DOCSLIB.ORG

Dissertation (Einreichen)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dissertation (Einreichen) DISSERTATION Titel der Dissertation Towards an Encyclopaedia as a Web of Knowledge. A Systematic Analysis of Paradigmatic Classes, Continuities, and Unifying Forces in the Work of Peter Greenaway Verfasser Mag. phil. Marc Orel angestrebter akademischer Grad Doktor der Philosophie (Dr. phil.) Wien, 2011 Studienkennzahl lt. Studienblatt: A 343 Studienrichtung lt. Studienblatt: Anglistik und Amerikanistik Betreuerin: Ao. Univ.-Prof. Mag. Dr. Monika Seidl To my parents… TABLE OF CONTENTS Acknowledgements __________________________________________________ VI List of Abbreviations and Short Titles _____________________________________ VII Preface _________________________________________________________ VIII 1. PROLOGUE ________________________________________________ 1 1.1. Peter Greenaway: A Brief Retrospective _______________________________ 1 1.2. Classifying Greenaway’s Work _____________________________________ 17 1.3. Introducing an Encyclopaedic Approach ______________________________ 25 2. THE ENCYCLOPAEDIA ______________________________________ 62 A 62 Literature 214 Air 62 M 214 Alphabet 70 Maps 214 Anatomy 81 Mathematics 225 Animals 92 Medicine 225 Architecture 92 Myth/ology 225 B 105 N 235 Biography 105 Nudity 235 Birds 112 Numbers 246 Body 112 O 258 Books 122 Ornithology 258 C 134 P 266 Cartography 134 Plants 266 Characters 134 Pornography 266 Conspiracy 147 R 267 D 158 Religion 267 Death 158 S 279 Dissection 168 Science 279 Drowning 168 Sex/uality 279 F 169 Stories 289 Flight 169 T 290 Food 169 Taboo 290 G 181 Theology 299 Games 181 V 299 Gardens 189 Violence 299 Geography 189 W 312 H 190 Water 312 History 190 Writing 323 L 202 Z 334 Landscape 202 Zoo/logy 334 Libraries 214 3. EPILOGUE ______________________________________________ 349 Catalogue of Works ________________________________________________ 361 Bibliography _____________________________________________________ 372 List of Illustrations _________________________________________________ 412 Appendix ________________________________________________________ 417 Index of Names ___________________________________________________ 423 Abstracts ________________________________________________________ 428 Curriculum Vitae __________________________________________________ 430 VI Acknowledgements Acknowledgements Without the effort and help from some extraordinary individuals this study would not have been possible. First and foremost, I would like to thank my supervisor, Professor Monika Seidl, for giving me the opportunity to write this doctoral dissertation, for her advice, humour, and necessary corrections. I also would like to express my sincere gratitude to Dr. Deen Larsen for his proofreading, helpful suggestions, and detailed comments on the manuscript. On a personal note, I wish to thank Theresa for her enduring patience and unselfish support in times of need and doubt. I also owe a debt of gratitude to Peter Greenaway for his generous permission to reproduce images of his works. As to the use of copyright material in general, I have made every effort to trace copyright owners and gain their permission for the use of images in my study. Despite this effort, in a number of cases it has proven impossible to trace these owners. Therefore I will be grateful for any information concerning copyright violations. List of Abbreviations and Short Titles VII List of Abbreviations and Short Titles Audience The Audience of Mâcon Baby The Baby of Mâcon Belly The Belly of an Architect Compton Luper at Compton Verney Cook The Cook, the Thief, His Wife and Her Lover Dante A TV Dante. Cantos 1–8 Draughtsman The Draughtsman’s Contract Drowning Drowning by Numbers Eight Eight & a Half Women Flying Out Flying out of this World Flying Over Flying over Water Fort Asperen Fort Asperen Ark – A Peter Greenaway Flood Warning Goltzius Goltzius & The Pelican Company House H is for House . The Reincarnation of an Ornithologist M Is for Man M Is for Man, Music, Mozart 100 Allegories 100 Allegories to Represent the World 100 