement as physical and mental phenomenon and stylistic challenge.
Paul valsamry的评论“Nouvelle mythologie / les formes en movement / connatrec 'est former”(1894)陈述了本文的论点。其目的是强调运动在现代艺术和研究中的重要性。它观察了运动对艺术家和科学家的魅力，他们试图理解创造性工作中身体和心理过程的动态，并在传统和现代艺术和媒体中找到适当的波动性和复杂性形式。本文的重点是查尔斯·波德莱尔、希波吕特·泰纳和未来主义先锋派的作品，特别是翁贝托·波乔尼的作品，以及对大城市、人群、运动、加速度和飞机影响的生理学研究(安吉洛·莫索、威廉·詹姆斯)。在这样的背景下，瓦尔杰里的诗歌、散文和笔记作为一个跨界项目出现，而瓦尔杰里本人则是艺术、媒体和科学之间激烈对话的主角，这些对话涉及到运动作为身体和精神现象以及风格挑战。
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Pub Date : 1900-01-01DOI: 10.33675/2021-82537264-2
R. Rieger
The challenge of representing movement in literary texts involves not only a knowledge of the physical, affective, and cognitive aspects of motion, it also needs to engage with movement’s medial transformation in the act of writing. Thus, this article draws attention to the largely unnoticed importance of writing in its visual and spatial dimensions within the field of literary movement studies. The article explores the dynamic aspects of the concept of the ›figure‹ and traces its relation to the literary ›scene‹ or ›scenario‹. Drawing on contemporary literary and cultural theories of the ›scene‹ as a cognitive operation (Rancière) and engaging with examples of texts on movement (Pierre Rameau’s ‚Le Maître à Danser‘ and Jean- Georges Noverre’s ‚Lettres sur la danse‘), the aim of this article is to introduce the concept of the ›scene‹ as a (transdisciplinary) hermeneutic category for literary studies of movement in modernity.
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Pub Date : 1900-01-01DOI: 10.33675/2021-82537264-12
Julia Bührle
This article explores the transmedial process of translation of words into movements and vice versa by analysing parallels and differences between movement scenarios and literary ballets created from the 1760s and the 1960s onwards. It introduces different forms of movement scenarios that precede or accompany the creation of literary ballets or contribute to their preservation – literary texts and libretti, notations, reviews and other written descriptions of the movements of a ballet. These movement scenarios and the choreographic »texts« of ballets allow us to study the ways works of literature have been transposed into movements since the eighteenth century. The article briefly compares two ballets created in Stuttgart in 1763 and 1978 respectively, Jean-Georges Noverre’s ‚Médée et Jason‘ and John Neumeier’s ‚Lady of the Camellias‘. Thus, it demonstrates that the task which eighteenth- century ballet masters set themselves for the first time – the transposition of complex literary sources into a wordless genre – was fully accomplished two hundred years later when a number of choreographers created expressive movement vocabularies that allowed them to represent and interpret the action of literary texts.
本文通过分析18世纪60年代和20世纪60年代以来创作的芭蕾舞剧和运动场景之间的异同，探讨了语言与动作之间的跨媒介翻译过程。它介绍了在文学芭蕾创作之前或伴随创作的不同形式的动作场景，或有助于其保存-文学文本和歌词，注释，评论和其他对芭蕾舞剧动作的书面描述。这些动作场景和芭蕾舞剧的编舞“文本”使我们能够研究自18世纪以来文学作品被转换成动作的方式。本文简要比较了分别于1763年和1978年在斯图加特创作的两部芭蕾舞剧，Jean-Georges Noverre的《msamdsame et Jason》和John Neumeier的《Lady of The Camellias》。因此，它证明了18世纪芭蕾舞大师们第一次为自己设定的任务——将复杂的文学素材转换成一种无声的体裁——在200年后完全完成，当时一些编舞家创造了表达性的动作词汇，使他们能够表现和解释文学文本的动作。
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Pub Date : 1900-01-01DOI: 10.33675/2021-82537264-9
Karin Schulz
Luigi Pirandello’s novels are based on scenarios of extreme emotional movement. By focusing on the novel ‚Suo marito‘, the essay will question the textual presentation of extremes, in order to point out the structural patterns in Pirandello’s writing practice with regard to the issue of emotional self-discovery of the individual. How does the emotional dynamic emerge and develop in selected sequences of scenes? And which structural characteristics or aesthetic paradigms of the representation of emotional movement can be summarized? Pirandello shows a special conception of aesthetic functionality of emotions, which in its specific character of movement reflects individual self-experience. The special analytic focus lies on the protagonist Giustino Boggiolo, whose ambition to build on his wife’s literary success and to exploit it commercially puts him into an ecstatic rush, endangering not only his own existence and self-image, but also his family.
