between print and digital photomontage practices through theworks of two women artists, Margit Sielska (1900-1980) and Weronika Gęsicka (1984-),addressingthe way these lesser-known, non-Anglophone artists reveal a continuity ofinterests across time. Changes in technology have allowed the cut and pastetechnique of photomontage to evolve from the use of scissors and glue to the useof software. Byreappropriating and manipulating the ready-made image of women andstereotypical family life from printed and photographic materials, both artistschallenge assumptions about a woman’s role in society while constructing newsettings and realities for their subjects to occupy. In both instances, thecombinatory process of montage serves to question and disrupt traditional andnormative representations of women and domesticity. By drawing on theparallels between artworks made with different techniques but deriving from theshared creative process of appropriating and manipulating the ready-made imageto create new, unexpected situations, the article reveals a continuity betweencertain modernist practices and contemporary digital culture.
{"title":"From Print to Digital: Reappropriation of the Ready-Made Image in Works of Margit Sielska and Weronika Gęsicka","authors":"Karolina Koczynska","doi":"10.16995/olh.6390","DOIUrl":"https://doi.org/10.16995/olh.6390","url":null,"abstract":"between print and digital photomontage practices through theworks of two women artists, Margit Sielska (1900-1980) and Weronika Gęsicka (1984-),addressingthe way these lesser-known, non-Anglophone artists reveal a continuity ofinterests across time. Changes in technology have allowed the cut and pastetechnique of photomontage to evolve from the use of scissors and glue to the useof software. Byreappropriating and manipulating the ready-made image of women andstereotypical family life from printed and photographic materials, both artistschallenge assumptions about a woman’s role in society while constructing newsettings and realities for their subjects to occupy. In both instances, thecombinatory process of montage serves to question and disrupt traditional andnormative representations of women and domesticity. By drawing on theparallels between artworks made with different techniques but deriving from theshared creative process of appropriating and manipulating the ready-made imageto create new, unexpected situations, the article reveals a continuity betweencertain modernist practices and contemporary digital culture. ","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2021-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47690234","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}
The cyberfeminist art practice of Shu Lea Cheang evinces a particular relation of generative complicity with the art object—what Canadian cultural theorist Jeanne Randolph referred to as “the amenable object” (1983). Randolph, who pioneered “ficto-criticism”—a method of writing that intentionally blurs theory, poetics and narrative—wrote of the amenable object as an incomplete creation whose “ambiguous elements” allow the viewer to make “subjective interventions” in the work. Likewise, Cheang’s participatory installations and non-linear online narratives operate as amenable object-texts, requiring the user to not only navigate but contribute to them through acts of critical play and improvisation. Across Cheang’s oeuvre is also a nomadic politics of border-crossing that resonates as loudly with Donna Haraway’s cyborg as it does with the experimental feminist writing that became associated with fictocriticism. In this paper, I examine correlations between fictocritical approaches and formal tactics in Cheang’s studio practice to consider them as interrelated cyberfeminist strategies of resistance and dissent; ones that arose in counterpoint to the proliferation of deterministic, technocapitalist narratives. In particular, I look at how the fragmentation, partiality and double-voicing seen in many fictocritical texts were echoed in the user-experience of Cheang’s Brandon (1998), a sprawing network that posited the queer body as a collective series of actions. I conclude by looking at how these same techniques recall methods from Dadaism and Surrealism in the early 20th century and reflect on the recurrent role of indeterminacy in art and literature more generally to stem the entropy of binary paradigms.
