Mapping the symbol of the statue in Ritsos’ short poems

Abstract

A first attempt is made here to map the presence of the symbol of the statue in Ritsos’ short poems. Starting from his early work and reaching the years of the military dictatorship, the main line of the argument is that references to sculpture become significant in Ritsos’ poetry after the 1960s and culminate in the period of the Junta. This is attributed to Ritsos’ subtle reaction to the regime and its use and abuse of the cultural heritage of ancient Greece in a context of propaganda and oppression. This response makes Ritsos’ use of the symbol of the statue utterly distinctive.     

Anatomy of the Superman: Gabriele D’Annunzio’s Response to Nietzsche

This essay explores D’Annunzio’s reception of Nietzsche—particularly his sociopolitical theory and idea of the Übermensch—as dramatized in his novel Le Vergini delle rocce (The Maidens of the Rocks). D’Annunzio’s attitude towards Nietzsche was complicated and contradictory, varying from fascination and rivalry to rejection and negation: rather than a philosopher or master, he saw Nietzsche as a poet and soulmate. Like many writers and artists of fin-de-siècle Europe, D’Annunzio too was attracted by Nietzsche’s elitist social theory and Übermensch, of which he presents his own version especially in Maidens of the Rocks. In the novel, the young aristocrat Claudio Cantelmo aspires to overcome himself. However, the fact that Cantelmo fails to achieve his dream of fathering a New King of Rome, reveals D’Annunzio’s deep skepticism about contemporary Italy as well as his own “decadent” soul.     

Achilles or Adonis: Controversies Surrounding the Male Body as National Symbol in Georgian England

This paper analyses the controversy that arose when a monumental bronze nude statue of Achilles was unveiled at Hyde Park Corner (London) in 1822 as a monument to the Duke of Wellington and his army. The neoclassical statue (made by Richard Westmacott) perfectly embodied the ‘modern male stereotype’. According to historian George Mosse, this masculine image was a powerful and stable symbol of nineteenth‐ and twentieth‐century bourgeois societies. Intended by the commanders and artist as just such a symbol, the statue in practice was unable to express these high ideals. Ever since its unveiling, the statue has elicited laughter and ridicule. The uneasiness created by male public nudity is an aspect that Mosse missed in his history of masculine imaginary, in which he focused on certain moments of ‘spectacular’ masculinity in modern Western history. Ultimately, the failure of Westmacott's Achilles can best be understood from the well‐known feminist framework on the gendered ‘economy of the gaze’, a framework that is all too often absent in the historiography on masculinities.     

Heroes and Political Communities in John Ford's Westerns: The Role of Wyatt Earp in My Darling Clementine

Abstract

Widespread moral corruption, particularly of the sort fostered by their internal security agencies, was a key feature of communist regimes. The Lives of Others provides a dramatic portrayal of this phenomenon as it occurred in East Germany. The film can appear, given its central story of the moral redemption of a Stasi officer through his becoming intrigued by the lives of artists, to be an overly idealistic or audience-pleasing testament to the humanizing power of art. But the film also reveals the possible moral corruption of the artists. This essay provides a typology of the sorts of moral corruption exemplified by the situations of different characters in the film and shows that the main artist is actually saved from his impending corruption by the Stasi officer's actions. This reciprocal rescue is the key feature of the film's plot; it teaches that while art can undermine and resist totalitarian corruption, it is also susceptible to its snares—especially when it apolitically relies upon its own resources.     

‘Dissidence’ in Holocaust Memorials in Literature: Jáchym Topol’s The Devil’s Workshop (Chladnou zemí)

Abstract

Established Czech precedent has made the town of Terezín an important literary symbol of Holocaust memory, used in the 1960s to construct myths of Czech innocent victimhood. Jáchym Topol’s novel, The Devil’s Workshop (2009), returns to the theme with great originality, avoiding such myths by using a compromised first-person Czech narrator, who is involved in setting up ‘dissident’ commemorative museums at Terezín and in Belarus. These draw on documented accounts of real atrocities for their authenticity. Competitive in national terms, commercialized, and ethically compromised, they are finally, arguably inevitably, silenced. Topol’s ‘truth-telling’ is discussed in the context of Theodor W. Adorno’s criticism of committed Holocaust literature, Benedict Anderson’s interpretation of museums as commercialized constructions of nationality, and Timothy Snyder’s historical account of the killings in Eastern Europe; the ambiguous pessimism of his novel stands up well to criticism and, it is argued, has lessons even for historians of the Holocaust.     

