This article considers the representation of catalepsy in the literature of 19th-century France. It begins with an overview of the medical literature on catalepsy and its influence over the literature of the period, which reveals a particularly gendered aspect to the fate of the cataleptic, before turning to its primary case study: George Sand’s Consuelo novels (1842-44). These texts provide Sand’s most sustained engagement with catalepsy, but also set Sand’s depiction of the condition apart from her (male) contemporaries. While in the work of writers like Honoré de Balzac, Émile Zola, Théophile Gautier, and Jules Barbey d’Aurevilly the cataleptic is generally an unstable male genius whose tale ends in death, madness, or oblivion, Sand elaborates an alternative model that allows these superior individuals to find fulfilment (irrespective of their gender). The occult knowledge associated with the cataleptic is not to be feared in Sand’s texts; rather it provides new purpose. Catalepsy in Sand’s texts is thus endowed with political significance, representing as it does the potential for new beginnings and a move beyond traditional ways of being. Drawing on the Consuelo novels as a model, this article then turns to Sand’s wider oeuvre to posit the poetics of a ‘cataleptic novel’ as inherent to Sand’s literary enterprise.
{"title":"The Cataleptic Novel: Living On with George Sand","authors":"J. Illingworth","doi":"10.16995/olh.7687","DOIUrl":"https://doi.org/10.16995/olh.7687","url":null,"abstract":"This article considers the representation of catalepsy in the literature of 19th-century France. It begins with an overview of the medical literature on catalepsy and its influence over the literature of the period, which reveals a particularly gendered aspect to the fate of the cataleptic, before turning to its primary case study: George Sand’s Consuelo novels (1842-44). These texts provide Sand’s most sustained engagement with catalepsy, but also set Sand’s depiction of the condition apart from her (male) contemporaries. While in the work of writers like Honoré de Balzac, Émile Zola, Théophile Gautier, and Jules Barbey d’Aurevilly the cataleptic is generally an unstable male genius whose tale ends in death, madness, or oblivion, Sand elaborates an alternative model that allows these superior individuals to find fulfilment (irrespective of their gender). The occult knowledge associated with the cataleptic is not to be feared in Sand’s texts; rather it provides new purpose. Catalepsy in Sand’s texts is thus endowed with political significance, representing as it does the potential for new beginnings and a move beyond traditional ways of being. Drawing on the Consuelo novels as a model, this article then turns to Sand’s wider oeuvre to posit the poetics of a ‘cataleptic novel’ as inherent to Sand’s literary enterprise.","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45637125","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}
Menstruation has been stigmatised through a variety of strategies cross-culturally, including silencing and marginalisation. The purpose of this paper is to gain a deeper understanding of the perceived nature and impact of such stigmatisation on the professional experience of menstrual researchers. The research cohort was a group of nine scholars from humanities and social science disciplines working together on a research project on menstruation in politics. I was a member of the group and this paper is structured through an autoethnographic enquiry. My qualitative research was interview-based using online video meetings. The data shows that the perceived impact of menstrual stigma on academic research has altered, with older researchers experiencing more barriers in the early stages of their careers than younger ones do now. However, menstrual researchers still experience challenges they consider to be stigma-related in publishing menstrual research, obtaining permanent positions centred on their specialisation, and attracting long-term and large-scale funding. This research details the impact of multiple effects of stigma upon the careers of menstrual researchers and demonstrates the relationship between stigma and capitals. When exacerbated by contemporary precarity, undertaking menstrual research can lead to a feedback loop from which it is difficult to escape, suggesting that academics working on stigmatised topics may need specific types of institutional support in order to progress, publish and flourish. This article contributes to critical menstrual studies, stigma studies, and autoet
