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Chapter 9 - Bodies Dead or Alive?
- from Part III - Culture’s Theological Mode of the Sacred
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- By Mieke Bal
- Edited by Andrew W. Hass, University of Stirling
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- Book:
- Sacred Modes of Being in a Postsecular World
- Published online:
- 07 September 2021
- Print publication:
- 16 September 2021, pp 183-204
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Summary
Both in painting and in film, Christian symbols, especially allusion to the Passion with an emphasis on its ambiguous status of the body, occurs frequently. This chapter examines paintings about dying that show up in films, in what is called intermediality. What the author gleans from Jasper’s work is an attempt to overcome binary oppositions and the separations they entail. The bridge is the imagination, which compels us to take fiction seriously as a knowledge-producing field. If we take Coleridge’s definition of fiction, “the willing suspension of disbelief”, we can see that the three main words help us to be serious about guilt and responsibility, but also about liberation, the latter through the release of fantasy. It is this view of fiction that makes it possible to overcome the dichotomies that rule the world, including the one between sacred and profane. This dichotomy is explored in works of visual art about the body, and especially the dying body, by Velázquez, Grünewald, Mantegna, Zvjagintsev’s film The Return, and the film/video project Madame B by Bal and Williams Gamaker.
4 - Perpetual Contest
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- By Mieke Bal
- Edited by Jan Willem van Henten, Ihab Saloul
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- Book:
- Martyrdom
- Published by:
- Amsterdam University Press
- Published online:
- 25 November 2020
- Print publication:
- 31 January 2020, pp 105-128
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Abstract
Mieke Bal examines the first autobiographical text written by a woman which concerns the life of the Carthaginian martyr Perpetua. The analysis combines narratology, psychoanalysis, and deconstruction, in a voluntarily anachronistic appropriation of this unique document. Scenes of martyrdom are etched on our retina, because there are so many artworks that represent them. The case Bal analyses, however, is literary, although some of its metaphors and descriptions are vividly visual. Bal speculates that a contest shapes the one that informs Perpetua's choice for this particular martyrdom: the contest between male and female, or rather, the contest for masculinity. Perpetua's move away from femininity would lead her, not so much to give up sex as to enjoy it in the only way she could have access to it, turns this story of victimhood into a story of victory: over gender-limitations and over narration.
Keywords: Perpetua, psycho-narration, gender and sexuality, contest and heroism, testimony and memory
The first autobiographical text written by a woman that I know of is the account of the last days of the life of the Carthaginian martyr Perpetua. The text is a favourite of historians and theologians but until recently had not yet been studied with the help of contemporary literary tools. However, inspired by Dorrit Cohn's reflections on the distinction between fiction and (auto)biography on the one hand, and by her analysis of “transparent minds” (1978) on the other, I will contend that it is in its literariness – its narrative structure, its fantasy character, its metaphorical insistence on unavowable themes – that the proto-feminist radicality of the text can be assessed. The most characteristic narrative strategy of literary fiction, not only in the period of realist writing, but also in other periods is the “transparent mind”: the account of visions that no one else can see. This article is meant to make the case for such an assessment. Although it lurks in the background, and doubtlessly informs this volume, I willfully pass over the fact that today, martyrdom has resurfaced as a contested concept. What for some is a brave act of braving common opinion, is for others a dreadful violence act of terrorism.
Scenes of martyrdom are etched on our retina, because there are so many artworks that represent them. The case I analyse here, however, is literary, although some of its metaphors and descriptions are vividly visual.
17 - Long Live Anachronism
- from V - Novel Rereadings
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- By Mieke Bal, Amsterdam School for Cultural Analysis at the University of Amsterdam
- Edited by Lia Brozgal, Sara Kippur
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- Book:
- Being Contemporary: French Literature, Culture and Politics Today
- Published by:
- Liverpool University Press
- Published online:
- 12 July 2017
- Print publication:
- 31 December 2016, pp 281-304
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How does one create a future that will acknowledge the past … without repeating it? How does one look at the past with understanding, yet critically, in the etymological sense of ‘critical’ (from Greek krinein, to separate, choose), which has to do with discrimination and choice in the present?
