DOCSLIB.ORG

Contested Representations in Contemporary Art

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Contested Representations in Contemporary Art Western University Scholarship@Western Electronic Thesis and Dissertation Repository 5-11-2015 12:00 AM Standing For Something Not Present: Contested Representations in Contemporary Art Trista E. Mallory The University of Western Ontario Supervisor Dr. Bridget Elliott The University of Western Ontario Graduate Program in Art and Visual Culture A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Trista E. Mallory 2015 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Contemporary Art Commons, Theory and Criticism Commons, and the Visual Studies Commons Recommended Citation Mallory, Trista E., "Standing For Something Not Present: Contested Representations in Contemporary Art" (2015). Electronic Thesis and Dissertation Repository. 2892. https://ir.lib.uwo.ca/etd/2892 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. STANDING FOR SOMETHING NOT PRESENT: CONTESTED REPRESENTATIONS IN CONTEMPORARY ART Thesis format: Monograph by Trista Elizabeth Mallory Graduate Program in Visual Arts A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Trista Elizabeth Mallory 2015 Abstract This dissertation looks at the limits and possibilities for the representation of political conflicts in the Middle East through the work of three contemporary artists: Emily Jacir, Eric Baudelaire, and Jafar Panahi. Situated within a moment of increasing uncertainty and global unrest evidenced by the continuing involvement of the United States in various wars in the Middle East, the rise of new terrorist formations like ISIS, and the ongoing geopolitical struggle between Israel and Palestine, to name but a few examples, three interrelated questions are taken up in this study: Given the increasing pressure placed upon truth claims and the documentary image, how can we reassess modes of signification and representation to redeploy them within our contemporary moment? What is necessary to make intelligible political positions that are traditionally kept outside of the political and representational realm, as is the history and demands of terrorist groups? How might we think through the relationship between specific material histories and the politics of representation? With these questions in mind, chapter one looks at Emily Jacir's Material for a Film (2005-ongoing) and Material for a Film (Performance) (2006) which represents the history of Wael Zuaiter, a Palestinian assassinated in 1972. I argue that Jacir’s works engage with the propagandistic modes of representing the Palestinian struggle utilized in the 1970s by producing a material and narrative challenge to these modes. I contend that she accomplishes this by producing a ‘filmic installation’ that upsets the linear narrative of historical writing and the closed narrative arc of traditional documentary film. Chapter two further investigates the linearity of historical narrative, documentary representation, and fragmented archival accounts through Eric Baudelaire’s installation and film The Anabasis of May and Fusako Shigenobu, Masao Adachi and 27 years without ii images (2011), a project which struggles over how to represent the history of the Japanese Red Army’s participation with the Palestinian Liberation Organization in a series of terrorist attacks. Rather than settling on one historical account, which could be read as sympathetic support or damning condemnation, I argue that Baudelaire instead produces three modes of historical explanation in order to shift his viewer’s focus toward the register of representational possibilities. Chapter three pursues the question of censorship through Jafar Panahi's This is not a Film (2011). Made in Iran while Panahi was confined to house arrest and smuggled out in a USB drive hidden in a cake, I contend that Panahi puts his own oeuvre at the crux of his negation of film by creating an argument in This is Not a Film through appropriated footage from, and commentary on, his previous work. The three chapters of my dissertation elaborate on my theoretical questions through a close engagement with the work. As each artist struggles over the terms of representing fraught political and material histories, I analyze the social and political stakes of their engagement with new narrative and representational modes. Keywords Emily Jacir, Eric Baudelaire, Jafar Panahi, Ariella Azoulay, Realism, Representation, Film, Photography iii Acknowledgments This dissertation is dedicated to the women in my family. It is among their strong voices that I have found my place in the world. Many thanks to Bridget Elliott for mentoring me through the early stages of the program, for guiding me through my first teaching experiences with warmhearted advice and support, and for her generosity and criticism through the process of writing this dissertation. Many thanks also to my committee, Sarah Bassnett, Kirsty Robertson and Joy James for their careful reading and thoughtful comments. Thanks also to Tony Purdy, Susan Schupili, and Christine Sprengler who informed the early stages of this project with much wit and curiosity. I’m grateful to Jenn Orpana and Stephanie Radu who helped me keep one foot in Canada while living in the States; along with Janice Gurney, Andy Patton and Corinna Ghaznavi they have been exemplary peers. To Paula Dias, Marlene Jones and Sandy