{"title":"Researching the Researchers: The Impact of Menstrual Stigma on the Study of Menstruation","authors":"Lara Owen","doi":"10.16995/olh.6338","DOIUrl":"https://doi.org/10.16995/olh.6338","url":null,"abstract":"Menstruation has been stigmatised through a variety of strategies cross-culturally, including silencing and marginalisation. The  purpose  of  this  paper  is  to  gain  a  deeper understanding  of  the  perceived nature  and  impact  of  such  stigmatisation  on  the  professional  experience  of  menstrual  researchers. The  research  cohort  was  a  group  of  nine  scholars  from  humanities  and  social  science  disciplines working together on a research project on menstruation in politics. I was a member of the group and this paper is structured through an autoethnographic enquiry. My qualitative research was interview-based  using  online  video meetings. The  data  shows  that  the  perceived  impact  of  menstrual  stigma on  academic  research  has  altered,  with  older  researchers  experiencing  more  barriers  in  the  early stages  of  their  careers  than  younger  ones  do  now. However,  menstrual  researchers  still  experience challenges they consider to be stigma-related in publishing menstrual research, obtaining permanent positions  centred  on  their  specialisation,  and  attracting  long-term  and  large-scale  funding. This research  details  the  impact  of  multiple  effects  of  stigma  upon  the  careers  of  menstrual  researchers and demonstrates the relationship between stigma and capitals. When exacerbated by contemporary precarity,  undertaking  menstrual  research  can  lead  to  a  feedback  loop  from  which  it  is  difficult to  escape,  suggesting  that  academics  working  on  stigmatised  topics  may  need  specific  types  of institutional  support  in  order  to  progress,  publish  and  flourish. This  article  contributes  to  critical menstrual studies, stigma studies, and autoet","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":"195 1-4","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-02-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138509639","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}
Through a psychiatric case study, this article seeks tohighlight the historical resonance of two prominent features of the recentPeriod Products (Free Provision) (Scotland) bill debates: the enduring tensionbetween perceptions of menstruation as a normal or pathological process, andthe deleterious impact of menstruation upon female education and, by extension,women's status. By 1900, psychiatry had achieved professional status. Asylumswere recognized as the officially approved response to insanity, and massinstitutionalisation allowed the medical profession unparalleled opportunitiesto observe, classify and treat those deemed insane. As they consolidated their bodiesof knowledge, a distinct 'feminisation' of madness seemed apparent, the femalesex depicted as more vulnerable to insanity due particularly to the perceivedinstability of their reproductive system. This article will examine whatpsychiatry commonly depicted as the biological 'crises' of the female lifecycle,and the extent to which menstruation wasconceptualised as a pathological process, whether as cause or symptom ofinsanity. It will also reflect on the consequences of such a depiction.The prolific doctor, Thomas Clouston - physician-superintendent of the RoyalEdinburgh Asylum (1873-1908), Scotland's largest and most prestigious asylum - was an advocate of managing mental health in a holistic manner, and advisedsociety on the subject of healthy living through adherence to respectableVictorian standards. In his policing of social norms, he was to become aprominent spokesman for the prevention of female education in order to protect womenfrom their 'dangerous' transition from child to womanhood.