Susan Rubin Suleiman, Subversive IntentIntroduction
The contemporary is, as Susan Suleiman wrote with her characteristic lucidity a propos of Bataille, what ‘concerns us.’ And that entails, to cite her next book's title, ‘risking who one is’ by discriminating and choosing in the present. Sharing Suleiman's interest in the contemporary (and in French culture), and having been accused of anachronistic readings of old master paintings, I have thought through what that means and concluded, firstly, that anachronism is indispensible if we are to make cultural utterances of whatever era matter to us. Secondly, this includes a ‘first-person’ position that fleshes out the ‘us’ in her phrase. Indeed, Suleiman is one of a handful of academics—along with literary scholars Marianne Hirsch and Jane Tompkins, and art historians Eunice Lipton and Janet Wolff, among others—who, already in the 1980s, explored how her autobiographical and self-reflexive thoughts could help her academic analyses.
I share this interest in what personal experience, when handled carefully, can add to insights gleaned from published documentation without falling into the trap of self-indulgence. It is a form of ‘fieldwork’ with one's own history and present activities as the ‘field.’ Without it, it is hardly possible to grasp what it is that ‘concerns us,’ who and what we are when we write criticism, in and for our present time. Suleiman's most personal book, Budapest Diary, is an excellent example of how the temporality of contemporariness functions. As authors of cultural criticism, we inhabit this contemporariness by integrating memories of the past.
Masterly Maxims
- Mieke Bal
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- Journal:
- PMLA / Publications of the Modern Language Association of America / Volume 129 / Issue 3 / May 2014
- Published online by Cambridge University Press:
- 23 October 2020, pp. 491-497
- Print publication:
- May 2014
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Unlike most others teaching (English) literature, Gayatri Chakravorty Spivak is intimately knowledgeable about philosophy, especially German. Her deep knowledge of Kant, Marx, and Gramsci is a red thread running through her many books. And, given her interest in what we call less and less happily “postcolonial” theory (the hesitation coming from an awareness of the problematic meaning of the prefix post-), her discussions of such canonical and inexhaustible philosophical texts never lose sight of the sociopolitical implications of the ideas gleaned from the encounter. Thus, she brings a philosophical tradition to bear on contemporary social issues of a keen actuality. This solid philosophical background does not make her texts always easy to read for literary and other cultural scholars eager to get ideas—preferably quickly—about “how to do” postcolonial literary studies. Spivak's work is as challenging to read, understand, and absorb as it is important in content.
Contributors
