Pub Date : 2022-07-03DOI: 10.1080/02666286.2021.1980352
Steven H. Wander
Abstract The participation of the Jewish historian Flavius Josephus in the imperial triumph of 71 CE at Rome, following the subjugation of Judaea, is a matter of debate; but his account in the Bellum Judaicum along with the relief on the interior south wall of the Arch of Titus document the event for posterity. While Josephus wrote immediately following the Flavian triumph, the completion of the monument only postdates the death of Titus on 13 September 81. After the passing of a decade, it remains uncertain what sources of information were available to the sculptors of the panel of the Spoils from the Temple in Jerusalem. There are striking similarities between features of this relief and passages from the writings of Josephus. As has been remarked in the past, craftsmen at the Arch of Titus may have had access to a copy of the Jewish War with its description of the Flavian Triumph, which Josephus delivered to Titus and Vespasian before the latter’s death in 79. Moreover, there is close agreement between objects depicted on the sculpted frieze and the text of the Jewish Antiquities, which was only to reach the public many years later in 93–94. The appearance of these items in the sculpture would seem to depend on an early version of the Antiquities and for this reason should be attributed to the intervention—in one form or another—of Flavius Josephus himself.
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Pub Date : 2022-07-03DOI: 10.1080/02666286.2021.1980712
Arturo Cisneros Poireth
Abstract In 1992, Anne Carson published Short Talks, her first book of poetry. According to her, the book was initially conceived as a collection of drawings. In the process of its being creafted, however, the titles for these drawings gradually expanded until they became forty-five prose poems that ended up displacing the drawings from the final publication. Such displacement not only marked the beginning of a fruitful career, but also foreshadowed an enigmatic relationship which would be constantly addressed in her later work: that between drawing and writing. Even when Carson’s meditations on verbal and visual media are not constrained to the relationship between drawing and poetry, this connection is crucial to understanding her poetics, since, as she has stated many times, she considers her poems more as drawings than as texts. In this article, I embrace this interartistic provocation and, by analyzing poems from her work Men in the Off Hours (2000), I examine in which sense she considers her poems as drawings. The poems are read in the light of her theoretical proposals, especially the ones set out in her academic study, Economy of the Unlost (1999), in which she explores the relationship between visual arts and poetry.
{"title":"Rendering visible through language: writing drawings and the literary portrait in Anne Carson’s Men in the Off Hours","authors":"Arturo Cisneros Poireth","doi":"10.1080/02666286.2021.1980712","DOIUrl":"https://doi.org/10.1080/02666286.2021.1980712","url":null,"abstract":"Abstract In 1992, Anne Carson published Short Talks, her first book of poetry. According to her, the book was initially conceived as a collection of drawings. In the process of its being creafted, however, the titles for these drawings gradually expanded until they became forty-five prose poems that ended up displacing the drawings from the final publication. Such displacement not only marked the beginning of a fruitful career, but also foreshadowed an enigmatic relationship which would be constantly addressed in her later work: that between drawing and writing. Even when Carson’s meditations on verbal and visual media are not constrained to the relationship between drawing and poetry, this connection is crucial to understanding her poetics, since, as she has stated many times, she considers her poems more as drawings than as texts. In this article, I embrace this interartistic provocation and, by analyzing poems from her work Men in the Off Hours (2000), I examine in which sense she considers her poems as drawings. The poems are read in the light of her theoretical proposals, especially the ones set out in her academic study, Economy of the Unlost (1999), in which she explores the relationship between visual arts and poetry.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"4 1","pages":"223 - 236"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74415791","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 : 2022-04-03DOI: 10.1080/02666286.2021.1925039
Rebecca Kosick
Abstract This article addresses the experimental Detroit-based publisher known as the Alternative Press, which published eccentric works of art and poetry—in the form of bumper stickers and postcards, among other useful objects—between 1969 and 1999. While the Alternative Press is largely unknown to scholars, this article traces its influences on poets, including Victor Hernández Cruz, Robert Creeley, Diane di Prima, Ted Berrigan, and Alice Notley. It suggests that although these poets (and additional Press contributors) are generally grouped according to other geographical or formal tendencies, involvement with the Alternative Press produced an aesthetics of intermedia experimentation that traversed poetic schools, eras, and allegiances in the late twentieth-century United States. It situates the Alternative Press in the context of better-known art-world movements, such as Mail Art and Fluxus, and links the Press’s founders—Ann and Ken Mikolowski—with other influential publishers and artists of the time, notably Dick Higgins. This article introduces substantial new archival research conducted at the University of Michigan Special Collections, and prompts scholars to consider how a Detroit-based publisher can remap the geographical and generic contours of late-twentieth-century US poetry.