{"title":"‘A Crisis of Transition’: Menstruation and the Psychiatrisation of the Female Lifecycle in Nineteenth-Century Edinburgh","authors":"G. Davis, Jessica A. Campbell","doi":"10.16995/olh.6350","DOIUrl":"https://doi.org/10.16995/olh.6350","url":null,"abstract":"Through a psychiatric case study, this article seeks tohighlight the historical resonance of two prominent features of the recentPeriod Products (Free Provision) (Scotland) bill debates: the enduring tensionbetween perceptions of menstruation as a normal or pathological process, andthe deleterious impact of menstruation upon female education and, by extension,women's status. By 1900, psychiatry had achieved professional status. Asylumswere recognized as the officially approved response to insanity, and massinstitutionalisation allowed the medical profession unparalleled opportunitiesto observe, classify and treat those deemed insane. As they consolidated their bodiesof knowledge, a distinct 'feminisation' of madness seemed apparent, the femalesex depicted as more vulnerable to insanity due particularly to the perceivedinstability of their reproductive system. This article will examine whatpsychiatry commonly depicted as the biological 'crises' of the female lifecycle,and the extent to which menstruation wasconceptualised as a pathological process, whether as cause or symptom ofinsanity. It will also reflect on the consequences of such a depiction.The prolific doctor, Thomas Clouston - physician-superintendent of the RoyalEdinburgh Asylum (1873-1908), Scotland's largest and most prestigious asylum - was an advocate of managing mental health in a holistic manner, and advisedsociety on the subject of healthy living through adherence to respectableVictorian standards. In his policing of social norms, he was to become aprominent spokesman for the prevention of female education in order to protect womenfrom their 'dangerous' transition from child to womanhood. ","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43296042","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}
Of all performance traditions of antiquity, puppetry has attracted the least scholarly attention, yet, from the fragmentary evidence which has survived, it is possible to make a number of observations about the real practice of puppetry, beyond its metaphorical usage in philosophical texts. Relying on literary, epigraphical, and archaeological material, this paper addresses the inter-relation of the performance context, physical form, and aesthetic of ancient Greek puppetry. Puppeteers performed in a variety of contexts, which included public theaters, during religious festivals, where they were hired to supplement competitions in drama and music. This is documented in inscriptions relating to festivals. Like other hired entertainers, such as trick-magicians, acrobats, mimes, and pantomimes, puppeteers were known as thaumatopoioi ("marvel-makers"). Thauma is the wonder experienced at things which the viewer cannot comprehend, which seem impossible or defy expectation, and is often (as in the case of puppetry) associated with mimesis ("imitation"). Thauma is directed at puppets because they are inanimate objects, and yet appear to move as living beings in the miniature theater, an artful imitation of life.
{"title":"The Puppet and the Puppet-Master in Ancient Greece: Fragments of an Art Form","authors":"M. Skotheim","doi":"10.16995/olh.6568","DOIUrl":"https://doi.org/10.16995/olh.6568","url":null,"abstract":"Of all performance traditions of antiquity, puppetry has attracted the least scholarly attention, yet, from the fragmentary evidence which has survived, it is possible to make a number of observations about the real practice of puppetry, beyond its metaphorical usage in philosophical texts. Relying on literary, epigraphical, and archaeological material, this paper addresses the inter-relation of the performance context, physical form, and aesthetic of ancient Greek puppetry. Puppeteers performed in a variety of contexts, which included public theaters, during religious festivals, where they were hired to supplement competitions in drama and music. This