Pub Date : 2021-07-03DOI: 10.1080/02666286.2021.1927458
Robin Schuldenfrei
Abstract After the rise of monumental fascist architecture in Europe and the subsequent devastation of the Second World War, architects struggled to come to grips—via writing and design—with what should follow. In the view of architects, artists and cultural critics, monumentality in architecture and urbanism was no longer tenable—tainted as it was by the fascists’ use of classicism, monumental scale, and their proposals for extreme perspectival views in large-scale urban planning. Monuments and monumentality were reappraised, to be replaced by objects that were described as ‘things that remind’, a concept introduced by architectural critic Siegfried Giedion in his ground-breaking essay ‘The Need for a New Monumentality’ (1944). This essay examines how monumentality was scaled down and revised in post-war period literature and structures—replaced by the idea of small monuments that ‘remind’, which offered opportunities for inner perspective. By considering Berlin’s situated urban materiality and artefacts, including the Berlin Wall, in the light of such manifestos on monuments as Giedion’s, this article argues that post-war Berlin building was often at odds with, even against, perspective.
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Pub Date : 2021-04-03DOI: 10.1080/02666286.2020.1866992
Erin Duncan-O’Neill
Abstract Best known as a caricaturist who skewered the politicians and social mores of nineteenth-century France, Honoré Daumier also had a deep and abiding engagement with the seventeenth-century playwright Molière. This article examines Daumier’s paintings of Molière’s plays Le Malade imaginaire (1673) and Les Fourberies de Scapin (1671), initiated shortly after Daumier was fired from a thirty-year position working for the illustrated press. Rather than understanding these paintings in relationship to his broader political project, scholars tend to interpret them in isolation from his lithographs, with the inadequate justification that the formality of the stage diverges from the humor of his cartoons. Daumier—who, like Molière, had negotiated shifting censorship restrictions throughout his career—painted Molière’s plays when they were being revived by nineteenth-century theaters because new material was heavily censored. In moments of intense repression, audiences and playhouses used these plays to stage oblique attacks on the government. This article examines the legal frameworks linking a caricatural style of painting to theatrical performance and argues that, by turning to Molière as a subject in paint when explicitly political material was being censored in print, Daumier’s works intervene in the contested space of speech in Second Empire France.
{"title":"Painting Molière as an act of rebellion: Honoré Daumier, censored speech, and revivals of theatrical satire","authors":"Erin Duncan-O’Neill","doi":"10.1080/02666286.2020.1866992","DOIUrl":"https://doi.org/10.1080/02666286.2020.1866992","url":null,"abstract":"Abstract Best known as a caricaturist who skewered the politicians and social mores of nineteenth-century France, Honoré Daumier also had a deep and abiding engagement with the seventeenth-century playwright Molière. This article examines Daumier’s paintings of Molière’s plays Le Malade imaginaire (1673) and Les Fourberies de Scapin (1671), initiated shortly after Daumier was fired from a thirty-year position working for the illustrated press. Rather than understanding these paintings in relationship to his broader political project, scholars tend to interpret them in isolation from his lithographs, with the inadequate justification that the formality of the stage diverges from the humor of his cartoons. Daumier—who, like Molière, had negotiated shifting censorship restrictions throughout his career—painted Molière’s plays when they were being revived by nineteenth-century theaters because new material was heavily censored. In moments of intense repression, audiences and playhouses used these plays to stage oblique attacks on the government. This article examines the legal frameworks linking a caricatural style of painting to theatrical performance and argues that, by turning to Molière as a subject in paint when explicitly political material was being censored in print, Daumier’s works intervene in the contested space of speech in Second Empire France.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"39 1","pages":"206 - 219"},"PeriodicalIF":0.3,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90254104","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-03DOI: 10.1080/02666286.2020.1866977
Tamar Cholcman
Abstract The closely interrelated enterprises in the humanistic world of the Republic of Letters, especially in the production of emblem books, created collaborations between artists and scholars. The production of emblem books, with their characteristic interplay between word and image, creates a place where humanists and artists could meet. Consequently, not only did men of letters use pictorial expressions to articulate their ideas, but artists also used emblematic forms as rhetorical tools, and in this manner took an active part in the Republic’s enterprises. This essay examines Peter Paul Rubens’s use of emblematics, showing that he was not merely a user but a producer of emblems. The image of a bat and a bee in his Freising altarpiece not only constitutes a new emblem that attests to Rubens’s innovative contribution to both the artistic and literary enterprises of the Republic of Letters, but also serves as a case study of the artists’ instrumentalization of emblematic forms in their own discipline, making their voice heard in the discourse of the Republic of letters.
