Pub Date : 2022-06-01DOI: 10.1515/arcadia-2022-9042
Sophie-Charlott Hartisch
{"title":"Johannes Franzen und Christian Meierhofer, Hgg.: Gelegenheitslyrik in der Moderne. Tradition und Transformation einer Gattung. Bern, Berlin und Brüssel: Peter Lang, 2022. 452 S. mit Illustrationen.","authors":"Sophie-Charlott Hartisch","doi":"10.1515/arcadia-2022-9042","DOIUrl":"https://doi.org/10.1515/arcadia-2022-9042","url":null,"abstract":"","PeriodicalId":43010,"journal":{"name":"ARCADIA","volume":"11 1","pages":"148 - 156"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75218034","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-01DOI: 10.1515/arcadia-2022-9044
P. Preisler
{"title":"Franziska Bomski: Die Mathematik im Denken und Dichten von Novalis. Zum Verhältnis von Literatur und Wissen um 1800. Berlin: De Gruyter, 2014. 238 S.","authors":"P. Preisler","doi":"10.1515/arcadia-2022-9044","DOIUrl":"https://doi.org/10.1515/arcadia-2022-9044","url":null,"abstract":"","PeriodicalId":43010,"journal":{"name":"ARCADIA","volume":"91 1","pages":"164 - 168"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80514156","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-01DOI: 10.1515/arcadia-2022-9040
G. Gray
{"title":"Ralph Köhnen: Die Zauberflöte und das ‚Populare‘: Eine kleine Mediologie der Unterhaltungskunst. Frankfurt am Main et al.: Peter Lang, 2016. 216 pp.","authors":"G. Gray","doi":"10.1515/arcadia-2022-9040","DOIUrl":"https://doi.org/10.1515/arcadia-2022-9040","url":null,"abstract":"","PeriodicalId":43010,"journal":{"name":"ARCADIA","volume":"7 1","pages":"169 - 174"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78975119","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-01DOI: 10.1515/arcadia-2022-9050
Sami Sjöberg
Abstract The surrealists saw their activity as research, which often resulted in art. However, in surrealist scholarship less attention has been paid to how individual surrealists understood research and how their methods were developed. Many of them, such as Paul Nougé and Roger Caillois, launched serious investigations into the irrational with the aim of acknowledging the affective dimensions of (rational) knowledge. Nougé preferred the rigour of science over literature and mapped out ways to import this rigour into poetics. His unique artistic praxis was based on an understanding of language as neither a transparent medium nor an expression of the subjective, ‘unlimited’ imagination favoured by French surrealism. Instead, Nougé’s notions of language and creative invention were informed by mathematics, in particular the thought of the mathematician and philosopher of science Henri Poincaré. For Nougé, scientific research invigorated poetic endeavours as he developed an experimental method that in spirit was closer to mathematics than literary language. The evocation of new phenomena through both science and poetry opened a new view of the human mind: an alternative epistemology of identity, exteriority and the selective evolution of objects.
