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Rome and the guidebook tradition : from the Middle Ages to the 20th century
- 2019
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Editorial collection (peer-reviewed)abstract
- Almost everyone has used a guidebook, when travelling or in the armchair at home. But how and when was the guidebook born? In this book, seven scholars from various disciplines argue that the guidebook emerged in Rome in the late Middle Ages, to form a surprisingly consistent model for guidebooks up to our time. The descriptions of must-see monuments, recommended routes, practical information and value-laden instructions have guided travellers to Rome through more than 1000 years.
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- Åshede, Linnea, 1987
(author)
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A demanding supply: prostitutes in the Roman world
- 2016
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In: Women in antiquity: Real women across the ancient world / edited by Stephanie Lynn Budin and Jean MacIntosh Turfa. - London; New York, NY : Routledge. - 9781138808362 ; , s. 932-941
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Book chapter (peer-reviewed)
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| 4. |
- Biggs, Iain, et al.
(author)
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Suriashi as a ceremonial, subversive act
- 2020
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In: Walking Bodies - Papers, Provocations, Actions from Walking’s New Movements, the Conference. - Dorset : Triarchy Press. - 9781913743093
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Book chapter (peer-reviewed)abstract
- A curated collection of papers, provocations and actions from the ‘Walking’s New Movements’ conference held at the University of Plymouth in November 2019. The experience and variety of walking practices have never been so broad, relevant or unpredictable. Walking Bodies charts some of their very latest developments. Editors Helen Billinghurst, Claire Hind and Phil Smith put out a call for artists, activists, academics, radical walkers and psychogeographers to discuss, perform and share their experiences of current walking cultures. In these essays, provocations, artworks and documentations, new terrains emerge and diverse energies and thinkings reflect the huge response to the initial call and the demand for tickets to the conference. Walking Bodies evidences anxieties, exclusions and gradual but major changes of direction for walking arts, towards more considered and embodied practices that re-navigate their terrains and challenge assumptions about trajectories through the unhuman world. Here are the beginnings of differently negotiated, shared, provoked and provocative ambulations. Walking Bodies is intended for anyone who makes, or wants to make, walking art or walk-performances - and for anyone interested in psychogeography, radical walking, drift and dérive, site-specific performance.
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- Larsson Lovén, Lena, 1956, et al.
(author)
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Introduction
- 2022
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In: Age, ages and ageing in the Greco-Roman World / edited by Mary Harlow, Lena Larsson Lovén. - Newcastle-upon-Tyne : Cambridge Scholars Publishing. - 9781527581203
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Book chapter (peer-reviewed)
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| 8. |
- Backman Rogers, Anna, 1981
(author)
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Imaging Absence as Abjection: The Female Body in Sofia Coppola’s The Virgin Suicides
- 2018
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In: Screening the past. - 1328-9756. ; :43
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Journal article (peer-reviewed)abstract
- Imaging Absence The Virgin Suicides (Sofia Coppola, 1999) relates, via retrospective and acousmatic voiceover, the story of the Lisbon sisters. During the 1970s, the five Lisbon girls are born and raised in a strict Catholic household in suburban Michigan. As they are on the cusp of becoming your women, they all take their own lives. Their deaths trouble, haunt and distend the adult lives of the boys who grew up in their neighbourhood and came to worship the girls. Seemingly traumatised by the inexplicable nature of the girls’ suicide pact, the male narrator – who stands in for all of the boys who loved them – states that adulthood is a place where these men are “happier with dreams than with wives”. The Lisbon girls function as the catalyst for these dreams and come to represent a lost, halcyon past. While the film abounds with entrancing and mesmeric images, a careful reading of these sequences reveals their predication on a host of clichés and acts of wilful reinterpretation. At its most beguiling, the film betrays its own narrative. As the boys/men desperately attempt to relive, recapture, retell and make sense of the Lisbon girls’ tragedy (to render it meaningful), Coppola’s lyrical and metaphorical images exceed the immediate function of representation and elude the grasp of understanding. In other words, the film works on a formal level to unravel the task of making meaning that is set in place by its narrative. Here, the image is used and revealed precisely as a cliché, as Gilles Deleuze (2005) characterises it. [1] The Virgin Suicides is comprised of threshold images or images that strain at the limits of understanding. Their status as clichés serves to indicate states of breakdown and exhaustion: the place where understanding ceases and feeling overwhelms. The Virgin Suicides is a film that is predicated on the absence of the female body. It painstakingly examines the ways in which the adolescent female body is eviscerated of its meaty corporeality and recast as a priapic cliché. In visual culture at large, female phenomenological experience of the world is often denied. It is recuperated only as a shallow vessel capable of containing and shoring up the highly specific male fantasy of what a young woman should be. Coppola’s film stages the logical conclusion of what it means to lead such a whittled down and brittle existence in the service of a patriarchal agenda: self-annihilation. In reaction to a cultural and ideological regime of images that is imposed on the female body from outside of itself, The Virgin Suicides centres on effects of internalised violence and anger. At its devastating core, the film argues that real, embodied, fleshy female existence is nowhere to be found on-screen. It is with this absence (the absence of a void that haunts) that Coppola engages.
