A young mother, surrounded by angels, gazes reverently at a balding dwarf. The setting could be one of a thousand churches in Italy, or even the first room of the Uffizzi, where the great Maestà of Giotto, Duccio, and Cimabue converse amongst themselves. Why is the Christ-child in early images of the Madonna so often grotesque? Why should Christianity’s most sacred image revolve around a creature that looks like a mistake? To pose the question is to ask about the meaning of ugliness in art. Tendentious or perverse when put to trecento altarpieces, that larger question is forced upon us willy-nilly by our first encounter with Panic Pending, the collection of recent drawings by the American artist Robert Yarber, exhibited in 2013-14 at Reflex (Galerie Alex Daniëls) in Amsterdam.* Yarber’s images are not only freakish, twisted, and deformed, but also—to anticipate a possible response to his work—trivial, cheap, brash, gauche, clownish, goofy, abject. It takes time to warm up to, say, a cross-eyed skull, its electrified gaze fixed on the Liliputian female Atlas emerging from its own nose cavity with the mystic signs of plus and minus (see figure 1), and even more to understand why such a figure should preside like God the Father over a drawing called Corpus Resurrectum Est, in which an emblematic encounter—perhaps the struggle of freedom (the trickster corpse who attempts to auto-levitate by reeling himself up with his own fishing rod) and fate (the Zoroastrian magus manipulating a robot by radio remote control)—
一位年轻的母亲在天使的簇拥下，虔诚地注视着一个秃顶的侏儒。场景可能是意大利上千座教堂中的一座，甚至可能是乌菲齐美术馆的第一间房间，乔托、杜乔和契马布埃的大师们在这里交谈。为什么圣母早期的圣婴形象如此怪诞?为什么基督教最神圣的形象要围绕着一个看起来像错误的生物?提出这个问题就是要问丑在艺术中的意义。当我们第一次看到美国艺术家罗伯特·亚伯(Robert Yarber)的近期绘画作品集《Panic Pending》(2013-14年在阿姆斯特丹Reflex (Galerie Alex Daniëls)展出)时，这个更大的问题不由自主地强加给了我们。亚伯的图像不仅怪异、扭曲、变形，而且——为了预测他的作品可能引起的反应——琐碎、廉价、傲慢、笨拙、滑稽、愚蠢、卑鄙。它需要时间来适应，比如说，一个对眼的头骨，它充满电的凝视着利力浦特女性阿特拉斯，从它自己的鼻子里出来，带着神秘的正负符号(见图1)，甚至需要更多的时间来理解为什么这样一个人物应该像上帝一样主持一幅名为“Corpus resurrection Est”的画。其中一个具有象征意义的遭遇——也许是自由的斗争(骗子尸体试图用自己的鱼竿自动悬浮起来)和命运的斗争(琐罗亚斯德教的法师通过无线电遥控操纵机器人)
{"title":"The Ugly Baby and the Beautiful Corpse: Robert Yarber's Gnostic Comedy","authors":"H. Marks","doi":"10.3138/YCL.60.X.224","DOIUrl":"https://doi.org/10.3138/YCL.60.X.224","url":null,"abstract":"A young mother, surrounded by angels, gazes reverently at a balding dwarf. The setting could be one of a thousand churches in Italy, or even the first room of the Uffizzi, where the great Maestà of Giotto, Duccio, and Cimabue converse amongst themselves. Why is the Christ-child in early images of the Madonna so often grotesque? Why should Christianity’s most sacred image revolve around a creature that looks like a mistake? To pose the question is to ask about the meaning of ugliness in art. Tendentious or perverse when put to trecento altarpieces, that larger question is forced upon us willy-nilly by our first encounter with Panic Pending, the collection of recent drawings by the American artist Robert Yarber, exhibited in 2013-14 at Reflex (Galerie Alex Daniëls) in Amsterdam.* Yarber’s images are not only freakish, twisted, and deformed, but also—to anticipate a possible response to his work—trivial, cheap, brash, gauche, clownish, goofy, abject. It takes time to warm up to, say, a cross-eyed skull, its electrified gaze fixed on the Liliputian female Atlas emerging from its own nose cavity with the mystic signs of plus and minus (see figure 1), and even more to understand why such a figure should preside like God the Father over a drawing called Corpus Resurrectum Est, in which an emblematic encounter—perhaps the struggle of freedom (the trickster corpse who attempts to auto-levitate by reeling himself up with his own fishing rod) and fate (the Zoroastrian magus manipulating a robot by radio remote control)—","PeriodicalId":342699,"journal":{"name":"The Yearbook of Comparative Literature","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129225132","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}