{"title":"Scientific surrealism: Creation and rigour in Paul Nougé’s experimental method","authors":"Sami Sjöberg","doi":"10.1515/arcadia-2022-9050","DOIUrl":"https://doi.org/10.1515/arcadia-2022-9050","url":null,"abstract":"Abstract The surrealists saw their activity as research, which often resulted in art. However, in surrealist scholarship less attention has been paid to how individual surrealists understood research and how their methods were developed. Many of them, such as Paul Nougé and Roger Caillois, launched serious investigations into the irrational with the aim of acknowledging the affective dimensions of (rational) knowledge. Nougé preferred the rigour of science over literature and mapped out ways to import this rigour into poetics. His unique artistic praxis was based on an understanding of language as neither a transparent medium nor an expression of the subjective, ‘unlimited’ imagination favoured by French surrealism. Instead, Nougé’s notions of language and creative invention were informed by mathematics, in particular the thought of the mathematician and philosopher of science Henri Poincaré. For Nougé, scientific research invigorated poetic endeavours as he developed an experimental method that in spirit was closer to mathematics than literary language. The evocation of new phenomena through both science and poetry opened a new view of the human mind: an alternative epistemology of identity, exteriority and the selective evolution of objects.","PeriodicalId":43010,"journal":{"name":"ARCADIA","volume":"24 1","pages":"93 - 111"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74081685","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-01DOI: 10.1515/arcadia-2022-9047
Elisa Santucci
{"title":"Nathan Ross: Walter Benjamin’s First Philosophy. London and New York, NY: Routledge, 2021. 150 pp.","authors":"Elisa Santucci","doi":"10.1515/arcadia-2022-9047","DOIUrl":"https://doi.org/10.1515/arcadia-2022-9047","url":null,"abstract":"","PeriodicalId":43010,"journal":{"name":"ARCADIA","volume":"33 1","pages":"208 - 214"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81105931","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-01DOI: 10.1515/arcadia-2022-9052
Maha El Hissy, Andrea Erwig, Sebastian Haselbeck
{"title":"Einleitung. Zum Politischen der Berührung","authors":"Maha El Hissy, Andrea Erwig, Sebastian Haselbeck","doi":"10.1515/arcadia-2022-9052","DOIUrl":"https://doi.org/10.1515/arcadia-2022-9052","url":null,"abstract":"","PeriodicalId":43010,"journal":{"name":"ARCADIA","volume":"5 1","pages":"1 - 11"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86486375","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-01DOI: 10.1515/arcadia-2022-9037
Tobias Döring
Abstract Shylock is the most celebrated and contested figure of a stage Jew, who makes his memorable appearance in Shakespeare’s problematic comedy The Merchant of Venice (c. 1596). His best-known speech “If you prick us do we not bleed? If you tickle us do we not laugh?” – often cited out of context as a plea for tolerance – engages with the politics of touch as a way to constitute and at the same time question an emphatic practice of communion. My contribution looks at this speech once again, and at the figure that delivers it, in a double perspective: offering a dramatic exploration of touch management as well as a metatheatrical exploration of the conditions and effects of playacting. Thus, Shakespeare may have staged Shylock’s body politics so as to test the possibilities and power of his own medium, the theatre, to touch.
{"title":"If you prick us: Shylock and the Politics of Touch","authors":"Tobias Döring","doi":"10.1515/arcadia-2022-9037","DOIUrl":"https://doi.org/10.1515/arcadia-2022-9037","url":null,"abstract":"Abstract Shylock is the most celebrated and contested figure of a stage Jew, who makes his memorable appearance in Shakespeare’s problematic comedy The Merchant of Venice (c. 1596). His best-known speech “If you prick us do we not bleed? If you tickle us do we not laugh?” – often cited out of context as a plea for tolerance – engages with the politics of touch as a way to constitute and at the same time question an emphatic practice of communion. My contribution looks at this speech once again, and at the figure that delivers it, in a double perspective: offering a dramatic exploration of touch management as well as a metatheatrical exploration of the conditions and effects of playacting. Thus, Shakespeare may have staged Shylock’s body politics so as to test the possibilities and power of his own medium, the theatre, to touch.","PeriodicalId":43010,"journal":{"name":"ARCADIA","volume":"20 1","pages":"12 - 24"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86821085","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-01DOI: 10.1515/arcadia-2022-9038
S. Fluhrer
Abstract Representation as a form of embodiment relates to the human body’s capacity to experience emotion. While this dimension for the most part remains latent in institutional politics, theatre as a medium of physical co-presence can foreground it and explore its potential for a critique of practices and institutions of political representation. This article reads Heiner Müller’s Roman play Der Horatier (The Horatian, 1968) as a theatrical reflection on the role of somatic experience in practices and images of political representation. Drawing on recent studies on the embodiment of emotions, on body memory and the experiential quality of representation, as well as on Antonin Artaud’s concepts of theatre and acting, the reading demonstrates how the evocation of somatic experience and bodily feeling constitutes a core strategy in Müller’s work on an anti-representational form of political theatre.
