bluuebunny/crossref_metadata_2025 huggingface dataset:
Enquete
Authors: Andersen Iben Engelhardt , Flohr Mikkel , Frantzen Mikkel Krause , Gade Solveig , Haarder Jon Helt , Helland Frode , Juhl Carsten , Ladegaard Jakob , Lund Jacob , Nielsen Henrik Kaare , Kjærgård Jonas Ross , Kyndrup Morten , Michelsen Anders , Rösing Lilian Munk , Sjöholm Cecilia , Steinskog Erik , Stidsen Marianne , Svendsen Erik , Sørensen Anne Scott , Tygstrup Frederik , Valtysson Bjarki , Willig Rasmus
Published: October 2018

Kritik i dag
Kulturindustri og sikkerhedsstat. To noter om kritikken af The Wire og en om ”Dread Pirate Roberts”
Authors: Jensen Erik Granly
Published: October 2018

The central question in this article concerns the current state of critique at the threshold of the digital age of surveillance. How is it in other words possible to respond critically within this new paradigm of the security state, and where should we look to further develop such a possible critical approach? The HBO TV-series The Wire is at the center of this article, due to its focus on surveillance and communication technologies. The overall focus, however, is to follow the critical readings of the series by Slavoj Žižek and Fredric Jameson. Both Žižek and Jameson frame their analysis by insisting on the political implications of the cultural industries. Furthermore, it is a central claim in the present article that it is not possible any longer (maybe it never was possible) to distinguish the infrastructure of the cultural industries from the infrastructure of the security state. For this reason, the analysis is primarily concerned with the inseparability of the communication technologies, the cultural industries and the security state; and the thesis is that a contemporary critique needs to address this infrastructural problem in the midst of our mediated society.
Kritikkens forskellige fundamenter
Authors: Schramm Moritz
Published: October 2018

Anmeldelse af Axel Honneth & Jacques Rancière: Recognition or Disagreement. A Critical Encounter on the Politics of Freedom, Equality and Identity. Columbia University Press, New York, 2016.
Motivet der blev væk for litteraturteorien
Authors: Hansen Nils Gunder
Published: October 2018

The article argues that classical concepts in literary theory such as “motif” and “theme” have been undertheorized in recent decades. They have been taken for granted as “ordinary language”-vocabulary in no need of conceptual clarification. But the dimension of content in a literary text cannot be sufficiently theorized without precise definitions of “motif” and “theme”. The article claims that the theme is always an abstract concept, an idea, extrapolated from the text by its interpreter, whereas the motif presents itself in the text as an observable constellation between mimetic elements from the human life world that can be traced with variations through multiple texts or other fictional modes. The motif can be more or less specified and will always be located somewhere on a continuum between the abstract theme and the individual text. The article then tries to enrich this understanding of the motif by confronting it with the textual theories of Paul Ricoeur and James Phelan. It is furthermore discussed whether the critique of ideology in the Marxist years played a role in the marginalization of the motif. The relevance of the reconstructed concept is finally demonstrated in an outline of an analytical approach to three novels (The “Hvium”-trilogy) by the Danish author Ida Jessen and it is concluded that this type of approach enables observations that would have been less obvious entering the textual universes on higher or lower levels than the motif being always in between the theme and the text.
Motivstudier. Kontinuitet og fornyelse i ornamentale hybridformer fra antikken til ca. 1600
Authors: Hansen Maria Fabricius
Published: October 2018

Representations of hybrids of human figures, plants, and animals were prolific in all media in sixteenth-century Italian art. The motif is known back from Greek and Roman antiquity, both in poetry and visual art, which the artists of the sixteenth century – or the renaissance – claimed to revive. Yet the representations of hybrids from these two periods within the history of art differ remarkably. And at the same time they belong to an iconographic tradition that did not disappear in the medieval period, an observation which blurs the picture of these ornaments as rediscovered and revived in the renaissance. How then do motifs such as foliate heads or other phyto- or zoomorph creatures develop in visual art from antiquity to ca. 1600? The topological method can be applied to a tracking of these motifs over time in order to stress continuity and analyze the transformations which took place through the centuries. This article reflects on some methodological and historiographical aspects of studies of motifs in art history. In a double-sided strategy it both aims at challenging the persistent notion of the renaissance as a period rejecting the middle ages and reviving antiquity (i.e. it stresses the continuity of the sixteenth century with the preceding centuries); and it suggest some characteristics of the visual paradigm of sixteenth-century Italian art (i.e. it describes some of the innovations of the period).
Kød, blod og ord. Om nadveren som litterært topos
Authors: Rösing Lilian Munk
Published: October 2018

The motif of the Eucharist seems, in different permutations, to persist in Western literature even in modern, secular times. This paper argues that the motif persists because it implies a discussion that is also central to literature: What is the relation between signifier and signified, vehicle and tenor – bread and body, wine and blood? Is it possible for the immaterial signified to become present in the materiality of the signifier? In his writings on the Eucharist Martin Luther insists that bread and wine do not represent the body and blood of Christ, they are his body and blood, because Christ has diffused into the world. The Eucharist implies the idea of the material presence of that which would in other cases be the absent signified of the signifier. This may be the reason why the Eucharist is a recurring metaphor in Marcel Proust, in his striving to make of his novel a cathedral where the reader receives the Eucharist wafer, like the madeleine cake that makes the past sensually present and possible to orally consume. The paper analyzes examples of the Eucharist motif from Proust, Paul Celan, Elfriede Jelinek, and the Danish contemporary author Bjørn Rasmussen, arguing the Eucharist to appear in texts that have a special interest in the way that the signified can or cannot be present in the material signifier, even when those texts are skeptical or critical towards the Christian discourse.
En rejse med det infra-ordinære tog. Skitseringen af en samtidstopik i fransk samtidslitteratur
Authors: Løkkegaard Tue
Published: October 2018