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- By Rose Teteki Abbey, K. C. Abraham, David Tuesday Adamo, LeRoy H. Aden, Efrain Agosto, Victor Aguilan, Gillian T. W. Ahlgren, Charanjit Kaur AjitSingh, Dorothy B E A Akoto, Giuseppe Alberigo, Daniel E. Albrecht, Ruth Albrecht, Daniel O. Aleshire, Urs Altermatt, Anand Amaladass, Michael Amaladoss, James N. Amanze, Lesley G. Anderson, Thomas C. Anderson, Victor Anderson, Hope S. Antone, María Pilar Aquino, Paula Arai, Victorio Araya Guillén, S. Wesley Ariarajah, Ellen T. Armour, Brett Gregory Armstrong, Atsuhiro Asano, Naim Stifan Ateek, Mahmoud Ayoub, John Alembillah Azumah, Mercedes L. García Bachmann, Irena Backus, J. Wayne Baker, Mieke Bal, Lewis V. Baldwin, William Barbieri, António Barbosa da Silva, David Basinger, Bolaji Olukemi Bateye, Oswald Bayer, Daniel H. Bays, Rosalie Beck, Nancy Elizabeth Bedford, Guy-Thomas Bedouelle, Chorbishop Seely Beggiani, Wolfgang Behringer, Christopher M. Bellitto, Byard Bennett, Harold V. Bennett, Teresa Berger, Miguel A. Bernad, Henley Bernard, Alan E. Bernstein, Jon L. Berquist, Johannes Beutler, Ana María Bidegain, Matthew P. Binkewicz, Jennifer Bird, Joseph Blenkinsopp, Dmytro Bondarenko, Paulo Bonfatti, Riet en Pim Bons-Storm, Jessica A. Boon, Marcus J. Borg, Mark Bosco, Peter C. Bouteneff, François Bovon, William D. Bowman, Paul S. Boyer, David Brakke, Richard E. Brantley, Marcus Braybrooke, Ian Breward, Ênio José da Costa Brito, Jewel Spears Brooker, Johannes Brosseder, Nicholas Canfield Read Brown, Robert F. Brown, Pamela K. Brubaker, Walter Brueggemann, Bishop Colin O. Buchanan, Stanley M. Burgess, Amy Nelson Burnett, J. Patout Burns, David B. Burrell, David Buttrick, James P. Byrd, Lavinia Byrne, Gerado Caetano, Marcos Caldas, Alkiviadis Calivas, William J. Callahan, Salvatore Calomino, Euan K. Cameron, William S. Campbell, Marcelo Ayres Camurça, Daniel F. Caner, Paul E. Capetz, Carlos F. Cardoza-Orlandi, Patrick W. Carey, Barbara Carvill, Hal Cauthron, Subhadra Mitra Channa, Mark D. Chapman, James H. Charlesworth, Kenneth R. Chase, Chen Zemin, Luciano Chianeque, Philip Chia Phin Yin, Francisca H. Chimhanda, Daniel Chiquete, John T. Chirban, Soobin Choi, Robert Choquette, Mita Choudhury, Gerald Christianson, John Chryssavgis, Sejong Chun, Esther Chung-Kim, Charles M. A. Clark, Elizabeth A. Clark, Sathianathan Clarke, Fred Cloud, John B. Cobb, W. Owen Cole, John A Coleman, John J. Collins, Sylvia Collins-Mayo, Paul K. Conkin, Beth A. Conklin, Sean Connolly, Demetrios J. Constantelos, Michael A. Conway, Paula M. Cooey, Austin Cooper, Michael L. Cooper-White, Pamela Cooper-White, L. William Countryman, Sérgio Coutinho, Pamela Couture, Shannon Craigo-Snell, James L. Crenshaw, David Crowner, Humberto Horacio Cucchetti, Lawrence S. Cunningham, Elizabeth Mason Currier, Emmanuel Cutrone, Mary L. Daniel, David D. Daniels, Robert Darden, Rolf Darge, Isaiah Dau, Jeffry C. Davis, Jane Dawson, Valentin Dedji, John W. de Gruchy, Paul DeHart, Wendy J. Deichmann Edwards, Miguel A. De La Torre, George E. Demacopoulos, Thomas de Mayo, Leah DeVun, Beatriz de Vasconcellos Dias, Dennis C. Dickerson, John M. Dillon, Luis Miguel Donatello, Igor Dorfmann-Lazarev, Susanna Drake, Jonathan A. Draper, N. Dreher Martin, Otto Dreydoppel, Angelyn Dries, A. J. Droge, Francis X. D'Sa, Marilyn Dunn, Nicole Wilkinson Duran, Rifaat Ebied, Mark J. Edwards, William H. Edwards, Leonard H. Ehrlich, Nancy L. Eiesland, Martin Elbel, J. Harold