Leboldus, thanks for your hard work and for your advice in navagating the administrative ins and outs of the University. Many thanks to Emily Jacir and Eric Baudelaire for sharing unpublished material and generously talking me through their work. They have been an inspiration and have challenged my thoughts in the formulation of this dissertation. I’m grateful to Joan Young, curator at the Guggenheim, New York for talking through the hanging of Jacir’s show for the Hugo Boss Prize and for giving me access to the exhibitions folders before they went into the archive. Ted Bonin and Kathryn Gile at Alexander and Bonin have been tremendously helpful in providing me with documentary material for Emily Jacir’s work and I’m grateful to Tim Saltarelli, Robert Leckie, and Julian Ross for material on Baudelaire’s exhibition at Gasworks, London. iv I owe a great debt of gratitude to Ron Clark for many generous and challenging conversations during my year at the ISP and in the years following. Much appreciation to my ISP adviser, Emily Apter, and to my peers and the extended ISP community of fellows and teachers for their exacting questions and engaging conversations, especially Tom Ackers, Lindsay Caplan, Alex Fletcher, Park McArthur, and Kristina Scepanski, Aliza Shvarts and Angel Szymanek. Jen Kennedy has supported me in every way imaginable since we met at Binghamton University and has read through my work countless times with tireless generosity and enthusiasm, there are not enough words of thanks. I want also to thank the incredible women in my dissertation writing group in San Francisco: Anne Gross, Katie Harper, Serena Le and Carrie Ritter who welcomed me into their community at Berkeley and lent much needed support and camaraderie through the last months of writing and who continue to be a constant source of inspiration. I’m tremendously lucky to have an extended family: Allison Applebaum, Stanley Applebaum, Nancy Gort, Liz Park and Maria Rapicavoli, all of whom have supported me and nurtured me, and have worked together to keep me afloat over these last months. And finally thanks to Chris Glazowski, without his support and unshakable belief I could continue on, this project would not have been possible. v Table of Contents Abstract ..................................................................................................................................... ii Acknowledgements .................................................................................................................. iv Table of Contents ..................................................................................................................... vi List of Figures ......................................................................................................................... vii Introduction ................................................................................................................................1 Chapter 1. Watching Photographs: Material for a Film ..........................................................27 Chapter 2. Grounds and Landscapes: The Anabasis of a Film ................................................80 Chapter 3. A Film is no Substitute for Anything ...................................................................137 Conclusion .............................................................................................................................184 Selected Bibliography ............................................................................................................191 Curriculum Vitae ...................................................................................................................201 vi List of Figures Figure 1 Alex Levac, Hebron, 2000. ......................................................................................
Load more

Recommended publications
  • KOJI WAKAMATSU Japan 2010, Color, 85 Min., 35Mm, 1:1.85, DTS
    CATERPILLAR A FILM BY KOJI WAKAMATSU Japan 2010, color, 85 min., 35mm, 1:1.85, DTS SYNOPSIS During the Second Sino-Japanese War, in 1940, Lieutenant Kurokawa returns home as a honoured and decorated soldier… but deprived of his arms and legs lost in the battle in mainland China. All hopes, from the villagemen and women to close family members, turn to Shigeko, the Lieutenant’s wife: she must hon- our the Emperor and the country in setting an example for all by fulfi lling her duty and taking care of the ‘god soldier’… DIRECTOR’S STATEMENT In war human beings are violated, chopped up and burnt by other human beings. Humans violating other humans. Humans chopping up other humans. Humans burning other humans. What is the meaning of war? What is the meaning of people killing people for the sake of their country? Where in the world can we fi nd a just war? Don’t forget the stench of blood that covered the earth! Don’t forget the smell of burnt fl esh! We must not forget… for this is what war is. Over 140,000 people died in the Hiroshima Atomic bomb attack. CAST Over 70,000 people died in the Nagasaki Atomic bomb attack. Shigeko KUROKAWA Shinobu TERAJIMA Kyuzo KUROKAWA Shima OHNISHI 984 class B and C war criminals were sentenced to death. Kenzo KUROKAWA Ken YOSHIZAWA Over 100,000 died in the Bombing of Tokyo. Tadashi KUROKAWA Keigo KASUYA Chiyo KUROKAWA Emi MASUDA Over 20 million died in the Asian continent. The village chief Sabu KAWAHARA Over 60 million died in World War II.