This article examines how the study of topoi can be developed with regards to contemporary literature. Looking to French literature and its current interest in the everyday and our empirical places, the article discusses both how a literary topology can further an understanding of how and why these authors search for our everyday places, and how a contemporary topology necessarily needs to focus less on narrative itself and more on the articulation of place and experience. Acknowledging how the train becomes a recurrent topos in French literature, this article proposes a method that combines and rethinks a modern topology with an idea of place as a locus for an everyday social experience disturbing both empirical and literary convention.
Pan i Londons gader. Hvorfor genopstod en græsk naturgud for en kort periode i Storbritannien?
Authors: Gyldenstrøm Freja
Published: October 2018

This topological study aims to discover how the Greek god Pan came to emerge from the metaphorical graveyard of forgotten fantasies and into late Victorian fiction depicting contemporary scenes, and the reasons for his presence. The motif of ‘Pan versus humanity’ takes center stage and is followed through a series of representational texts from Arthur Machen’s The Great God Pan from 1894, over E. F. Bensons “The Man Who Went Too Far” from 1904 and Algernon Blackwood’s “The Touch of Pan” from 1917 to one of its final depictions in Stephen McKenna’s novel The Oldest God from 1926. It is shown that as Pan came to represent the repressed as both biological and historical past, the specific meaning ascribed to the meeting with the god changed in relation to cultural and historical developments. With the appearance and disappearance of Pan the rise and fall of shared modern fantasies are revealed. From a bigger perspective, the analysis is an example of the usefulness of the topological method in illuminating cultural history through the rising and waning popularity of literary configurations.
“It was a sweet view – sweet to the eye and the mind.” Jane Austen og det pittoreske landskab
Authors: Knudsen Karin Esmann
Published: October 2018

It is obvious in Jane Austen’s novels that she was interested in the ongoing debate of ’the picturesque garden’, and in all her novels the characters are discussing how to look at the landscape, how to ‘improve’ the estates according to certain rules, and how taste and moral are connected to each other. The picturesque garden is inspired by paintings from the 17th century by Claude Lorraine and Nicolas Poussin, and in that way a clear line can be drawn back to Theocritus and Virgil, who introduced topoi as ‘locus amoenus’ and the ‘pastoral’. This article is examining how the relation is between these topoi, which are ideal landscapes that only exist in literature and painting, and the discussions of the design of real physical landscapes of contemporary England. It is difficult to decide on which side Austen was in the discussions of the picturesque. The article concludes that Austen’s voice is to be heard in the narrative, the development of the characters, and that she ends up with an attempt to reach an authentic relationship with landscape and nature that foreshadows a romantic feeling of nature. An appendix shows the later reception of Austen’s relationship to landscape, by analyzing a scene from modern films based on Jane Austen’s novels.
Markedets idyl
Authors: Vogl Joseph
Published: October 2018

Oversat af René Jean Jensen fra Joseph Vogl, Das Gespenst des Kapitals, Zürich 2012.
”handelens regulære vej”: Aktieselskabet mellem handel og spekulation i Trollopes The Way We Live Now, 1875
Authors: Nielsen Jakob Gaardbo
Published: October 2018

This article applies a historical formalist method to analyze a literary response to the late nineteenth-century financial sector in England: Anthony Trollope’s The Way We Live Now, 1875. The central issue in the novel is the legal and conceptual boundary between traditional commerce and financial speculation, and the variety of ways in which established social forms and hierarchies are challenged by a rapid introduction of new forms of financial activity such as joint-stock corporations and limited liability. Trollope’s novel is concerned with the contradictions inherent in the concept of trade and commerce in this transformed financial context, and devotes critical attention to the ways in which these new forms collide in the individual lives and ambitions of its characters. Drawing on a recent theory of form by Caroline Levine, the article demonstrates how this literary representation of the accelerating financial sector should not simply be seen as reflections of an economic context in turmoil. Rather, the article argues that Trollope applies the affordances of economic and financial forms in what is essentially an interpretative gesture, directed at the only partially visible and constantly changing reality of financial capitalism and modern corporate law.
Faste penge og flydende kød: Materialitet og neoklassisk økonomi i Zolas Nana og Penge
Authors: Gammelgaard Signe Leth
Published: October 2018

This article examines the dynamics of matter and signifiers in Zola’s two novels Nana (1880) and Money (1891). Though Zola’s novels are often read with a focus on capital and economics workings, the context of marginalist economics contemporaneous to Zola is only vaguely described. In drawing upon Jean-Joseph Goux’s work on marginalism and Zola, this topic is addressed, and the article discusses desire, fluidity, scarcity, and value and relates this to the depiction of a disintegrating matter in Nana, and to the motifs of flesh and gold running through the novel. In the reading of Money, the focus is on reckless desire and imagination gone awry, and the push towards an increasingly disconnected abstraction that allows for rapid circulation of values. Here, the two main speculative duelists are seen as representatives of two economic paradigms, and the article finally discusses the depiction of materiality and the uses of this in the novels in the context of a society where values, in the words of Goux, are increasingly fluid and mobile.
Coverets kapital: En empirisk undersøgelse af genremærkatens betydning for vurderingen af det litterære værk
Authors: Nyboe Jacob Ølgaard
Published: October 2018