Ellens, Stephen Ellingson, Marvin M. Ellison, Robert Ellsberg, Jean Bethke Elshtain, Eldon Jay Epp, Peter C. Erb, Tassilo Erhardt, Maria Erling, Noel Leo Erskine, Gillian R. Evans, Virginia Fabella, Michael A. Fahey, Edward Farley, Margaret A. Farley, Wendy Farley, Robert Fastiggi, Seena Fazel, Duncan S. Ferguson, Helwar Figueroa, Paul Corby Finney, Kyriaki Karidoyanes FitzGerald, Thomas E. FitzGerald, John R. Fitzmier, Marie Therese Flanagan, Sabina Flanagan, Claude Flipo, Ronald B. Flowers, Carole Fontaine, David Ford, Mary Ford, Stephanie A. Ford, Jim Forest, William Franke, Robert M. Franklin, Ruth Franzén, Edward H. Friedman, Samuel Frouisou, Lorelei F. Fuchs, Jojo M. Fung, Inger Furseth, Richard R. Gaillardetz, Brandon Gallaher, China Galland, Mark Galli, Ismael García, Tharscisse Gatwa, Jean-Marie Gaudeul, Luis María Gavilanes del Castillo, Pavel L. Gavrilyuk, Volney P. Gay, Metropolitan Athanasios Geevargis, Kondothra M. George, Mary Gerhart, Simon Gikandi, Maurice Gilbert, Michael J. Gillgannon, Verónica Giménez Beliveau, Terryl Givens, Beth Glazier-McDonald, Philip Gleason, Menghun Goh, Brian Golding, Bishop Hilario M. Gomez, Michelle A. Gonzalez, Donald K. Gorrell, Roy Gottfried, Tamara Grdzelidze, Joel B. Green, Niels Henrik Gregersen, Cristina Grenholm, Herbert Griffiths, Eric W. Gritsch, Erich S. Gruen, Christoffer H. Grundmann, Paul H. Gundani, Jon P. Gunnemann, Petre Guran, Vidar L. Haanes, Jeremiah M. Hackett, Getatchew Haile, Douglas John Hall, Nicholas Hammond, Daphne Hampson, Jehu J. Hanciles, Barry Hankins, Jennifer Haraguchi, Stanley S. Harakas, Anthony John Harding, Conrad L. Harkins, J. William Harmless, Marjory Harper, Amir Harrak, Joel F. Harrington, Mark W. Harris, Susan Ashbrook Harvey, Van A. Harvey, R. Chris Hassel, Jione Havea, Daniel Hawk, Diana L. Hayes, Leslie Hayes, Priscilla Hayner, S. Mark Heim, Simo Heininen, Richard P. Heitzenrater, Eila Helander, David Hempton, Scott H. Hendrix, Jan-Olav Henriksen, Gina Hens-Piazza, Carter Heyward, Nicholas J. Higham, David Hilliard, Norman A. Hjelm, Peter C. Hodgson, Arthur Holder, M. Jan Holton, Dwight N. Hopkins, Ronnie Po-chia Hsia, Po-Ho Huang, James Hudnut-Beumler, Jennifer S. Hughes, Leonard M. Hummel, Mary E. Hunt, Laennec Hurbon, Mark Hutchinson, Susan E. Hylen, Mary Beth Ingham, H. Larry Ingle, Dale T. Irvin, Jon Isaak, Paul John Isaak, Ada María Isasi-Díaz, Hans Raun Iversen, Margaret C. Jacob, Arthur James, Maria Jansdotter-Samuelsson, David Jasper, Werner G. Jeanrond, Renée Jeffery, David Lyle Jeffrey, Theodore W. Jennings, David H. Jensen, Robin Margaret Jensen, David Jobling, Dale A. Johnson, Elizabeth A. Johnson, Maxwell E. Johnson, Sarah Johnson, Mark D. Johnston, F. Stanley Jones, James William Jones, John R. Jones, Alissa Jones Nelson, Inge Jonsson, Jan Joosten, Elizabeth Judd, Mulambya Peggy Kabonde, Robert Kaggwa, Sylvester Kahakwa, Isaac Kalimi, Ogbu U. Kalu, Eunice Kamaara, Wayne C. Kannaday, Musimbi Kanyoro, Veli-Matti Kärkkäinen, Frank Kaufmann, Léon Nguapitshi Kayongo, Richard Kearney, Alice A. Keefe, Ralph Keen, Catherine Keller, Anthony J. Kelly, Karen Kennelly, Kathi Lynn Kern, Fergus Kerr, Edward Kessler, George Kilcourse, Heup Young Kim, Kim Sung-Hae, Kim