DOCSLIB.ORG

Technē/Technology the Key Debates

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Technē/Technology the Key Debates Technē/Technology The Key Debates Mutations and Appropriations in European Film Studies Series Editors Ian Christie, Dominique Chateau, Annie van den Oever Academic Advisory Board Francesco Casetti Laurent Creton Jane Gaines Frank Kessler András Bálint Kovács Eric de Kuyper Laura Mulvey Roger Odin Patricia Pisters Emile Poppe Pert Salabert Heide Schlupmann Vivian Sobchack Janet Staiger Technē/Technology Researching Cinema and Media Technologies– Their Development, Use, and Impact Edited by Annie van den Oever Amsterdam University Press The publication of this book is made possible by grants from the Netherlands Organisation for Scientific Research (NWO). This book is published in print and online through the online OAPEN library (www.oapen.org) OAPEN (Open Access Publishing in European Networks) is a collaborative initia- tive to develop and implement a sustainable Open Access publication model for academic books in the Humanities and Social Sciences. The OAPEN Library aims to improve the visibility and usability of high quality academic research by aggre- gating peer reviewed Open Access publications from across Europe. Cover illustration: Photo by Johan Stadtman. Courtesy of the Film Archive, Uni- versity of Groningen Cover design: Neon, design and communications | Sabine Mannel Lay-out: japes, Amsterdam Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. isbn 978 90 8964 571 5 e-isbn 978 90 4851 990 3 (pdf) e-isbn 978 90 4851 991 0 (ePub) nur 670 Creative Commons License CC BY NC ND (http://creativecommons.org/licenses/by-nc/3.0) c A.M.A. van den Oever / Amsterdam University Press, Amsterdam 2014 Some rights reserved. Without limiting the rights under copyright reserved above, any part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, me- chanical, photocopying, recording or otherwise). Every effort has been made to obtain permission to use all copyrighted illustra- tions reproduced in this book. Nonetheless, whosoever believes to have rights to this material is advised to contact the publisher. Contents Editorial 9 Acknowledgments 11 Introduction: Researching Cinema and Media Technologies 15 Annie van den Oever PART I Philosophy of Technology: Reassessing Key Questions The Philosophy of Technology in the Frame of Film Theory: Walter Benjamin’s Contribution 29 Dominique Chateau Toward an Archaeology of the Cinema/Technology Relation: From Mechanization to“Digital Cinema” 50 Benoît Turquety Technē and Poiēsis: On Heidegger and Film Theory 65 Robert Sinnerbrink Stiegler’s Post-Phenomenological Account of Mediated Experience 81 Patrick Crogan What Are Media? 93 Lambert Wiesing PART II Cinema and Media Technologies: Hardware, Software, Wetware The“History of Vision”-Debate Revisited 105 Annemone Ligensa Will the 3D Revolution Happen? A Brief Perspective on the Long History of Stereoscopy (with special thanks to Eisenstein and Bazin) 115 Ian Christie 5 Television’s Many Technologies: Domesticity, Governmentality, Genealogy 136 Markus Stauff Postmodern Hi-fi vs. Post-Cool Lo-fi: An Epistemological War 154 Laurent Jullier PART III Cinema and Media Technologies: A Historical Context Marey’s Gun: Apparatuses of Capture and the Operational Image 169 Pasi Väliaho Re-editing as Psychotechnique: Montage and Mediality in Early Soviet Cinema 177 Malte Hagener Technophobia and Italian Film Theory in the Interwar Period 185 Francesco Pitassio Jean-Luc Godard’s HISTOIRE(S) DU CINÉMA: Cogito Ergo Video 196 Céline Scemama Performativity/Expressivity: The Mobile Micro Screen and Its Subject 207 Nanna Verhoeff and Heidi Rae Cooley PART IV Discussions: Revisiting the Past Rethinking the Materiality of Technical Media: Friedrich Kittler, Enfant Terrible with a Rejuvenating Effect on Parental Discipline– A Dialogue 219 Geoffrey Winthrop-Young and Annie van den Oever Revisiting Christian Metz’s“Apparatus Theory”– A Dialogue 240 Martin Lefebvre and Annie van den Oever PART V Envisioning the Future The Future History of a Vanishing Medium 261 André Gaudreault Experimental Media Archaeology: A Plea for New Directions 272 Andreas Fickers and Annie van den Oever 6 contents Notes 279 General Bibliography 333 Notes on Contributors 361 Index of Names 367 Index of Film Titles 374 Index of Subjects 