concept of embodied seeing-in in film. Expansionism Introduced In the Introduction Smith presents expansionism as one of the three motifs that will structure the debates in the book. It accompanies two other motifs : the specificity of aesthetic
'New Seeing' in the Works of Lorenzo Mattotti and Nicolas de Crécy
Both in literature and art, exponents of modernism sought new forms of expression that took into account changes in the social, economic, technical and political conditions of the time. A similar trend towards questioning outmoded forms of representation and establishing new ways of seeing has become apparent in European comics since the 1980s, a development that was initiated primarily in Italy and France. In Murmure (1989), Lorenzo Mattotti invokes expressionism and centres his mystical tale on the individual's inner being. In rejecting the representational norms traditionally applied to comics, Nicolas de Crécy also shows his allegiance to modernism yet reflects in his absurdly hyperrealist work, Foligatto (1991), the grotesque images of Otto Dix. The following article demonstrates how the two artists, despite the deliberate reversion to early twentieth-century art common to both, have, each in his own way, established a new approach to seeing in comics.
‘And how should I begin?’ Naturally, or post-naturally enough, at the end. We have been hearing for some time recently of the end of things and this paradoxically, is where we must start. Book titles have warned us of the End of the Nation and Nation State, the End of Print, the End of Architecture, The End of Work, the End of Man, the End of Economic Man, the End of Time, the End of the Future, the End of History and yes, the End of the World. It doesn’t take a salaried cultural critic to see here the symptom of an encroaching mood, the expression on the part of marooned journalists and intellectuals of what Raymond Williams termed a ‘structure of feeling’. It expresses not so much conviction – though these scenarios of the end could not in one way be more final – as the waning of common beliefs and values. Hence the appearance world-wide of millennial sects, outcrops of New Age mysticism, the thrill of out of body experiences and the paranormal; even if, thanks to postmodernism, these tend to be more normal than para, and to come at you via the X Files or the Virgin multiplex than anywhere more distant. New media combine oddly with the new mysticism, advanced technologies with advancing teleologies. This is the way then that we are seeing in the fin de siècle, the beckoning end of century when Bakhtinian carnival will at last take to the streets, fleeing its confinement in works of cultural theory, and we shall all go belly up and dance our heads off. Or when half the world will fall into poverty, disease, and starvation and the other half wear itself out in vainglorious in-fighting, leaving a sybaritic residue to enter upon a computer-aided decadence of virtual existence. Or when we shall go up in smoke in a bang and whimper all at once.
John Ireland and Constance Mui
our dispiriting historical moment is the fact that we are now seeing in the United States, no less, some real proof of a resurgent interest in democratic socialism. In the wake of Bernie Sanders, running to huge acclaim in the 2016 Democratic primary
: “Arguably, seeing-in itself is the basic form of expansion here” (42). More on this idea below.) In this sense, the threshold for “extra-normal” perception or cognition may be much lower than Livingston takes it to be. But beyond this observation about
different, feminine way of seeing in an intellectual field that was dominated by men. Harmancı McDermott scrutinizes each play based on the significance of the text and its author, the transformation of gender relations within the context of the text, and
. This view is congruent with the demystification thesis of the legend of Troy, and it has been the dominant view in recent years. A third and still more recent perspective takes this argument about Troilus and Cressida to a further extreme, seeing in
Refugees, Resentment and the Clash of Solidarities
Madagascar during the Second World War (Olipant 2016). Historian, Timothy Garton Ash (2015) notes the irony of building walls in Europe after the fall of the long-standing Berlin Wall. ‘What we are seeing in 2015 is Europe’s reverse 1989’. Political
The Looming Absence of the Temple
perceived as someone following in the footsteps of a pilgrim and seeing in his mind’s eye that which the pilgrim would have seen the Temple still standing on the Mount. The Temple also features in the many models that adorn the sites around the Temple Mount
Situating Screen Bodies
theory, and cultural studies. In the end, she situates this seeing in larger historical contexts and the cultural history of black, gendered subjectivity. In this way, Kesting is able to reengage with the recurrence of affective images while reconsidering