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Pub Date : 2021-04-03DOI: 10.1080/02666286.2020.1866972
Roland Betancourt
Abstract The Poliorcetica (Vat. gr. 1605) is a Byzantine treatise on siege warfare, composed by the so-called Heron of Byzantium, which was illuminated with drawings and schematics for the construction and use of military tools and structures in the eleventh century. Using an object-oriented lens, this article looks closely at the word-image relations used by the Poliorcetica’s author to engage the manuscript’s illuminations. The article considers how the manuscript diagrams the relationships between objects and their military operations by relying on the viewer’s faculty of imagination (phantasia) to fill in the gaps offered between the text and its images.
{"title":"Bellicose things: the inner lives of Byzantine warfare implements","authors":"Roland Betancourt","doi":"10.1080/02666286.2020.1866972","DOIUrl":"https://doi.org/10.1080/02666286.2020.1866972","url":null,"abstract":"Abstract The Poliorcetica (Vat. gr. 1605) is a Byzantine treatise on siege warfare, composed by the so-called Heron of Byzantium, which was illuminated with drawings and schematics for the construction and use of military tools and structures in the eleventh century. Using an object-oriented lens, this article looks closely at the word-image relations used by the Poliorcetica’s author to engage the manuscript’s illuminations. The article considers how the manuscript diagrams the relationships between objects and their military operations by relying on the viewer’s faculty of imagination (phantasia) to fill in the gaps offered between the text and its images.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"53 1","pages":"160 - 177"},"PeriodicalIF":0.3,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75169779","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-03DOI: 10.1080/02666286.2020.1866976
Ara H. Merjian
Abstract Dorothea Tanning’s painting Fatala (1947) reveals a solitary female figure reaching her hand through a door. This borrows plainly from an artist renowned for rendering women as statues or storefront mannequins: the Greek-born Italian artist Giorgio de Chirico, whose early corpus formed one of Surrealism’s most prominent—and fraught—precedents. Yet Tanning’s canvas also conjures up another of the Surrealists’ elected forebears: Marcel Allain’s series of detective fiction books, titled Fatala: Grand roman policier (1930–31). Co-authored with Pierre Souvestre, Allain’s first series of pulp novels, Fantômas (1911–13),had proven enormously popular in Parisian avant-garde circles, first in the circle of the poet-critic Guillaume Apollinaire, and later among the Surrealists. Michel Nathan has described Allain’s Fatala as “Fantômas in a walking skirt” (“Fantômas en jupe trotteuse”). This cast-off epithet offers a fitting aegis under which to consider both Tanning’s use of various Surrealist modes in Fatala and their resonance in the context of the movement’s late iterations and sexual politics. For with Fatala, Tanning takes on a higher mathematics of masculine precedent—both Metaphysical painting and the detective novel—as well as their adoption by a host of male Surrealist artists. It is on the male-centered ground of the Metaphysical cityscape and the roman policier that Tanning sets her femme fatale in Fatala, finding in it a readymade stage for the apparition of other identities.
多萝西娅·坦宁(Dorothea Tanning) 1947年的画作《法塔拉》(Fatala)展示了一个孤独的女性形象，她把手伸进一扇门。这显然借用了一位以将女性描绘成雕像或店面假人而闻名的艺术家:希腊出生的意大利艺术家乔治·德·基里科(Giorgio de Chirico)，他的早期作品构成了超现实主义最突出也最令人担忧的先例之一。然而，坦宁的作品也让人想起了超现实主义的另一个先祖:马塞尔·阿兰的侦探小说系列，名为《法塔拉:伟大的罗马警察》(1930-31)。阿兰与皮埃尔·苏韦斯特(Pierre Souvestre)合著的第一部低俗小说系列Fantômas(1911 - 1913)在巴黎先锋派圈子里广受欢迎，先是在诗人评论家纪尧姆·阿波利奈尔(Guillaume Apollinaire)的圈子里，后来又在超现实主义圈子里。米歇尔·内森形容阿兰饰演的法塔拉为“Fantômas in a walking skirt”(“Fantômas en jupe trotteuse”)。这个被抛弃的绰号提供了一个合适的庇护，在这个庇护下，我们可以考虑坦宁在《法塔拉》中使用的各种超现实主义模式，以及它们在运动后期迭代和性政治背景下的共鸣。因为在《法塔拉》中，坦宁对男性先例进行了更高层次的研究——玄学绘画和侦探小说——同时也被一大批男性超现实主义艺术家所采用。正是在以男性为中心的形而上学城市景观和罗马政治家的基础上，坦宁在法塔拉设置了她的蛇蝎美人，在这里找到了一个现成的舞台，让其他身份的幽灵出现。
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Pub Date : 2021-04-03DOI: 10.1080/02666286.2020.1866969
Olivia Milroy Evans
Abstract Contemporary lyric series deploy many strategies from forensic (courtroom) rhetoric to persuade their readers that an injustice has taken place. Ekphrasis is one of the primary overlapping strategies in both forensic rhetoric and the lyric, documenting what cannot be seen, what has been lost, or framing an object to serve persuasive ends. Returning to ancient definitions of ekphrasis as any kind of vivid description expands ekphrasis’s scope from a “verbal representation of visual representation” to include descriptions of people and events. This article reads ekphrastic descriptions of violence against female bodies in recent poems by Natasha Trethewey, Tyehimba Jess, and Maggie Nelson to demonstrate how poets use the evidentiary function of ekphrasis. Documentary poets treat ekphrasis as a form of testimony, simultaneously subjective and factual. This article shows how ekphrasis straddles the boundary between the world as a material reality and our conceptions of it, inhabiting the liminal space where interpretation and ethical formation transpire. By composing imaginative ekphraseis of unavailable evidence, documentary poets challenge the hegemonic powers of the archive and empower us to imagine “what the body can say.” By positioning ekphrasis within the frame of forensic rhetoric, documentary poetry transforms the reader into a witness.
