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Noel N. Sauer

“Image in the mind” is only a round-about way of saying “imagination.” But to infer from this that there is really an image in the mind … is to be misled by an analogical expression. — Thomas Reid 1 Sartre’s theory of mental imagery has long been

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The Feeling for Gray

Aesthetics, Politics, and Shifting German Regimes

Inger-Elin Øye

Building on 25 months of fieldwork in eastern Germany from 1991 to 2003, this article explores the interpenetration of aesthetics and politics, and questions them as theoretical categories. A multilayered description depicts aesthetic perception and action, guided by an imagery of façade, as constituted and reproduced by state policies, positioned experiences, and subversive responses. Moving beyond the Cold War legacy, aesthetics' potency and politicization is dated back to early nation building and Protestant and Romantic influences. Being essential to and controlled by shifting, largely authoritarian regimes, aesthetics simultaneously provided a 'shadow life' and a 'lingua franca', cross-cutting verbal and non-verbal mediums and everyday and high culture, as people juggled with, distrusted, and decoded surfaces, expressing and in search of deeper, hidden truths. I argue that historically generated aesthetic perceptions and praxis not only mark east German political culture but also emerge in Habermas's public sphere theory and, moreover, offer arguments to revise it.

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The Changing Portrayal of Dancers in Egyptian Films

Three Roles in the Career of Tahia Carioca (1946, 1958 and 1972)

Carolina Bracco

Abstract

This article examines the projected image of dancers in Egyptian cinema. The historical background includes the last period of the Farouk monarchy, the revolution of the Free Officers Movement and the Nasser regime, ending with Nasser's death in 1970, when a new social and political era started blossoming. I consider the socio-political changes and their cultural repercussions as part of a dialectic relationship that affects the portrayal of dancers in three films: The Lady's Puppet (1946), My Dark Darling (1958) and Pay Attention to Zuzu (1972). By examining Carioca's roles in these films, I argue socio-political changes in Egypt have been projected on the image of the dancer while also changing it: she is first seen as a working woman, then as an evil woman and finally as a marginalised woman.

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Reviving Lavinia

Aquatic Imagery and Ecocritical Complexity in Titus Andronicus

Claire Hansen

play is also characterised by what Jonathan Bate has called ‘aquatic imagery' or what Edward Plough refers to in passing as ‘ Titus Andronicus ' curiously abundant liquid imagery'. 3 Here we can distinguish between ‘green' and ‘blue' ecocriticism

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Mirrors for Margraves

Peter Damian’s Models for Male and Female Rulers

Alison Creber

violent acts, and made use of militaristic imagery. 32 Damian cited several biblical examples in which evildoers were “cut down by the sword” wielded by decisive judges or rulers. Thus the Amalekite who killed Saul was “cut down by David’s sword,” and the

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An Anti-Imperial Mythology

The Radical Vision of Howards End

Charles Campbell

creation in the novel, in its patterns of imagery and allusion, of a mythology of England which counters the imperial ethic then on the ascendant in the country. Political analysis of Howards End and Forster's fiction in general has long been fixed in

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Groped and Gutted

Hollywood's Hegemonic Reimagining of Counterculture

Samantha Eddy

Review Hollywood and Hegemony Hollywood exists as a unique entity in a transnational media system, allowing America's commercial imagery and values to be globally consumed ( Semati and Sotorin 1999 ). And yet, in some sense that box office authority

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Michael Alexander Ulfstjerne

also gendered, both in terms of how male and female tears are perceived and tabooed and in terms of how they translate into national imageries of loss and longing ( Ramaswamy 1998 ). However, as argued by some researchers, there may also be chemical

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The Return to the Monument

The Looming Absence of the Temple

Hava Schwartz

to the gentiles and in light of the Temple. The more institutional memory is refined through the national instruments of monumentalizing, landscape unification, multiplication of models, and visual imagery, and the formation of a kind of visual

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Jon Schubert

upholding this seductive imagery of frictionless global trade. More specifically, in the context of Angola, the article examines the tensions that arise from the gap between the promises by technical and regulatory reforms to facilitate customs