Yong-Bock, Kim Yung Suk, Richard King, Thomas M. King, Robert M. Kingdon, Ross Kinsler, Hans G. Kippenberg, Cheryl A. Kirk-Duggan, Clifton Kirkpatrick, Leonid Kishkovsky, Nadieszda Kizenko, Jeffrey Klaiber, Hans-Josef Klauck, Sidney Knight, Samuel Kobia, Robert Kolb, Karla Ann Koll, Heikki Kotila, Donald Kraybill, Philip D. W. Krey, Yves Krumenacker, Jeffrey Kah-Jin Kuan, Simanga R. Kumalo, Peter Kuzmic, Simon Shui-Man Kwan, Kwok Pui-lan, André LaCocque, Stephen E. Lahey, John Tsz Pang Lai, Emiel Lamberts, Armando Lampe, Craig Lampe, Beverly J. Lanzetta, Eve LaPlante, Lizette Larson-Miller, Ariel Bybee Laughton, Leonard Lawlor, Bentley Layton, Robin A. Leaver, Karen Lebacqz, Archie Chi Chung Lee, Marilyn J. Legge, Hervé LeGrand, D. L. LeMahieu, Raymond Lemieux, Bill J. Leonard, Ellen M. Leonard, Outi Leppä, Jean Lesaulnier, Nantawan Boonprasat Lewis, Henrietta Leyser, Alexei Lidov, Bernard Lightman, Paul Chang-Ha Lim, Carter Lindberg, Mark R. Lindsay, James R. Linville, James C. Livingston, Ann Loades, David Loades, Jean-Claude Loba-Mkole, Lo Lung Kwong, Wati Longchar, Eleazar López, David W. Lotz, Andrew Louth, Robin W. Lovin, William Luis, Frank D. Macchia, Diarmaid N. J. MacCulloch, Kirk R. MacGregor, Marjory A. MacLean, Donald MacLeod, Tomas S. Maddela, Inge Mager, Laurenti Magesa, David G. Maillu, Fortunato Mallimaci, Philip Mamalakis, Kä Mana, Ukachukwu Chris Manus, Herbert Robinson Marbury, Reuel Norman Marigza, Jacqueline Mariña, Antti Marjanen, Luiz C. L. Marques, Madipoane Masenya (ngwan'a Mphahlele), Caleb J. D. Maskell, Steve Mason, Thomas Massaro, Fernando Matamoros Ponce, András Máté-Tóth, Odair Pedroso Mateus, Dinis Matsolo, Fumitaka Matsuoka, John D'Arcy May, Yelena Mazour-Matusevich, Theodore Mbazumutima, John S. McClure, Christian McConnell, Lee Martin McDonald, Gary B. McGee, Thomas McGowan, Alister E. McGrath, Richard J. McGregor, John A. McGuckin, Maud Burnett McInerney, Elsie Anne McKee, Mary B. McKinley, James F. McMillan, Ernan McMullin, Kathleen E. McVey, M. Douglas Meeks, Monica Jyotsna Melanchthon, Ilie Melniciuc-Puica, Everett Mendoza, Raymond A. Mentzer, William W. Menzies, Ina Merdjanova, Franziska Metzger, Constant J. Mews, Marvin Meyer, Carol Meyers, Vasile Mihoc, Gunner Bjerg Mikkelsen, Maria Inêz de Castro Millen, Clyde Lee Miller, Bonnie J. Miller-McLemore, Alexander Mirkovic, Paul Misner, Nozomu Miyahira, R. W. L. Moberly, Gerald Moede, Aloo Osotsi Mojola, Sunanda Mongia, Rebeca Montemayor, James Moore, Roger E. Moore, Craig E. Morrison O.Carm, Jeffry H. Morrison, Keith Morrison, Wilson J. Moses, Tefetso Henry Mothibe, Mokgethi Motlhabi, Fulata Moyo, Henry Mugabe, Jesse Ndwiga Kanyua Mugambi, Peggy Mulambya-Kabonde, Robert Bruce Mullin, Pamela Mullins Reaves, Saskia Murk Jansen, Heleen L. Murre-Van den Berg, Augustine Musopole, Isaac M. T. Mwase, Philomena Mwaura, Cecilia Nahnfeldt, Anne Nasimiyu Wasike, Carmiña Navia Velasco, Thulani Ndlazi, Alexander Negrov, James B. Nelson, David G. Newcombe, Carol Newsom, Helen J. Nicholson, George W. E. Nickelsburg, Tatyana Nikolskaya, Damayanthi M. A. Niles, Bertil Nilsson, Nyambura Njoroge, Fidelis Nkomazana, Mary Beth Norton, Christian Nottmeier, Sonene Nyawo, Anthère Nzabatsinda, Edward