The Hazards

"The much-anticipated second collection from the 2007 winner of the Thomas Shapcott Prize. Charged with fierce imagination and swift lyricism, Holland-Batt’s cosmopolitan poems reflect a predatory world rife with hazards both real and imagined. Opening with a vision of a leveret’s agonising death by myxomatosis and closing with a lover disappearing into dangerous waters, this collection careens through diverse geographical territory – from haunted post-colonial landscapes in Australia to brutal animal hierarchies in the cloud forests of Nicaragua. Engaging everywhere with questions of violence and loss, erasure and extinction, The Hazards inhabits unsettling terrain, unafraid to veer straight into turbulence."--Publisher website

L'ecfrasis nel Piacere di Gabriele D'Annunzio

Tutkielman aiheena on ekfrasis Gabriele D'Annunzion romaanissa Il Piacere (1889). Lähtökohtana on selvittää, millaisissa muodoissa ekfrasis esiintyy romaanissa sekä miten ekfrasis vaikuttaa teoksen tulkintatradition esille tuomaan tematiikkaan. Pyrkimyksenä on myös selkeyttää ekfrasiksen käsitettä, jonka ongelmana ovat sanaan eri aikakausina liitetyt eri merkitykset. Tärkeimpiä lähdeteoksia ovat James A.W. Heffernanin Museum of Words (1993) ja W.J.T. Mitchellin Picture Theory (1994), Marinella Cantelmon Il Piacere dei leggitori: D'Annunzio e la comunicazione letteraria (1996) sekä John Hollanderin artikkeli "The Poetics of Ekphrasis" (1988). Tutkielman avainkäsitteenä on Heffernanin määritelmä, jonka mukaan ekfrasis on sanallinen esitys kuvallisesta esityksestä. Määritelmää sovellettaessa on otettu huomioon representaatiokäsityksen avautuminen, jolloin vastaanottaja, ympäristö etc. ovat osa esitystä. Korpuksen muodostavat tapahtumaympäristöä, taideteoksia, esineistöä ja henkilöhahmoja kuvaavat ekfrastiset katkelmat. Luokittelussa toimivat alakäsitteinä Valerie Robillardin kuvaileva, attributiivinen ja assosiatiivinen ekfrasis sekä Tamar Yacobin ekfrastinen vertaus. Analyysi osoittaa, että kuvaileva ekfrasis on yleisin, mutta vain kuvitteellisten teosten yhteydessä. Katkelmissa on näkyvissä ekfrasikselle luonteenomainen kerronnallinen impulssi. Ekfrasis osallistuu tunnetun ja uuden elementin vuoropuheluun ankkuroimalla kuvitteelliset taideteokset lukijalle tuttuun ympäristöön, jolloin myös uusi tulee toden kaltaiseksi. Attributiivinen ekfrasis takaa välittömän tunnistettavuuden. Henkilöhahmot, erityisesti keskeiset naishahmot, on määritelty ekfrastisten vertausten kautta. Ekfrasis ilmentää osaltaan naishahmojen vaihdettavuuden tematiikkaa. Kyseessä on myös toiseuden haltuunotto. Kuvallisen viittaussuhteen ansiosta ekfrasis toimii tehokeinona. Tekstuaalisena strategiana ekfrasis luo siteitä tapahtumien välille ja rytmittää teoksen vaiheita. Ekfrastiset katkelmat tarjoavat myös väylän vaihtoehtoiselle tulkinnalle haastamalla tekstin totuuskäsityksen. Kuvallinen ja sanallinen esitys tuovat tekstiin omat merkityksensä, jolloin merkityskenttä laajenee. Il Piacere on intertekstuaalinen kollaasi, jossa kokonaiskuva muodostuu eri elementtien vuorovaikutuksesta. D'Annunzion mielestä kauneus on taiteen ensisijainen tarkoitus, ja ekfrasis retorisena keinona on osa pyrkimystä tavoittaa täydellinen muoto.

Signifying Angels : Analyses and Interpretations of Rautavaara s Instrumental Compositions

The subject of doctoral thesis is the analysis and interpretation of instrumental pieces composed by Einojuhani Rautavaara (b. 1928) that have been given angelic titles: Archangel Michael Fighting the Antichrist from the suite Icons (1955)/Before the Icons (2006), Angels and Visitations (1978), the Double Bass Concerto Angel of Dusk (1980), Playgrounds for Angels (1981)and the Seventh Symphony Angel of Light (1994). The aim of the work is to find those musical elements common to these pieces that distinguish them from Rautavaara s other works and to determine if they could be thought of as a series. I prove that behind the common elements and titles stands the same extramusical idea the figure of an angel that the composer has described in his commentaries. The thesis is divided into three parts. Since all of the compositions possess titles that refer to the spiritual symbol of an angel, the first part offers a theoretical background to demonstrate the significant role played by angels in various religions and beliefs, and the means by which music has attempted to represent this symbol throughout history. This background traces also Rautavaara s aesthetic attitude as a spiritual composer whose output can be studied with reference to his extramusical interests including literature, psychology, painting, philosophy and myths. The second part focuses on the analysis of the instrumental compositions with angelic titles, without giving consideration to their commentaries and titles. The analyses concentrate in particular on those musical features that distinguish these pieces from Rautavaara s other compositions. In the third part these musical features are interpreted as symbols of the angel through comparison with vocal and instrumental pieces which contain references to the character of an angel, structures of mythical narration, special musical expressions, use of instruments and aspects of brightness. Finally I explore the composer s interpretative codes, drawing on Rilke s cycle of poems Ten Duino Elegies and Jung s theory of archetypes, and analyze the instrumental pieces with angelic titles in the light of the theory of musical ekphrasis.

