Picasso y Cornuty. La absenta como adicción cambiosecular europea

Electricity coined the nightlife in the European capital par excellence in the late nineteenth and early twentieth century: Paris. Under the artificial reflection dandies, elegant workers, and bohemians flocked to the new playground. Painters, converted to urban chroniclers, show pictorial modernity and vitality; in the canvas of Manet, Toulouse-Lautrec, Degas or Jean Béraud we see a common element: the glass of absinthe on the table. The absinthe took sacrosanct dyes in the daily living of Parisian habitants and became an indispensable ritual to Henri Albert Cornuty, a poet who was part of the Madrid bohemian and in the gallery of disinherited that Picasso painted in blue stage. A writer and a painter that bring us to the drink-image of the intelligentsia of the time; this elixir was attributed with hypnotic, aphrodisiac and hallucinogenic powers; the myth of absinthe was part of the imaginary Paris at end of the century, an iconography that continues shaping identity in the twenty-first century.

Global Modernities and the (Re-)Emergence of Ghosts

Are ghosts modern? It seems that modernization and spirituality do not contradict each other in most parts of the world. Animist beliefs and ghost rituals often form part of people’s everyday lives vis-à-vis a globalized economy. For them, the unpredictable forces of ‘the market’ correspond with the elusive world of spectral entities. Facing economic risk, flexibility, and precarity, people address the ghosts for protection and luck. This issue of “Voices” will explore the interplay of economic and ritual practice, of everyday uncertainties and ghostly agency, of emerging modernities and (re-)emerging spiritualities.