is documented in inscriptions relating to festivals. Like other hired entertainers, such as trick-magicians, acrobats, mimes, and pantomimes, puppeteers were known as thaumatopoioi (\"marvel-makers\"). Thauma is the wonder experienced at things which the viewer cannot comprehend, which seem impossible or defy expectation, and is often (as in the case of puppetry) associated with mimesis (\"imitation\"). Thauma is directed at puppets because they are inanimate objects, and yet appear to move as living beings in the miniature theater, an artful imitation of life.","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42757526","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}
Over the last decades, menstruation has become more present in public discourse in Scotland.While scholars are increasingly documenting this change, little attention has been paid to therole of menstrual art made in Scotland. In this article, we explore the historic contexts ofmenstrual art in the town of St Andrews and in Scotland during the late twentieth and earlytwenty-first century, and ask what this reveals about menstrual absence and presence in publicdebates. We do this in collaboration with artist Bee Hughes, whose practice focuses on thevisible and invisible aspects of menstruation, and who was artist in residence at St Andrews in2020. Due to a university strike and a pandemic, our collaboration changed and subsequentlyfocused more on the histories of menstrual art. We thus assess symbols and collections ofmenstrual visual culture in Scotland, including the use of the ceremonial red gown at theUniversity of St Andrews, and menstrual art collections at Glasgow Women’s Library and StAndrews Special Collections. Together, we reflect on how their histories might be both present(institutionalised) and absent (when not on display). This paper presents the first stage of ourfindings, in which the artist reflects on their first visit to St Andrews prior to a university strikeand the Covid-19 pandemic, and the historic materials we located together.@font-face{font-family:"Cambria Math";panose-1:2 4 5 3 5 4 6 3 2 4;mso-font-charset:0;mso-generic-font-family:roman;mso-font-pitch:variable;mso-font-signature:-536870145 1107305727 0 0 415 0;}@font-face{font-family:Times;panose-1:0 0 0 0 0 0 0 0 0 0;mso-font-alt:﷽﷽﷽﷽﷽﷽﷽﷽man;mso-font-charset:0;mso-generic-font-family:auto;mso-font-pitch:variable;mso-font-signature:-536870145 1342185562 0 0 415 0;}p.MsoNormal, li.MsoNormal, div.MsoNormal{mso-style-unhide:no;mso-style-qformat:yes;mso-style-parent:"";margin:0cm;margin-bottom:.0001pt;line-height:115%;mso-pagination:widow-orphan;font-size:11.0pt;font-family:"Arial",sans-serif;mso-fareast-font-family:Arial;mso-ansi-language:EN;}.MsoChpDefault{mso-style-type:export-only;mso-default-props:yes;font-size:11.0pt;mso-ansi-font-size:11.0pt;mso-bidi-font-size:11.0pt;font-family:"Arial",sans-serif;mso-ascii-font-family:Arial;mso-fareast-font-family:Arial;mso-hansi-font-family:Arial;mso-bidi-font-family:Arial;mso-ansi-language:EN;}.MsoPapDefault{mso-style-type:export-only;line-height:115%;}div.WordSection1{page:WordSection1;}@font-face{font-family:"Cambria Math";panose-1:2 4 5 3 5 4 6 3 2 4;mso-font-charset:0;mso-generic-font-family:roman;mso-font-pitch:variable;mso-font-signature:-536870145 1107305727 0 0 415 0;}@font-face{font-family:Times;panose-1:0 0 0 0 0 0 0 0 0 0;mso-font-alt:﷽﷽﷽﷽﷽﷽﷽﷽man;mso-font-charset:0;mso-generic-font-family:auto;mso-font-pitch:variable;mso-font-signature:-536870145 1342185562 0 0 415 0;}p.MsoNormal, li.MsoNormal, div.MsoNormal{mso-style-unhide:no;mso-style-qformat:yes;mso-style-parent:"";margin:0cm;margin-bottom:.0001pt;line-height:115%;m