Aspecto físico y retórica en la novela griega antigua

Javier Alonso Aldama, Cirilo García Román e Idoia Mamolar Sánchez (eds)

The "Art" of Criticism: Rubén Darío and his Unknown Chronicles of the 1895 Salon for "La Prensa"

With the impetus that has led recent studies on Latin American Modernism to a reevaluation of the sense of cultural fluxes from the modernity capitals to its peripheries –discarding categories such as “influence”, “exotism” and “ivory tower”, stereotypes that have clouded critical understanding of this aesthetics for decades- the present study intends to investigate a persistent practice of the main writers of the movement. This practice is modernist pictorial criticism, a genre that will be approached through the analysis of an unknown corpus: the seven chronicles Rubén Darío published in the journal La Prensa on occasion of the third art exposition of the Ateneo de Buenos Aires. Our hypothesis is that the rare creators of images portrayed by Darío by the end of 1895 work as a visual counterpoint of the eccentric writers’ biographical sketches that a year later will be part of the fundamental volume Los raros (1896). In this early “salon”, which we reproduce in its entirety, accompanied by explanatory notes, the leader of Modernism rehearses and consolidates his transcultural work with the universal tradition –now applied to the Salons (1845-1860) by Charles Baudelaire and to the monumental project by John Ruskin in Modern painters (1843-1860)- to legitimate, from another subgenre of Modernist criticism, a new figure of the critic, in dissent with the Enlightenment model of the writer.

Travelling Images, Images of Travel in Nicolas Bouvier's L'Usage du monde

Sketches and photographs are a familiar tool of the traveller-writer, who commonly draws on them when transforming experience into a textual narrative. The verbal thus displaces the visual — the latter retained, if at all, as mere illustration — in ways that echo James Heffernan's definition of ekphrasis as the ‘verbal description of visual representation’. Yet Nicolas Bouvier's 1963 travel narrative L'Usage du monde challenges conventional conceptions of ekphrasis. Juxtaposing the stark ink drawings of Thierry Vernet — Bouvier's travelling companion — with Bouvier's textual narrative, L'Usage du monde shifts representation away from a hierarchical relationship between verbal and visual; it offers instead an account of other cultures that is grounded in polyphony and exchange. This article applies Bouvier's own image of travel as a mosaic to the dual narrative form (or ‘iconotext’, to use Michael Nerlich's term) in order to consider a range of fluid relationships between Bouvier's text and Vernet's drawings. In examining these relationships of amplification, reduction, and absence, the article argues that the plurality of the narrative prompts a rethinking of conventional, binary paradigms of intercultural contact. Ultimately, the iconotextual nature of L'Usage du monde can be interpreted as a metaphor for the processes of cultural translation and transculturation that are central to Bouvier's travelling ethos.

This is Not a Photo Opportunity: Verbal/Visual Struggle in Francophone Travel Narratives

This article explores the ethics and aesthetics of representing travel and intercultural encounter in textual and photographic forms. Taking as its starting point two textual accounts of journeys in the course of which photographic narratives were also produced, the article explores the possibilities and limitations of textuality and visuality and thus considers the implications of, or new opportunities afforded by, reading – and ultimately publishing – these narratives as iconotexts. Focusing on Pierre Loti's L'Inde (sans les Anglais) (1901) and Ella Maillart's Oasis interdites (1937), the article also offers an alternative perspective on writers whose work is commonly associated with an imperialist or exoticist discourse, with cliché and one-dimensionality. As such, it aims to replace the monolithic, orientalist vision often attributed to these writers with ambiguity, ethical hesitation and a plurality of perspectives. Using these examples as a springboard, the article seeks to argue that verbal/visual mobility in narratives representing mobility contributes to resisting static, monolithic perceptions of other cultures. Using the work of British graffiti artist Banksy as a foil for exploring photography as cultural commodification and art as commodity, the article also seeks to engage with current debates in Humanities research on ekphrasis and iconotextuality and on the problematics of representing other cultures within an ethical and/or humanist frame.