Based on a large survey (n=539) this study examines how book covers in general and the genre label in particular play a role in the aesthetic positioning and marketing of books. A given work can succeed with large sales numbers and economic capital as well as by obtaining more field specific cultural and social capital. These different ways of positioning oneself on the market are, according to Bourdieu, to a large extent inverse – and it is therefore hypothesized that they require different strategies. In order to examine this phenomenon, the respondents are split into two groups and asked to evaluate four different covers with respect to broad audience appeal. Furthermore, they are asked to give a short description of the content they would expect in the different books. The cover samples are identical for the two groups, but alternating genre labels have been removed in one of the groups while being preserved in the other. Based on the responses, it is confirmed that genre labels have a significant effect on the reception of and expectations to the work. It is also demonstrated how the commercial and artistic appeal varies among the four books indicating an effect of the paratext as a whole. It is indicated by its cover, to what extent a book targets commercial interests or strives for a more field specific capital and recognition – and the genre label is a salient part of this positioning.
Børnepenge: Om handel som netværksskabende aktivitet, særlige pengesedler og børn som forbrugere i Forschungstheaters Børnebanken
Authors: Hansen Kamma Overgaard
Published: October 2018

This contribution analyzes the interactive art project Die Kinderbank as it was displayed by the German Forschungstheater at Horsens Art Museum under the Danish title Børnebanken in February 2017. Børnebanken is analyzed as aesthetical art work as well as norm-critical experiment. The first, because the concept and scenography of Børnebanken can be seen as illustrative for idealistic conceptions of children, money, and trade. And the second, because Børnebanken with its interactive format is a potentially ‘uncontrollable’ work, which might lead to interesting clashes between the ideological point of departure and the practical reality. Clashes, which can be used to discuss, how we – in a relatively wealthy Western context – see ourselves as participants in a society of trading and comsuming, and not least how we imagine the role of our children in this society. My analysis addresses, how Forschungstheater in their set-up points towards a Marxist-socialist critique of capitalism as illustrated by Bertolt Brecht as well as a more complex concept of money as a concrete, society-constituting and -consolidating symbol as described by Viviana A. Zelizer. It also discusses how Børnebanken as an example of Nicolas Bourriaud’s concept of Relational Aesthetics is a work beyond our control. On that note, I ask the question of to what extend the discussions of money as societal phenomenon reach the primary target group: the children. My point is that the reactions of the children on the set-up of Børnebanken might point toward a critical consumer-behaviour rather than a norm-less curiousity.
Er skam en moralsk følelse? En sammenligning af individuel og gruppebaseret skam
Authors: Sánchez Alba Montes
Published: October 2018

Is shame a moral emotion? After the Muhammad cartoons controversy, many Danes argued that freedom of speech should be limited by a sense of decency, that insulting Islam for the sake of insult was shameful. Ten years later, the Danish government’s anti-refugee policy led some to say they were ashamed of being Danish. Here shame is given moral significance as the guardian of decency. However, psychologists like Tangney and Dearing have claimed that shame is morally counter-productive: it makes us react in antisocial ways, covering up our failings, shunning contact with others or lashing out in anger. Some have recently argued that the rise of right-wing populism in many Western nations is fueled by the psychological mechanism of transforming shame into rage. This seems a case of shame backfiring to cause antisocial behavior. In this paper, I seek to illuminate this dilemma by analyzing how self and others relate in shame. I defend that shame is an emotion of social self-consciousness, where one’s own self-assessment is fundamentally mediated by others. It may pull us in moral and immoral directions, but it is anyway part of the sensibilities that make us moral. My central examples, though, are cases of group-based shame. Is shame equally appropriate, and does it have the same significance, when it is group-based? I argue that the conditions of appropriateness change, but the structure of the emotion and its moral significance remains unchanged.
"Vi ler ikke av deg, vi ler med deg!": Racehumor og skam i norske flygtningefilm
Authors: Oxfeldt Elisabeth
Published: October 2018

The article analyzes Jan Vardøen’s House of Norway (2016) and Rune Denstad Langlo’s Welcome to Norway! (2016) as multicultural and multiracial film comedies that set out to ridicule and shame Norwegians at the height of the Syrian refugee crisis. My focus is on their portrayal of various forms of Norwegian racism. I start out by situating the films within a Norwegian social and political landscape. I then outline my theoretical and methodological point of departure (Bergson, Berlant and Ngai) and turn to relevant comedy subgenres. In my analysis of House of Norway, I discuss the shaming of Norwegians who, in their encounter with refugees, tend to be overly nationalistic, insisting on a Norwegian identity rooted in 19th-century national romanticism. In the case of Welcome to Norway!, the shameless Norwegian is simply cold and cynical. Ultimately, my point is that the films expose many relevant forms of Norwegian racism without being entirely racially innocent themselves. As comedies dealing with the topic of racism, they cannot be expected to be entirely innocent either, in part because laughter and shame are not just one thing, serving one function. Audiences may laugh for various reasons, feel shame for various reasons, and use that shame to strengthen a community – in ways that variously include and exclude the other. The comedies are nevertheless significant cultural objects, exposing Norwegian racisms as they come to the fore in the current encounter with refugees.
SKAM som social utopi
Authors: Christensen Christa Lykke
Published: October 2018

