This Element describes the development of an affective economy of violence in the early modern Dutch Republic through the circulation of images. The Element outlines that while violence became more... Show moreThis Element describes the development of an affective economy of violence in the early modern Dutch Republic through the circulation of images. The Element outlines that while violence became more controlled in the course of the 17th century, with fewer public executions for instance, the realm of cultural representation was filled with violent imagery: from prints, atlases and paintings, through theatres and public spectacles, to peep boxes. It shows how emotions were evoked, exploited, and controlled in this affective economy of violence based on desires, interests and exploitation. This title is also available as Open Access on Cambridge Core. Show less
The common saying is that people have a culture. This book argues that people live a culture; which may explain why they are so affectively attached to it. By considering cultural interactions on a... Show moreThe common saying is that people have a culture. This book argues that people live a culture; which may explain why they are so affectively attached to it. By considering cultural interactions on a global scale, this book investigates how cultures can be understood in terms of conflict and cooperation, in relation to the nation-state, a multiplicity of worlds, society, civilization and community. It considers how culture is at the basis of the construction of individual and collective selves; how they can come to be alienated; are defined in relation to others; are perhaps in-comparable; when they are considered to be dis-abled; and whether we can speak of animal cultural selves and mechanical cultural selves. Its twelve chapters consists of two parts each that both start with a piece of music. The pieces are taken from different cultures and all connote that getting to understand cultures depends on listening, first and foremost. Show less
In the Dutch Republic, in its Baroque forms of art, two aesthetic formal modes, theatre and drama, were dynamically related to two political concepts, event and moment. The Dutch version of the... Show moreIn the Dutch Republic, in its Baroque forms of art, two aesthetic formal modes, theatre and drama, were dynamically related to two political concepts, event and moment. The Dutch version of the Baroque is characterised by a fascination with this world regarded as one possibility out of a plurality of potential worlds. It is this fascination that explains the coincidence in the Dutch Republic, strange at first sight, of Baroque exuberance, irregularity, paradox, and vertigo with scientific rigor, regularity, mathematical logic, and rational distance. In giving a new historical perspective on the Baroque as a specifically Dutch republican one, this study also offers a new and systematic approach towards the interactions among the notions of theatricality, dramatisation, moment, and event: concepts that are currently at the centre of philosophical and political debates but the modern articulation of which can best be considered in the explorations of history and world in the Dutch Republic. Show less
