'Bewegend lezen' stelt een cinematografische leeshouding voor en doet dit via Thomas Rosenbooms roman 'Gewassen vlees'(1994), door velen beschouwd als historische roman. Dit proefschrift verkent... Show more'Bewegend lezen' stelt een cinematografische leeshouding voor en doet dit via Thomas Rosenbooms roman 'Gewassen vlees'(1994), door velen beschouwd als historische roman. Dit proefschrift verkent wat het kan betekenen wanneer analytische instrumenten uit de narratologie en de filmanalyse gezamenlijk worden ingezet. Zo laat het zien dat de roman juist deze leeshouding uitlokt wat leidt tot verbindingen met filmgenres en specifieke filmfragmenten. Via analyses van diverse fragmenten wordt helder op welke wijze de roman omgaat met 'het verleden', namelijk: ambigue. Enerzijds speelt de roman in op een dominante fictie en gaat daarbij pornografisch om met ons verleden: het verleden is een lustobject. Anderzijds verstoort de roman ook, evenzo pornografisch, de dominante fictie van de historische roman, bijvoorbeeld door het introduceren van een beeldtaal die nauw aansluit bij animatie-, slapstick- en griezelaspecten. de inzichten die deze dissertatie biedt door deze cinematografische leeshouding aan te nemen hebben consequenties voor onze visie op en omgang met het verleden, onze leeservaring en ons literatuuronderwijs. Show less
In my reading of, and dealing with Arthur Miller’s play The Crucible, I found that it is concerned with truth, or different forms of truth. As the plural suggests, these are not absolute or... Show moreIn my reading of, and dealing with Arthur Miller’s play The Crucible, I found that it is concerned with truth, or different forms of truth. As the plural suggests, these are not absolute or objective truths, let alone universal ones, nor is there one ‘deep’ truth in the play, in a basic hermeneutical sense, as if the play captured the deeper truth of McCarthyism. The play provokes a specific historically, culturally and politically charged truth-practice that is not so much revealed through theatre as it is made possible, aesthetically and politically, by theatre. As such, the play does not so much embody the classical nineteenth-century ‘true mirror’ that is held up to society. This is to say: it does not reflect truth. It is through theatrical enactment and dramatization that truths can be established, which is something altogether different. There is an intriguing passage, in this context, in Hannah Arendt’s The Human Condition in which she states that theatre is ‘the political art par excellence, for only there is the political sphere of human life transposed into art’. Why this may be so is a question that this thesis seeks to answer. Show less
Popular music in Chinese languages both reflects and influences how its audiences perceive themselves and their position in the world around them. This book analyses the role of popular music in... Show morePopular music in Chinese languages both reflects and influences how its audiences perceive themselves and their position in the world around them. This book analyses the role of popular music in identity formation through detailed comparisons of the pop star Faye Wong, the rock band Second Hand Rose and the electrofolk artist Xiao He, in five thematic chapters. Chapter 1, Place, follows the history of popular music through Shanghai, Hong Kong, Taipei and Beijing, concluding that language is defining. Chapter 2, Genre and Classification, argues that genre distinctions, and by extension class identities, are secondary to affiliations along region, gender, generation and marketability. The psycho-analytical approach of chapter 3, Sex, Gender, and Desire, explores how popular music reiterate and challenge stereotypes surrounding the passive beauty, coolness and brotherhood. Chapter 4, Theatricality, argues that theatrical performances negotiate the boundary between stage world and ordinary reality through make-believe and reflectiveness. Finally, chapter 5, Organizing Music, submits that music happens through reproduction, variation and selection, and in constant interaction with ecologies and collectives. In the end, this book itself strives to make these sounds, images and texts available for the incessant, piecemeal work of worldmaking. Show less
The rediscovery of the Greek-Doric temples in South-Italian Paestum caused a great stir in eighteenth-century architectural thought and turned existing ideas on classical architecture upside down.... Show moreThe rediscovery of the Greek-Doric temples in South-Italian Paestum caused a great stir in eighteenth-century architectural thought and turned existing ideas on classical architecture upside down. More than any other ancient site Paestum came to fascinate architects, artists, writers and tourists, who represented the temples in drawings, engravings, texts or publications in a complex and paradoxical way, showing the developments in architectural thought from the cautious and exploratory rediscovery of the site to a general and strong consensus about the value of the temples. The site made it possible to question many subjects that were important in architectural, aesthetic and artistic debates in England, France and Italy. I argue that this becomes understandable through the analysis of architectural experience, a major theme in the eighteenth century. In studying the experiences in situ the dissertation reconstructs Paestum’s key role in the debates, with as main issues the sublime and the picturesque, primitivism and the origins of architecture, changing ideas on cultural meaning, and classical architecture and its role and historiography. The interactions between architectural experience and architectural theory demonstrate that Paestum functioned as a focus and laboratory for the growing importance of science and history in eighteenth-century architectural thought. Show less