    [Show full text]
  • Emily Jacir: Europa 30 Sep 2015 – 3 Jan 2016 Large Print Labels and Interpretation Galleries 1, 8 & 9
    Emily Jacir: Europa 30 Sep 2015 – 3 Jan 2016 Large print labels and interpretation Galleries 1, 8 & 9 1 Gallery 1 Emily Jacir: Europa For nearly two decades Emily Jacir has built a captivating and complex artistic practice through installation, photography, sculpture, drawing and moving image. As poetic as it is political, her work investigates movement, exchange, transformation, resistance and silenced historical narratives. This exhibition focuses on Jacir’s work in Europe: Italy and the Mediterranean in particular. Jacir often unearths historic material through performative gestures and in-depth research. The projects in Europa also explore acts of translation, figuration and abstraction. (continues on next page) 2 At the heart of the exhibition is Material for a film (2004– ongoing), an installation centred around the story of Wael Zuaiter, a Palestinian intellectual who was assassinated outside his home in Rome by Israeli Mossad agents in 1972. Taking an unrealised proposal by Italian filmmakers Elio Petri and Ugo Pirro to create a fi lm about Zuaiter’s life as her starting point, the resulting installation contains documents, photographs, and sound elements, including Mahler’s 9th Symphony as one of the soundtracks to the work. linz diary (2003), is a performance by Jacir captured by one of the city’s live webcams that photographed the artist as she posed by a fountain in a public square in Linz, Austria, at 6pm everyday, over 26 days. During the performance Jacir would send the captured webcam photo of herself to her email list along with a small diary entry. In the series from Paris to Riyadh (drawings for my mother) (1998–2001), a collection of white vellum papers dotted with black ink are delicately placed side by side.
    [Show full text]
  • Internationale Situationniste 79 a Special Issue Guesteditor, Thomas F Mcdonough
    Art Theory Criticism Politics OCTOBER Guy Debord and the Internationale situationniste 79 A Special Issue Guesteditor, Thomas F McDonough Thomas F. McDonough RereadingDebord, Rereading the Situationists T.J. Clark and WhyArt Can't Kill the Donald Nicholson-Smith Situationist International Claire Gilman AsgerJorn'sAvant-Garde Archives Vincent Kaufmann Angels of Purity Kristin Ross Lefebvreon the Situationists: An Interview Situationist Textson Visual Culture and Urbanism:A Selection $10.00 / Winter 1997 Publishedby theMIT Press 79 Thomas F. McDonough Rereading Debord, Rereading the Situationists 3 T.J. Clark and WhyArt Can't Kill the Donald Nicholson-Smith Situationist International 15 Claire Gilman AsgerJorn's Avant-Garde Archives 33 Vincent Kaufmann Angels of Purity 49 Kristin Ross Lefebvreon the Situationists: An Interview 69 Situationist Texts on Visual Culture and Urbanism: A Selection 85 Cover photo: AsgerJorn. The Avant-Garde Doesn't Give Up. 1962. Rereading Debord, Rereading the Situationists* THOMAS F McDONOUGH "He must be read and reread, for the same phrases are always cited. He is reduced to a few formulas, at best out of nostalgia but more often in a negative sense, as if to say: look at where thinking like that gets you!"' So cautioned Philippe Sollers one week after Guy Debord's suicide on November 30, 1994. It is advice well taken, if recent glosses on the life and work of this founding member of the Situationist International are any indication. When, twenty-odd years after the publication of his Societedu spectacle(1967), Debord circulated his Commentaires on this book (1988), it was greeted with general skepticism. The reviewer for Le Mondeconceded the verity of its characterizations: Can we decide against him, when he emphasizes the generalized secrecy predominant in this gray world? The more we speak of transparency, the less we know who controls what, who manipulates whom, and to what end.