376 contents 7 Editorial Thinking and theorizing about film is almost as old as the medium itself. Within a few years of the earliest film shows in the 1890s, manifestos and reflections began to appear which sought to analyze the seemingly vast potential of film. Writers in France, Russia and Britain were among the first to enter this field, and their texts have become cornerstones of the literature of cinema. Few na- tions, however, failed to produce their own statements and dialogues about the nature of cinema, often interacting with proponents of Modernism in the tradi- tional arts and crafts. Film thus found itself embedded in the discourses of mo- dernity, especially in Europe and Soviet Russia. “Film theory,” as it became known in the 1970s, has always had a historical dimension, acknowledging its debts to the pioneers of analyzing film texts and film experience, even while pressing these into service in the present. But as scholarship in the history of film theory develops, there is an urgent need to revisit many long-standing assumptions and clarify lines of transmission and interpretation. The Key Debates is a series of books from Amsterdam University Press which focuses on the central issues that continue to animate thinking about film and audiovisual media as the“century of celluloid” gives way to a field of interrelated digital media. Initiated by Annie van den Oever (the Netherlands), the direction of the series has been elaborated by an international group of film scholars, including Domin- ique Chateau (France), Ian Christie (UK), Laurent Creton (France), Laura Mulvey (UK), Roger Odin (France), Eric de Kuyper (Belgium), and Emile Poppe (Bel- gium). The intention is to draw on the widest possible range of expertise to pro- vide authoritative accounts of how debates around film originated, and to trace how concepts that are commonly used today have been modified in the process of appropriation. The book series may contribute to both the invention as well as the abduction of concepts. Ian Christie, Dominique Chateau, Annie van den Oever London/Paris/Amsterdam 9 Acknowledgments Technē/Technology is not a book organized around a single thesis– except the as- sertion that technique is a major concern for film and media scholars, whether we approach this in terms of philosophy, techno-aesthetics, semiotics, apparatus theory, (new) film history, media archaeology, the industry or sensory/cognitive experience. It deliberately includes contributions by scholars working in very dif- ferent ways on a wide range of technology-related issues; but it does so in the spirit of the series, The Key Debates, in which Technē/Technology marks the start of a second phase of unique transnational co-operation, centrally between the Neth- erlands, France and the UK. The series has already supported a number of stimu- lating symposia and workshops in all three countries, and produced three collec- tions: Ostrannenie (2010), Subjectivity (2011), and Audiences (2012). The series, like this particular book, owes much to Ian Christie, who never fails to generously add precision, critical insight and overview to a discussion, and to our loyal third series editor, Dominique Chateau, who, in one of our Paris meetings, was the first to stress that a book on technology was paramount in our series, not only because the topic is debated so often and so eagerly in our field of studies, but also because philosophies of technologies tend to reflect recent and past techno- logical transitions and in turn have transformed film theory and some of its key concepts. One of the real challenges of this project was to bring an international group of scholars together from a variety of countries, speaking different languages, and coming from different disciplines and academic traditions. The real plea- sure was to see all the different inputs come together, challenge and contradict each other, to form a coherent whole. The ongoing dialogues with all the authors from which the book grew were in themselves inspirational. Therefore I wish to express my sincere gratitude to both the contributors to this book as well as to the members of the Editorial Board and some other colleagues for their enthusiastic and unrelenting support and extremely generous intellectual contributions to our book series in every phase of its becoming, and to this book