{"title":"The Quality of Mercy Is Not Strained","authors":"M. Dolar","doi":"10.3138/YCL.60.X.9","DOIUrl":"https://doi.org/10.3138/YCL.60.X.9","url":null,"abstract":"","PeriodicalId":342699,"journal":{"name":"The Yearbook of Comparative Literature","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123103896","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}
Money—as many of the texts collected in this volume may attest— has often been dramatized, used as a theme, and represented in art. From The Merchant of Venice by Shakespeare to Hollywood productions such as The Wolf of Wall Street, money circulates like a quasicharacter. Occasionally, it might even become the protagonist of a story, speaking in the first person, as in Charles Gildon’s The Golden Spy, which in 1702 became the precursor of the British tradition which lends a narrative voice to inanimate objects. In this work, Gildon makes four coins speak; one of them, the French “Louis d’or”, thus says: “I have had such various transmigrations thro’ the great World.”1 Many other stories have followed suit, such as The Adventures of a Silver Penny in 1786, Argentum: or, Adventures of a Shilling in 1794 and Aureus; or The Life and Opinions of a Sovereign, Written by Himself in 1824. But money is not just a literary object or subject (or a prosopopeia). In its “autobiography” published in 1770,2 a bank note bragged about its ability to “coin words”. And when authors like Herman Melville or Paul Valéry represent the intrinsically fiduciary dimension of narrative or of language,
正如本卷中收集的许多文本可以证明的那样，金钱经常被戏剧化，用作主题，并在艺术中表现出来。从莎士比亚的《威尼斯商人》到好莱坞的《华尔街之狼》，金钱就像一个准角色一样在流通。偶尔，它甚至可能成为一个故事的主角，用第一人称说话，就像查尔斯·吉尔登(Charles Gildon)在1702年的《黄金间谍》(the Golden Spy)中所写的那样。这本书成为英国传统的先驱，用一种叙事的声音来描述无生命的物体。在这幅作品中，吉尔登让四枚硬币说话;其中一位是法国人“路易·多”，他这样说:“我在这个伟大的世界上有过如此多次的轮回。1其他许多故事也纷纷效仿，如《1786年的一枚银币历险记》、《1794年的一先令历险记》和《金毛》。或1824年自己写的《君主的生平和见解》但金钱不仅仅是一个文学对象或主题(或拟人)。在1770年出版的“自传”中，一张纸币吹嘘自己有“造词”的能力。当赫尔曼·梅尔维尔或保罗·瓦尔杰里这样的作家代表了叙事或语言的内在信任维度时，
{"title":"The Reverse of Images (By Way of an Introduction)","authors":"Peter Szendy","doi":"10.3138/YCL.60.X.1","DOIUrl":"https://doi.org/10.3138/YCL.60.X.1","url":null,"abstract":"Money—as many of the texts collected in this volume may attest— has often been dramatized, used as a theme, and represented in art. From The Merchant of Venice by Shakespeare to Hollywood productions such as The Wolf of Wall Street, money circulates like a quasicharacter. Occasionally, it might even become the protagonist of a story, speaking in the first person, as in Charles Gildon’s The Golden Spy, which in 1702 became the precursor of the British tradition which lends a narrative voice to inanimate objects. In this work, Gildon makes four coins speak; one of them, the French “Louis d’or”, thus says: “I have had such various transmigrations thro’ the great World.”1 Many other stories have followed suit, such as The Adventures of a Silver Penny in 1786, Argentum: or, Adventures of a Shilling in 1794 and Aureus; or The Life and Opinions of a Sovereign, Written by Himself in 1824. But money is not just a literary object or subject (or a prosopopeia). In its “autobiography” published in 1770,2 a bank note bragged about its ability to “coin words”. And when authors like Herman Melville or Paul Valéry represent the intrinsically fiduciary dimension of narrative or of language,","PeriodicalId":342699,"journal":{"name":"The Yearbook of Comparative Literature","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122450462","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}
{"title":"The Customs House of Hades: Why Dickens and Gogol Traffic with the Underworld","authors":"Jacob Emery","doi":"10.3138/YCL.60.X.81","DOIUrl":"https://doi.org/10.3138/YCL.60.X.81","url":null,"abstract":"","PeriodicalId":342699,"journal":{"name":"The Yearbook of Comparative Literature","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121602423","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}
{"title":"The World Within: Worlding Theory and the Language of Method in World Literature","authors":"Adhira Mangalagiri","doi":"10.3138/YCL.60.X.299","DOIUrl":"https://doi.org/10.3138/YCL.60.X.299","url":null,"abstract":"","PeriodicalId":342699,"journal":{"name":"The Yearbook of Comparative Literature","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134358358","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}