La notion de détail et ses enjeux (1830-1890)

Pour respecter les droits d'auteur, la version électronique de cette thèse a été dépouillée de ces documents visuels. La version intégrale de la thèse a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

La divine comédie de Stan Brakhage : une lecture du film lyrique The Dante Quartet

Film abstrait peint à la main sur de la pellicule recyclée, The Dante Quartet de Stan Brakhage est une adaptation personnelle de La divine comédie de Dante. Agissant comme un palimpseste où chaque couche révèle des éléments caractéristiques de l’oeuvre du cinéaste ainsi que l’influence de certains poètes et artistes, The Dante Quartet reprend certaines caractéristiques de l’ekphrasis. Dans ce mémoire, je travaille avec l’hypothèse heuristique que The Dante Quartet est une ekphrasis, et plus précisément une ekphrasis inversée. Ce mémoire s’intéresse à ce qui reste du pré-texte après son passage d’un média à un autre. Compte tenu du laps temporel qui sépare ces deux œuvres, il est aussi question d’influences contemporaines au travail de Brakhage. Le cinéaste basant son travail sur les phénomènes de vision (et plus particulièrement sur les visions hypnagogiques dans le cas qui m’occupe), le point sera fait sur la pensée de Brakhage à ce sujet, pensée qu’il expose dans son livre-manifeste Metaphors on Vision.

Paul the Silentiary’s description of Hagia Sophia in the light of new archaeological evidence

A discussion of the implications of of recent archaeological work at Hagia Sophia in Istanbul for understanding Paul the Silentiary's sixth-century Ekphrasis of the Byzantine church.

A metapoesia de Carlos Drummond de Andrade: uma arte poética in actu

O presente trabalho é o estudo da poesia de Carlos Drummond de Andrade (1902-1987) através de uma análise da sua arte poética publicada entre Alguma Poesia (1930) e Farewell (1999). De um projecto de escrita que implicaria inevitavelmente as relações entre a poesia e a realidade, explora-se o conceito metapoético que pode insinuar a privação de contacto entre a poesia e o real empírico. Num primeiro momento, após uma sucinta referência à tradição da poesia sobre a poesia, chega-se à noção de um preconceito contra a metapoesia no século XX e define-se um ponto de partida para a análise propriamente dita da poética drummondiana. Num segundo capitulo, as noções de poeta, poema ou verso, ou melhor, de poesia, são estudadas nas suas particularidades, concomitantemente com a estruturação da arte poética de Drummond. Por fim, a auto-reflexividade é analisada na relação que estabelece entre a metapoesia e a ekphrasis. É neste movimento de auto-reflexão e transformação que assiste a capacidade drummondiana de revelar através da metapoesia não só a sua posição perante as palavras, mas também perante as coisas.

Raccontare gli Antichi: le "Imagini" di Vincenzo Cartari

Con le "Imagini degli dei degli antichi", pubblicate a Venezia nel 1556 e poi in più edizioni arricchite e illustrate, l’impegnato gentiluomo estense Vincenzo Cartari realizza il primo, fortunatissimo manuale mitografico italiano in lingua volgare, diffuso e tradotto in tutta l’Europa moderna. Cartari rimodula, secondo accenti divulgativi ma fedeli, fonti latine tradizionali: come le ricche "Genealogie deorum gentilium" di Giovanni Boccaccio, l’appena precedente "De deis gentium varia et multiplex historia" di Lilio Gregorio Giraldi, i curiosi "Fasti" ovidiani, da lui stesso commentati e tradotti. Soprattutto, però, introduce il patrimonio millenario di favole ed esegesi classiche, di aperture egiziane, mediorientali, sassoni, a una chiave di lettura inedita, agile e vitalissima: l’ecfrasi. Le divinità e i loro cortei di creature minori, aneddoti leggendari e attributi identificativi si susseguono secondo un taglio iconico e selettivo. Sfilano, in trionfi intrisi di raffinato petrarchismo neoplatonico e di emblematica picta poesis rinascimentale, soltanto gli aspetti figurabili e distintivi dei personaggi mitici: perché siano «raccontate interamente» tutte le cose attinenti alle figure antiche, «con le imagini quasi di tutti i dei, e le ragioni perché fossero così dipinti». Così, le "Imagini" incontrano il favore di lettori colti e cortigiani eleganti, di pittori e ceramisti, di poeti e artigiani. Allestiscono una sorta di «manuale d’uso» pronto all’inchiostro del poeta o al pennello dell’artista, una suggestiva raccolta di «libretti figurativi» ripresi tanto dalla maniera di Paolo Veronese o di Giorgio Vasari, quanto dal classicismo dei Carracci e di Nicolas Poussin. Si rivelano, infine, summa erudita capace di attirare appunti e revisioni: l’antiquario padovano Lorenzo Pignoria, nel 1615 e di nuovo nel 1626, vi aggiunge appendici archeologiche e comparatistiche, interessate al remoto regno dei faraoni quanto agli esotici idoli orientali e dei Nuovi Mondi.