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Collecting work by artists, scholars, curators, museum administrators, the volume investigates reenactment's potential for a (re)activation of layered temporal experiences, and its value as an ongoing interpretative and political gesture performed in the present with an eye to the future.
Wenn queeres Kino und queere Ästhetiken das Prekäre dokumentieren, dann intendiert dies auch eine Revolution im Symbolischen. Die Beiträge bieten einen Einblick in den gegenwärtigen Stand des queeren Kinos – seiner Filme, Videos und visuellen Installationen.
Le mot ‘camérer’ apparaît sous sa plume en 1977, comme une alternative à ‘filmer’. Sous sa forme infinitive, il privilégie la primauté du processus sur la visée de l’objet-film (camérer / camerrer).
But what becomes of the literary when one speaks of world literature? Responding to Derek Attridge’s theory of how literature ‘works’, the contributions in this volume explore in diverse ways what it might mean to speak of ‘the work of world literature’.
What can we know about ourselves and the world through the sense of touch and what are the epistemic limits of touch? Scepticism claims that there is always something that slips through the epistemologist's grasp.
Forty-four specially written chapters provide a thorough and creative reading of Dante’s oeuvre. The volume combines a rigorous reassessment of Dante’s formation, themes, and sources, with a theoretically up-to-date focus on textuality, thereby offering a new critical Dante.
Beverly Buchanan's Marsh Ruins (1981) are large, solid mounds of cement and shell-based tabby concrete, yet their presence has always been elusive.
Is materialism still relevant to critically think politics? Associated with fatalism and naturalism, it evolved as a central concept of progressive politics, in Marxist- and Spinoza-based approaches, New Materialism, and feminist discourses.
The strange brotherhood between art fairs and biennials, and other recurrent or mega exhibitions, continues to arose criticism but little attention in academic literature, despite the importance of such exhibition formats in the life cycle of art, artists, and anyone entering the art world.
Same old offers a rethinking of positions that have defined queer theory since its inception in the early 1990s. Steeped in philosophical and political commitments to 'difference', queer theoretical frameworks have tended to assume that ideas related to 'sameness' only thwart and stymie queer forms of life.
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