Objects 100 Objects to Represent the World Peopling Peopling the Palaces at Venaria Reale Pillow The Pillow Book Prospero Prospero’s Books Rosa The Death of a Composer. Rosa, a Horse Drama Seine Death in the Seine Stairs Geneva The Stairs 1. Geneva: The Location Stairs Munich The Stairs 2. Munich: Projection TLS The Tulse Luper Suitcases Tulse 1 The Tulse Luper Suitcases, Part 1: The Moab Story Tulse 2 The Tulse Luper Suitcases, Part 2: Vaux to the Sea Tulse 3 The Tulse Luper Suitcases, Part 3: From Sark to Finish Uranium Children of Uranium Walk A Walk through H Zed A Zed and Two Noughts *All referring to works by Peter Greenaway. For full references see the Catalogue of Works. VIII Preface Preface The idea for a dissertation project on Peter Greenaway’s work was born out of a state of bewilderment. Bewildered and discontented with the lack of attention paid to this versatile artist, I was thinking about a biographical study on his life and work that had the presumptuous aim of rescuing Greenaway from oblivion. But, obviously enough, such a personal approach would have failed to maintain the emotional distance necessary for a critical investigation of the artist’s massive body of works and would have been perceived as a mere act of homage and appreciation. Instead, I have taken a structuralist perspective of sorts, from which I try to seize Greenaway’s oeuvre in its totality – by decomposing it into its constituent elements, which will be, re-organised and assembled into an encyclopaedia, the centrepiece of my study. Prior to that, the introductory Prologue will present, as its first section, a brief retrospective that outlines Greenaway’s long-standing career and looks at the vicissitudes of his reputation as an artist and filmmaker. (In my attempt to trace the critical reception of his works, I have limited myself to the Anglo-American world, though to a certain extent German reviews will also be taken into account.) The second section of the Prologue will be concerned with the question how Greenaway’s oeuvre can be classified (and has been classified by critics) in terms of artistic traditions and will discuss some of the main stylistic peculiarities of his art. The third section will introduce my encyclopaedic approach to the artist’s work. It will give some insight into the general principles of the encyclopaedia as a mode of representing knowledge, a thorough treatment of Greenaway’s penchant for encyclopaedic thought, and a description of the artist’s own encyclopaedism. Among the concerns of this section will be the idea of collecting in general, collecting as artistic practice, and Greenaway’s art as an art of collecting, as well as the role of organising principles in his work. Then, the Encyclopaedia, as the main body of my study, will offer a systematic survey of the artist’s work, which takes the form of a selective collection of Greenaway’s main subjects and themes, structured according to the letters of the alphabet. The concluding Epilogue will provide not so much a summarising conclusion as a series of “afterthoughts” contemplating on the implications of Greenaway’s encyclopaedism and its relation to the audience. PROLOGUE 1 1. PROLOGUE 1.1. Peter Greenaway: A Brief Retrospective Peter Greenaway’s art is not too fashionable these days. Once referred to as a luminary in the field of art-house cinema, today most of his huge creative output tends to be cut off from public discourse and is systematically overlooked by critics. Especially in the United Kingdom, from where he exiled himself in the late 1990s for the Netherlands, Welsh-born Greenaway has almost fallen into a state of oblivion; it is telling that in 2007 his name did not appear on the top 21 list of British directors of all time by the Daily Telegraph . 