重庆钓鱼城遗址悬空卧佛彩绘颜料初步分析

钓鱼城悬空卧佛造像系创作于晚唐时期的一尊巨型石刻,具有极高的历史、艺术、科学、宗教价值,但造像保存现状较差,存在颜料脱落、酥碱粉化、起甲等病害,亟待保护修复。为了解悬空卧佛彩绘颜料层的成分与结构,采用金相显微镜、拉曼光谱、X射线荧光(XRF)、X射线衍射(XRD)、扫描电镜-能谱仪(SEM-EDS)等多种现代方法与技术对彩绘样品进行了分析。结果表明:所用红色颜料为铁红、铅丹;蓝色颜料为群青;绿色颜料为碱式氯化铜;青色颜料为墨绿砷铜矿;白色颜料为硫酸铅;局部有贴金。结果还表明,该造像历史上曾多次重绘。本研究成果以期填补钓鱼城悬空卧佛研究的空白,同时为修复工作的开展提供科学依据。     

Technological art and Studio International’s eclectic vanguardism

ABSTRACT

This article takes the editorship by Peter Townsend of Studio International, to which the author contributed regularly between 1969 and 1972, as a starting-point to recall decisive personal encounters with Roy Lichtenstein’s paintings, Wen-Ying Tsai’s sculptures, Jasia Reichardt’s exhibition Cybernetic Serendipity and the British Society for Social Responsibility in Science. It goes on to re-endorse the earlier argument that a long historical time-scale was required for the aesthetic implications of photography to become clear, and that, like photography, the computer and holography are technological media whose immediate interactions with aesthetics and the culture at large will take many decades to pan out. Earlier claims about the relationship between art and ecology are then reviewed. Finally the article suggests that though world politics have changed considerably since the 1960s and 1970s, artists have undiminished opportunities to grapple with the challenges of new technologies directly, rather than retreating into a closed system.     

José Zorrilla in Mexico: Transatlantic Romanticism and the Question of Artistic Labour

This article explores the strategic use of literary form in the Mexican writings of José Zorrilla. The article focuses on México y los mexicanos (1856), a letter Zorrilla wrote to his fellow Spanish Romantic playwright, Ángel de Saavedra, the Duke of Rivas. Zorrilla’s México y los mexicanos is a rare piece of epistolary writing in Spanish Romanticism as well as one of the first literary histories of Mexico. Often overlooked in the letter, however, is Zorrilla’s economic critique of the precarious condition of artists in both Mexico and Spain. A conservative moderado, Zorrilla could not air his concerns publicly without the threat of retribution from his fellow conservative colleagues in Spain. Zorrilla thus used the epistolary form, the article argues, in order to surreptitiously introduce the economic plight of artists into mainstream Spanish as well as Mexican political discourse. Read in this context, Zorrilla’s letter makes visible the fundamental role a transatlantic Romantic vision of labour played in shaping nineteenth-century political discourse in both the Iberian Peninsula and Latin America.     

We are never alone: a conversation on bio art with Eduardo Kac

Brazilian-born artist Eduardo Kac’s (Rio de Janeiro, 1962) work has raised eyebrows especially for his ‘transgenic art’ projects, among others: Genesis, 1999; GFP Bunny, 2000; The Eight Day, 2001; Natural History of the Enigma, 2003/08. In all of these, Kac and his scientific collaborators realize genetic interventions into living organisms at the same time as they trigger audience reactions to these from playful kinds of interaction that is integrated into the works’ open and dynamic creative process. Yet whereas the ethical and political challenges Kac’s work poses have sparked lively debates within and beyond the realm of the arts – can and must art engage with the ‘creative’ potentials of biotechnology and genetics? Do these not in fact (as Vilém Flusser and others have suggested) hold the key to realizing the vanguardist dream of merging art and life? Or should the artist, from the vantage point of his own creative practice, not rather warn us against the ethical and political risks involved in genetic engineering? – much less attention has been paid to the way Kac’s art also continues and transforms a particular legacy of post-concretist, ambient and performance art in Latin America.

Kac himself has referred to Brazilian artists Flávio de Carvalho, Hélio Oiticica and Lygia Clark as informing his interest in open, participative forms, which characterize both his transgenic and his earlier ‘tele-presence’ art projects. Other Latin American artists of the late twentieth and early twenty-first century have been producing intriguing engagements with living materials, multispecies habitats and organic remains, including such diverse names as Luis Fernando Benedit, Nicola Constantino, Nuno Ramos, or Teresa Margolles. In a conversation with Jens Andermann and Gabriel Giorgi at the University of Zurich’s Center of Latin American Studies on March 12, 2015, Kac addressed the way in which his work might be seen as continuing or challenging long-standing representations of the New World as a repository of ‘nature’, from colonial chronicles of discovery to contemporary discourses of biodiversity and conservation. To what extent is bio art – and the questions it raises about the Anthropocene as a threshold of radical biopolitical convergence between ‘history’ and ‘nature’ – necessarily ‘transcultural’ and planetary in its extension?     