{"title":"»Una ventata di pazzia«?","authors":"Karin Schulz","doi":"10.33675/2021-82537264-9","DOIUrl":"https://doi.org/10.33675/2021-82537264-9","url":null,"abstract":"Luigi Pirandello’s novels are based on scenarios of extreme emotional movement. By focusing on the novel ‚Suo marito‘, the essay will question the textual presentation of extremes, in order to point out the structural patterns in Pirandello’s writing practice with regard to the issue of emotional self-discovery of the individual. How does the emotional dynamic emerge and develop in selected sequences of scenes? And which structural characteristics or aesthetic paradigms of the representation of emotional movement can be summarized? Pirandello shows a special conception of aesthetic functionality of emotions, which in its specific character of movement reflects individual self-experience. The special analytic focus lies on the protagonist Giustino Boggiolo, whose ambition to build on his wife’s literary success and to exploit it commercially puts him into an ecstatic rush, endangering not only his own existence and self-image, but also his family.","PeriodicalId":211782,"journal":{"name":"Bewegungsszenarien der Moderne","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114403800","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.33675/2021-82537264-4
G. Höfler
The article examines the rhetorical devices of aposiopesis (broken-off speech) and ellipsis (omission of words) in dramatic texts of the »Sturm und Drang« movement as well as in examples of 21st-century drama. The main focus is on what is spoken in the mode of ›silent language‹. The analysis of 18th-century dramatic texts (Lenz and Goethe) draws on the anthropological and poetological writings of the time, which show that the presence of the unspeakable in dramatic language is primarily a matter of the »excitation of the soul« (Herder). In contemporary drama, on the other hand, no generalisable function for the abruption of speech or the effect of standing still can be determined; the lack of movement in these dramatic texts serves to highlight alienated human relationships (Thomas Arzt) and displays existential dissolutions of meaning (Ewald Palmetshofer).
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Pub Date : 1900-01-01DOI: 10.33675/2021-82537264-6
Ralf Bohn
In the 19th century, the stillness of movement during a photographic exposure required a staging based on academic traditions. Staging is the »spatialization« of a present absence – comparable to »writing« in the sense of Derrida. With the increasing mobility of camera techniques from the 20th century onwards, the focus is no longer on the reproduction of a moment, but instead on its performative invention.With the digital photography of the 21st century, a transformation from theatrical to functional staging takes place. The history of the writing scene of photography illustrates the interplay between concealment through technology and re-aestheticization, which with increasing oscillation turns into motor dizziness.
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Pub Date : 1900-01-01DOI: 10.33675/2021-82537264-7
Isa Wortelkamp
Note taking is a choreographic writing practice that implies processes of thinking, projecting and rejecting ideas. Note by note, a complex scenery of movement emerges through reflexive practices of writing, which are designed for a performative event. This article explores different forms of choreographic notation from the perspective of their performative dimensions and draws on approaches from literary theory, procedures of drafting and drawing, as well as considerations of writing as a thought process. The emphasis will be on specific examples of contemporary dance.
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Pub Date : 1900-01-01DOI: 10.33675/2021-82537264-8
Karoline Gritzner
This essay explores the significance of movement and alterity in Hélène Cixous’s practice of writing, which she defines as an »exposure« to the other and as a sensitization to the present moment. The focus is on Cixous’s presentation of different modalities of being that are indissociable from the materiality of ‚écriture féminine‘. These range from the necessity for blindness in the act of writing and the discovery of imaginary worlds, to experiences of flight, sexual difference and modes of »de-selfing« in the process of writing. The transformative event-character of Cixous’s writing is foregrounded in her short story ‚Savoir‘, where the relationship between seeing and not-seeing, presence and absence, knowledge and desire is captured in the fleeting traces of the written word.
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