1 Some thirty years ago, when he had successfully entered the British film scene with the win of the BFI award for Best Film for his epic 1980 mock-documentary, Falls ,2 and the surprise success of his first feature film, Draughtsman, in 1982, 3 Greenaway’s name was top of mind among film critics and cinemagoers. Seven years later, in 1989, it was the artist’s commercially most successful film, Cook ,4 which finally acquainted the general public with his work. 1 The ranking was led by Alfred Hitchcock, Charlie Chaplin, and Michael Powell. In addition to Greenaway, other illustrious filmmakers, such as Derek Jarman and Alan Parker, did not make it into the list. For full details, see The Top 21 British Directors of All Time . 2 In spite of its excessive three-hour length, Falls was praised by critics as an ‘masochistically fascinating’ (Heller; my translation) film whose ‘rewards are real’ (Canby, Falls ). Its director was described enthusiastically as ‘a genuine wit with a grand imagination’ (Canby, Falls ) and ‘the most inscrutable, brilliant and possibly deranged mind in modern cinema’ (Howe, Falls ). 3 The film was highly acclaimed by the British press as being ‘[b]rilliant and archly humoured’ (The Guardian quoted in Catterall). With the exception of Pauline Kael, judging the film as ‘mannered and idiosyncratic’ (27), American critics were also enthused, describing it as ‘an astonishingly elegant film’ (Canby, Draughtsman ) that is ‘like a crossword puzzle for the senses’ (Ebert, Draughtsman ). However, fellow director Alan Parker condemned the film famously as ‘[a] load of posturing poo poo’ (quoted in Hughes) and threatened to leave the country if Greenaway was allowed to make another film (Parker, in fact, soon left for Hollywood,
Load more

Recommended publications
  • Analysis of the State of Preservation of the M Edieval Fortification Elements, in the C Ontext of Landscape a Ttractiveness Base
    Key words: fortifications, Middle tem. They resembled a little military Ages, Lower Silesia, military organizations where every member xample xample architecture had to have his own helmet, spear andscape E L and sword. They were responsible Introduction for provision of weapons, their repair reservation reservation and each of them was in charge of P In many cities in Lower Silesia a selected part of fortification. For medieval fortifications are preserved instance, in fortified towers managed to various extent. Most of them were by guilds there were rooms used for subject to research that took place in storage of weapons [Widawski 1973, the 60’s and 70’s of the twentieth cen- p. 55]. As we can see, the whole ortification ontext of ontext tury and was conducted by Edmund system was specifically constructed F tate of Małachowicz, Mirosław Przyłęcki, and ensured full readiness of the city C ased on an or Mieczysław Zlat. This article pres- to defence. S B ent results of contemporary research Until now, in 15 cities in Lower ities of Lower Silesia ities of Lower involving the quantitative assess- Silesia there are preserved fragments C ment of the preserved elements of of medieval fortifications of at least the Lower Silesian city fortifications 30% of their original size. This in the context of contemporary city resource has been analysed in the edieval edieval landscape attractiveness, their role following study. The following figure and participation in the recreation presents the general state of preserva- M space, or creation of the visual iden- tion (Fig. 1). tity of the city.
    [Show full text]
  • Setting up the Palette by Carole Greene
    Setting Up the Palette by Carole Greene De Anza College Cupertino, California Manuscript Preparation: D’Artagnan Greene Cover Photo: Hotel Johannes Vermeer Restaurant, Delft, Holland © 2002 by Bill Greene ii Copyright © 2002 by Carole Greene ISBN X-XXXX-XXXX-X All rights reserved. No part of this book may be reproduced in any form whatsoever, by photography or xerography or by any other means, by broadcast or transmission, by translation into any kind of language, nor by recording electronically or otherwise, without permission in writing from the publisher, except by a reviewer, who may quote brief passages in critical articles or reviews. Printed in the United States of America. X X X X X X X X X X Address orders to: XXXXXXXXXXX 1111 XXXX XX XXXXXX, XX 00000-0000 Telephone 000-000-0000 Fax 000-000-0000 XXXXX Publishing XXXXXXXXXXXXXXXXXXXXXXXX iii TABLE OF CONTENTS FOREWORD