    [Show full text]
  • Destination: Jerusalem Servees
    Destination: Emily Jacir’s audio work Untitled (servees) was produced as a site specific work and Jerusalem Servees installed in 2008 at Damascus Gate, in Jerusalem’s Old City. It was displayed as Interview with part of the second edition of the Jerusalem Emily Jacir Show organized by The Ma’mal Foundation. In its form, content and location, it was a Adila Laidi-Hanieh crucible of contemporary Palestinian visual art and culture, of Jacir’s practice, and of Palestinian efforts to affirm presence and ownership of the city in the face of the forced ‘silent transfer’. Emily Jacir is one of the most successful Palestinian contemporary artists and one of the best known internationally, as well as arguably its most recognized. She won numerous prestigious awards including the 2008 Hugo Boss Prize of the Guggenheim Foundation in New York; where the Jury noted her, “rigorous conceptual practice… bears witness to a culture torn by war Photo courtesy Emily Jacir. and displacement through projects that © Emily Jacir 2009 unearth individual narratives and collective Jerusalem Quarterly 40 [ 59 ] experiences”. In 2007 she won the Prince Claus Award, an annual prize from the Prince Claus Fund for Culture and Development in the Hague, which described Jacir as, “an exceptionally talented artist whose works seriously engages the implications of conflict” (PCF). In 2007, she won the ‘Leone d’Oro a un artista under 40’ - (Golden Lion Award for an artist under 40), at the Venice Biennale, the oldest and premier international art event in Europe, often dubbed ‘the Olympics of art’, for “a practice that takes as its subject exile in general and the Palestinian issue in particular, without recourse to exoticism”.
    [Show full text]
  • Remote Control: Distance in Two Works by Emily Jacir and Wafaa Bilal
    Remote Control: Distance in Two Works by Emily Jacir and Wafaa Bilal Kerr Houston s a part of her 2001-3 project Where We Come honor of all those who gave their lives for Palestine.” To From, the Palestinian-American artist Emily Jacir the right, the beach appeared, in early morning blues, on Aasked dozens of Palestinian exiles and children a small video screen. of Palestinian refugees a simple question: “If I could do Four years later, in May and June of 2007, the anything for you, anywhere in Palestine, what would it Iraqi-American artist Wafaa Bilal took up residence be?” Able to travel relatively freely within Israel due to in a Chicago art gallery, in a project called Domestic her American passport, Jacir then executed the wishes Tension. Subsisting on donated food and drink, Bilal of several respondents, recording her performances in lived for thirty days in a simulated bedroom/office space photographs and videos, which she exhibited alongside that was enclosed in transparent walls. Visible to gallery transcriptions of the requests and brief personal histories visitors, the space was also outfitted with computers of the exiles (Figure 1). “Drink the water,” ran one and a streaming webcam, and visitors to Bilal’s website appeal, put forward by a woman named Omayma, “in could control the camera and periodically interact with my parents’ village” – and, adjacent, viewers saw an him through an online chatroom or view videos that he image of a glassful of water, tilted towards the camera. posted on Youtube. Or they could attempt to shoot him, “Go to Haifa’s beach at the moment of the first light,” read another request, made by a man named Mohannad, Figure 1.