In this article I discuss the Norwegian teen drama series Shame, broadcast by the public service broadcaster NRK 2015-2017. In the Scandinavian countries the series was targeted to a young audience around 16 years old but it became extremely popular among viewers of all ages, among men and women, and moreover, streaming made it available globally. The article discusses TV production for a youth audience within a public service and a commercial media system. The argument is that the series, expressing the ethos of social responsibility of Scandinavian public service broadcasting, represents a social utopia and that it in several ways has much in common with the long tradition for Scandinavian realistic drama production for young audiences. Thus, the article argues that the drama series of Shame is based on a narrative of inclusion – in contrast to popular TV-shows for a young audience on commercial channels, for instance reality gameshows, which are often based on a narrative of exclusion. The theoretical framework draws on Erving Goffman’s micro-sociological considerations of the social dramaturgy of face work, and is inspired by the theory of recognition by Axel Honneth. Analytically, the face work and interactions of the main characters of the Shame-series are used to exemplify how the drama series creates a narrative of inclusion while addressing critical issues such as face loss, emotional rejections, and shame. In conclusion, the series is an example of successful public service programming that is able to address young people.
Skammen og dens brødre: Arbejdsløshed, maskulinitet og klasseskam
Authors: Aarhus Mathies Græsborg
Published: October 2018

This article is about how it feels to be an unemployed man today. After briefly accounting for certain historical developments that have shaped the contemporary unemployed male experience, the article focuses on one feeling central to this experience: shame. The article argues that unemployment is increasingly attached to shame, rather than guilt, as the unemployed self perceives itself as inadequate in relation to a neoliberal ideal of entrepreneurship. Using sociological theories about class shame, the article proceeds to analyze two literary representations of unemployed men in a contemporary Danish context: Lau Aaen’s Dagpengeland and Jens Blendstrup’s Slagterkoner og Bagerenker. The shame in Dagpengeland breeds a critical attitude towards the shaming unemployment institutions of the welfare state, while Slagterkoner og Bagerenker explores the psychological processes of a form of shame turned into xenophobic resentment. Unemployed male shame is thus described as a multifaceted feeling; destructive in the sense that it tears down men’s ingrained identities and solidarities but productive in the sense that it affectively confronts the ashamed subject with certain social inequalities and injustices.
Solsjenitsyn, stalinismen og oktoberrevolutionen
Authors: Mandel Ernest
Published: October 2018

Solsjenitsyn, stalinismen og oktoberrevolutionen
Politisk revy, redaktionen. Solsjenitsyns sag og arbejderklassens
Authors: Kultur og klasse Redaktionen
Published: October 2018

Politisk revy, redaktionen. Solsjenitsyns sag og arbejderklassens
Æstetik, kommunikation, socialisation
Authors: Fausing Bent
Published: October 2018

Æstetik, kommunikation, socialisation
Kultur og Klasse 29: Solsjenitsyn og oppositionen i Sovjetunionen
Authors: Kultur og klasse Redaktionen
Published: October 2018

Kultur og Klasse 29: Solsjenitsyn og oppositionen i Sovjetunionen
Proletarisk offentlighed
Authors: Bondebjerg Ib
Published: October 2018

Proletarisk offentlighed
Litteratur som læreproces - om den unge Brecht
Authors: Jakobsen Karen Sonne
Published: October 2018

Litteratur som læreproces - om den unge Brecht
Litteraturhistorikerens problem som traditionsbærer - et arbejdspapir
Authors: Baggesen Søren
Published: October 2018

Litteraturhistorikerens problem som traditionsbærer - et arbejdspapir
Skitse til en litteratur- og bevidsthedshistorisk beksrivelse af perioden 1848-1901 i Danmark
Authors: Grodal Torben Kragh , Holmgaard Jørgen
Published: October 2018

Skitse til en litteratur- og bevidsthedshistorisk beksrivelse af perioden 1848-1901 i Danmark
Radikaleren mellem socialdemokrati og kommunistparti - Poul Henningssens kulturkritik
Authors: Henningsen Poul
Published: October 2018

Radikaleren mellem socialdemokrati og kommunistparti - Poul Henningssens kulturkritik
Humanisten mellem Kierkegaard og Marx - Villy Sørensens filosofi
Authors: K&K Redaktionen
Published: October 2018

Humanisten mellem Kierkegaard og Marx - Villy Sørensens filosofi
Sartre og den politiske praksis
Authors: Rossanda Rossana
Published: October 2018

Sartre og den politiske praksis
Kultur og Klasse 30: Socialiation
Authors: Kultur og klasse Redaktionen
Published: October 2018

Kultur og Klasse 30: Socialiation
Kultur og Klasse 31: Arbejderkultur
Authors: Kultur og klasse Redaktionen
Published: October 2018

ultur og Klasse 31: Arbejderkultur
Introduktion til en engelsk tradition
Authors: Bækholm Rigmor
Published: October 2018