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{"title":"The Red Gown: Reflections on the Visual History of Menstruation in Scotland","authors":"C. Røstvik, B. Hughes, Catherine Spencer","doi":"10.16995/olh.6340","DOIUrl":"https://doi.org/10.16995/olh.6340","url":null,"abstract":"Over the last decades, menstruation has become more present in public discourse in Scotland.While scholars are increasingly documenting this change, little attention has been paid to therole of menstrual art made in Scotland. In this article, we explore the historic contexts ofmenstrual art in the town of St Andrews and in Scotland during the late twentieth and earlytwenty-first century, and ask what this reveals about menstrual absence and presence in publicdebates. We do this in collaboration with artist Bee Hughes, whose practice focuses on thevisible and invisible aspects of menstruation, and who was artist in residence at St Andrews in2020. Due to a university strike and a pandemic, our collaboration changed and subsequentlyfocused more on the histories of menstrual art. We thus assess symbols and collections ofmenstrual visual culture in Scotland, including the use of the ceremonial red gown at theUniversity of St Andrews, and menstrual art collections at Glasgow Women’s Library and StAndrews Special Collections. Together, we reflect on how their histories might be both present(institutionalised) and absent (when not on display). This paper presents the first stage of ourfindings, in which the artist reflects on their first visit to St Andrews prior to a university strikeand the Covid-19 pandemic, and the historic materials we located together.@font-face{font-family:\"Cambria Math\";panose-1:2 4 5 3 5 4 6 3 2 4;mso-font-charset:0;mso-generic-font-family:roman;mso-font-pitch:variable;mso-font-signature:-536870145 1107305727 0 0 415 0;}@font-face{font-family:Times;panose-1:0 0 0 0 0 0 0 0 0 0;mso-font-alt:﷽﷽﷽﷽﷽﷽﷽﷽man;mso-font-charset:0;mso-generic-font-family:auto;mso-font-pitch:variable;mso-font-signature:-536870145 1342185562 0 0 415 0;}p.MsoNormal, li.MsoNormal, div.MsoNormal{mso-style-unhide:no;mso-style-qformat:yes;mso-style-parent:\"\";margin:0cm;margin-bottom:.0001pt;line-height:115%;mso-pagination:widow-orphan;font-size:11.0pt;font-family:\"Arial\",sans-serif;mso-fareast-font-family:Arial;mso-ansi-language:EN;}.MsoChpDefault{mso-style-type:export-only;mso-default-props:yes;font-size:11.0pt;mso-ansi-font-size:11.0pt;mso-bidi-font-size:11.0pt;font-family:\"Arial\",sans-serif;mso-ascii-font-family:Arial;mso-fareast-font-family:Arial;mso-hansi-font-family:Arial;mso-bidi-font-family:Arial;mso-ansi-language:EN;}.MsoPapDefault{mso-style-type:export-only;line-height:115%;}div.WordSection1{page:WordSection1;}@font-face{font-family:\"Cambria Math\";panose-1:2 4 5 3 5 4 6 3 2 4;mso-font-charset:0;mso-generic-font-family:roman;mso-font-pitch:variable;mso-font-signature:-536870145 1107305727 0 0 415 0;}@font-face{font-family:Times;panose-1:0 0 0 0 0 0 0 0 0 0;mso-font-alt:﷽﷽﷽﷽﷽﷽﷽﷽man;mso-font-charset:0;mso-generic-font-family:auto;mso-font-pitch:variable;mso-font-signature:-536870145 1342185562 0 0 415 0;}p.MsoNormal, li.MsoNormal, div.MsoNormal{mso-style-unhide:no;mso-style-qformat:yes;mso-style-parent:\"\";margin:0cm;margin-bottom:.0001pt;line-height:115%;m","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43268296","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}
Literary scholars generally agree that the aesthetic qualities of Oscar Wilde’s influential text, The Picture of Dorian Gray (1891) classify it as a modernist work. At the same time, textual scholars have long speculated over the role of aesthetics in Wilde’s revision process in an apparent effort to reduce or obscure the homoerotic themes in the manuscript. Electronic editing standards such as the Text Encoding Initiative (TEI) enable scholars to trace in detail the development of homoerotic themes within a digital space. Using the TEI standard, my project transcribes and encodes the first chapter of this manuscript, which introduces the story’s three main characters, Basil Hallward, Lord Henry Wooten, and Dorian Gray. In analyzing Wilde’s suppression of the homoerotic elements, I draw from debates in Textual Scholarship and Queer Historiography to explore how electronic editing might restore or "rescue" queer subjects and themes. I end with proposing a method for electronic editing that marks Wilde's alterations and deletions in TEI formal language in a way that probes the potential of TEI's “queerability.” My method examines how TEI might work as a tool of containment that suggests elusiveness through constraint. My work here manifests the intricate handling of homoerotic elements within a distinctly queer ethos.