in particular. For their contributions to this book, I sincerely thank Geof- frey Winthrop-Young, Martin Lefebvre, Robert Sinnerbrink, Annemone Ligensa, Benoît Turquety, Patrick Crogan, Markus Stauff, Céline Scemama, Pasi Väliaho, Laurent Jullier, Nanna Verhoeff, Heidi Rae Cooley, Malte Hagener, Karel Dib- 11 bets, Francesco Pitassio, Ed Tan, Andreas Fickers, and André Gaudreault. Some of the Editorial Board members were already present at the very first meeting which helped to shape the series and they still help us to move ahead. I once again like to thank Laura Mulvey, Roger Odin, Francesco Casetti, Laurent Cre- ton, Jane Gaines, Frank Kessler, András Bálint Kovács, Eric de Kuyper, Patricia Pisters, Emile Poppe, Pere Salabert, Heide Schlüpmann and Vivian Sobchack. I also like to thank Janet Staiger
Load more

Recommended publications
  • Wallace Berman Aleph
    “Art is Love is God”: Wallace Berman and the Transmission of Aleph, 1956-66 by Chelsea Ryanne Behle B.A. Art History, Emphasis in Public Art and Architecture University of San Diego, 2006 SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN ARCHITECTURE STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUNE 2012 ©2012 Chelsea Ryanne Behle. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: __________________________________________________ Department of Architecture May 24, 2012 Certified by: __________________________________________________________ Caroline Jones, PhD Professor of the History of Art Thesis Supervisor Accepted by:__________________________________________________________ Takehiko Nagakura Associate Professor of Design and Computation Chair of the Department Committee on Graduate Students Thesis Supervisor: Caroline Jones, PhD Title: Professor of the History of Art Thesis Reader 1: Kristel Smentek, PhD Title: Class of 1958 Career Development Assistant Professor of the History of Art Thesis Reader 2: Rebecca Sheehan, PhD Title: College Fellow in Visual and Environmental Studies, Harvard University 2 “Art is Love is God”: Wallace Berman and the Transmission of Aleph, 1956-66 by Chelsea Ryanne Behle Submitted to the Department of Architecture on May 24, 2012 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Architecture Studies ABSTRACT In 1956 in Los Angeles, California, Wallace Berman, a Beat assemblage artist, poet and founder of Semina magazine, began to make a film.
    [Show full text]
  • 2021 Transpacific Yacht Race Event Program
    TRANSPACTHE FIFTY-FIRST RACE FROM LOS ANGELES 2021 TO HONOLULU 2 0 21 JULY 13-30, 2021 Comanche: © Sharon Green / Ultimate Sailing COMANCHE Taxi Dancer: © Ronnie Simpson / Ultimate Sailing • Hamachi: © Team Hamachi HAMACHI 2019 FIRST TO FINISH Official race guide - $5.00 2019 OVERALL CORRECTED TIME WINNER P: 808.845.6465 [email protected] F: 808.841.6610 OFFICIAL HANDBOOK OF THE 51ST TRANSPACIFIC YACHT RACE The Transpac 2021 Official Race Handbook is published for the Honolulu Committee of the Transpacific Yacht Club by Roth Communications, 2040 Alewa Drive, Honolulu, HI 96817 USA (808) 595-4124 [email protected] Publisher .............................................Michael J. Roth Roth Communications Editor .............................................. Ray Pendleton, Kim Ickler Contributing Writers .................... Dobbs Davis, Stan Honey, Ray Pendleton Contributing Photographers ...... Sharon Green/ultimatesailingcom, Ronnie Simpson/ultimatesailing.com, Todd Rasmussen, Betsy Crowfoot Senescu/ultimatesailing.com, Walter Cooper/ ultimatesailing.com, Lauren Easley - Leialoha Creative, Joyce Riley, Geri Conser, Emma Deardorff, Rachel Rosales, Phil Uhl, David Livingston, Pam Davis, Brian Farr Designer ........................................ Leslie Johnson Design On the Cover: CONTENTS Taxi Dancer R/P 70 Yabsley/Compton 2019 1st Div. 2 Sleds ET: 8:06:43:22 CT: 08:23:09:26 Schedule of Events . 3 Photo: Ronnie Simpson / ultimatesailing.com Welcome from the Governor of Hawaii . 8 Inset left: Welcome from the Mayor of Honolulu . 9 Comanche Verdier/VPLP 100 Jim Cooney & Samantha Grant Welcome from the Mayor of Long Beach . 9 2019 Barndoor Winner - First to Finish Overall: ET: 5:11:14:05 Welcome from the Transpacific Yacht Club Commodore . 10 Photo: Sharon Green / ultimatesailingcom Welcome from the Honolulu Committee Chair . 10 Inset right: Welcome from the Sponsoring Yacht Clubs .