Introduktion til en engelsk tradition
Dansk i historien
Authors: Hougaard Jens
Published: October 2018

Dansk i historien
Norm og afvigelse
Authors: Lindhardtsen Jytte
Published: October 2018

Norm og afvigelse
Massekommunikation
Authors: Giersing Morten
Published: October 2018

Forord
Kulturimperialisme i de multinationales tidsalder
Authors: Mattelart Armand
Published: October 2018

Kulturimperialisme i de multinationales tidsalder
Voice in The “Long 20th Century”: From Mechanical to Electrical Aurality1
Authors: Larrue Jean-Marc
Published: October 2018

The use of microphones in theatre today is so common that it is hard to believe how recent this practice is and, more importantly, that it has provoked such long standing and fierce resistance. The fact is that the theatre, which very quickly integrated the electric lamp (at the end of the 19th century) into its technical arsenal, waited more than a century before resorting to microphones to relay the voices of the actors. Technological imperfections alone are not sufficient to explain this deferment since, between the emergence of the first sound reproduction technologies in the late 1870s (microphone, phonograph, telephone) and the 21st century, four distinct media have enjoyed considerable success on account of these technologies : records, radio, cinema and television. This article argues is that such delay was due to an ideological positioning by which the theatre tried to affirm its ontological superiority over the other media practices by establishing itself as the ultimate refuge of “authenticity” by virtue of the simultaneous – and non-technologically mediated – presence of the actor and the spectator in a single space. In this context, the human voice of theatre took on a highly symbolic value, that of unadulterated authenticity, a value which seemed perverted everywhere else.
Visual Aurality in Russian Modernist Experiments: Explorations in Synesthesia and Auditory Imagination
Authors: Listengarten Julia
Published: October 2018

Russian modernist experiments in sensory communication include the interplay of sound and light in Alexander Scriabin’s symphonic mysteries as well as colored sounds in Wassily Kandinsky’s stage compositions. Inspired by various philosophical principles and creative methodologies, these artists explored the dialogue between the aural and the visual and its potential to influence the creative process and impact audience perception. This article seeks to assess the role of music and sound in synesthetic experiments of Scriabin and Kandinsky and place their theory and practice within the larger philosophical, artistic, and scientific contexts of their period and beyond.
Harmonic Reveries: The Intercultural Signifiance of Lear Dreaming
Authors: Tan Marcus
Published: October 2018

Lear Dreaming (2012) is an offspring of, and sequel to, the (in)famous multi-cultural pan-Asian collage Lear (1997), in which director and creator Ong Keng Sen employed a diversity of Asian performance traditions to reimagine and reconceive Shakespeare’s tragedy. The soundscape of Lear Dreaming reverberates with the (dis)harmonies and dissonance of electronic synth sounds, gamelan music, pipa songs and Korean jeongak; it places modernity, tradition, contemporaneity and custom in auditory confrontation. With only one actor surrounded by eight musicians, this acoustic interplay is further interjected with the oral patterns of Noh speech, the musicality of Mandarin Chinese and sonorities of Bahasa Indonesia. As a piece of postdramatic “music theatre”, I demonstrate how Lear Dreaming advances intercultural theatrical practice as a sonic performative. In its interplay of Asian performance cultures in/as sonic space, the production posits an alternative performative mode where the intercultural is the acoustic. This paper critically examines the acoustic strategy employed by Ong and analyses the soundscape of Lear Dreaming – the harmonies, harmonics, distortions and discordance – to consider issues of signification, representation, signifiance and the sublime in the performance of Asian inter-culturalisms.
Towards a Poetics of Affect: Staging Sound in Wajdi Mouawad's Theatre of Compassion 1
Authors: Meerzon Yana
Published: October 2018

Erin Hurley and Sara Warner in their insightful study “Affect/Performance/Politics” (2012) remind us that the humanities and social sciences today experience a new sweep of theoretical inquiry, focusing on studying affect or thrill experience as a leading mechanism of our cognition and communication, as well as the making and reception of art works. Today, “the affective turn signals [our] renewed interest in embodiment and sensorial experience” (2012 : 99), allowing scholars to examine a theatrical performance as a venue to reinforce the subjectivity of the artist and that of the receiver. A theory of affect strives to describe the mechanisms of reception in theatre as our psycho-physical experience, regardless of our linguistic, cultural, social, or ethnic background, and thus aspires to bring the question of universals back to the rehearsal hall and the theatre auditorium. This article takes such a theoretical framework further to argue that in today’s theatre it is the multiple soundscapes of performance – actors’ voices, music, artificially produced and live sound, the architecture of performance aurality – that has the most potential for instigating the audiences’ visceral experience. Hans Thies Lehmann (2006) in his influential book on post-dramatic theatre aesthetics names this phenomenon as chora, the sonoric space of the performance, which possesses the great power to deconstruct the semantic meanings of words, turning them into mechanisms of performative psycho-physical affect as xperienced by the audience (ibid. : 145). In order to illustrate how words (as poetry) and sounds (as singing and music) generate affect in today’s performances, an example of Lehmann’s chora-graphy (2006 : 146), I examine Wajdi Mouawad’s theatre of compassion (Naugrette 2008 : 88), emphasizing his dramaturgy, directorial choices (mise-en-scene), use of sound, and work with actors, as an artistic project called to shock and shake audiences emotionally. In the first section of my study I outline the major principles of the theory of affect; in the second, I discuss Mouawad’s approach to staging a canonical dramatic text and investigate how sound serves as the leading compositional element of affect in his 2011 production Des Femmes, an adaptation of Sophocles’ three tragedies Les Trachiniennes, Antigone and Électre.
Aux bords de l’audible : une étude des théâtres du son
Authors: Pitozzi Enrico
Published: October 2018