{"title":"Brandon is a Network Not a Name: Fictocriticism & the Cyberfeminist Art of Shu Lea Cheang","authors":"Zachary Pearl","doi":"10.16995/olh.6391","DOIUrl":"https://doi.org/10.16995/olh.6391","url":null,"abstract":"The cyberfeminist art practice of Shu Lea Cheang evinces a particular relation of generative complicity with the art object—what Canadian cultural theorist Jeanne Randolph referred to as “the amenable object” (1983). Randolph, who pioneered “ficto-criticism”—a method of writing that intentionally blurs theory, poetics and narrative—wrote of the amenable object as an incomplete creation whose “ambiguous elements” allow the viewer to make “subjective interventions” in the work. Likewise, Cheang’s participatory installations and non-linear online narratives operate as amenable object-texts, requiring the user to not only navigate but contribute to them through acts of critical play and improvisation. Across Cheang’s oeuvre is also a nomadic politics of border-crossing that resonates as loudly with Donna Haraway’s cyborg as it does with the experimental feminist writing that became associated with fictocriticism. In this paper, I examine correlations between fictocritical approaches and formal tactics in Cheang’s studio practice to consider them as interrelated cyberfeminist strategies of resistance and dissent; ones that arose in counterpoint to the proliferation of deterministic, technocapitalist narratives. In particular, I look at how the fragmentation, partiality and double-voicing seen in many fictocritical texts were echoed in the user-experience of Cheang’s Brandon (1998), a sprawing network that posited the queer body as a collective series of actions. I conclude by looking at how these same techniques recall methods from Dadaism and Surrealism in the early 20th century and reflect on the recurrent role of indeterminacy in art and literature more generally to stem the entropy of binary paradigms.","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2021-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42628907","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}
The photography of Ellen Auerbach and Grete Stern of the studio ringl + pit consistently shirks established formulae of advertising. The emphases on traditional gender roles and an exaggerated femininity in conventional Weimar advertisements reaffirm heterosexual male desire, and attempt to combat the development of the modern female ‘type’ into the independent and androgynous männliche Frau, or masculine woman. The disparity between media-constructed Weimar-era femininity and the actual ways in which Germans at this time understood their own selves as women and individuals is evidenced by Auerbach and Stern’s advertisements, which challenge such objectifying and sexualizing imagery by suggestive figures in the absence of real bodies, formed from the very goods being sold.This article examines how ringl + pit’s advertisements for artificial silk and other new commercially-available goods use substitution techniques to suggest a desire to create one’s own self, while acknowledging the power of the commodity in identity formation. Stern and Auerbach’s photographs work as a reflection of their own understanding of the power of the commodity whose uncanny beauty is revealed through intense focus and surprising reconfigurations. Their intense focus on materiality and their revisioning of such materials suggest connotations beyond the material being photographed. Ringl + pit’s advertisements become semi-blank receptacles that allow numerous modern women, and even non-binary and queer individuals, to see themselves represented as possible consumers for such products, and thus be in control their own identities and images.
Ellen Auerbach和Grete Stern的摄影作品一直在逃避既定的广告模式。传统魏玛广告中对传统性别角色的强调和夸张的女性气质重申了异性恋男性的欲望，并试图阻止现代女性“类型”向独立和雌雄同体的男性女性发展。奥尔巴赫和斯特恩的广告证明了媒体构建的魏玛时代的女性气质与当时德国人理解自己作为女性和个人的实际方式之间的差异，这些广告挑战了在没有真实身体的情况下，由出售的商品形成的暗示性形象的物化和性化形象。这篇文章探讨了rill+pit的人造丝绸和其他新的商业商品广告如何使用替代技术来暗示创造自我的愿望，同时承认商品在身份形成中的力量。Stern和Auerbach的照片反映了他们自己对商品力量的理解，通过强烈的关注和令人惊讶的重新配置，商品的神奇之美得以展现。他们对物质性的高度关注和对这些材料的修改暗示了超越被拍摄材料的内涵。Ringl+pit的广告变成了半空白的容器，让许多现代女性，甚至是非二元和酷儿个人，看到自己被视为此类产品的可能消费者，从而控制自己的身份和形象。
{"title":"RINGL + PIT: (UN)FIGURING THE NEW WOMAN","authors":"Stephanie Bender","doi":"10.16995/olh.6392","DOIUrl":"https://doi.org/10.16995/olh.6392","url":null,"abstract":"The photography of Ellen Auerbach and Grete Stern of the studio ringl + pit consistently shirks established formulae of advertising. The emphases on traditional gender roles and an exaggerated femininity in conventional Weimar advertisements reaffirm heterosexual male desire, and attempt to combat the development of the modern female ‘type’ into the independent and androgynous männliche Frau, or masculine woman. The disparity between media-constructed Weimar-era femininity and the actual ways in which Germans at this time understood their own selves as women and individuals is evidenced by Auerbach and Stern’s advertisements, which challenge such objectifying and sexualizing imagery by suggestive figures in the absence of real bodies, formed from the very goods being sold.This article examines how ringl + pit’s advertisements for artificial silk and other new commercially-available goods use substitution techniques to suggest a desire to create one’s own self, while acknowledging the power of the commodity in identity formation. Stern and Auerbach’s photographs work as a reflection of their own understanding of the power of the commodity whose uncanny beauty is revealed through intense focus and