From the 1880s to 1940, French colonial officials, businessmen and soldiers, returning from overseas postings, brought home wooden masks and figures from Africa. This imperial and cultural power-play ...is the jumping-off point for a story that travels from sub-Saharan Africa to Parisian art galleries; from the pages of fashion magazines, through the doors of the Louvre, to world fairs and international auction rooms; into the apartments of avant-garde critics and poets; to the streets of Harlem, and then full-circle back to colonial museums and schools in Dakar, Bamako, and Abidjan. John Warne Monroe guides us on this journey, one that goes far beyond the world of Picasso, Matisse, and Braque, to show how the Modernist avant-garde and the European colonial project influenced each other in profound and unexpected ways. Metropolitan Fetish reveals the complex trajectory of African material culture in the West and provides a map of that passage, tracing the interaction of cultural and imperial power. A broad and far-reaching history of the French reception of African art, it brings to life an era in which the aesthetic category of "primitive art" was invented.
The critical contributions explore a phenomenon that appears to be a contradiction in itself. We computer users who communicate in the digital space can be tracked there for all eternity. On the one ...hand, one wants to be noticeable, but on the other hand one does not necessarily want to be recognized at the first instance. The book documents artistic strategies in the age of global surveillance.
Yeats's Mask Adams, Steve L; Allen, Nicholas; Arrington, Lauren ...
2013
Book
Odprti dostop
Yeats’s Mask, Yeats Annual No. 19 is a special issue in this renowned research-level series. Fashionable in the age of Wilde, the Mask changes shape until it emerges as Mask in the system of A ...Vision. Chronologically tracing the concept through Yeats’s plays and those poems written as ‘texts for exposition’ of his occult thought which flowers in A Vision itself (1925 and 1937), the volume also spotlights ‘The Mask before The Mask’ numerous plays including Cathleen Ni-Houlihan, The King’s Threshold, Calvary,The Words upon the Window-pane, A Full Moon in March and The Death of Cuchulain. There are excurses into studies of Yeats’s friendship with the Oxford don and cleric, William Force Stead, his radio broadcasts, the Chinese contexts for his writing of ‘Lapis Lazuli’. His self-renewal after The Oxford Book of Modern Verse, and the key occult epistolary exchange ‘Leo Africanus’, edited from MSS by Steve L. Adams and George Mills Harper, is republished from the elusive Yeats Annual No. 1 (1982). The essays are by David Bradshaw, Michael Cade-Stewart, Aisling Carlin, Warwick Gould, Margaret Mills Harper, Pierre Longuenesse, Jerusha McCormack, Neil Mann, Emilie Morin, Elizabeth Müller and Alexandra Poulain, with shorter notes by Philip Bishop and Colin Smythe considering Yeats’s quatrain upon remaking himself and the pirate editions of The Land of Heart’s Desire. Ten reviews focus on various volumes of the Cornell Yeats MSS Series, his correspondence with George Yeats, and numerous critical studies.
Nanowire lithography (NWL) uses nanowires (NWs), grown and assembled by chemical methods, as etch masks to transfer their one-dimensional morphology to an underlying substrate. Here, we show that ...SiO2 NWs are a simple and compatible system to implement NWL on crystalline silicon and fabricate a wide range of architectures and devices. Planar field-effect transistors made of a single SOI-NW channel exhibit a contact resistance below 20 kΩ and scale with the channel width. Further, we assess the electrical response of NW networks obtained using a mask of SiO2 NWs ink-jetted from solution. The resulting conformal network etched into the underlying wafer is monolithic, with single-crystalline bulk junctions; thus no difference in conductivity is seen between a direct NW bridge and a percolating network. We also extend the potential of NWL into the third dimension, by using a periodic undercutting that produces an array of vertically stacked NWs from a single NW mask.
In Arthur Schnitzlers Traumnovelle und in Stanley Kubricks filmischer Adaption Eyes Wide Shut ist die Maske zentrales Darstellungsmittel von Schaulust, Blick und Scham. So, wie die Maske das Gesicht ...verhüllt, so versucht der Beschämte, sich vor dem enthüllenden Blick des Anderen zu verbergen. Ausgehend von der aktuellen psychoanalytischen Scham-Theorie wird hier erstmals gezeigt, wie die spezifische Medialität von Scham und Maske nicht nur die Figuren, sondern auch die ästhetischen Strategien in Text und Film maßgeblich prägt und reflektiert. Dies betrifft u.a. die Wahrnehmung des Zuschauers/Lesers, die filmische und literarische Inszenierung des Blicks, die Visualität und die Frage der Darstellbarkeit.