    [Show full text]
  • Laura Mulvey and Peter Wollen
    Laura Mulvey and Peter Wollen: Theory and Practice, Aesthetics and Politics, 1963-1983 Nicolas Helm-Grovas Royal Holloway, University of London PhD, Media Arts 1 Declaration of Authorship I, Nicolas Helm-Grovas, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. 15 January, 2018 2 Abstract This PhD is a genealogy and critical examination of the writings and films of Laura Mulvey and Peter Wollen, spanning the period from the early 1960s to 1980s. Despite the prominence of their texts, there has not been a book-length study of either body of writing, nor an overview of their overlap and mutual influence, in what was their most productive period. Nor has there been an extended account of the important connection between their theory and their practice as filmmakers. My thesis undertakes these tasks. I interpret and challenge existing scholarship, while simultaneously examining in detail for the first time lesser-known works, drawing on archives and interviews. Through close readings I elucidate Mulvey’s interrogation of the patriarchal fantasies structuring cinematic and artistic forms and her feminist appropriation of classical Hollywood melodrama; I map the related issues Wollen’s texts activate, of cinematic signification and materialism, the buried potentialities of the historical avant-gardes, and their connection to the avant-garde film contemporaneous with his writings. Their moving image works, I demonstrate through detailed analyses, bring these ideas into dialogue and work them through in a more open, exploratory vein. I trace key notions like ‘counter cinema’ across films and writings by both authors.
    [Show full text]
  • Art As a Powerful Tool for Knowledge
    NESRINE REZEK Art as a Powerful Tool for Knowledge Most of us believe in the power of art, how story can change one’s life, with stories we can connect with other, we reach others who we may never meet, words gathering to form sentences, to fabric stories, to form our history our culture our identity and our future, simply our life is a story. It’s our way to share our experience with others, the ability to express our interests, to discuss our goals, and to reach positive change. From here Emily Jacir began her fight and journey to tell her story or our story, to uncover facts and to convey the truth to the world. Emily Jacir “is Palestinian artist and filmmaker. Born in Bethlehem in 1970, Jacir attended the University of Dallas, Irving, the Memphis College of Art and the Whitney Independent Study Program and has been living and working between New York and the West Bank. It may be argued one of the main Palestinian artists working today, she has received a number of prominent awards. Jacir utilizes different kinds of media such as video, film, installation, sound, photography, performance, and writing in her work and has shown widely throughout Europe, United States and the Middle East since 1994.”1 Her style was different, through her artistic work, Jacir gives the narrative right to the Palestinian, and re-focuses on the details of the Palestinian life before Nakba. She shows how pictures as one form of narrativity through narratological concepts is a powerful tool to reproduce meanings, in order to represent and retrieve history.
    [Show full text]
  • Unseen Femininity: Women in Japanese New Wave Cinema
    UNSEEN FEMININITY: WOMEN IN JAPANESE NEW WAVE CINEMA by Candice N. Wilson B.A. in English/Film, Middlebury College, Middlebury, 2001 M.A. in Cinema Studies, New York University, New York, 2007 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of PhD in English/Film Studies University of Pittsburgh 2015 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Candice N. Wilson It was defended on April 27, 2015 and approved by Marcia Landy, Distinguished Professor, Film Studies Program Neepa Majumdar, Associate Professor, Film Studies Program Nancy Condee, Director, Graduate Studies (Slavic) and Global Studies (UCIS), Slavic Languages and Literatures Dissertation Advisor: Adam Lowenstein, Director, Film Studies Program ii Copyright © by Candice N. Wilson 2015 iii UNSEEN FEMININITY: WOMEN IN JAPANESE NEW WAVE CINEMA Candice N. Wilson, PhD University of Pittsburgh, 2015 During the mid-1950s to the early 1970s a subversive cinema, known as the Japanese New Wave, arose in Japan. This dissertation challenges critical trends that use French New Wave cinema and the oeuvre of Oshima Nagisa as templates to construct Japanese New Wave cinema as largely male-centered and avant-garde in its formal aesthetics. I argue instead for the centrality of the erotic woman to a questioning of national and postwar identity in Japan, and for the importance of popular cinema to an understanding of this New Wave movement. In short, this study aims to break new ground in Japanese New Wave scholarship by focusing on issues of gender and popular aesthetics.