The religious politics of prophecy: Or,Richard Brothers's Revealed Knowledge confuted

The messianic messages delivered to Londoners by the self-styled prophet, Richard Brothers, were regarded by many sceptical observers and pamphleteers as eccentric or, worse still, the embarrassing utterances of someone wishing to reprise the political turmoil of a by-gone era marred by religious ‘fanaticism’. This article shows the extent to which Brothers's messages, as set down in his Revealed Knowledge of the Prophecies and Times (1794–1795), were absolutely central to the religious politics and culture of the 1790s—or what one contemporary critic mockingly referred to as the ‘age of prophecy’. Brothers's prophecies came to the attention of the British government, which culminated in his arrest for treasonable practices in March 1795 when he became a cause célèbre, before being confined to an asylum for eleven years. He was deemed a criminal lunatic but, as this article seeks to demonstrate, his ‘prophetic imagination’ arose out of the same rich theological, political and cultural context that spurred ‘radicals’ like Tom Paine, whilst inspiring poets and artists such as William Blake. If the content of his prophecies were regarded by contemporary sceptics for having no validity, it remains true to say that Richard Brothers, as an educated gentleman and naval officer, dramatically altered 18th-century expectations and perceptions of what prophets were and the nature of prophecy itself.     

Voluntarism and panentheism: the sensorium of God and Isaac Newton’s theology

ABSTRACT

Newton’s suggestion in Query 31 of the Opticks (1718) that infinite space is the sensorium of God and that God “is more able by his Will to move the Bodies within his boundless uniform Sensorium, and thereby to form and reform the Parts of the Universe, than we are by our Will to move the Parts of our own Bodies” has recently been shown to be both philosophically coherent and compatible with contemporary religious views. This paper explores the further meaning of this and what it tells us about Newton’s theology, and his attempts to maintain immanentism while avoiding pantheism. It is suggested that Newton’s evident equivocation in discussing these matters stems in large part from the fact that there was no designation in his day for his position, but it can now be understood as panentheism.     

Art,Transformation, Liberation: Balzac's Eugénie Grandet

Balzac's works about actual artists like Le Chef d’oeuvre inconnu have long been studied to derive the author's ideas about the artistic creative process. Eugénie Grandet also deals with art, however, even though there is not a real artist in it. In telling the story of Eugénie and her cousin Charles, Balzac suggests his views on the effects of beauty created by artful arrangement as opposed to the beauty in nature uncrafted by human art.     

Second Laws,Two Cultures,and the Emergence of an Ecosystem Aesthetics

Abstract

The appropriation of scientific concepts by the humanities and the visual arts exemplifies what many feel are both the pitfalls and possibilities of interdisciplinary engagement. The principle of entropy, which C. P. Snow claimed could serve as a litmus test of the ‘two cultures’ divide, provides an excellent starting point for exploring how artists have employed scientific concepts far beyond their original contexts. As a case study in interdisciplinarity, the use of entropy in the visual arts is also a lens to consider the evolution of an artistic proposal from the 1960s known as ‘system aesthetics’. As an early challenge to the clean demarcation of art and science, system aesthetics was a precedent for what might be described as the emergence of an ecosystem aesthetics within contemporary art and design today.     

Tom Stoppard’s Big Picture: The Chaos that is Our World

Abstract

Issues arising from discussions regarding the ‘two cultures’ of science and art are many and varied. Tom Stoppard’s very active utilization of science in many of his plays has resulted in his work — especially the quantum mechanics-informed Hapgood and the chaotics-informed Arcadia — being held up as paradigmatic of one science/art position or another. Often, critical approaches to these plays involve a checklist of scientific facts, implying that the goal of such art is to serve as a delivery device for scientific breakthroughs. While plays, novels, and movies of various sorts may have such goals in mind, Stoppard’s plays do not comfortably fill that agenda, critical arguments to the contrary notwithstanding. Neither do Stoppard’s plays show particular interest in engaging any debate about the superiority of one ‘culture’ over the other. In his two ‘science plays’ in particular, what Stoppard offers is an enrichment of both science and art through metaphorical intertwinings that suggest experience is best served when both camps collaborate. The bigger picture that results argues an overlap in epistemology, namely revealing the uncanny similarity in which artist and scientist approach the material that is our universe.     