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- Yanagisawa Avén, Elisabet, 1966
(author)
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The Fold, A Physical Model of Abstract Reversibility and Envelopment
- 2017
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In: The Dark Precursor: Deleuze and Artistic Research. - Leuven : Leuven University Press. - 9462701180 - 9789462701182
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Book chapter (peer-reviewed)abstract
- For artistic research, the model of the fold is exceptionally interesting because it deals with how form and contents intertwine in a physical model, and how concrete and abstract interrelate on the plane of consistency. In my chapter I focus on chapter two in "The Fold" by Gilles Deleuze, and take up the concept of inflection as an elastic point in the model of the fold that discloses a reality of reversibility. Deleuze states that for Paul Klee the point as a “nonconceptual concept of noncontradiction” (15) moves along an inflection. “It is the point of inflection itself, where the tangent crosses the curve. That is the point-fold” (ibid). Through a simple sketch, Deleuze demonstrates how the point of inflection is the point where the concave turns to be convex. This is the point of inflection. What happens in the point of inflection? Is it a conjunction? A passage? It would seem that this very special point is a point that conceals a profound metaphysical realization. It is a physical point in the attribute of extension that corresponds to an invisible point of abstraction in the attribute of thought. Deleuze wants to draw attention to this point by referring to the thinking of Leibniz, the Neoplatonists, and Whitehead. Because of the existence of concave and convex, there are different point of views, depending on which place we see from. The enfolding reality has multiple points of views; each point of view is a perspective. It appears that we are captured in our point of view. There is always a reversible side of a point of view, and by the power of the imagination we can think the concept of reversibility. A physical model of the fold reveals, in fact, a metaphysical reality of the attributes, and the power of the attributes, according to Deleuze’s references to Spinoza. This thinking of Deleuze encompasses several crucial things: First, we assume that reality has a mirroring construction; in other words, reality corresponds to an abstract reality that the model of the Fold demonstrates. That is to say, physical reality and abstraction are two sides of the same coin. Second, the model of enfolding implies an innate life, the life of a monad, a singularity as a soul. Deleuze writes, “We are moving from inflection to inclusion in a subject, as if from virtual to the real, inflection defining the fold, but inclusion defining the soul or the subject, that is, what envelops the fold, its final cause and its complete act.” (24). Finally, Deleuze asks, “in order that the virtual can be incarnated of effectuated, is something needed other than this actualization in the souls? Is a realization in the matter also required, because the folds of this matter might happen to reduplicate the folds in the soul?” (29). I explore whether the way of creating folds in matter leads to a life of sensibility, by making sculptoral models of folds though a process of autogenesis. The art work consists of a preparation of a material for making folds in matter. By letting them coagulate, I thereby “freeze” the process to a fixed form, in order to let a “nondimensional point between dimensions” (16) be visible. Reference: Gilles Deleuze. The Fold: Leibniz and the Baroque. Trans. with foreword by Tom Conley. Minneapolis: University of Minnesota Press, 1992.
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- Belgrano, Elisabeth, 1970
(author)
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'Lasciatemi morire' & 'Rochers vous etes sourds': interpreting Arianna's tears, sighs and pain by investigating Italian and French ornaments through vocal practice-based research
- 2009
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In: Singing Music from 1500 to 1900: style, Technique, Knowledge, Asssertion, Experiment. 7-10 juli 2009. National Early Music Association International Conference, University of York, UK.
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Conference paper (peer-reviewed)abstract
- ABSTRACT: In my PhD research I depart from a female singer’s perspective of interpreting 17th century opera laments , based on musicologist Mauro Calcagno’s statement signifying the voice of the female singer as a symbol of Nothing in association with the concept of aesthetics in the early 17th century opera genre . The female singer, he points out, justified the relevance of “pure voice” and “over-vocalization” referring to two recurring tropes, pronounced within a larger discourse among 17th century intellectuals in Italy and France, concerned with the concept of aesthetics: the concept of nothingness and the singing of the nightingale. In this presentation I show my perceptions of the voice of Arianna. My aim is to better understand the use of ornamentation in my performance of Italian and French 17th century vocal music. Knowledge of ornamentation can be obtained by investigating at depth the singer’s process from the first encounter with the text and musical score, to the actual performance of stage. There are two important aspects I take into consideration. First, the intellectual discourse, contemporary to the creations and performances of the two laments by Monteverdi and Lambert, carries a great deal of information significant to vocal interpretation. Second, the oriental ornamentation is reflected upon the arts and architecture in Venice during the 16th and 17th centuries, but has not yet been fully addressed in relation to vocal ornamentation in the 17th century opera repertory. I have been observing the life and career of Signora Anna Renzi Romana, one of the first opera prima donnas active in Venice during mid 17th century. Her interpretations of laments and mad scenes made a great impact on her audience as well and on the intellectual academies supporting the early operatic events in Venice. As the sounding voices of the Greek Sirens seducing Odysseus and his sailors , Anna Renzi and her female colleagues seduced their audiences in the Venetian opera theaters. Renzi’s performances are described in a volume published to her honor in 1644, “La Glorie della Signora Anna Renzi Romana”. In my research I explore and reflect upon the vocal sounds of ‘trillo’, ‘esclamazione’ and ‘coup de gosier’ by merging these vocal ornaments and my experience of PURE VOICE to theories of Nothingness, debated by Italian and French17th century intellectuals in Venice and Paris. I also combine their thoughts and theories to philosophical theories of Nothing referring to Jean-Paul Sartre and Marcia Ça Cavalcante Schuback . My personal experience of the lamenting sound is then analyzed along with the glorious description of Renzi’s performances of the laments. Finally in my search for sources of vocal ornaments, I listen to voices and vocal music from the ‘east’, following the 16th and 17th century Venetian trading routes. The Eastern throat–beating ornaments and vibratos appears similar to the ones described by 17th century composers and authors like Giulio Caccini and Benigne de Bacilly, and they inspire my research towards different possible ways of performing the sighs, tears and pains of Arianna. This research and presentation is part of my PhD research project“Passionate Women’s Voices on Stage and an Interpretation of the 17th Century Lamenti and Scene di Pazzie”. See: http://www.konst.gu.se/forskarutbildning/doktorander/Elisabeth_Belgrano/
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