{"title":"Intermedia poetics in and out of Detroit’s Alternative Press","authors":"Rebecca Kosick","doi":"10.1080/02666286.2021.1925039","DOIUrl":"https://doi.org/10.1080/02666286.2021.1925039","url":null,"abstract":"Abstract This article addresses the experimental Detroit-based publisher known as the Alternative Press, which published eccentric works of art and poetry—in the form of bumper stickers and postcards, among other useful objects—between 1969 and 1999. While the Alternative Press is largely unknown to scholars, this article traces its influences on poets, including Victor Hernández Cruz, Robert Creeley, Diane di Prima, Ted Berrigan, and Alice Notley. It suggests that although these poets (and additional Press contributors) are generally grouped according to other geographical or formal tendencies, involvement with the Alternative Press produced an aesthetics of intermedia experimentation that traversed poetic schools, eras, and allegiances in the late twentieth-century United States. It situates the Alternative Press in the context of better-known art-world movements, such as Mail Art and Fluxus, and links the Press’s founders—Ann and Ken Mikolowski—with other influential publishers and artists of the time, notably Dick Higgins. This article introduces substantial new archival research conducted at the University of Michigan Special Collections, and prompts scholars to consider how a Detroit-based publisher can remap the geographical and generic contours of late-twentieth-century US poetry.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"10 1","pages":"88 - 103"},"PeriodicalIF":0.3,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79474773","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 : 2022-04-03DOI: 10.1080/02666286.2021.1969828
Tenley Bick
Abstract Recent scholarship on journals produced by postwar Italian avant-gardes has focused on artists’ use of publications to engage with aesthetic constructions of international and global modernisms after Fascist isolation. This scholarship, however, has not yet accounted for the different models of internationalism articulated in these publications, especially in those based outside of Italy’s major cultural centers. This article addresses the little-known arts and culture publication Presenze (1957–1960), established in late 1950s Turin by the multidisciplinary Gruppo d’Arte “l’Arlecchino” (Harlequin Art Group). Despite the historical significance of the group’s members, including artist Michelangelo Pistoletto (1933–), best known for his association with the late 1960s Italian avant-garde Arte Povera, no scholarship has been written on Presenze. Formal and social art-historical analysis of works of art, texts, and editorial layout, with special attention to Pistoletto’s work, is used to examine the model of Italian avant-gardism and internationalism constructed in Presenze. Presenze is found to have constituted a formative testing site for Pistoletto’s practice in the conflicted context of postwar Italian art, and a model of vanguard, localist internationalism for other artists working in 1950s Turin that counters existing ideas of internationalism in postwar Italy as a model of sprovincializzazione (de-provincialization). It is also found that Presenze’s espoused universalist ideology reinscribed Eurocentric models of East and West, foreshadowing later models in postwar Italian art.