ix CHAPTER 1- Mastering the Tools 1 An Overview 3 The Clause 15 The Simple Sentence 17 The Verb Check 21 Items in a Series 23 Inverted Clauses and Questions 29 Analyzing a Question 33 Exercise 1: Locate Subjects and Verbs in Questions 35 Exercise 2: Locate Verbs in Simple Sentences 37 Exercise 3: Locate Subjects in Simple Sentences 47 Exercise 4: Locate Subjects and Verbs in Simple Sentences 55 iv The Need to Change Reading Habits 69 The Phrase 71 A Phrase Versus a Clause 73 Prepositional Phrases 75 Common Single Word Prepositions 77 Group Prepositions 78 Developing a Memory System 79 Memory Facts 81 Analyzing the Function of Prepositional Phrases 83 Exercise 5: Locating
    [Show full text]
  • Download Curriculum
    CORNELIA PARKER 1956 Nace en Cheshire / Neix a Cheshire / Born in Cheshire 1974-1975 Gloucestershire College of Art & Design 1975-1978 Wolverhampton Polytechnic - B.A. Hons 1980-1982 Reading University - M.F.A. Vive y trabaja en Londres / Viu i treballa a Londres / Lives and works in London Exposiciones Indiviaduales (selección) / Exposicions individuals (sel·lecció) / Selected solo shows 2011 D’Amelio Terras, (front room) New York Thirty Pieces of Silver York St Mary’s, York (in association with Tate) 2010 Doubtful Sound, Baltic Centre for Contemporary Art, Gateshead D’Amelio Terras, (front room) New York No Mans Land, Two Rooms, Auckland, New Zealand (as part of International Artists Residency) 2009 Nocturne: A Moon Landing, Firework display and installation to open Jupiter Artland, Edinburgh 2008 *Guy Bartschi, Geneva *Carles Taché, Barcelona Never Endings Museo De Arte de Lima, Peru (Touring from IKON) Latent News Frith Street Gallery, London Chomskian Abstract, Whitechapel Laboratory, Whitechapel Gallery, London (touring: Ballroom Marfa, Texas; Galleria d’Arte Moderna Contemporanea, Bergamo: Fundacion PRO, Buenos Aires; Henie Onstad Kunstsenter, Oslo; The Institute for the Re-adjustment of Clocks, Istanbul; Kunsthaus, Zurich; Moderna Museet, Stockholm; The Ullens Centre for Contemporary Artm Beijing) 2007 * Never Endings IKON, Birmingham 2006 * Brontean Abstracts, Brontë Parsonage Museum, Haworth, West Yorkshire 2005 Focus: Cornelia Parker, The Modern Art Museum of Fort Worth, Fort Worth, Texas New Work by Cornelia Parker, Yerba Buena
    [Show full text]
  • Holland Artikel
    Bonny van Sighem Vis op het droge Visstillevens in Holland en Utrecht in de 17de eeuw Stillevens met daarop stapels dode vissen behoren zelden tot de topstukken van musea. Wij kijken liever naar een schilderij met flink wat menselijk drama of naar een kleurig boeket bloemen in verf dan naar een uitstalling van deze weinig aaibare dieren. Toch zijn er prachtige visstillevens geschilderd in de 17de eeuw. De meesten werden gemaakt in de provincie Holland en de stad Utrecht. Over het algemeen zien we op schilderijen uit Holland wat vaker zeevis en op die uit Utrecht wat vaker zoetwatervis. Realisti - sche uitstallingen tonen vistillevens echter niet. De bederfelijkheid van het onderwerp verklaart waarom ze nooit de nageschilderde werkelijkheid laten zien. De stank in het atelier zou ondraaglijk zijn geweest. Bijbelse taferelen, portretten, mythologische voorstellingen, kerkinterieurs, stadsgezichten, genrestukken, landschappen, zeegezichten, stillevens. De 17de-eeuwse Nederlandse schil - derkunst kende zeer veel specialiteiten. De markt was vrij en de economische situatie was gunstig, waardoor zowel de vraag naar als het aanbod van schilderijen zeer groot was. Stil - levenschilders die zich oefenden in het weergeven van levenloze voorwerpen konden kiezen voor het schilderen van vazen met bloemen, boeken, tabaksgerei, steengoed, etenswaar, vruchten, glas en andere kostbaarheden, jachtbuit, vis, of een combinatie hiervan, zoals het ontbijtje, het vanitas-stilleven en het pronkstilleven. Stillevens stelden in de ogen van de la - tere kunsttheoretici niet veel voor, maar op de markt vonden ze gretig aftrek en er konden hoge prijzen voor betaald worden. Ook aan het begin van de 21ste eeuw worden stillevens nog bijzonder gewaardeerd. Ze staan sterk in de markt en brengen ongekende prijzen op.