En prenant pour appui l’oeuvre de dramaturges contemporains, cet article adopte une perspective phénoménologique pour analyser le rôle de l’imageacoustique dans les théâres du son d’aujourd’hui. Nous examinons entre autres comment, dans sa dimension “atmosphérique”, le son et la musique servent à représenter la température de la scène et comment ils sont utilisés pour réorienter les facultés perceptives du spectateur.
A Space for Sound
Authors: Mills Liz
Published: October 2018

The focus of this article is Western theatre voice practice and discourse. With the voice conceived as the trace of language, the main intention is to reveal interstices for creative vocal or sonorous play by unsettling the relationship between voice and language.The project references the shift to the ‘natural voice’ in Western theatre voice practice and how, in spite of this shift to sound that is strongly located in the person of the performer, voice does not exploit the riches of either its originating practice in orality or its own essential nature as sonorous vocality. This article proposes that Western theatre voice’s strong link to a devocalizedlogosas argued by Cavarero, andlogosas text informed by Habermas’s concept ofcommunicative rationality, do not allow the voice to transcend a single representation rooted in language.
Linguistic Aspects of Sound Design for Theatre: A View from the Fringe
Authors: Cousins Rick
Published: October 2018

Although sound design is a well-established part of the toolkit for creating theatre, its function in creating meaning for performance texts is often overlooked in discussions of the relative semiotic importance of various scenic arts. Many of the most cogent observations and theories concerning the use of sound as a parallel to spoken language in performed narrative come from scholars and practitioners whose specialty is not theatre, but radio drama. Using these theories, and the deeper analyses of linguistic structure proposed by Roman Jakobson as benchmarks, this is a preliminary survey of the resemblances between sound design and conventional forms of linguistic communication. The territory mapped is the world of small-venue touring fringe theatre, with a special focus on the roles that time and timing play in determining the semiotic content of designed sound in a performative setting.
Reading into Soundscapes: Between Ma and Concretization
Authors: Jestrovic Siljiva
Published: October 2018

This essay explores the role of the listener/participant in the process of shaping sound works. I consider factors both internal to the works’ structures and inner dynamics, as well as external to them, and how they are determined by ever shifting parameters of context within which they are received. The analysis revolves around two very different artistic works : Takeshi Kosugi’s audio-visual installation Mano Dharma, electronic (1967), exhibited at the IKON Gallery in Birmingham in September 2015, and Between, an immersive performance piece that uses the audio-walk as its main strategy, created by Theatre Studies students at the University of Warwick in June 2015. My approach to these works relies on the assumption of a semiotic impulse which imposes itself as the urge to engage the process of meaning making, followed by the strategy I propose as ideally suited to the interpretation of these works, a process I call reading-into .

Reading-into is proposed variably as both a deliberate phenomenological strategy and a form of involuntary imposition of the semiotic impulse to ask the following questions : What are the possibilities and limits of the listener/participant’s reading-into ? How does reading-into relate to existing theoretical frameworks concerning aesthetic reception? What are the elements within and without the work itself that shape the process of reading-into ? How do unreadable elements of the work which resist semiotization shape our modes of engagement?
Participation citoyenne et recherches participatives dans le champ des inégalités sociales
Authors: Godrie Baptiste , Ouellet Guillaume , Bastien Robert , Bissonnette Sylvia , Gagné Jean , Gaudet Luc , Gonin Audrey , Laurin Isabelle , McAll Chrisopher , McClure Geneviève , Régimbal François , René Jean-François , Tremblay Mireille
Published: October 2018

Cet article analyse les effets de processus de participation citoyenne sur les inégalités sociales à partir de projets de recherche réalisés par les auteurs de l’article, membres d’une équipe multidisciplinaire composée de chercheurs et de partenaires issus de la communauté. La participation citoyenne peut avoir pour effet de lutter contre les inégalités sociales, en particulier d’accès à la parole des groupes les plus exclus, et de conduire les différents participants à se défaire d’un regard préétabli vis-à-vis des populations en situation de pauvreté. L’analyse met également l’accent sur les rapports de pouvoir au coeur des processus participatifs de recherche.
La conciliation travail-famille-soins
Authors: Nogues Sarah , Tremblay Diane-Gabrielle
Published: October 2018

De nombreux Canadiens vivent un conflit entre emploi et responsabilités de soin à un proche dépendant, entraînant des difficultés à se maintenir sur le marché du travail. La recherche concernant le soutien organisationnel aux employés proches aidants étant encore jeune, nous avons entrepris une recherche exploratoire visant à identifier les formes de soutien auxquelles les proches aidants ont réellement accès en milieu de travail. Des entrevues semi-dirigées ont été menées entre 2014 et 2015 auprès d’employés proches aidants québécois (N=23). Notre analyse indique que l’accès aux mesures de conciliation travail-famille dépend presque exclusivement de la relation avec le supérieur.
Sociabilitat i projecció poètica: veus de dones en els certàmens literaris barrocs
Authors: Zaragoza Gómez Verònica
Published: October 2018