近期关于战后意大利先锋派出版的期刊的学术研究集中在艺术家利用出版物参与法西斯孤立后国际和全球现代主义的美学建构。然而，这一学术研究还没有考虑到这些出版物中所阐述的不同的国际主义模式，特别是在意大利主要文化中心以外的出版物中。本文介绍了鲜为人知的艺术和文化出版物Presenze(1957-1960)，该出版物由多学科的Gruppo d 'Arte“l 'Arlecchino”(Harlequin Art Group)于20世纪50年代末在都灵成立。尽管该团体的成员具有重要的历史意义，其中包括艺术家米开朗基罗·皮斯特莱托(1933 -)，他最出名的是与20世纪60年代末意大利前卫贫穷艺术的联系，但没有关于Presenze的奖学金。对艺术作品、文本和编辑布局的正式和社会艺术历史分析，特别关注皮斯特莱托的作品，用于研究意大利前卫主义和国际主义的模型。Presenze被认为是Pistoletto在战后意大利艺术冲突背景下实践的形成性测试场所，也是20世纪50年代在都灵工作的其他艺术家的先锋，地方主义国际主义的典范，反对战后意大利国际主义的现有观念，作为一种模式(去省区化)。我们还发现，Presenze信奉的普遍主义意识形态重新定义了以欧洲为中心的东西方模式，为战后意大利艺术的后期模式埋下了伏笔。
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Pub Date : 2022-04-03DOI: 10.1080/02666286.2021.1951518
Andrew Griebeler
Abstract This article examines how early herbals were produced and illustrated, with a focus on the relationship between the design of the page and that of the production system. It shows that most surviving ancient illustrated herbals were illustrated prior to the copying of the text and thereby privileged the transfer of visual over verbal content. Over the course of the sixth century, however, we find that illustrated herbals were increasingly illustrated after the copying of text. The article suggests that this shift in production may have been a result of the consolidation of book production within monastic contexts. Still, even after the rise of text-first illustration, herbals continue to bear traces of the picture-first system in the close physical relationship between word and image.
{"title":"Production and design of early illustrated herbals","authors":"Andrew Griebeler","doi":"10.1080/02666286.2021.1951518","DOIUrl":"https://doi.org/10.1080/02666286.2021.1951518","url":null,"abstract":"Abstract This article examines how early herbals were produced and illustrated, with a focus on the relationship between the design of the page and that of the production system. It shows that most surviving ancient illustrated herbals were illustrated prior to the copying of the text and thereby privileged the transfer of visual over verbal content. Over the course of the sixth century, however, we find that illustrated herbals were increasingly illustrated after the copying of text. The article suggests that this shift in production may have been a result of the consolidation of book production within monastic contexts. Still, even after the rise of text-first illustration, herbals continue to bear traces of the picture-first system in the close physical relationship between word and image.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"58 1","pages":"104 - 122"},"PeriodicalIF":0.3,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74394893","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 : 2022-04-03DOI: 10.1080/02666286.2021.1923316
Nat Reeve
Abstract In 1855, the Pre-Raphaelite artist–poet Elizabeth Siddal was invited to examine John Ruskin’s collection of medieval manuscripts. Two years later, a manuscript—a Book of Hours, the popular late medieval prayer-book—appeared in Siddal’s painting Clerk Saunders. Siddal’s decision to include a Book of Hours in a scene from a medieval ballad encourages us to explore the painting’s creative strategies in new ways. This article examines how Clerk Saunders reinterprets the art of such prayer-books, focusing on Siddal’s reworking of the Annunciation. I shall explore the collision between this visual iconography and the language of the ballads from which the subject is taken, and trace how this literary-inspired pictorial dismemberment unsettles the medievalism of other Pre-Raphaelite works. I will demonstrate how Siddal’s disruptive medievalism is illuminated by queer theory; there have been queer readings of ‘Siddal’ the mythologized figure, but I will show how Siddal takes a queering approach to ballads and iconography in her art and poetry. My article will affirm Siddal’s work with the Book of Hours as an important contribution to Pre-Raphaelite medievalism, which speaks to anxieties about the destabilizing power of nineteenth-century creativity, and the tempestuous relationship between words and images across historical periods.