    [Show full text]
  • Vezzosi A. Sabato A. the New Genealogical Tree of the Da Vinci
    HUMAN EVOLUTION Vol. 36 - n. 1-2 (1-90) - 2021 Vezzosi A. The New Genealogical Tree of the Da Vinci Leonardo scholar, art historian Family for Leonardo’s DNA. Founder of Museo Ideale Leonardo Da Vinci Ancestors and descendants in direct male Via IV Novembre 2 line down to the present XXI generation* 50059 Vinci (FI), Italy This research demonstrates in a documented manner the con- E-mail: [email protected] tinuity in the direct male line, from father to son, of the Da Vinci family starting with Michele (XIV century) to fourteen Sabato A. living descendants through twenty-one generations and four Historian, writer different branches, which from the XV generation (Tommaso), President of Associazione in turn generate other line branches. Such results are eagerly Leonardo Da Vinci Heritage awaited from an historical viewpoint, with the correction of the E-mail: leonardodavinciheritage@ previous Da Vinci trees (especially Uzielli, 1872, and Smiraglia gmail.com Scognamiglio, 1900) which reached down to and hinted at the XVI generation (with several errors and omissions), and an up- DOI: 10.14673/HE2021121077 date on the living. Like the surname, male heredity connects the history of regis- try records with biological history along separate lineages. Be- KEY WORDS: Leonardo Da Vinci, cause of this, the present genealogy, which spans almost seven Da Vinci new genealogy, ancestors, hundred years, can be used to verify, by means of the most living descendants, XXI generations, innovative technologies of molecular biology, the unbroken Domenico di ser Piero, Y chromosome, transmission of the Y chromosome (through the living descend- Florence, Bottinaccio (Montespertoli), ants and ancient tombs, even if with some small variations due burials, Da Vinci family tomb in Vinci, to time) with a view to confirming the recovery of Leonardo’s Santa Croce church in Vinci, Ground Y marker.
    [Show full text]
  • Mapping Robert Storr
    Mapping Robert Storr Author Storr, Robert Date 1994 Publisher The Museum of Modern Art: Distributed by H.N. Abrams ISBN 0870701215, 0810961407 Exhibition URL www.moma.org/calendar/exhibitions/436 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art bk 99 £ 05?'^ £ t***>rij tuin .' tTTTTl.l-H7—1 gm*: \KN^ ( Ciji rsjn rr &n^ u *Trr» 4 ^ 4 figS w A £ MoMA Mapping Robert Storr THE MUSEUM OF MODERN ART, NEW YORK DISTRIBUTED BY HARRY N. ABRAMS, INC., NEW YORK (4 refuse Published in conjunction with the exhibition Mappingat The Museum of Modern Art, New York, October 6— tfoti h December 20, 1994, organized by Robert Storr, Curator, Department of Painting and Sculpture The exhibition is supported by AT&TNEW ART/NEW VISIONS. Additional funding is provided by the Contemporary Exhibition Fund of The Museum of Modern Art, established with gifts from Lily Auchincloss, Agnes Gund and Daniel Shapiro, and Mr. and Mrs. Ronald S. Lauder. This publication is supported in part by a grant from The Junior Associates of The Museum of Modern Art. Produced by the Department of Publications The Museum of Modern Art, New York Osa Brown, Director of Publications Edited by Alexandra Bonfante-Warren Designed by Jean Garrett Production by Marc Sapir Printed by Hull Printing Bound by Mueller Trade Bindery Copyright © 1994 by The Museum of Modern Art, New York Certain illustrations are covered by claims to copyright cited in the Photograph Credits.