surprising reconfigurations. Their intense focus on materiality and their revisioning of such materials suggest connotations beyond the material being photographed. Ringl + pit’s advertisements become semi-blank receptacles that allow numerous modern women, and even non-binary and queer individuals, to see themselves represented as possible consumers for such products, and thus be in control their own identities and images.","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2021-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49379164","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 will situate Erica Baum’s Dog Ear within broader discussions of appropriation, remediation, and queer phenomenology. In her ongoing series, begun over a decade ago, Baum makes the quotidian act of folding the corner of a book’s page into a sculptural intervention, allowing her to “reauthor” the newly concealed and revealed juxtaposition of text. These digital photographs, initially displayed in art galleries, were selectively sequenced by Baum to become Dog Ear (Ugly Duckling Presse 2011, reprinted 2016). Both the accompanying critical writings and subsequent reviews of the book emphasized continuities between Baum’s project and traditions of found and concrete poetry, alongside modernist precursors like Malevich and Albers who informed her visual lexicon. While acknowledging these legacies, my essay focuses on the evident limitations of attempts to render Baum’s works using standard and modified modes of lineation (offered by Kenneth Goldsmith and Amaranth Borsuk, respectively) which consistently evacuate what is most compelling about them. Instead, I propose and demonstrate a method of gestalt poetics, one which lets their circuitous, open-ended dimensions register more fully by emphasizing evocative recombination, adjacency, and the interrelation of these remediated pages as they return back to and contort the codex. Textual figures get produced, as Sara Ahmed has argued “by acts of relegation” and their queerness, in Baum’s work, depends on perpetually destabilizing the bifurcation between reading and looking in order to shift our sense of foreground and background into an extended matrix of partial legibilities.
{"title":"Enfolding the Hand, Entrancing the Eye: Erica Baum’s Dog Ear","authors":"Riley Hanick","doi":"10.16995/olh.6385","DOIUrl":"https://doi.org/10.16995/olh.6385","url":null,"abstract":"This essay will situate Erica Baum’s Dog Ear within broader discussions of appropriation, remediation, and queer phenomenology. In her ongoing series, begun over a decade ago, Baum makes the quotidian act of folding the corner of a book’s page into a sculptural intervention, allowing her to “reauthor” the newly concealed and revealed juxtaposition of text. These digital photographs, initially displayed in art galleries, were selectively sequenced by Baum to become Dog Ear (Ugly Duckling Presse 2011, reprinted 2016). Both the accompanying critical writings and subsequent reviews of the book emphasized continuities between Baum’s project and traditions of found and concrete poetry, alongside modernist precursors like Malevich and Albers who informed her visual lexicon. While acknowledging these legacies, my essay focuses on the evident limitations of attempts to render Baum’s works using standard and modified modes of lineation (offered by Kenneth Goldsmith and Amaranth Borsuk, respectively) which consistently evacuate what is most compelling about them. Instead, I propose and demonstrate a method of gestalt poetics, one which lets their circuitous, open-ended dimensions register more fully by emphasizing evocative recombination, adjacency, and the interrelation of these remediated pages as they return back to and contort the codex. Textual figures get produced, as Sara Ahmed has argued “by acts of relegation” and their queerness, in Baum’s work, depends on perpetually destabilizing the bifurcation between reading and looking in order to shift our sense of foreground and background into an extended matrix of partial legibilities. ","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2021-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46628121","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 article sets the Period Products (Free Provision) (Scotland) (2021) Act in the context of historical imaginations both of menstruation and of the nation. It identifies the following underlying assumptions about menstruation in the parliamentary debates of the Act: (1) that menstruating is a stigma, (2) that menstruators are always the others, and (3) that menstruation particularly affects those in already marginalised groups. Speaking about menstruation (4) creates a privileged, pioneering position for the speakers, and (5) forges bonds between them. The article traces the historical precursors of these assumptions in premodern and early modern humoral medicine, especially Pseudo-Albertus Magnus’ Secreta mulierum, and in modern fiction discussed in the Scottish parliament: the film I, Daniel Blake and Alasdair Gray’s novel Poor Things. The parliamentary debates also imagine the nation as a collective body which is united by a shared blood and which at the same time transcends blood, in this case menstrual blood. This is part of a historical pattern of similar imaginations of the Scottish nation in relation to blood. The article demonstrates how this conception of menstruation and the nation functions not only in the parliamentary debate, but also in a sample of Scottish writing and thought from the Middle Ages to today.