L’objectiu d’aquest treball és mostrar una tradició poètica femenina de certamen que ha perviscut al llarg dels segles, tot centrant-nos en el moment de màxim esplendor, el Barroc. La nostra intenció és visibilitzar aquest focus de difusió des de la perspectiva de la creació i la circulació d’alguns dels primers textos impresos atribuïts a les dones en la història de les nostres lletres, amb poesia tant en llengua catalana i castellana com —molt escassament— llatina. Per fer-ho, després d’haver dut a terme una recerca exhaustiva sobre l’univers dels certàmens dels segles XVI-XVII, i de sistematitzar-ne la producció, oferim algunes observacions de caire sociològic i literari relacionades amb l’origen social de les autores, i el paper i les motivacions d’aquesta participació femenina.
Els pronoms forts en les oracions existencials del català
Authors: Villalba Xavier
Published: October 2018

En aquest article defenso que la distribució restringida dels pronoms forts en les oracions existencials del català és la conseqüència, no pas de l’Efecte de Definitud, com s’ha assumit de manera habitual, sinó de la combinació de les condicions informatives que imposa l’oració existencial, que requereix que el pivot sigui contrastiu, amb la naturalesa pragmàtica del contrast en les formes pronominals, que impedeix la lectura contrastiva justament en aquesta posició. Es proposa, doncs, que els casos de pivot pronominal necessiten obtenir aquesta lectura contrastiva per mitjans alternatius, especialment mitjançant l’aportació de les partícules només i mateix. Aquesta anàlisi es pot estendre a llengües que respecten l’Efecte de Definitud, com ara l’anglès o el castellà.
La fraseologia com a tret estilístic en novel·les originals en anglés i les seues traduccions al català
Authors: Oltra Ripoll Maria D.
Published: October 2018

En aquest article duem a terme una anàlisi de la funció estilística que adopta la fraseologia en tres novel·les contemporànies originals en anglés —Enduring Love, d’Ian McEwan; The Road, de Cormac McCarthy; i Midnight’s Children, de Salman Rushdie— i les seues traduccions al català —Amor perdurable, La carretera i Els fills de la mitjanit, respectivament. Tot partint d’algunes reflexions teòriques a l’entorn de la fraseologia i la traducció, i mitjançant la comparació de les obres originals i les seues traduccions, en aquest treball analitzem alguns exemples d’unitats fraseològiques (UFs) presents en aquests textos que hi adquireixen una funció estilística rellevant i observem quines tècniques de la fraseologia apliquen els traductors quan s’enfronten a aquest tipus d’UFs.
Introducció al monogràfic «Les veus de l’alteritat»
Authors: Francés Díez M. Àngels
Published: October 2018

Introducció al monogràfic «Les veus de l’alteritat», del número 65 (tardor 2018) de Caplletra. Revista Internacional de Filologia.
Dislocated Temporalities: Immigration, Identity, and Sexuality in Najat El Hachmi’s «L’últim patriarca»
Authors: Fernàndez Josep-Anton
Published: October 2018

Recent Catalan criticism has focused on place and space, as well as immigration, but has overlooked temporality. Yet migrations are not only a matter of space (of demographic movements and geographical relocations), but also of time: immigration questions the idea of origins and the possibility of a shared future, and problematizes the rhythms of everyday life. Temporality, in fact, is a key axis in the formation of identities and in cultural conflicts, not just regarding the uses of the past and the projection of societies towards the future, but also in relation to the normative uses of the body. The coexistence of asynchronous temporalities provoked by immigration is a factor in both cultural and psychic conflict. Najat El Hachmi’s novel L’últim patriarca (2008) is an excellent example of these phenomena. Here the circular temporality, based on the repetition of cycles, of Morocco’s traditional society comes to a halt in the failure of the narrator’s father to reproduce patriarchal domination in Catalonia. The novel roots this experience in modern referents through a dialogue with the Catalan literary tradition, and questions the idea of temporality understood as succession of generations by problematizing biological reproduction and gender subordination and through the shattering effects of anal sexuality. This article offers an integrated analysis of these issues by reference to psychoanalysis.
L’estranya identitat: l’alteritat sexual en «L’aprenentatge de la soledat», de David Vilaseca (2008)
Authors: Maestre Brotons Antoni
Published: October 2018

L’aprenentatge de la soledat, de David Vilaseca (2008), és una obra que planteja qüestions sobre l’escriptura, la identitat i la sexualitat. Basant-se en la teoria cultural, la psicoanàlisi i la teoria queer, el narrador-protagonista, David —alter ego de l’autor— construeix una identitat homosexual a través del seu diari. Més que confessar la condició sexual, els escriptors d’autobiografia construeixen una nova identitat de manera retrospectiva. Les similituds entre el protagonista i Vilaseca, la combinació entre teoria i experiència subjectiva, converteixen la novel·la en una barreja d’autoficció i assaig. La construcció del personatge es fa a partir de la psicoanàlisi, que el retrata com un individu depressiu, paranoic, masoquista, dependent, amb un enorme sentiment de culpa i una relació molt complexa amb el passat, vinculat a una identitat heterosexual que rebutja —Catalunya, les seues amistats, la família i, de manera més notable, la mare. La configuració del subjecte gai en la novel·la es realitza mitjançant l’espai de Londres i requereix la ruptura amb el passat, que el protagonista té dificultats per superar, convertint-se així en un personatge melancòlic.
Xevi Camprubí, «La premsa a Catalunya durant la Guerra de Successió», València, Publicacions de la Universitat de València, 2016, 191 pp.
Authors: Llinares Planells Alejandro
Published: October 2018

