Phantoms in Artists: The Lost Limbs of Blaise Cendrars,Arthur Rimbaud,and Paul Wittgenstein

There have been an increasing number of reports of postamputation pain and problems linked to phantom limbs over recent years, particularly in relation to war-related amputations. These problems, which are often poorly understood and considered rather mysterious, are still relevant because they are difficult to treat medically. Functional neuroimaging techniques now enable us to better understand their pathophysiology and to consider new rehabilitation techniques. Phantom limbs have often been a source of inspiration to writers, particularly in the period following the First World War, which was responsible for thousands of amputees. Some artists have suffered from postamputation complications themselves and have expressed them through their artistic works. Blaise Cendrars (1887–1961), one of the greatest authors of the twentieth century, suffered from stump pain and phantom limb phenomena for almost half a century following the amputation of his right arm during the First World War. He suffered from these phenomena until the end of his life and his literary work and personal correspondence are peppered with references to them. Arthur Rimbaud (1854–1891), one of the most famous poets in world literature, developed severe stump pain after his right leg was amputated due to a tumor. He survived for only six months after the procedure but left behind an account of the pain he experienced in correspondence to his family. The famous pianist Paul Wittgenstein (1887–1961), whose right arm was amputated during the First World War, became a famous left-handed concert pianist. The phantom movements of his right hand helped him to develop the dexterity of his left hand. The impact on the artistic life of these three men provides an original illustration of the various postamputation complications, specifically phantom limbs, stump pain, and moving phantom.     

Iranian Cinema in the Twentieth Century: A Sensory History

This essay addresses itself to the century long history of cinema in Iran, focusing on the history of the senses as they combine with and are extended by film technologies. It argues that Khomeini's aim was to produce a transformed and Shi'ite Iran by purifying the sensorial national body by means of film technologies.     

Cinema and the Rescue of Historicity

Book reviewed in this article:
Philip Rosen, Change Mummified: Cinema, Historicity, Theory     

A Theory of Reduplication: Eightfold Meters in Classical Persian Poetry

It is a known fact that classical Persian poets were partial to poetic meters composed of eight feet, known as muthamman. On this topic, however, two issues remain unsolved: How did the Persian poets devise these meters in the first place? Despite their flagrant predilection for eightfold meters, why did the Persians never use such meters as sarī? and qarīb in this form? This paper argues that the Persians, influenced by the structure of the Arabic eightfold base meters, crafted their muthamman meters after a specific process of reduplication. This theory also accounts for the lack of eightfold sarī? and qarīb meters, their structure being incompatible with the reduplication process.     

The Persian Presence in Nineteenth-Century English Poetry: A Taxonomy

This study employs keyword searches of literary databases such as Literature Online (LION) in an attempt to map the image of “Persia” in nineteenth-century English poetry as it was molded by a proliferation of thoughts and ideas in a variety of contexts. Completeness is not possible, of course, but the article aims to identify and explore some of the major categories within which the image of Persia was formed and disseminated in the nineteenth-century. The scope of the study is not confined to a corpus of poetic works that were written specifically on or about “Persia,” but takes account of a broader range of poems, and attends to the structure, texture and variations of the presence of “Persia” in nineteenth-century English poetry.     

Italy in the digital age: Cinema as new technology

Italian cinema is lagging behind in international standards, both culturally and in production terms. Starting in the mid-1970s, the Italian communication system has begun an irreversible transformation, and yet the ideologies of Italian cinema have remained impervious to the changes and they have consequently severed Italian cinema's links with the dynamic processes taking place in the other western film industries. The result is that today's Italian cinema fails to achieve either a decent production standard or essential synergies with other sectors of the cultural industry. A new political culture of communication is the only possible strategy for making Italian cinema once again a player in the global multimedia system.