T. Oakes, Gerald O'Collins, Daniel O'Connell, David W. Odell-Scott, Mercy Amba Oduyoye, Kathleen O'Grady, Oyeronke Olajubu, Thomas O'Loughlin, Dennis T. Olson, J. Steven O'Malley, Cephas N. Omenyo, Muriel Orevillo-Montenegro, César Augusto Ornellas Ramos, Agbonkhianmeghe E. Orobator, Kenan B. Osborne, Carolyn Osiek, Javier Otaola Montagne, Douglas F. Ottati, Anna May Say Pa, Irina Paert, Jerry G. Pankhurst, Aristotle Papanikolaou, Samuele F. Pardini, Stefano Parenti, Peter Paris, Sung Bae Park, Cristián G. Parker, Raquel Pastor, Joseph Pathrapankal, Daniel Patte, W. Brown Patterson, Clive Pearson, Keith F. Pecklers, Nancy Cardoso Pereira, David Horace Perkins, Pheme Perkins, Edward N. Peters, Rebecca Todd Peters, Bishop Yeznik Petrossian, Raymond Pfister, Peter C. Phan, Isabel Apawo Phiri, William S. F. Pickering, Derrick G. Pitard, William Elvis Plata, Zlatko Plese, John Plummer, James Newton Poling, Ronald Popivchak, Andrew Porter, Ute Possekel, James M. Powell, Enos Das Pradhan, Devadasan Premnath, Jaime Adrían Prieto Valladares, Anne Primavesi, Randall Prior, María Alicia Puente Lutteroth, Eduardo Guzmão Quadros, Albert Rabil, Laurent William Ramambason, Apolonio M. Ranche, Vololona Randriamanantena Andriamitandrina, Lawrence R. Rast, Paul L. Redditt, Adele Reinhartz, Rolf Rendtorff, Pål Repstad, James N. Rhodes, John K. Riches, Joerg Rieger, Sharon H. Ringe, Sandra Rios, Tyler Roberts, David M. Robinson, James M. Robinson, Joanne Maguire Robinson, Richard A. H. Robinson, Roy R. Robson, Jack B. Rogers, Maria Roginska, Sidney Rooy, Rev. Garnett Roper, Maria José Fontelas Rosado-Nunes, Andrew C. Ross, Stefan Rossbach, François Rossier, John D. Roth, John K. Roth, Phillip Rothwell, Richard E. Rubenstein, Rosemary Radford Ruether, Markku Ruotsila, John E. Rybolt, Risto Saarinen, John Saillant, Juan Sanchez, Wagner Lopes Sanchez, Hugo N. Santos, Gerhard Sauter, Gloria L. Schaab, Sandra M. Schneiders, Quentin J. Schultze, Fernando F. Segovia, Turid Karlsen Seim, Carsten Selch Jensen, Alan P. F. Sell, Frank C. Senn, Kent Davis Sensenig, Damían Setton, Bal Krishna Sharma, Carolyn J. Sharp, Thomas Sheehan, N. Gerald Shenk, Christian Sheppard, Charles Sherlock, Tabona Shoko, Walter B. Shurden, Marguerite Shuster, B. Mark Sietsema, Batara Sihombing, Neil Silberman, Clodomiro Siller, Samuel Silva-Gotay, Heikki Silvet, John K. Simmons, Hagith Sivan, James C. Skedros, Abraham Smith, Ashley A. Smith, Ted A. Smith, Daud Soesilo, Pia Søltoft, Choan-Seng (C. S.) Song, Kathryn Spink, Bryan Spinks, Eric O. Springsted, Nicolas Standaert, Brian Stanley, Glen H. Stassen, Karel Steenbrink, Stephen J. Stein, Andrea Sterk, Gregory E. Sterling, Columba Stewart, Jacques Stewart, Robert B. 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Yee, Viktor Yelensky, Yeo Khiok-Khng, Gustav K. K. Yeung, Angela Yiu, Amos Yong, Yong Ting Jin, You Bin, Youhanna Nessim Youssef, Eliana Yunes, Robert Michael Zaller, Valarie H. Ziegler, Barbara Brown Zikmund, Joyce Ann Zimmerman, Aurora Zlotnik, Zhuo Xinping
- Edited by Daniel Patte, Vanderbilt University, Tennessee
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- Book:
- The Cambridge Dictionary of Christianity
- Published online:
- 05 August 2012