In this paper, a new and simple pathway to fabricate polymer brush layers with lateral control over the chemical composition is described. The process combines two subsequent free radical grafting ...from steps: in the first step, a micropatterned polymer brush is grown by photochemical initiation of the polymer growth from the surface through a mask in direct contact. The uncoated areas are then backfilled with a second polymer brush by using the unreacted surface-bound initiator molecules to thermally trigger a second polymerization. As an example for the overall process, the co-assembly of a micropatterned, soft, water-swellable layer consisting of the two-brush system poly(methacrylic acid) (PMAA)−poly(hydroxyethyl methacrylate) (PHEMA) is demonstrated.
Drawing on broad research, this study explores the different social and theatrical masking activities in England during the Middle Ages and the early 16th century. The authors present a coherent ...explanation of the many functions of masking, emphasizing the important links among festive practice, specialized ceremonial, and drama. They elucidate the intellectual, moral and social contexts for masking, and they examine the purposes and rewards for participants in the activity. The authors' insight into the masking games and performances of England's medieval and early Tudor periods illuminates many aspects of the thinking and culture of the times: issues of identity and community; performance and role-play; conceptions of the psyche and of the individual's position in social and spiritual structures. Masks and Masking in Medieval and Early Tudor England presents a broad overview of masking practices, demonstrating how active and prominent an element of medieval and pre-modern culture masking was. It has obvious interest for drama and literature critics of the medieval and early modern periods; but is also useful for historians of culture, theatre and anthropology. Through its analysis of masked play this study engages both with the history of theatre and performance, and with broader cultural and historical questions of social organization, identity and the self, the performance of power, and shifting spiritual understanding.
Contents: Preface; Introduction; Popular Masking: Early masking; Carnival; Mumming; Courtly Masking: Tournaments; Disguisings; Courtly mumming; Amorous masking; Theatrical masking: Mystery plays; Morality plays; Theory and Practice: Ideas and theories of masking; Materials and methods of mask-making; Terminology; Bibliography; Index.
Porous polyurethane films with well-ordered pores were prepared using polystyrene microspheres as a template, and the surface pore sizes were tuned using a new upside-down (USD) method. After ...polystyrene microspheres were self-assembled on a substrate and the voids between microspheres were infiltrated with a polyurethane prepolymer solution, the samples were placed upside down to allow the prepolymer solution to flow back before it was solidified. The surface pore sizes of the porous films were tuned by changing the time in which the samples were placed upside down. Using microspheres of the same size, we prepared porous polyurethane films with surface pore sizes ranging from 32 to 87% of the templating microsphere size.
This book pursues an enduring puzzle that has stumped historians for centuries and seduced novelists and filmmakers down to this day. Who was the man who wore an iron mask and was kept in prison for ...years during the reign of the Sun King, Louis XIV? Paul Sonnino brilliantly traces his decade-long quest to solve the mystery.
"A wide-ranging collection that allows the mask-as artifact, metaphor, theatrical costume, fetish, strategy for self-concealment, and treasured cultural object-to clarify modernity's relationship to ...history."--Carrie J. Preston, author ofModernism's Mythic Pose: Gender, Genre, Solo Performance "Covering an impressive range of geographies, cultures, and time periods, these carefully researched essays explore the fascinating role of masks and masking in mediating the relationship between tradition and modernity in both art and literature."--Paul Jay, author ofThe Humanities "Crisis" and the Future of Literary Studies
Behind the Masks of Modernism reconsiders the meaning of "modernism" by taking an interdisciplinary approach and stretching beyond the Western modernist canon and the literary scope of the field. The essays in this diverse collection explore numerous regional, national, and transnational expressions of modernity through art, history, architecture, drama, literature, and cultural studies around the globe. Masks--both literal and metaphorical--play a role in each of these artistic ventures, from Brazilian music to Chinese film and Russian poetry to Nigerian masquerade performance.
The contributors show how artists and writers produce their works in moments of emerging modernity, aesthetic sensibility, and deep societal transformations caused by modern transnational forces. Using the mask as a thematic focus, the volume explores the dialogue created through regional modernisms, emphasizes the local in describing universal tropes of masks and masking, and challenges popular assumptions about what modernism looks like and what modernity is.
