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(Un)natural Temporalities in Comics

Raphaël Baroni

familiar forms of narrative representation (such as speaking animals in beast fables, magic in romances or fantasy narratives, the omnimentality of the traditional omniscient narrator, or time travel in science fiction). 7 Based on these definitions

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Making the New by Rebuilding the Old

Histourism in Werben, Germany

Michaela Fenske

Werben is a small town in eastern Germany, situated at the periphery both geographically and in terms of current economic and social dynamics. Since 2004, the inhabitants of Werben restore their cultural heritage in order to re-enact a new Biedermeier Werben so as to create new jobs in the tourist industry. Twice a year, re-enactors invite tourists and locals to engage in time travel to the period at the beginning of the nineteenth century. This article discusses the ways in which the people of Werben use history to revitalise their town. History becomes a space which allows individual and collaborative experiences; it is used as cultural resource. Meanwhile, history is interpreted in a peculiar manner, holding different functions and values for different people. In its staging of Biedermeier, Werben develops into a laboratory in which various elementary needs and problems of postmodern society are discussed.

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Menachem Begin’s World Travels in the 1950s

A Road to Political Legitimacy

Ofira Gruweis-Kovalsky

Jabotinsky and his wife on Mount Herzl in Jerusalem. Conclusions Menachem Begin spent a significant amount of time traveling overseas in the 1950s, a phenomenon that has been largely overlooked in the literature. His tours included meetings with the political

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Enslaving Central Executives: Toward a Brain Theory of Cinema

Yadin Dudai

This article proposes that a major drive in the fast evolution of cinema is that film uniquely fits, exploits and expands the potential of a specialized cognitive machinery in the human brain. This is working memory (WM), a limited capacity processing system that temporarily holds and processes on-line and off-line information under attentional control during the planning and execution of a task. A dominant model of WM depicts multiple components, including a central executive, subordinate workspaces for spatio-visual information and for sound and language, and an episodic buffer that binds episodes on the go and is capable of sorting them into long-term memory. The distinct generic attributes of film and their relevance to the subcomponents and operation of WM in the spectator are described. It is proposed that in watching a movie, WM operates in a special mode, dubbed the representation-of-representation (ROR) mode, in which normal motor response to reality is suppressed. It is further proposed that under proper contextual settings and mind set, the central executive of the spectator relinquishes control to the film information, culminating in a transient rewarding dissociative state. The usefulness of the model is discussed in the framework of the newly emerging discipline of neurocinematics. In evolutionary context, the interaction of film and brain is bidirectional. Film in its broadest sense is an extra-corporeal audiovisual space that allows the human brain to perform detailed past and future mental time travel which, unlike WM and human memory in general, has unlimited capacity, variability and endurance. This augments the original phylogenetic advantage that had probably led to the emergence of episodic memory in the first place.

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Editorial

Diederik F. Janssen

, there are ‘all sorts and conditions;’ environment moulds them” (Anon. 1890: 147). This merits a bit of intercontinental time-travel. Ecce puer : from Lord Baden-Powell’s and American contemporaries’ middle ages to late nineteenth-century Mexico’s French

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Staying Local, Going Global

Sustaining German Culture in “Dark” Times

Annika Orich

and critics across the world with its complex storytelling and stunning visuals that bring to life the show's sophisticated account of time travel full of intergenerational enigmas. Dark' s popularity, however, raises questions about the reasons for

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Textbook Representations of the Economy of East and West Germany at the Time of the Golden Age

Kai Krüger

a double page from the textbook series “Time Travel” ( Zeitreise ) as a representative example. 18 The left-hand page features two paratexts, which explain the difference between market economy and planned economy as a dichotomy of private ownership

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Editorial

Demystification and Disruption

Laurence Grove, Anne Magnussen, and Ann Miller

-impressionist paintings as backdrops, while the creation of Van Gogh's canvasses is attributed, absurdly, to a cat. In the other, Van Gogh and Gauguin engage in time travel: Screech maintains that the preposterousness of this premise is itself a form of mythologisation

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Introduction

The Editors

at the level of the fabula , or story events, even in the case of time travel, which in comics most often takes the form of the ‘extraordinary journey’, a pretext for the graphic imagination of artists rather than an exercise in disrupting temporal

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Affective Anachronisms, Fateful Becomings

Otaku Movement and the Joan of Arc Effect in Type-Moon's Transhistorical Anime Ecology

David John Boyd

King Arthur, Emperor Nero, or Sir Francis Drake, all redrawn as cute anime girls?” ( Tolentino 2017 ). In the context of such an emergent transhistorical genre, Type-Moon's anime ecology might be situated among dozens of otaku time-traveling and