    [Show full text]
  • Ascj 2005 【Abstracts】
    ASCJ 2005 【ABSTRACTS】 Session 1: Images of Japanese Women: Interdisciplinary Analyses of the Persistent Paradigm..........................1 Session 2: Hybridity and Authenticity: Japanese Literature in Transition ............................................................3 Session 3: Contentious Politics in Contemporary China ..........................................................................................6 Session 4: Individual Papers on Intellectual History.................................................................................................8 Session 5: Translating Asian Modernity: The Border-crossing Performance of Subjectivity, Nation, and History....................................................................................................................................................11 Session 6: Tokyo: Planned and Unplanned, 1870s-1960 .........................................................................................14 Session 7: The Family Revisited ................................................................................................................................16 Session 8: The Botany of Representations................................................................................................................18 Session 9: Violence and the State: Public Perceptions and Political Constructions in Modern Japan...............20 Session 10: Individual Papers on Nationalism and Colonialism ............................................................................22 Session 11:
    [Show full text]
  • Tolstoy and Zola: Trains and Missed Connections
    Tolstoy and Zola: Trains and Missed Connections Nina Lee Bond Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2011 © 2011 Nina Lee Bond All rights reserved ABSTRACT Tolstoy and Zola: Trains and Missed Connections Nina Lee Bond ŖTolstoy and Zolaŗ juxtaposes the two writers to examine the evolution of the novel during the late nineteenth century. The juxtaposition is justified by the literary critical debates that were taking place in Russian and French journals during the 1870s and 1880s, concerning Tolstoy and Zola. In both France and Russia, heated arguments arose over the future of realism, and opposing factions held up either Tolstoyřs brand of realism or Zolařs naturalism as more promising. This dissertation uses the differences between Tolstoy and Zola to make more prominent a commonality in their respective novels Anna Karenina (1877) and La Bête humaine (1890): the railways. But rather than interpret the railways in these two novels as a symbol of modernity or as an engine for narrative, I concentrate on one particular aspect of the railway experience, known as motion parallax, which is a depth cue that enables a person to detect depth while in motion. Stationary objects close to a travelling train appear to be moving faster than objects in the distance, such as a mountain range, and moreover they appear to be moving backward. By examining motion parallax in both novels, as well as in some of Tolstoyřs other works, The Kreutzer Sonata (1889) and The Death of Ivan Il'ich (1886), this dissertation attempts to address an intriguing question: what, if any, is the relationship between the advent of trains and the evolution of the novel during the late nineteenth century? Motion parallax triggers in a traveler the sensation of going backward even though one is travelling forward.
    [Show full text]
  • Discovering the Lost Race Story: Writing Science Fiction, Writing Temporality
    Discovering the Lost Race Story: Writing Science Fiction, Writing Temporality This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia 2008 Karen Peta Hall Bachelor of Arts (Honours) Discipline of English and Cultural Studies School of Social and Cultural Studies ii Abstract Genres are constituted, implicitly and explicitly, through their construction of the past. Genres continually reconstitute themselves, as authors, producers and, most importantly, readers situate texts in relation to one another; each text implies a reader who will locate the text on a spectrum of previously developed generic characteristics. Though science fiction appears to be a genre concerned with the future, I argue that the persistent presence of lost race stories – where the contemporary world and groups of people thought to exist only in the past intersect – in science fiction demonstrates that the past is crucial in the operation of the genre. By tracing the origins and evolution of the lost race story from late nineteenth-century novels through the early twentieth-century American pulp science fiction magazines to novel-length narratives, and narrative series, at the end of the twentieth century, this thesis shows how the consistent presence, and varied uses, of lost race stories in science fiction complicates previous critical narratives of the history and definitions of science fiction. In examining the implicit and explicit aspects of temporality and genre, this thesis works through close readings of exemplar texts as well as historicist, structural and theoretically informed readings. It focuses particularly on women writers, thus extending previous accounts of women’s participation in science fiction and demonstrating that gender inflects constructions of authority, genre and temporality.