{"title":"Das Politische spüren: Heiner Müllers Horatier und das Körpergefühl der Repräsentation","authors":"S. Fluhrer","doi":"10.1515/arcadia-2022-9038","DOIUrl":"https://doi.org/10.1515/arcadia-2022-9038","url":null,"abstract":"Abstract Representation as a form of embodiment relates to the human body’s capacity to experience emotion. While this dimension for the most part remains latent in institutional politics, theatre as a medium of physical co-presence can foreground it and explore its potential for a critique of practices and institutions of political representation. This article reads Heiner Müller’s Roman play Der Horatier (The Horatian, 1968) as a theatrical reflection on the role of somatic experience in practices and images of political representation. Drawing on recent studies on the embodiment of emotions, on body memory and the experiential quality of representation, as well as on Antonin Artaud’s concepts of theatre and acting, the reading demonstrates how the evocation of somatic experience and bodily feeling constitutes a core strategy in Müller’s work on an anti-representational form of political theatre.","PeriodicalId":43010,"journal":{"name":"ARCADIA","volume":"83 1","pages":"47 - 67"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80824537","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-01DOI: 10.1515/arcadia-2022-9051
Johannes Ungelenk
Abstract The article is dedicated to the problem of social bonds that is negotiated in Troilus and Cressida. Troilus and Ulysses embody an old, traditional order of the world that is out of joint, while Cressida’s behaviour and her way of interacting indicate a different and new regime of social regulation that is about to take over. With its complex superposition of (touches of) love and war, Troilus and Cressida brings together rituals of touch, anarchic speech acts, and a gendered perspective on the world that associates touch and temporality with ‘frail’ femininity and temptation. With unrivalled intensity, the play puts to the spectator that the basic condition of touch, i. e. exposing oneself to another, entails an incalculable risk. Hector tragically falls for the vulnerability inherent in touch and the audience suffers with him because they share this existential precondition on which modern society is ‘founded.’ The gloomy, inescapable atmosphere of societal crisis that Troilus and Cressida creates emphasises the fact that the fragility of touch is not to be overcome. The fractions – no matter whether Greek, Trojan, or those of loving couples – cannot simply be reunited to form a new, authentic entity. Generating at least some form of social cohesion therefore remains a challenge.
{"title":"Kiss me (not!), Cressida – Or: The social touch of lips and tongue","authors":"Johannes Ungelenk","doi":"10.1515/arcadia-2022-9051","DOIUrl":"https://doi.org/10.1515/arcadia-2022-9051","url":null,"abstract":"Abstract The article is dedicated to the problem of social bonds that is negotiated in Troilus and Cressida. Troilus and Ulysses embody an old, traditional order of the world that is out of joint, while Cressida’s behaviour and her way of interacting indicate a different and new regime of social regulation that is about to take over. With its complex superposition of (touches of) love and war, Troilus and Cressida brings together rituals of touch, anarchic speech acts, and a gendered perspective on the world that associates touch and temporality with ‘frail’ femininity and temptation. With unrivalled intensity, the play puts to the spectator that the basic condition of touch, i. e. exposing oneself to another, entails an incalculable risk. Hector tragically falls for the vulnerability inherent in touch and the audience suffers with him because they share this existential precondition on which modern society is ‘founded.’ The gloomy, inescapable atmosphere of societal crisis that Troilus and Cressida creates emphasises the fact that the fragility of touch is not to be overcome. The fractions – no matter whether Greek, Trojan, or those of loving couples – cannot simply be reunited to form a new, authentic entity. Generating at least some form of social cohesion therefore remains a challenge.","PeriodicalId":43010,"journal":{"name":"ARCADIA","volume":"91 1","pages":"25 - 46"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82843145","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-01DOI: 10.1515/arcadia-2022-9048
Oliver Völker
{"title":"Jason Groves: The Geological Unconscious. German Literature and the Mineral Imaginary. New York, NJ: Fordham UP, 2020. 175 S.","authors":"Oliver Völker","doi":"10.1515/arcadia-2022-9048","DOIUrl":"https://doi.org/10.1515/arcadia-2022-9048","url":null,"abstract":"","PeriodicalId":43010,"journal":{"name":"ARCADIA","volume":"1 1","pages":"175 - 181"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77263990","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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