755 research outputs found
Hybrid Bodies between Utopia and Trauma in F.T. Marinetti
This article analyses a small selection of texts by Filippo Tommaso Marinetti with the aim to shed new light on the role that the experience of combat during the First World War played in the evolution of the narrative of the body in Marinettiâs imagination. Different pre-war narratives of the body will be first analysed and then placed against the backdrop of the cultural productions of the war years. Specific attention will be paid to the images of the prosthetic body with a wider look onto other social discourses (medical science, politics, propaganda). The article will argue that Marinetti re-writes and adjust his earlier narratives of the body and highlight the ambivalences and social fantasies, mostly relevant to gender and sexuality, underlying them
Dallâut pictura poĂ«sis allâut musica pictura: un percorso francese tra sette e ottocento
The article tackles the crisis of it pictura poesis as an aesthetic concept, which occurs between the 18th and 19 centuries. The undermining of this principle, which had been indeed the main pillar
of academic theory, coincides with the beginning of a theoretical reflection on the autonomy of the pictorial language from the verbal one. By dwelling on French culture on the transition between Neoclassicism and Romanticism, the author aims to demonstrate how the musical pattern played a fundamental role in the development of such a reflection. On the one hand, Lessing refuses the principle of ut pictura poesis and acknowledges poetry as a free art, while restricting the features of painting and sculpture, considered as just aiming to represent beauty. On the other, French theoreticians foster an alternative reflection pivoting on the linguistic features of visual arts, thus freeing them from the subordination to the literary model. By means of a reconstruction starting from Roger de Piles and encompassing also Paillot de Montabert and Delacroix, the article stresses in particular the role that instrumental music as an anti-mimetic art performed in stimulating a new discussion on the autonomy of the pictorial code
Entering the Simulacra World. Aesthetic and Cultural Phenomenologies in Literature, Media, and the Arts
This issue of Between aims to investigate the phenomenology of simulacra
and their range of functions (conceptual, cultural, literary, aesthetic, and
in the media). What is meant here by âsimulacrumâ is any artificial creature or
phantasm that imitates or replicates the outward form and/or behaviour of
living beings, especially human beings. By doing so, it blurs the boundaries
between life and artifice, human and non-human. As a notion, âsimulacrumâ
covers a variety of hybrid, liminal and often spectral figures populating the
premodern, modern and contemporary imagination: from statues to puppets,
from golems to homunculi, from automata to robots, from cyborgs to
avatars and, ultimately, Artificial Intelligence. The case studies collected here
lay the groundwork for an inquiry wherein literary works are assessed from
both the point of view of textual analysis and in connection with the compelling
relevance that the theme of simulacra has been gaining in the cultural
sphere, including contemporary debates on the âtrans-â and âposthumanâ
«Le goĂ»t pour Michel-Ange renaĂźtra». Stendhal et la postĂ©ritĂ© de lâĆuvre dâart
Questo articolo si propone di mettere in luce un aspetto della produzione di Stendhal sulle arti visive, facendo leva sullââHistoire de la peinture en Italieâ (1817) e su altri testi. Nello specifico, si nota in Beyle un approccio storicista che lo porta a mettere in guardia il lettore sulle differenti abitudini visive e sui diversi codici culturali del pubblico a lui contemporaneo quando si confronta con opere del passato, legate a contesti completamente diversi. Stendhal sottolinea frequentemente lâabisso che separa lâepoca moderna da quelle antiche, e la necessitĂ per lo spettatore di cercare di avvicinarsi alla mentalitĂ del pubblico delle opere del passato per poterle comprendere in profonditĂ
LâAtala de Chateaubriand et lâAtala de Girodet : la beautĂ© de la mort
Anne-Louis Girodet-Trioson, Atala au tombeau, 1808. Paris, MusĂ©e du Louvre. Anne-Louis Girodet : le peintre de lâut pictura poesis Vous avez dĂ©jĂ touchĂ©, Messieurs, le touchant Ă©pisode du GĂ©nie du christianisme, qui fournit Ă M. Girodet lâoccasion, pĂ©rilleuse pour tout autre, de se mesurer sur le mĂȘme terrain avec le chantre dâAtala, et aussi le rare avantage de faire douter entre les deux ouvrages, lequel auroit le plus contribuĂ© Ă la cĂ©lĂ©britĂ© de lâautre... Comment savoir en effet qui a le ..
Entering the Simulacra World. Aesthetic and Cultural Phenomenologies in Literature, Media, and the Arts
This issue of Between aims to investigate the phenomenology of simulacra and their range of functions (conceptual, cultural, literary, aesthetic, and in the media). What is meant here by âsimulacrumâ is any artificial creature or phantasm that imitates or replicates the outward form and/or behaviour of living beings, especially human beings. By doing so, it blurs the boundaries between life and artifice, human and non-human. As a notion, âsimulacrumâ covers a variety of hybrid, liminal and often spectral figures populating the premodern, modern and contemporary imagination: from statues to puppets, from golems to homunculi, from automata to robots, from cyborgs to avatars and, ultimately, Artificial Intelligence. The case studies collected here lay the groundwork for an inquiry wherein literary works are assessed from both the point of view of textual analysis and in connection with the compelling relevance that the theme of simulacra has been gaining in the cultural sphere, including contemporary debates on the âtrans-â and âposthumanâ
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