scholarly journals In the Beginning There Is an End

2022 ◽  
pp. 151-159
Author(s):  
Malin Arnell
Keyword(s):  
Performance Art ◽  
Historical Narratives ◽  
Feminist Performance ◽  
In The Beginning ◽  
Ongoing Dialogue

In this fifteen-minute lecture-performance, Malin Arnell presents her dialogue with the work of French-Italian artist Gina Pane (1939–1990). Oriented around textual and visual traces of Pane and Arnell’s historical intra-action, this ongoing dialogue explores performance art documentation and historical narratives. The project interrogates the operations of archives, asking: ‘How do queer feminist performance archives make you vulnerable, how do they make you feel, act, react?’ ‘Whose bodies remain present, and which bodies are lost?’ The framework of the work — its repetition with variations and its artistic and queer feminist methodologies — enables an exploration of history, documentation, and bodily epistemology as an attempt to take responsibility for what is not known by doing, through action — through performance.

scholarly journals Metamorphosis as Origin–Koji Yamamura’s Short Animation Franz Kafka’s A Country Doctor

Arts ◽  
2019 ◽  
Vol 8 (2) ◽  
pp. 54
Author(s):  
Kawashima
Keyword(s):  
Foreign Language ◽  
Short Story ◽  
Performance Art ◽  
Cultural Integration ◽  
Roman Poet ◽  
Foreign Culture ◽  
Modern Author ◽  
In The Beginning ◽  
Traditional Performance ◽  
Live Action

In the beginning was metamorphosis. This paradoxical thought, which the ancient Roman poet Ovidius and modern author Franz Kafka represented in their literary works, is visualized in Koji Yamamura’s short animation Franz Kafka’s A Country Doctor. Diverse metamorphoses that do and do not appear in the Kafka original are so elaborately and dynamically depicted in this animation that no live-action film could possibly represent them. In addition, the film itself can be seen as a metamorphosis, as it is an animation converted from a short story. Such a dominance of metamorphosis is also true for the transculturality and transnationalism of Yamamura’s animation. In a sense, the film results from a cultural integration of foreign language and image. However, this integration is also part of the swirl of metamorphosis. The traditional performance art Kyogen, which the director uses to voice the main characters in the animation, could not integrate foreign culture without its own diversification. Yamamura’s animation demonstrates that transculturality is another name for fundamental metamorphosis in which diversification and integration occur simultaneously.

Remembering Feminist Remimesis: A Riddle in Three Parts

2014 ◽  
Vol 58 (2) ◽  
pp. 14-32 ◽  
Author(s):  
Rebecca Schneider
Keyword(s):  
Performance Art ◽  
Women Artists ◽  
Cindy Sherman ◽  
Feminist Performance ◽  
Marina Abramovic ◽  
Global Art

Freud's “riddle” that women are, themselves, “the problem” takes on new significance in thinking back through the “remimetic” strategies and tactics of mid-century feminist performance art. What sorts of “problems” arise with the stellar success of women artists in the 2000s, and the new status of “global art star” for artists such as Marina Abramović and Cindy Sherman? What may have been left out of the picture? Perhaps the recent “living archive” re.act.feminism installation by curators Bettina Knaup and Beatrice Stammer may provide some clues.

scholarly journals A Fragment from Chronicle of George Synkellos in Slavonic Translation

2020 ◽  
pp. 139-149
Author(s):  
Anna-Maria Totomanova
Keyword(s):  
Historical Narratives ◽  
Linguistic Features ◽  
The World ◽  
Editorial Work ◽  
Draft Version ◽  
History Of ◽  
In The Beginning ◽  
Eastern Traditions ◽  
Different Sources ◽  
Made In

The only fragment from the Chronicle of George Synkellos in Slavic translation is found in a chronographic compilation known in five Russian witnesses of the 15th – 16th cc. A large and coherent excerpt from the Chronography of Julius Africanus that survived in about 100 fragments scattered in Latin, Greek and Eastern traditions became a basis of the compilation. Africanus’ excerpt reveals the Christian history of the world from the Creation to the Resurrection of Christ and occupies about two thirds of the whole text. It is complemented by the end of Synkellos’ Chronicle that stops with Diocletian’s reign and by the beginning of the Chronicle of his follower Theophanes the Confessor, which brings the narrative to the foundation of Constantinople. The missionary pathos of the compilation leaves no doubt and makes us think that it occurred on Byzantine soil in the first half of the 9th c. after the end of the iconoclasm. The Linguistic features of the Slavonic text prove that the translation was made in Bulgaria in the early 10th century during the reign of Simeon the Great (893–927). The paper explores the traces of the editorial work of the compilers, who were supposed to bring into line the two historical narratives that disagree in their historical and chronological concepts and refer to different sources. The problem deserves attention given the fact that in the beginning of the last century V. Istrin erroneously identified the compilation as an abridged and even draft version of the Chronicle of Synkellos.

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