{"title":"Debt and the Moral Imagination in Middlemarch","authors":"Barbara Straumann","doi":"10.3138/YCL.60.X.125","DOIUrl":"https://doi.org/10.3138/YCL.60.X.125","url":null,"abstract":"","PeriodicalId":342699,"journal":{"name":"The Yearbook of Comparative Literature","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126996834","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}
{"title":"Things of this World: On the Common Origin of Art and Market","authors":"E. Coccia, D. Lukes","doi":"10.3138/YCL.60.X.41","DOIUrl":"https://doi.org/10.3138/YCL.60.X.41","url":null,"abstract":"","PeriodicalId":342699,"journal":{"name":"The Yearbook of Comparative Literature","volume":"90 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128288674","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}
“Person” is as strange as it is a familiar name for what each and everybody is at the end of the day, underlying whatever else he or she may be. Though remarking it has by now become something of a cliché, it remains remarkable that we have taken this name from the Latin persona, a word that meant “mask” in its original application. No one thread connects all the acts of translation by which persona passes from one language to another and from one to another sort of use (from the theatrical to the grammatical to the legal to the theological to the psychological).1 Sometimes the extension of the meaning of the word is accomplished by means of the suppression of the etymological sense, as in the landmark episode in which Boethius redefines person as an “individual substance of a rational nature.”2 Sometimes it is accomplished by means of a radical restoration of that sense, as in Hobbes, for whom the word in its original, theatrical sense perfectly properly names the sort of representation that is happening in the relationship between the sovereign and his subjects. In the United Nations Universal Declaration of Human Rights, the common law marriage of the psycho-theological and the juridical-theatrical ways of universalizing “person” is officially recognized (not only does everyone have a right to legal personhood, a uniform thing, but everyone has what amounts to a right to the “free and full development
{"title":"\"Personation\" and the Division of Labor","authors":"Herschel Farbman","doi":"10.3138/YCL.60.X.67","DOIUrl":"https://doi.org/10.3138/YCL.60.X.67","url":null,"abstract":"“Person” is as strange as it is a familiar name for what each and everybody is at the end of the day, underlying whatever else he or she may be. Though remarking it has by now become something of a cliché, it remains remarkable that we have taken this name from the Latin persona, a word that meant “mask” in its original application. No one thread connects all the acts of translation by which persona passes from one language to another and from one to another sort of use (from the theatrical to the grammatical to the legal to the theological to the psychological).1 Sometimes the extension of the meaning of the word is accomplished by means of the suppression of the etymological sense, as in the landmark episode in which Boethius redefines person as an “individual substance of a rational nature.”2 Sometimes it is accomplished by means of a radical restoration of that sense, as in Hobbes, for whom the word in its original, theatrical sense perfectly properly names the sort of representation that is happening in the relationship between the sovereign and his subjects. In the United Nations Universal Declaration of Human Rights, the common law marriage of the psycho-theological and the juridical-theatrical ways of universalizing “person” is officially recognized (not only does everyone have a right to legal personhood, a uniform thing, but everyone has what amounts to a right to the “free and full development","PeriodicalId":342699,"journal":{"name":"The Yearbook of Comparative Literature","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134634582","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}