文学学者普遍认为，王尔德影响深远的文本《多里安·格雷的画像》（1891）的美学特质将其归类为现代主义作品。与此同时，文本学者长期以来一直在猜测美学在王尔德修改过程中的作用，显然是为了减少或模糊手稿中的同性恋主题。文本编码倡议（TEI）等电子编辑标准使学者能够详细追踪数字空间中同性恋主题的发展。使用TEI标准，我的项目转录并编码了这份手稿的第一章，其中介绍了故事的三个主要人物，Basil Hallward、Lord Henry Wooten和Dorian Gray。在分析王尔德对同性恋元素的压制时，我借鉴了《文本学术》和《酷儿史学》中的辩论，探讨了电子编辑如何恢复或“拯救”酷儿主题。最后，我提出了一种电子编辑方法，用TEI形式语言标记王尔德的修改和删除，以探索TEI“可解释性”的潜力。我的方法考察了TEI如何作为一种遏制工具发挥作用，通过约束暗示难以捉摸。我在这里的作品体现了在一种明显的酷儿精神中对同性恋元素的复杂处理。
{"title":"Encoding Queer Erasure in Oscar Wilde’s \"The Picture of Dorian Gray\"","authors":"Filipa Calado","doi":"10.16995/olh.6407","DOIUrl":"https://doi.org/10.16995/olh.6407","url":null,"abstract":"Literary scholars generally agree that the aesthetic qualities of Oscar Wilde’s influential text, The Picture of Dorian Gray (1891) classify it as a modernist work. At the same time, textual scholars have long speculated over the role of aesthetics in Wilde’s revision process in an apparent effort to reduce or obscure the homoerotic themes in the manuscript. \u0000Electronic editing standards such as the Text Encoding Initiative (TEI) enable scholars to trace in detail the development of homoerotic themes within a digital space. Using the TEI standard, my project transcribes and encodes the first chapter of this manuscript, which introduces the story’s three main characters, Basil Hallward, Lord Henry Wooten, and Dorian Gray. In analyzing Wilde’s suppression of the homoerotic elements, I draw from debates in Textual Scholarship and Queer Historiography to explore how electronic editing might restore or \"rescue\" queer subjects and themes. I end with proposing a method for electronic editing that marks Wilde's alterations and deletions in TEI formal language in a way that probes the potential of TEI's “queerability.” My method examines how TEI might work as a tool of containment that suggests elusiveness through constraint. My work here manifests the intricate handling of homoerotic elements within a distinctly queer ethos.","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2021-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47202519","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}
This essay explores the representation of economic precarity in the twenty-first century, and particularly how new media technologies have impacted such representations, through two photo-text projects: Matt Black’s American Geography (2014-Present) and Radcliffe “Ruddy” Roye’s When Living is a Protest (2015-Present). Both adapt the visual style of New Deal documentary practiced by photographers such as Walker Evans, Dorothea Lange, Margaret Bourke-White, and Gordon Parks – a genre that Jeff Allred refers to as the “modernist photo text” – to document the after-effects of the 2008 Great Recession; and both specifically were created to circulate on Instagram, the image-and-text based social media platform initially launched in October 2010. Black’s and Roye’s Instagram series exemplify a resurgence in documentary following the financial collapse of 2008. At the same time, they offer limit cases for the way that “born digital” literary and visual art can re-imagine modernism’s insistence on media specificity for twenty-first century artistic works, especially those keyed to capturing the social life of economic crisis.
{"title":"The Geographies of Poverty: Modernist Photo Texts in the Age of Social Media","authors":"Donal Harris","doi":"10.16995/olh.6337","DOIUrl":"https://doi.org/10.16995/olh.6337","url":null,"abstract":"This essay explores the representation of economic precarity in the twenty-first century, and particularly how new media technologies have impacted such representations, through two photo-text projects: Matt Black’s American Geography (2014-Present) and Radcliffe “Ruddy” Roye’s When Living is a Protest (2015-Present). Both adapt the visual style of New Deal documentary practiced by photographers such as Walker Evans, Dorothea Lange, Margaret Bourke-White, and Gordon Parks – a genre that Jeff Allred refers to as the “modernist photo text” – to document the after-effects of the 2008 Great Recession; and both specifically were created to circulate on Instagram, the image-and-text based social media platform initially launched in October 2010. Black’s and Roye’s Instagram series exemplify a resurgence in documentary following the financial collapse of 2008. At the same time, they offer limit cases for the way that “born digital” literary and visual art can re-imagine modernism’s insistence on media specificity for twenty-first century artistic works, especially those keyed to capturing the social life of economic crisis.","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2021-11-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48556465","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}
In this article, we deploy overlapping conceptual frameworks to address contemporary performance work we were involved in devising, which explored the representation and utilisation of classical music from a theatrical and structural perspective. It combines Postdramatic Theatre (Lehmann, 2006), Composed Theatre (Rebstock and Roesner, 2012) and Score Theatre (Spagnolo, 2017) in order to expose how our performance practices are invested in the language, etiquettes, and compositional principles of classical music.