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Pub Date : 2022-04-03DOI: 10.1080/02666286.2021.1959249
H. Phillips
Abstract Geoffrey Hill’s approaches to memorializing the Holocaust in his poetry have been widely examined for his innovative, self-conscious, elegiac practice and their embodiment of the anxieties of the postmemorial witness. His 1998 book-length poem The Triumph of Love attempts to bear witness to the trauma of the Holocaust through numerous cross-cutting and argumentative sections which meditate on history, memory, and the role of the poet after atrocity. What is most striking about Hill’s witnessing of the Holocaust in The Triumph of Love is his linguistic representations of photographs of the Warsaw Ghetto Uprising (1943), a complicated encounter between word and image which has not been previously examined. Hill selects photographs taken by Nazi photographers during the suppression of the Warsaw Ghetto Uprising in his poetic memorialization of the Holocaust. I argue that Hill depicts these photographs in order to refocus the narrative of perpetration embedded within the images. These reimagined photographs become linguistic objects capable of fostering a state memorialization within Hill’s poem. I investigate The Triumph of Love by considering the role that perpetrator photographs can play in literary representations of post-Holocaust memory.
{"title":"Photographs of the Warsaw Ghetto Uprising in Geoffrey Hill’s The Triumph of Love","authors":"H. Phillips","doi":"10.1080/02666286.2021.1959249","DOIUrl":"https://doi.org/10.1080/02666286.2021.1959249","url":null,"abstract":"Abstract Geoffrey Hill’s approaches to memorializing the Holocaust in his poetry have been widely examined for his innovative, self-conscious, elegiac practice and their embodiment of the anxieties of the postmemorial witness. His 1998 book-length poem The Triumph of Love attempts to bear witness to the trauma of the Holocaust through numerous cross-cutting and argumentative sections which meditate on history, memory, and the role of the poet after atrocity. What is most striking about Hill’s witnessing of the Holocaust in The Triumph of Love is his linguistic representations of photographs of the Warsaw Ghetto Uprising (1943), a complicated encounter between word and image which has not been previously examined. Hill selects photographs taken by Nazi photographers during the suppression of the Warsaw Ghetto Uprising in his poetic memorialization of the Holocaust. I argue that Hill depicts these photographs in order to refocus the narrative of perpetration embedded within the images. These reimagined photographs become linguistic objects capable of fostering a state memorialization within Hill’s poem. I investigate The Triumph of Love by considering the role that perpetrator photographs can play in literary representations of post-Holocaust memory.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"12 1","pages":"123 - 131"},"PeriodicalIF":0.3,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81545137","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 : 2022-01-31DOI: 10.1017/9781009053556.002
{"title":"On the Notion of Creativity","authors":"","doi":"10.1017/9781009053556.002","DOIUrl":"https://doi.org/10.1017/9781009053556.002","url":null,"abstract":"","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"109 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76240125","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 : 2022-01-31DOI: 10.1017/9781009053556.004
The goal of this course is to introduce you to methods of linguistic research. Specifically, we will examine the following approaches: 1. Formal, grammatical principles 2. Universal principles 3. Pragmatic, communicative principles 4. Experimental evidence 5. Corpus study 6. Descriptive approaches We will show how a linguistic problem can be attacked from any one of these directions, or a combination thereof. As a test case, we will look at accounts of the meaning of superlative quantifiers (at least and at most).
{"title":"Methodological Principles","authors":"","doi":"10.1017/9781009053556.004","DOIUrl":"https://doi.org/10.1017/9781009053556.004","url":null,"abstract":"The goal of this course is to introduce you to methods of linguistic research. Specifically, we will examine the following approaches: 1. Formal, grammatical principles 2. Universal principles 3. Pragmatic, communicative principles 4. Experimental evidence 5. Corpus study 6. Descriptive approaches We will show how a linguistic problem can be attacked from any one of these directions, or a combination thereof. As a test case, we will look at accounts of the meaning of superlative quantifiers (at least and at most).","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"4 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86548683","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}
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