    [Show full text]
  • 20TH ANNIVERSARY LIMITED EDITIONS SHOWCASE Launching Special Editions by Cornelia Parker & John Stezaker 2
    20TH ANNIVERSARY LIMITED EDITIONS SHOWCASE Launching special editions by Cornelia Parker & John Stezaker 2 – 10 November 2018 To mark and celebrate twenty years of Ingrid Swenson’s tenure as director of PEER and her recent MBE Award for Services to the Arts in East London, artists Cornelia Parker and John Stezaker have very generously produced prints in limited editions of 50 each to support PEER’s programme, which will be launched to the public on 2 November. We are using this as an opportunity to highlight some of PEER’s achievements over the past two decades with a display of previous artists’ editions and publications from Mike Nelson, Fiona Banner, Anthony McCall, Kathy Prendergast, John Smith, Bridget Smith and many others. November marks twenty years to the month since Ingrid began working at PEER, which was then known as The Pier Trust. Over this period, Ingrid has developed a curatorial strategy that acknowledges how art can and should have a meaningful and powerful place in the lives of people across the whole spectrum of our diverse society. Ingrid’s work has been far-reaching nationally and internationally, but always rooted in an embrace of the community. Over these two decades, it has been a great privilege for PEER to have been able to work with more than 150 emerging, mid- career and established artists; ranging from the one-off event to more ambitious and complex commissions. To set us on our way towards the next twenty years, we are delighted that both Cornelia Parker and John Stezaker have so generously agreed to make limited edition prints to be sold to support our artistic and local programmes.
    [Show full text]
  • Westminsterresearch the Artist Biopic
    WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The artist biopic: a historical analysis of narrative cinema, 1934- 2010 Bovey, D. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Mr David Bovey, 2015. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 1 THE ARTIST BIOPIC: A HISTORICAL ANALYSIS OF NARRATIVE CINEMA, 1934-2010 DAVID ALLAN BOVEY A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Master of Philosophy December 2015 2 ABSTRACT The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies.
    [Show full text]
  • Never Simply Nudity
    Never Simply Nudity A Study of the Functions of the Nude Female Figure in Athenian Vase-Painting c. 480-420 BCE Amy Martin Thesis presented in fulfilment of the requirements for the degree of Master of Arts in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Dr Samantha Masters March 2017 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. March 2017 Copyright © 2017 Stellenbosch University All rights reserved ii Stellenbosch University https://scholar.sun.ac.za Abstract Recent studies regarding the motif of the nude female figure on Athenian red-figure vases of the 5th century BCE have caused much controversy among contemporary scholars. Whereas the nude male figure on Athenian vases is generally perceived by scholars as representative of heroic, ritualistic or civic nudity, the female form’s nude state remains ambiguous in comparison. In an attempt to uncover the cultural significance behind the appearance of the nude female figure on Athenian vases, multiple scholars have suggested that her utterly exposed state must surely have been indicative of a ‘disreputable’ status, especially that of the hetaira. However, this interpretation is problematic as it ultimately restricts the possible function(s) of the nude female figure to being primarily erotic in nature.
    [Show full text]
  • Introduction 1 Mimesis and Film Languages
    Notes Introduction 1. The English translation is that provided in the subtitles to the UK Region 2 DVD release of the film. 2. The rewarding of Christoph Waltz for his polyglot performance as Hans Landa at the 2010 Academy Awards recalls other Oscar- winning multilin- gual performances such as those by Robert de Niro in The Godfather Part II (Coppola, 1974) and Meryl Streep in Sophie’s Choice (Pakula, 1982). 3. T h is u nder st a nd i ng of f i l m go es bac k to t he era of si lent f i l m, to D.W. Gr i f f it h’s famous affirmation of film as the universal language. For a useful account of the semiotic understanding of film as language, see Monaco (2000: 152–227). 4. I speak here of film and not of television for the sake of convenience only. This is not to undervalue the relevance of these questions to television, and indeed vice versa. The large volume of studies in existence on the audiovisual translation of television texts attests to the applicability of these issues to television too. From a mimetic standpoint, television addresses many of the same issues of language representation. Although the bulk of the exempli- fication in this study will be drawn from the cinema, reference will also be made where applicable to television usage. 1 Mimesis and Film Languages 1. There are, of course, examples of ‘intralingual’ translation where films are post-synchronised with more easily comprehensible accents (e.g. Mad Max for the American market).