    [Show full text]
  • The Problem with the Influence of the Moving Image in Society Today, the Alter-Modern and the Disappearance of a Focus on the Internal
    The Problem with the Influence of the Moving Image in Society Today, The Alter-Modern and the Disappearance of a Focus on the Internal Dr. Cyrus Manasseh c. 2011- 2016 Abstract Since the early twentieth century, civilization’s obsession with the moving image, has helped it to go backwards instead of forwards. Because of the nature of the way moving images are proliferated especially during our present age of digital expansion, the past and the history of the past produce a cultural amnesia which creates a misperception that we are greatly ahead of our past. Much of this is because our continuous fascination with the moving image has undermined and effaced a Modernist reasoning which had been more concerned with searching for an internal depth in objects and things which were reflected in the human being. As a result of our visual thirst for the moving image which takes us away from this, we now live in a situation void of causal reasoning which makes it very easy for very little reason, or difficult, for well-justified reasoning to exist since our thirst and addiction to the moving image has seen a spiritual shift away from the search of internal value and meaning that has been tied to our culture and cultural perceptions. By tracing civilization’s obsession with the Classical which it had once used as a ‘steadying metaphor’ the paper attempts to explain some of the influences that have made us lose our focus on the importance of the internal and offers to explain why we are now more than ever before bereft of a focus for searching for the internal depth that exists within people, objects and things.
    [Show full text]
  • Emily Jacir at Whitechapel
    Emily Jacir: Europa 30 September 2015 – 3 January 2016, Galleries 1, 8 & Victor Petitgas Gallery (Gallery 9) Media View: Tuesday 29 September, 10am – Midday The Whitechapel Gallery presents the first UK survey of artist Emily Jacir this autumn. Bringing together almost two decades of sculpture, film, drawings, large-scale installations and photography, Emily Jacir: Europa focuses on Jacir’s multifaceted relationship to Europe, Italy and the Mediterranean in particular. Known for her poignant works of art that are as poetic as they are political and biographical, Emily Jacir explores various histories of migration, resistance and exchange. Books, libraries, etymology and the act of translation are also key themes in many of her works. A highlight of the Whitechapel Gallery show is the UK premiere of Material for a film (2004-ongoing), winner of a Golden Lion at the 2007 Venice Biennale. This large-scale, immersive installation is based on the life of Palestinian writer Wael Zuaiter who was assassinated near his home in Rome, Italy, by Israeli Mossad agents in 1972. Jacir reimagines chapters of Zuaiter’s life through materials unearthed by the artist including family photographs, correspondence and documents relating to his assassination. Jacir’s own photographs, writings, sound works and interviews she conducted form the central component of the project and present her journey to find Wael through the traces he left behind. In bringing together these materials on Zuaiter’s life and her own research, the artist draws attention to the efforts of the intellectuals who endeavoured to bring international attention to the Palestinian cause. Jacir’s atmospheric short film Lydda Airport (2009) is set in the mid – late 1930s and is inspired by a story told to Jacir by Salim Tamari whose father recounted waiting at the airport (now known as Ben Gurion) to greet and welcome aviator Amelia Earhart who never arrived.
    [Show full text]
  • The Interpreter of Desires Iranian Cinema and Psychoanalysis
    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. The Interpreter of Desires Iranian Cinema and Psychoanalysis Farshid Kazemi A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Islamic and Middle Eastern Studies University of Edinburgh © Farshid Kazemi, 2018 DECLARATION I hereby certify that the work contained herein has been composed by me in its entirety, and represents my own scholarly work. Besides Chapter 2, which has been published in the peer-reviewed journal Camera Obscura: Feminism, Culture, and Media Studies, no part of this thesis has been previously submitted for any other degree or professional qualification. Signed: Farshid Kazemi ii Abstract The goal of this thesis is the study of the structure of desire and sexuality in post- revolutionary Iranian cinema, through the prism of Lacanian psychoanalytic film theory.
    [Show 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
    [Show full text]