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Fernand Deligny, ‘a poet and ethologist’, is mostly known for his work with autistic children, and his influence on the revolutions in French post-war psychiatry. Though neither director, scriptwriter, historian of cinema nor a theorist of the image, cinema is constantly called into his social, pedagogical, and clinical experimentations.
This volume challenges the persistent association of the Middle Ages with closure and fixity. It uncovers forms of openness which are often obscured by modern assumptions, and demonstrates how they coexist with, or even depend upon, enclosure and containment in paradoxical and unexpected ways.
'Denkraum der Besonnenheit’ names the constellations of methods, concept, forms of expression, and personal challenges that distinguish Aby Warburg’s research. It is the space of thinking and for thinking, a condition and a process — its method constantly threatened with the destruction of its confines.
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.
The Science of Character makes a bold new claim for the power of the literary by showing how Victorian novelists used fiction to theorize how character forms.
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.
Mixing theoretical discussion with engaging reflections on personal experiences, Majewska proposes what she calls 'counterpublics of the common' and 'weak resistance', offering an alternative to heroic forms of subjectivity produced by neoliberal capitalism and contemporary fascism.
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.
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