    [Show full text]
  • Collection Highlights Since Its Founding in 1924, the Kalamazoo Institute of Arts Has Built a Collection of Nearly 5,000 Artworks
    Collection Highlights Since its founding in 1924, the Kalamazoo Institute of Arts has built a collection of nearly 5,000 artworks. Enjoy an in-depth exploration of a selection of those artworks acquired by gift, bequest, or purchase support by special donors, as written by staff curators and guest editors over the years. Table of Contents KENOJUAK ASHEVAK Kenojuak Ashevak (ken-OH-jew-ack ASH-uh-vac), one of the most well-known Inuit artists, was a pioneering force in modern Inuit art. Ashevak grew up in a semi-nomadic hunting family and made art in various forms in her youth. However, in the 1950s, she began creating prints. In 1964, Ashevak was the subject of the Oscar-nominated documentary, Eskimo* Artist: Kenojuak, which brought her and her artwork to Canada’s—and the world’s—attention. Ashevak was also one of the most successful members of the Kinngait Co-operative, also known as the West Baffin Eskimo Co-operative, established in 1959 by James Houston, a Canadian artist and arts administrator, and Kananginak Pootoogook (ka-nang-uh-nak poo-to-guk), an Inuit artist. The purpose of the co-operative is the same as when it was founded—to raise awareness of Inuit art and ensure indigenous artists are compensated appropriately for their work in the Canadian (and global) art market. Ashevak’s signature style typically featured a single animal on a white background. Inspired by the local flora and fauna of the Arctic, Ashevak used bold colors to create dynamic, abstract, and stylized images that are devoid of a setting or fine details.
    [Show full text]
  • March 21–25, 2016
    FORTY-SEVENTH LUNAR AND PLANETARY SCIENCE CONFERENCE PROGRAM OF TECHNICAL SESSIONS MARCH 21–25, 2016 The Woodlands Waterway Marriott Hotel and Convention Center The Woodlands, Texas INSTITUTIONAL SUPPORT Universities Space Research Association Lunar and Planetary Institute National Aeronautics and Space Administration CONFERENCE CO-CHAIRS Stephen Mackwell, Lunar and Planetary Institute Eileen Stansbery, NASA Johnson Space Center PROGRAM COMMITTEE CHAIRS David Draper, NASA Johnson Space Center Walter Kiefer, Lunar and Planetary Institute PROGRAM COMMITTEE P. Doug Archer, NASA Johnson Space Center Nicolas LeCorvec, Lunar and Planetary Institute Katherine Bermingham, University of Maryland Yo Matsubara, Smithsonian Institute Janice Bishop, SETI and NASA Ames Research Center Francis McCubbin, NASA Johnson Space Center Jeremy Boyce, University of California, Los Angeles Andrew Needham, Carnegie Institution of Washington Lisa Danielson, NASA Johnson Space Center Lan-Anh Nguyen, NASA Johnson Space Center Deepak Dhingra, University of Idaho Paul Niles, NASA Johnson Space Center Stephen Elardo, Carnegie Institution of Washington Dorothy Oehler, NASA Johnson Space Center Marc Fries, NASA Johnson Space Center D. Alex Patthoff, Jet Propulsion Laboratory Cyrena Goodrich, Lunar and Planetary Institute Elizabeth Rampe, Aerodyne Industries, Jacobs JETS at John Gruener, NASA Johnson Space Center NASA Johnson Space Center Justin Hagerty, U.S. Geological Survey Carol Raymond, Jet Propulsion Laboratory Lindsay Hays, Jet Propulsion Laboratory Paul Schenk,
    [Show full text]
  • Picturing France