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Pub Date : 2021-04-03DOI: 10.1080/02666286.2020.1801262
Jordana Dym, Carla Lois
Abstract The dominant practice in Western map studies has been to consider maps as “sovereign,” that is, as individual images separated from the material context of their production, circulation, and consumption. Book studies, also, have generally overlooked maps when considering graphic elements such as engravings and photographs. Yet many maps are located within, and contribute to, the larger arguments of books of all kinds, including histories, geographies, travel accounts, and novels. This article asks what changes theoretically and in practice when we dethrone the “sovereign map” and engage with maps as “bound images,” a hybrid graphic and textual part of the stories told by authors and publishers which is experienced by readers in book form through materiality, context, and significance. By way of conclusion, we offer an approach to analyzing maps in context, and an appendix with initial guiding questions.
{"title":"Bound images: maps, books, and reading in material and digital contexts","authors":"Jordana Dym, Carla Lois","doi":"10.1080/02666286.2020.1801262","DOIUrl":"https://doi.org/10.1080/02666286.2020.1801262","url":null,"abstract":"Abstract The dominant practice in Western map studies has been to consider maps as “sovereign,” that is, as individual images separated from the material context of their production, circulation, and consumption. Book studies, also, have generally overlooked maps when considering graphic elements such as engravings and photographs. Yet many maps are located within, and contribute to, the larger arguments of books of all kinds, including histories, geographies, travel accounts, and novels. This article asks what changes theoretically and in practice when we dethrone the “sovereign map” and engage with maps as “bound images,” a hybrid graphic and textual part of the stories told by authors and publishers which is experienced by readers in book form through materiality, context, and significance. By way of conclusion, we offer an approach to analyzing maps in context, and an appendix with initial guiding questions.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"105 1","pages":"119 - 141"},"PeriodicalIF":0.3,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78513410","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-03DOI: 10.1080/02666286.2020.1866970
Elisa Ronzheimer
Abstract The adaptation of texts by contemporary British-Somali poet Warsan Shire for Beyoncé’s visual album Lemonade, released in 2016, raises several questions about poetic representation in the twenty-first-century mediascape. Shire’s poems, which have been composed for a variety of media, ranging from print distribution to audio recordings to online circulation, serve as transitions between the musical tracks in Lemonade, thus accompanying the overarching narrative of black female empowerment. Frictions between image and text present the starting point for an enquiry into the changes that contemporary lyric poetry undergoes when it “becomes pop.” Shaped by processes of circulation and reappropriation, Shire’s poems emerge as “memetic media.” Does this “meme-ification” of poetry, the digital mobilization and de-contextualization of poetic form, in turn affect the dynamics of poetic representation? A close reading of the texts as they are integrated into the visual album shows how Shire’s poems enter into a dialogue with Lemonade’s imagery, while remaining impervious to the narrative of positive transformation. In becoming “meme,” these poems retain their refractory qualities, thus presenting a design of lyric poetry for the contemporary mediascape.