在本文中，我们运用重叠的概念框架来解决我们参与设计的当代表演作品，从戏剧和结构的角度探索古典音乐的表现和利用。它结合了后戏剧剧院(Lehmann, 2006)，作曲剧院(Rebstock and Roesner, 2012)和配乐剧院(Spagnolo, 2017)，以揭示我们的表演实践如何投资于古典音乐的语言，礼仪和作曲原则。
{"title":"Staging Scores: Musical composition as strategy and structure of performance","authors":"M. Pinchbeck, Ken Egan","doi":"10.16995/olh.4684","DOIUrl":"https://doi.org/10.16995/olh.4684","url":null,"abstract":"In this article, we deploy overlapping conceptual frameworks to address contemporary performance work we were involved in devising, which explored the representation and utilisation of classical music from a theatrical and structural perspective. It combines Postdramatic Theatre (Lehmann, 2006), Composed Theatre (Rebstock and Roesner, 2012) and Score Theatre (Spagnolo, 2017) in order to expose how our performance practices are invested in the language, etiquettes, and compositional principles of classical music.","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2021-11-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49019721","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}
From baroque proto-cybertexts to countercultural gestures by historical avant-gardes there is a longstanding tradition of disruptive strategies by artists at the interstices of societies’ demand for order, control and functionalism. For the avant-gardes, and their multiple artistic inf(l)ections, part of the strategy had to do with radical changes in the way sensory perception came to be depicted by Modernism. Placing emphasis on the confluence of several arts and media, the innovative character of their proposals had much to do with the ways in which they were able to embrace notions representing modernity, such as “simultaneity,” “dynamics”, “motion”, as well as ideas such as the symbiosis between human and machine. For that purpose, they searched to induce estrangement and defamiliarization, namely by using seemingly functional mechanisms in order to raise awareness through loss of grasp. Taking from the idea of raising awareness through seemingly functional mechanisms, I argue that non-functional/dysfunctional digital interfaces that are part of contemporary artworks dealing with digitally-based haptic reading processes (namely, digital literature) are largely influenced by early avant-garde artistic proposals. Through its metamedial aesthetic and poetic critique of digital media, digital literature reinvents inherited strategies of subversion and disruption already explored by modernism, raising awareness in regard to the artwork’s processes of signification and affect. Seen as a variation of a rich heritage of experimentation with seemingly functional mechanisms in the arts, such strategies reenact age-old tensions between tradition and innovation, while laying the foundation for (re)new(ed) ways of reading and writing in digital multimodal environments.
{"title":"“GRASP ALL, LOSE ALL”: RAISING AWARENESS THROUGH LOSS OF GRASP IN SEEMINGLY FUNCTIONAL INTERFACES","authors":"Diogo Marques","doi":"10.16995/olh.6393","DOIUrl":"https://doi.org/10.16995/olh.6393","url":null,"abstract":"From baroque proto-cybertexts to countercultural gestures by historical avant-gardes there is a longstanding tradition of disruptive strategies by artists at the interstices of societies’ demand for order, control and functionalism. For the avant-gardes, and their multiple artistic inf(l)ections, part of the strategy had to do with radical changes in the way sensory perception came to be depicted by Modernism. Placing emphasis on the confluence of several arts and media, the innovative character of their proposals had much to do with the ways in which they were able to embrace notions representing modernity, such as “simultaneity,” “dynamics”, “motion”, as well as ideas such as the symbiosis between human and machine. For that purpose, they searched to induce estrangement and defamiliarization, namely by using seemingly functional mechanisms in order to raise awareness through loss of grasp. Taking from the idea of raising awareness through seemingly functional mechanisms, I argue that non-functional/dysfunctional digital interfaces that are part of contemporary artworks dealing with digitally-based haptic reading processes (namely, digital literature) are largely influenced by early avant-garde artistic proposals. Through its metamedial aesthetic and poetic critique of digital media, digital literature reinvents inherited strategies of subversion and disruption already explored by modernism, raising awareness in regard to the artwork’s processes of signification and affect. Seen as a variation of a rich heritage of experimentation with seemingly functional mechanisms in the arts, such strategies reenact age-old tensions between tradition and innovation, while laying the foundation for (re)new(ed) ways of reading and writing in digital multimodal environments.","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2021-11-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47590507","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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