    Picturing France Classroom Guide VISUAL ARTS PHOTOGRAPHY ORIENTATION ART APPRECIATION STUDIO Traveling around France SOCIAL STUDIES Seeing Time and Pl ace Introduction to Color CULTURE / HISTORY PARIS GEOGRAPHY PaintingStyles GOVERNMENT / CIVICS Paris by Night Private Inve stigation LITERATURELANGUAGE / CRITICISM ARTS Casual and Formal Composition Modernizing Paris SPEAKING / WRITING Department Stores FRENCH LANGUAGE Haute Couture FONTAINEBLEAU Focus and Mo vement Painters, Politics, an d Parks MUSIC / DANCENATURAL / DRAMA SCIENCE I y Fontainebleau MATH Into the Forest ATreebyAnyOther Nam e Photograph or Painting, M. Pa scal? ÎLE-DE-FRANCE A Fore st Outing Think L ike a Salon Juror Form Your Own Ava nt-Garde The Flo ating Studio AUVERGNE/ On the River FRANCHE-COMTÉ Stream of Con sciousness Cheese! Mountains of Fra nce Volcanoes in France? NORMANDY “I Cannot Pain tan Angel” Writing en Plein Air Culture Clash Do-It-Yourself Pointillist Painting BRITTANY Comparing Two Studie s Wish You W ere Here Synthétisme Creating a Moo d Celtic Culture PROVENCE Dressing the Part Regional Still Life Color and Emo tion Expressive Marks Color Collectio n Japanese Prin ts Legend o f the Château Noir The Mistral REVIEW Winds Worldwide Poster Puzzle Travelby Clue Picturing France Classroom Guide NATIONAL GALLERY OF ART, WASHINGTON page ii This Classroom Guide is a component of the Picturing France teaching packet. © 2008 Board of Trustees of the National Gallery of Art, Washington Prepared by the Division of Education, with contributions by Robyn Asleson, Elsa Bénard, Carla Brenner, Sarah Diallo, Rachel Goldberg, Leo Kasun, Amy Lewis, Donna Mann, Marjorie McMahon, Lisa Meyerowitz, Barbara Moore, Rachel Richards, Jennifer Riddell, and Paige Simpson.
    [Show full text]
  • SM a R T M U S E U M O F a R T U N Iv E R S It Y O F C H IC a G O B U L L E T in 2 0 0 6 – 20
    http://smartmuseum.uchicago.edu Chicago, Illinois 60637 5550 South Greenwood Avenue SMART SMART M U S EUM OF A RT UN I VER SI TY OFCH ICAG O RT RT A OF EUM S U M SMART 2008 – 2006 N I ET BULL O ICAG H C OF TY SI VER I N U SMART MUSEUM OF ART UNIVERSITY OF CHICAGO BULLETIN 2006– 2008 SMART MUSEUM OF ART UNIVERSITY OF CHICAGO BULLETIN 2006–2008 MissiON STATEMENT / 1 SMART MUSEUM BOARD OF GOVERNORS / 3 REPORTS FROM THE CHAIRMAN AND DiRECTOR / 4 ACQUisiTIOns / 10 LOANS / 34 EXHIBITIOns / 44 EDUCATION PROGRAMS / 68 SOURCES OF SUPPORT / 88 SMART STAFF / 108 STATEMENT OF OPERATIOns / 112 MissiON STATEMENT As the ar t museum of the Universit y of Chicago, the David and Alfred Smar t Museum of Ar t promotes the understanding of the visual arts and their importance to cultural and intellectual history through direct experiences with original works of art and through an interdisciplinary approach to its collections, exhibitions, publications, and programs. These activities support life-long learning among a range of audiences including the University and the broader community. SMART MUSEUM BOARD OF GOVERNORS Robert Feitler, Chair Lorna C. Ferguson, Vice Chair Elizabeth Helsinger, Vice Chair Richard Gray, Chairman Emeritus Marilynn B. Alsdorf Isaac Goldman Larry Norman* Mrs. Edwin A. Bergman Jack Halpern Brien O’Brien Russell Bowman Neil Harris Brenda Shapiro* Gay-Young Cho Mary J. Harvey* Raymond Smart Susan O’Connor Davis Anthony Hirschel* Joel M. Snyder Robert G. Donnelley Randy L. Holgate John N. Stern Richard Elden William M. Landes Isabel C.