An Early Assessment of Reagan Defense Policy and Programs

Abstract

Ralph Hancock’s Responsibility of Reason represents an important addition to the literature on the crisis of modernity. This article focuses on his account of the origins and nature of modernity and his claim that Tocqueville exemplifies the best way to work through the crisis of modernity. It then suggests that Hancock’s own reflections on the nature of human existence require a more balanced or even positive assessment of modernity than the one he offers in the book. Finally, it attempts to illustrate this point by showing that elements of Kant’s political thought are akin to Hancock’s.     

Faith,Pluralism, and Public Engagement

Abstract

This essay is Miroslav Volf’s reply to the respondents to his book A Public Faith (2011). In the process of engaging his his respondents, the author articulates the main thesis and thrust of the book as well as the motivation behind writing it.     

Rousseau’s reception as an Epicurean: from atheism to aesthetics

ABSTRACT

What did Rousseau's readers mean when they called him an ‘Epicurean’? A seemingly simple question with complex implications. This article attempts to answer it by reconstructing Rousseau's contemporary reception as an Epicurean thinker. First, it surveys the earliest and most widely read critics of the second Discourse: Prussian Astronomer Royal Jean de Castillon, Jesuit priest Louis Bertrand Castel, and Hanoverian biblical scholar Hermann Samuel Reimarus. These readers branded Rousseau an Epicurean primarily to highlight his atheism, his anti-providential and materialist natural philosophy. Then, it discusses Genevan pastor Jacob Vernet's positive assessment of Rousseau as a critic of ‘fashionable’ Epicureanism, before reconstructing Rousseau's critique of the reception of Alexander Pope's Essay on Man as an Epicurean text. These sources elucidate Rousseau's engagement with a range of ideas and argumentative positions that would inform his later self-identification as a ‘refined’ Epicurean. In particular, they highlight his interest in how a sentimental awareness of beauty might mitigate the potentially vicious effects of hedonism. The article concludes with novelist Mme. de Genlis’ critique of Rousseau's Wise Materialism, using his thoughts on the imagination to suggest some of the ways the neglected aesthetic dimensions of Rousseau's reception of Epicureanism might be developed.     

‘Feeling the rhythm of the waves: “castaway rhetoric” in John Eugenikos’ Logos eucharisterios’

Abstract

In September 1438 John Eugenikos decided to quit the council of Ferrara and sail back to Constantinople. Off Italy's Adriatic coast his vessel experienced a terrible shipwreck, whereby many of John's fellow-passengers perished. John decided then to retell his almost deadly experience in a thanks-giving logos, allegedly compiled on the basis of notes written down soon after the shipwreck. The logos stands out as a unique document in the landscape of Byzantine travel literature. This paper offers the first comprehensive literary analysis of Eugenikos’ account, shedding new light on the narrative patterns chosen by the author to recount his own experience and stage his public persona.     

The “historical question” at the end of the Scottish Enlightenment: Dugald Stewart on the natural origin of religion,universal consent,and religious diversity

ABSTRACT

This study examines the leading early nineteenth-century Scottish moral philosopher Dugald Stewart’s discussion of the origin and development of religion. Stewart developed his account in his final work, The Philosophy of the Active and Moral Powers of Man (1828), in an effort to show that the fact that polytheism was the first religion of humankind does not undermine the truth of monotheism. He wrote in response to similar discussions presented in David Hume’s “Natural History of Religion” (1757), which argued for the primacy of polytheism, and Stewart’s old moral philosophy tutor Adam Ferguson’s Principles of Moral and Political Science (1792), which argued for the primacy of monotheism. Stewart accepted the conclusions of the Scots’ enlightened study of religion, which argued for truth of Hume’s account, but aimed to reassert many of the natural theological arguments about the naturalness of religion that the “Natural History” had challenged. Stewart’s discussion acts as a useful way by which we can assess the achievement of the literati’s study of religion.     

“Celticism,ballad transmission,and the schizoid voice: Ossianic fragments in Owenson,Yeats, Joyce,and Beckett”

ABSTRACT

This essay surveys responses to Macpherson’s Ossian in Irish literature, alongside analysis of the development of literary Celticism. Despite being a key text behind the development of Celticism in Irish writing, Ossian is consciously rejected in Irish Romanticism and in the Celtic Revival. However, Ossian becomes a symbol of literary recycling and mental fragmentation in Irish Modernism. Texts studied in this essay include Owenson’s The Wild Irish Girl, Joyce’s Finnegans Wake, and Beckett’s Murphy.