{"title":"Uniting the Nation through Transcending Menstrual Blood: The Period Products Act in Historical Perspective","authors":"Bettina Bildhauer","doi":"10.16995/olh.6339","DOIUrl":"https://doi.org/10.16995/olh.6339","url":null,"abstract":"This article sets the Period Products (Free Provision) (Scotland) (2021) Act in the context of historical imaginations both of menstruation and of the nation. It identifies the following underlying assumptions about menstruation in the parliamentary debates of the Act: (1) that menstruating is a stigma, (2) that menstruators are always the others, and (3) that menstruation particularly affects those in already marginalised groups. Speaking about menstruation (4) creates a privileged, pioneering position for the speakers, and (5) forges bonds between them. The article traces the historical precursors of these assumptions in premodern and early modern humoral medicine, especially Pseudo-Albertus Magnus’ Secreta mulierum, and in modern fiction discussed in the Scottish parliament: the film I, Daniel Blake and Alasdair Gray’s novel Poor Things. The parliamentary debates also imagine the nation as a collective body which is united by a shared blood and which at the same time transcends blood, in this case menstrual blood. This is part of a historical pattern of similar imaginations of the Scottish nation in relation to blood. The article demonstrates how this conception of menstruation and the nation functions not only in the parliamentary debate, but also in a sample of Scottish writing and thought from the Middle Ages to today.","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2021-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45678455","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 article examines the political role of illness in Émile Zola’s La Faute de l’abbé Mouret (The Sin of Father Mouret) (1875) in articulating the difference between a religious and a secular body. Published in the early French Third Republic (1870–1940), this novel shows the Zolian body as the nexus upon which religious and republican discourses compete. Using Paul Ricœur’s theory on Christianity’s original sin, this article compares Mouret’s sickness with physical evil and illustrates how Zola redeploys the traditional religious symbols of the heart, the blood, and the Word to the secular realm. It will show that original sin is a Christian myth inscribed on the body, and that Zola’s reformulation of a core religious doctrine and its supporting framework can and must be dismantled for the fledgling secular Third Republic. The article shows an attempt by Zola to forge a republican self, and thereby offers a new perspective on the nature of the Zolian body which merits further study under the field of Medical Humanities. Through the construction of the religious body, the article also contributes to wider critical discussion on mythology in Zola’s work.
{"title":"Illness, Aesthetics, and Body Politics: Forging the Third Republic in Émile Zola's 'La Faute de l'abbé Mouret'","authors":"K. Y. Wong","doi":"10.16995/olh.4724","DOIUrl":"https://doi.org/10.16995/olh.4724","url":null,"abstract":"This article examines the political role of illness in Émile Zola’s La Faute de l’abbé Mouret (The Sin of Father Mouret) (1875) in articulating the difference between a religious and a secular body. Published in the early French Third Republic (1870–1940), this novel shows the Zolian body as the nexus upon which religious and republican discourses compete. Using Paul Ricœur’s theory on Christianity’s original sin, this article compares Mouret’s sickness with physical evil and illustrates how Zola redeploys the traditional religious symbols of the heart, the blood, and the Word to the secular realm. It will show that original sin is a Christian myth inscribed on the body, and that Zola’s reformulation of a core religious doctrine and its supporting framework can and must be dismantled for the fledgling secular Third Republic. The article shows an attempt by Zola to forge a republican self, and thereby offers a new perspective on the nature of the Zolian body which merits further study under the field of Medical Humanities. Through the construction of the religious body, the article also contributes to wider critical discussion on mythology in Zola’s work.","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2021-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43910541","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 January 2021, Scotland became the first country in the world to make universal access to free period products a legal right, an initiative which attracted extraordinary international attention as a “world first”. This introduction outlines from the perspective of the history of menstruation what is indeed new and ground-breaking about this law, and what merely continues traditional and widespread conceptions, policies and practices surrounding menstruation. On the basis of on analysis the parliamentary debates of the Act, we show that it gained broad political support by satisfying a combination of ten different political agendas: promoting gender equality for women while acknowledging broader gender diversity, practically alleviating one high-profile aspect of poverty at a relatively low overall cost to the state, tackling menstrual stigma, improving access to education, working with grassroots campaigners, improving public health, and accommodating sustainability concerns, as well as the desire to pass world-leading legislation in itself. We in each case show to what extent the particular political aim is typical of, or else departs from, recent wider trajectories in the history and politics of menstruation, and, where pertinent, trajectories in Scottish political history. The ten agendas in their international context provide a kaleidoscopic insight into the current state of menstrual politics and history in Scotland and beyond. This introduction also situates this Special Collection as a whole in relation to the field of Critical Menstruation Studies and provides background information about the legislative process and key terminology in Scottish politics and in the history of menstruation.