    [Show full text]
  • The Roman Second Century Gate at Perge and Its Literary Associations
    Rev. do Museu de Arqueologia e Etnologia, São Paulo, 7: 49-64, 1997. THE ROMAN SECOND CENTURY GATE AT PERGE AND ITS LITERARY ASSOCIATIONS William E. Mierse* MIERSE, W.E. The Roman second century gate at Perge and its literary associations. Re v. do Museu de Arqueologia e Etnologia, São Paulo, 7: 49-64, 1997. RESUMO: O artigo visa demonstrar como a entrada romana do século II d.C. da cidade de Perge, na Ásia Menor, pertence a um conjunto arquitetônico harmônico, construído a partir de um programa artístico mais amplo. Assim, os vários elementos que compõem esta entrada (pátios, nichos e esculturas, colunadas) são analisados à luz de suas possíveis associações com os estilos de pintura mural e de composições literárias, adquirindo uma coerên­ cia única. UNITERMOS: Arte romana - Arte provincial - Arquitetura romana na Ásia Menor. The Gate at Perge The ruins of the ancient city of Perge (7t£pyr|) site slightly inland of the Pamphylian coast of south Turkey, 16km east of Antalya (Figure 1). The site was first discussed by Lanckoronski (1980:61) and then excavated and published by A. M. Mansel (1949, 1956, 1975a, 1975b) and more recently by Jale Inan. Strabo (14.4.2) describes the site. The city was founded following the end of the Trojan War by emigrants from Argos led by the seers Kalchas and Mopsus and the hero Amphilochus. To date, the excavations have revealed no evidence of an archaic settlement at the site. The first mention of the town is the forth century periplus city date from Seleucid times. The old Hellenistic attributed to Scyta of Caryanda.
    [Show full text]
  • Babette's Feast
    “PLENTY OF FOOD FOR EVERYONE”: A BALTHASARIAN LOOK AT BABETTE’S FEAST JACQUES SERVA IS “Grace is not external to created being as love.” “Like at the wedding at Cana,” affirms an old man at the extrava- gant French dinner in Babette’s Feast, “the food is not important.”1 Yes, surely something more than drinking and eating is at stake in John 2:1–11. The same holds for the film itself, which, though it revolves around a seven-course meal offered to poor villagers, “is not a film about cooking,” nor is the dinner whatsoever “an end in itself,” as the Danish director Gabriel Axel makes clear in an interview.2 But does all this make food and wine irrelevant? 1. Hereafter, where quotations in this essay are not footnoted, they are tak- en from the English subtitles of Babette’s Feast, directed by Gabriel Axel (2007, Twentieth Century Fox Home Entertainment), DVD. Unless otherwise in- dicated, all citations in this essay are to works by Hans Urs von Balthasar (Freiburg: Johannes Verlag Einsiedeln), published in English by Ignatius Press (San Francisco). All citations to Balthasar’s books from Johannes Verlag are from the most recent editions. 2. Gabriel Axel, interview by Jill Forbes, “Axel’s Feast,” Sight and Sound 57, no. 2 (Spring 1988): 106–07. Communio 44 (Fall 2017). © 2017 by Communio: International Catholic Review 416 JACQUES SERVAIS If they point beyond themselves, do they therefore disappear? At Cana, the Lord uses them as “signs” to reveal “his glory” (Jn 2:11), but this glory appears less as a scalding light, as it were, than a flickering candle, almost hidden.
    [Show full text]