{"title":"The poem as meme? Pop video poetry in the digital age (Warsan Shire/Beyoncé)","authors":"Elisa Ronzheimer","doi":"10.1080/02666286.2020.1866970","DOIUrl":"https://doi.org/10.1080/02666286.2020.1866970","url":null,"abstract":"Abstract The adaptation of texts by contemporary British-Somali poet Warsan Shire for Beyoncé’s visual album Lemonade, released in 2016, raises several questions about poetic representation in the twenty-first-century mediascape. Shire’s poems, which have been composed for a variety of media, ranging from print distribution to audio recordings to online circulation, serve as transitions between the musical tracks in Lemonade, thus accompanying the overarching narrative of black female empowerment. Frictions between image and text present the starting point for an enquiry into the changes that contemporary lyric poetry undergoes when it “becomes pop.” Shaped by processes of circulation and reappropriation, Shire’s poems emerge as “memetic media.” Does this “meme-ification” of poetry, the digital mobilization and de-contextualization of poetic form, in turn affect the dynamics of poetic representation? A close reading of the texts as they are integrated into the visual album shows how Shire’s poems enter into a dialogue with Lemonade’s imagery, while remaining impervious to the narrative of positive transformation. In becoming “meme,” these poems retain their refractory qualities, thus presenting a design of lyric poetry for the contemporary mediascape.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"1 1","pages":"152 - 159"},"PeriodicalIF":0.3,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89874946","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/02666286.2021.1866480
Kelly Presutti
Abstract The Sèvres porcelain Service des Départements (begun 1824) was an ambitious attempt to depict the whole of France, including its colonies, on a set of dessert plates. It was conceived as both an encyclopedic account of France’s riches and a way of tangibly offering the nation to its monarch, Charles X. But in the 1820s, France remained a fragmented and disconnected entity. To picture it, the artisans at Sèvres relied on pre-existing landscape representation for the plates’ central views, while extensive ornamentation on the plates’ borders worked to generate a sense of unified identity across the set. It was through textual additions, however, that the Service most clearly wrestled with the complicated construction of France as a diverse but united nation. Painted words describe the landscape views, label portrait medallions, and detail regional attributes; a reference guide on the back of each plate reinforces this interdependence between word and image. The text, unusual in Sèvres porcelain of the time, betrays a particular anxiety about the ability of landscape representation to stand for the nation, especially at a moment when France was itself disunified. The tension within the Service between particularity and cohesion further invokes a relationship between part and whole best described by the Romantic trope of the “fragment.” Drawing on theories of the literary fragment, this essay describes both the ambition and the ultimate failure of the Service to represent France.
1824年开始创作的《s vres瓷器服务》(Service des d partements)是一组雄心勃勃的尝试，它将整个法国，包括它的殖民地，描绘在一套甜点盘上。它被认为是对法国财富的百科全书式描述，也是将这个国家献给君主查理十世(Charles x)的一种有形方式。但在19世纪20年代，法国仍然是一个支离破碎、互不联系的实体。为了描绘它，sentrevres的工匠们依靠预先存在的景观来表现盘子的中心观点，而盘子边缘的大量装饰则致力于在整个场景中产生统一的认同感。然而，正是通过补充文本，国民局才最清楚地处理了法国作为一个多元但统一的国家的复杂结构。彩绘文字描述风景，标记肖像奖章，并详细说明区域属性;每张印版背面的参考指南加强了文字和图像之间的相互依存关系。这段文字在当时的s vres瓷器中很不寻常，它暴露了一种对风景画能否代表国家的特殊焦虑，尤其是在法国本身处于分裂状态的时候。服务内部的特殊性和凝聚力之间的紧张关系进一步唤起了部分与整体之间的关系，最好的描述是浪漫主义的“片段”比喻。借鉴文学片段的理论，本文描述了服务代表法国的野心和最终失败。
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Pub Date : 2021-01-02DOI: 10.1080/02666286.2020.1809227
P. Chu
ABSTRACT Soon after his move, in 1855, to the Channel island of Guernsey, Victor Hugo bought a large house, which he called Hauteville House after the quarter of Saint Peter Port in which it was located. Over the next six years, he led a massive decoration campaign, during which he transformed the interior of the house into what many contemporaries saw as an ultimate form of self-expression. One of the main characteristics of the Hauteville House interior was that it was furnished entirely with antiques and bric-à-brac that Hugo had acquired in Guernsey as well as on the European continent. The poet was a passionate collector who scoured the antique shops in Guernsey for old chests, furniture, fabrics, etc. These he brought home not to restore them to their former glory but to take them apart and make new pieces of furniture out of them. In this article I link Hugo’s process of fragmentation and reformulation to his writing method, especially his historical novels and historical dramas, as well as to contemporary historiography. I also link his process to Claude Lévi-Strauss’s concept of bricolage in an effort to show that Hugo’s opportunistic strategy of using available fragments of earlier cultural epochs and remaking them into new forms is analogous to the process of mythical thought. Indeed, I argue that Hugo’s bricolage process in Hauteville House was a conscious process of self-mythologizing.
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