Ressenya sobre el llibre de Xevi Camprubí, La premsa a Catalunya durant la Guerra de Successió, València, Publicacions de la Universitat de València, 2016, 191 pp., ISBN: 978-84-9134-014-0.
Josep Miquel Ramis (ed.), «Epistolari Sebastià Juan Arbó - Joan Sales (1966-1982)», Barcelona, Publicacions de l’Abadia de Montserrat («Textos i Estudis de Cultura Catalana», 221), 2018, 167 pp.
Authors: Prims i Vila Roger
Published: October 2018

Ressenya sobre el llibre de Josep Miquel Ramis (ed.), Epistolari Sebastià Juan Arbó - Joan Sales (1966-1982), Barcelona, Publicacions de l’Abadia de Montserrat («Textos i Estudis de Cultura Catalana», 221), 2018, 167 pp., ISBN: 978-84-9883-956-2.
Ricard Salvat, «Diaris (1962-1968)», Barcelona, Universitat de Barcelona, 2015, 544 pp. // Ricard Salvat, «Diaris (1969-1972)», Barcelona, Universitat de Barcelona, 2017, 454 pp.
Authors: Moreno i Domènech Maria
Published: October 2018

Ressenya sobre els llibres:
Ricard Salvat, Diaris (1962-1968). Edició a cura d’Eulàlia Salvat, pròleg a cura de Francesc Foguet & Manuel Molins, Barcelona, Universitat de Barcelona, 2015, 544 pp., ISBN: 978-84-475-4032-7.
Ricard Salvat, Diaris (1969-1972). Edició i pròleg a cura de Francesc Foguet i Boreu, Barcelona, Universitat de Barcelona, 2017, 454 pp., ISBN: 978-84-475-3800-3.
Josep Massot i Muntaner, «Els mallorquins i la llengua catalana. Segles XIII-XXI», Barcelona, Publicacions de l’Abadia de Montserrat («Col·lecció Biblioteca Serra d’Or», 500), 2018, 171 pp.
Authors: Martí-Badia Adrià
Published: October 2018

Ressenya sobre el llibre de Josep Massot i Muntaner, Els mallorquins i la llengua catalana. Segles XIII-XXI, Barcelona, Publicacions de l’Abadia de Montserrat («Col·lecció Biblioteca Serra d’Or», 500), 2018, 171 pp., ISBN: 978-84-9883-963-0.
Performativity on the Margin: Pornography: The Musical (2003)
Authors: Brylla Catalin
Published: October 2018

Brian Hill’s musical documentaries embody the essence of Judith
Butler’s notion of ‘performativity’ as the discourse used
in identity formation. By asking his characters to sing their stories in
addition to traditional interviews, Hill creates multiple screen identities,
which elicits an embodied intimacy that is as much about freeing marginalised
people to enact themselves in front of the camera as it is about revealing the
director’s own performance. This article uses a cognitive framework to
explore how Hill’s documentary, Pornography: The Musical
(2003), leads the spectator to challenge existing social stereotypes of sex
workers, as well as schematic ideas about traditional documentary form and
function.
Sonic Living: Space and the Speculative in James Baldwin’s “Sonny’s Blues”
Authors: Belilgne Maleda
Published: October 2018

In a 1961 interview with the journalist Studs Terkel, James Baldwin offered a riveting assessment of Bessie Smith’s “Backwater Blues.” “It’s a fantastic kind of understatement,” Baldwin tells Terkel. “It’s the way I want to write.” Baldwin hears something in Bessie, a sonic and discursive quality he aspires to and identifies as “fantastic.” This essay considers the speculative undertones of Bessie’s blues and Baldwin’s literary realism. I argue that Bessie’s doubled vocalization in “Backwater Blues” lyrically declares her immobility and circumscription, while tonally staging freedom and boundlessness. Baldwin is drawn to this dual orientation and enunciation, a vocalization that in its iteration of the real transcends the social, spatial, and imaginative limitations of that order. If we read “Sonny’s Blues” the way Baldwin hears Bessie, as a fantastic kind of understatement, we discern subtle sonic and spatial iterations of the irreal. Attending to microtonal sounds in “Sonny’s Blues”—screams, whistling, jukeboxes—I show that the speculative emerges in Baldwin’s story when the sonic overrides the racialized inscription of space.
My Dear White Sister: Self-examining White Privilege and the Myth of America
Authors: Shinners Keely
Published: October 2018

James Baldwin, in his landmark essay “My Dungeon Shook,” says that white Americans are “still trapped in a history which they do not understand; and until they understand it, they cannot be released from it.” This open letter explores this history on a personal level. Taking notes from Baldwin’s indictments of whiteness in Another Country and The Fire Next Time, this essay explores how white people, despite claims of deniability, become culpable, complicit, and ensnared in their racial privilege. By reading Baldwin’s work through a personal lens, it implores fellow white readers and scholars of Baldwin to begin examining the myths of America by first examining themselves.