{"title":"Photography and the World: The Total World and Many, Many Worlds","authors":"U. Baer","doi":"10.3138/YCL.60.X.274","DOIUrl":"https://doi.org/10.3138/YCL.60.X.274","url":null,"abstract":"","PeriodicalId":342699,"journal":{"name":"The Yearbook of Comparative Literature","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128063434","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}
Louis Bertrand (1807-1841) known as Aloysius Bertrand, died at a very young age. He did not produce a voluminous and varied body of work. Nevertheless, his only book, Gaspard de la nuit, published after his early death, aroused admiration of all the worthy groundbreaking poets of the further generations. He was recognized as a pioneer, an early mover, in the domain of modern poetry, and as the creator of the prose poem in the history of French literature, a new genre which has led to a long posterity, and in the wake of which contemporary poetry continues to situate itself. Applauded by Charles Baudelaire who pursued the genre of the prose poem, he is recognized as a “brother” by Stéphane Mallarmé. Later, André Breton gives him a prominent role. According to Breton there are “two poets to whom should be referred the two main currents of contemporary poetry : on one hand Aloysius Bertrand who, through Baudelaire and Rimbaud, permitted us to reach Reverdy; on the other hand Gérard de Nerval, whose soul wanders from Mallarmé to Apollinaire and arrives to us.”1 Elsewhere, concerning “verbal magic” where Reverdy situates himself, Breton states: “There were only Aloysius Bertrand and Rimbaud that have ventured as far in this way.”2 These statements show the very high regard in which the leader of the surrealist movement holds Bertrand. In the Surrealist Manifesto Breton takes
路易斯·贝特朗(1807-1841)，又名阿洛伊修斯·贝特朗，年纪轻轻就去世了。他没有写出大量的、种类繁多的作品。然而，他唯一的一本书《夜之神》(Gaspard de la nuit)是在他早逝后出版的，引起了后世所有有价值的开创性诗人的钦佩。他被认为是现代诗歌领域的先驱，是早期的推动者，也是法国文学史上散文诗的创造者，散文诗是一种新的体裁，它导致了漫长的后代，当代诗歌继续在其之后定位。他受到追求散文诗体裁的查尔斯·波德莱尔的称赞，被斯特姆萨芬·马拉玛尔纳称为“兄弟”。后来，安德鲁·布列东给了他一个突出的角色。根据布列塔尼的说法，“当代诗歌的两大主流应该提到两位诗人:一方面，阿洛伊修斯·贝特朗，他通过波德莱尔和兰波，让我们到达了Reverdy;另一方面是格姆拉德·德·内瓦尔，他的灵魂从马拉瓦尔瓦尔游荡到阿波利奈尔，最后来到我们这里。在其他地方，关于里弗迪所处的“语言魔法”，布列塔尼说:“只有阿洛伊修斯·伯特兰和兰波在这方面冒险得如此之远。”这些陈述表明了超现实主义运动的领袖对伯特兰的高度重视。在超现实主义宣言中，布列塔尼
{"title":"The Poetic Numismatics of Aloysius Bertrand","authors":"Jean-Joseph Goux","doi":"10.3138/YCL.60.X.183","DOIUrl":"https://doi.org/10.3138/YCL.60.X.183","url":null,"abstract":"Louis Bertrand (1807-1841) known as Aloysius Bertrand, died at a very young age. He did not produce a voluminous and varied body of work. Nevertheless, his only book, Gaspard de la nuit, published after his early death, aroused admiration of all the worthy groundbreaking poets of the further generations. He was recognized as a pioneer, an early mover, in the domain of modern poetry, and as the creator of the prose poem in the history of French literature, a new genre which has led to a long posterity, and in the wake of which contemporary poetry continues to situate itself. Applauded by Charles Baudelaire who pursued the genre of the prose poem, he is recognized as a “brother” by Stéphane Mallarmé. Later, André Breton gives him a prominent role. According to Breton there are “two poets to whom should be referred the two main currents of contemporary poetry : on one hand Aloysius Bertrand who, through Baudelaire and Rimbaud, permitted us to reach Reverdy; on the other hand Gérard de Nerval, whose soul wanders from Mallarmé to Apollinaire and arrives to us.”1 Elsewhere, concerning “verbal magic” where Reverdy situates himself, Breton states: “There were only Aloysius Bertrand and Rimbaud that have ventured as far in this way.”2 These statements show the very high regard in which the leader of the surrealist movement holds Bertrand. In the Surrealist Manifesto Breton takes","PeriodicalId":342699,"journal":{"name":"The Yearbook of Comparative Literature","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127052191","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}
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