    [Show full text]
  • Representations of Italian Americans in the Early Gilded Age
    Differentia: Review of Italian Thought Number 6 Combined Issue 6-7 Spring/Autumn Article 7 1994 From Italophilia to Italophobia: Representations of Italian Americans in the Early Gilded Age John Paul Russo Follow this and additional works at: https://commons.library.stonybrook.edu/differentia Recommended Citation Russo, John Paul (1994) "From Italophilia to Italophobia: Representations of Italian Americans in the Early Gilded Age," Differentia: Review of Italian Thought: Vol. 6 , Article 7. Available at: https://commons.library.stonybrook.edu/differentia/vol6/iss1/7 This document is brought to you for free and open access by Academic Commons. It has been accepted for inclusion in Differentia: Review of Italian Thought by an authorized editor of Academic Commons. For more information, please contact [email protected], [email protected]. From ltalophilia to ltalophobia: Representations of Italian Americans in the Early Gilded Age John Paul Russo "Never before or since has American writing been so absorbed with the Italian as it is during the Gilded Age," writes Richard Brodhead. 1 The larger part of this American fascination expressed the desire for high culture and gentility, or what Brodhead calls the "aesthetic-touristic" attitude towards Italy; it resulted in a flood of travelogues, guidebooks, antiquarian stud­ ies, historical novels and poems, peaking at the turn of the centu­ ry and declining sharply after World War I. America's golden age of travel writing lasted from 1880 to 1914, and for many Americans the richest treasure of all was Italy. This essay, however, focuses upon Brodhead's other catego­ ry, the Italian immigrant as "alien-intruder": travel writing's gold­ en age corresponded exactly with the period of greatest Italian immigration to the United States.
    [Show full text]
  • Physiological Feelings T ⁎ Edward F
    Neuroscience and Biobehavioral Reviews 103 (2019) 267–304 Contents lists available at ScienceDirect Neuroscience and Biobehavioral Reviews journal homepage: www.elsevier.com/locate/neubiorev Review article ☆ Physiological feelings T ⁎ Edward F. Pace-Schotta, , Marlissa C. Amoleb, Tatjana Auec, Michela Balconid, Lauren M. Bylsmab, Hugo Critchleye, Heath A. Demareef, Bruce H. Friedmang, Anne Elizabeth Kotynski Goodingf, Olivia Gosseriesh, Tanja Jovanovici, Lauren A.J. Kirbyj, Kasia Kozlowskak, Steven Laureysh, Leroy Lowel, Kelsey Mageef, Marie-France Marinm, Amanda R. Mernerf, Jennifer L. Robinsonn, Robert C. Smitho, Derek P. Spanglerp, Mark Van Overveldq, Michael B. VanElzakkerr a Harvard Medical School, Boston, MA, USA b University of Pittsburgh, Pittsburgh, PA, USA c University of Bern, Bern, Switzerland d Catholic University of Milan, Milan, Italy e University of Sussex, Sussex, UK f Case Western Reserve University, Cleveland, OH, USA g Virginia Tech, Blacksburg, VA, USA h University of Liege, Liege, Belgium i Emory University, Atlanta, GA, USA j University of Texas at Tyler, Tyler, TX, USA k University of Sydney, Sydney, Australia l Neuroqualia (NGO), Truro, Nova Scotia, Canada m Université du Québec à Montréal, Montreal, Canada n Auburn University, Auburn, AL, USA o Michigan State University, East Lansing, MI, USA p United States Army Research Laboratory, Aberdeen, MD, USA q Erasmus University Rotterdam, Rotterdam, the Netherlands r Massachusetts General Hospital, Boston, MA, USA ARTICLE INFO ABSTRACT Keywords: The role of peripheral physiology in the experience of emotion has been debated since the 19th century fol- Emotion lowing the seminal proposal by William James that somatic responses to stimuli determine subjective emotion. Feelings Subsequent views have integrated the forebrain's ability to initiate, represent and simulate such physiological Interoception events.
    [Show full text]
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]