- Print publication:
- 20 September 2010, pp xi-xliv
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Guest Column: Exhibition Practices
- Mieke Bal
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- Journal:
- PMLA / Publications of the Modern Language Association of America / Volume 125 / Issue 1 / January 2010
- Published online by Cambridge University Press:
- 23 October 2020, pp. 9-23
- Print publication:
- January 2010
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What the public gets to see of museums is in the exhibitions in which their holdings are presented; beyond the archival functions of conservation, categorization, and restoration, this presentation is at the heart of museums as cultural institutions. Until a few decades ago, exhibitions were predictable in format and structure. Visitors attended monographic and period exhibitions to be instructed and to enjoy themselves according to the old adage of utile dulci. Every exhibition was an episode in a traditional conception of the management of art's relation to the public. Curators were also conservators; they studied, preserved, and categorized art objects and presented a selection of these according to the knowledge acquired. The space in which the objects were presented was kept as neutral as possible, so as not to disturb the viewer.
Figuration
- Mieke Bal
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- Journal:
- PMLA / Publications of the Modern Language Association of America / Volume 119 / Issue 5 / October 2004
- Published online by Cambridge University Press:
- 23 October 2020, pp. 1289-1292
- Print publication:
- October 2004
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Trained and working in literary studies, i began to analyze visual artifacts such as paintings sometime in the late 1980s. My interest in visual aspects has grown out of the realization that subjectivity is formed by a perpetual adjustment of images passing before the subject, who, as focalizer, makes them into a whole that is comprehensible because it is continuous. Having a certain continuity in one's thought depends, at a level more subliminal than conscious, on having a certain continuity in one's images.
But continuity is not the same thing as coherence. This distinction is another source of interest that informs work on visual narrativity. In such historically and sociologically varied texts and images as modern novels, the ancient and incomplete fragments that make up the Hebrew bible, and Rembrandt's paintings, I constantly came up against that which eludes the coherence of these artifacts. My attention was systematically arrested by the detail that seems out of place, the contradiction that tears open the work, the monstrous element that reveals flaws and disparities and, because it provokes astonishment, offers never-ending possibilities for the understanding of these works. Such experiences led me to consider those dimensions of literature that classical narratology has tended to think marginal and that pictorial narratology, unbounded by the presumption of linearity, would promote to the forefront or, at least, deploy as heuristic instruments with which to grasp structure outside linear plots.