{"title":"The Period Products (Free Provision) (Scotland) Act 2021 in the context of menstrual politics and history: An introduction","authors":"Bettina Bildhauer, C. Røstvik, Sharra L. Vostral","doi":"10.16995/olh.8159","DOIUrl":"https://doi.org/10.16995/olh.8159","url":null,"abstract":"In January 2021, Scotland became the first country in the world to make universal access to free period products a legal right, an initiative which attracted extraordinary international attention as a “world first”. This introduction outlines from the perspective of the history of menstruation what is indeed new and ground-breaking about this law, and what merely continues traditional and widespread conceptions, policies and practices surrounding menstruation. On the basis of on analysis the parliamentary debates of the Act, we show that it gained broad political support by satisfying a combination of ten different political agendas: promoting gender equality for women while acknowledging broader gender diversity, practically alleviating one high-profile aspect of poverty at a relatively low overall cost to the state, tackling menstrual stigma, improving access to education, working with grassroots campaigners, improving public health, and accommodating sustainability concerns, as well as the desire to pass world-leading legislation in itself. We in each case show to what extent the particular political aim is typical of, or else departs from, recent wider trajectories in the history and politics of menstruation, and, where pertinent, trajectories in Scottish political history. The ten agendas in their international context provide a kaleidoscopic insight into the current state of menstrual politics and history in Scotland and beyond. This introduction also situates this Special Collection as a whole in relation to the field of Critical Menstruation Studies and provides background information about the legislative process and key terminology in Scottish politics and in the history of menstruation.","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2021-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45185598","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}
The words contagion ('to touch together') and translation ('to carry across') share a common course of action and meaning, i.e. that of breaking what 'should be joined or joining [what] should be separate' (Douglas, 1996: 113). In a continuous yet imperceptible way, ideas of risk, corruption and error have been attached as much to the transfer of texts, beliefs and theories as to the spread of diseases. Our immune system fight against outsiders, just like national cultures can shield themselves from the foreign. Yet, if we have come to accept that contagion can be understood as a 'foundational concept in the study of [literature], of religion and of society' (Wald, 2007: 2), translation's epidemiological dimensions have remained relatively unexplored. What do the art of translation and epidemiological science have in common, and how can they inform one another? Why is contagion culturally valuable, but physiologically destructive? How can translation theory contribute to the shaping of a novel, biocultural epistemology of contagion? This essay aims to address these questions by shedding light onto the implicit and understudied translation-contagion link. It offers the first comparative analysis of its kind covering three centuries (nineteenth century-present), two languages (French and Italian), and four contagious diseases (plague, smallpox, Ebola and Aids). It provides an interdisciplinary model to approach the study of literature and epidemiology in a synergic, non-exclusive way, one that is based on the double mobilisation, or 'entanglement' (Whitehead et al., 2016), of literary and medical knowledge.
传染(“一起接触”)和翻译(“跨越”)这两个词有着共同的行为过程和意义，即打破“应该结合的东西”或将“应该分开的东西”结合起来(Douglas, 1996: 113)。风险、腐败和错误的概念一直以一种持续但难以察觉的方式与文本、信仰和理论的传播联系在一起，就像疾病的传播一样。我们的免疫系统会对抗外来者，就像民族文化可以保护自己不受外来文化的侵害一样。然而，如果我们已经接受传染可以被理解为“[文学]、宗教和社会研究中的基本概念”(Wald, 2007: 2)，那么翻译的流行病学维度仍然相对未被探索。翻译艺术和流行病学有什么共同之处，它们如何相互交流?为什么传染病在文化上是有价值的，但在生理上却是破坏性的?翻译理论如何有助于形成一种新颖的、生物文化的传染认识论?本文旨在通过揭示翻译-传染的隐含和未充分研究的联系来解决这些问题。它首次提供了涵盖三个世纪(19世纪至今)、两种语言(法语和意大利语)和四种传染病(瘟疫、天花、埃博拉和艾滋病)的比较分析。它提供了一个跨学科的模式，以一种协同的、非排他性的方式来研究文学和流行病学，这种模式基于文学和医学知识的双重动员或“纠缠”(Whitehead et al.， 2016)。
{"title":"Contagious Otherness: Translating Communicable Diseases in the Modern Italian and Francophone Novel","authors":"Marta Arnaldi","doi":"10.16995/olh.4714","DOIUrl":"https://doi.org/10.16995/olh.4714","url":null,"abstract":"The words contagion ('to touch together') and translation ('to carry across') share a common course of action and meaning, i.e. that of breaking what 'should be joined or joining [what] should be separate' (Douglas, 1996: 113). In a continuous yet imperceptible way, ideas of risk, corruption and error have been attached as much to the transfer of texts, beliefs and theories as to the spread of diseases. Our immune system fight against outsiders, just like national cultures can shield themselves from the foreign. Yet, if we have come to accept that contagion can be understood as a 'foundational concept in the study of [literature], of religion and of society' (Wald, 2007: 2), translation's epidemiological dimensions have remained relatively unexplored. What do the art of translation and epidemiological science have in common, and how can they inform one another? Why is contagion culturally valuable, but physiologically destructive? How can translation theory contribute to the shaping of a novel, biocultural epistemology of contagion? This essay aims to address these questions by shedding light onto the implicit and understudied translation-contagion link. It offers the first comparative analysis of its kind covering three centuries (nineteenth century-present), two languages (French and Italian), and four contagious diseases (plague, smallpox, Ebola and Aids). It provides an interdisciplinary model to approach the study of literature and epidemiology in a synergic, non-exclusive way, one that is based on the double mobilisation, or 'entanglement' (Whitehead et al., 2016), of literary and medical knowledge. ","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2021-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47121796","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}
Introduction to OLH Special Collection Reading in Ruins Exploring Posthumanist Narrative Studies
OLH废墟特藏阅读导论——探索后人文主义叙事研究
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Esther Fernández, Jason Yancey, J. Wade, Jared S. White
Dragoncillo Puppet Troupe was established in 2018 by Esther Fernández, Jonathan Wade, Jared White, and Jason Yancey. The troupe grew out of a staging of The Fabulous Johnny Frog at the 2018 Association for Hispanic and Classical Theater’s (AHCT) yearly symposium. This work, adapted by Yancey, focuses on the controversial Juan Rana protagonist and was designed as an outreach initiative to bring early modern Spanish theater to schools using shadow puppetry. In 2019, Yancey created a new performance based on two entremeses written by Francisco de Quevedo, Siglo de Oro Drama Festival and their community partners This essay illustrates how the Dragoncillo Puppet Troupe was conceived and developed over the span of two years with the goal of introducing early modern Hispanic literature and culture to diverse audiences across the United States while at the same time reaffirming that played a significant role in the cultural, social, and religious life of sixteenth- and seventeenth-century Spain.
{"title":"In the Beginning There Were Dragon(cillo)s: Using Shadow Puppetry to Engage Young Audiences","authors":"Esther Fernández, Jason Yancey, J. Wade, Jared S. White","doi":"10.16995/olh.4791","DOIUrl":"https://doi.org/10.16995/olh.4791","url":null,"abstract":"Dragoncillo Puppet Troupe was established in 2018 by Esther Fernández, Jonathan Wade, Jared White, and Jason Yancey. The troupe grew out of a staging of The Fabulous Johnny Frog at the 2018 Association for Hispanic and Classical Theater’s (AHCT) yearly symposium. This work, adapted by Yancey, focuses on the controversial Juan Rana protagonist and was designed as an outreach initiative to bring early modern Spanish theater to schools using shadow puppetry. In 2019, Yancey created a new performance based on two entremeses written by Francisco de Quevedo, Siglo de Oro Drama Festival and their community partners This essay illustrates how the Dragoncillo Puppet Troupe was conceived and developed over the span of two years with the goal of introducing early modern Hispanic literature and culture to diverse audiences across the United States while at the same time reaffirming that played a significant role in the cultural, social, and religious life of sixteenth- and seventeenth-century Spain.","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2021-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44056619","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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