The Arabesque from Kant to Comics tracks the life and afterlife of the arabesque in its surprising transformation from an iconoclastic literary theory of early German Romanticism to aesthetic experimentation in both avant-garde art and popular culture. Its explosive growth in popularity was followed by an inevitable taming as arabesques became staples in book illustration, poetry publications, and even the decoration of printed scores. The subversive potential of the arabesque was preserved in one of its most surprising offspring, the comic strip: born at the moment when the cholera pandemic first swept through Europe, the comic translated the arabesque’s rank growth into unnerving lawlessness and sequences of contagious visual slapstick. Focusing roughly on the period between 1780 and 1880, this book illuminates the intersecting histories of avant-garde theories of writing, visual culture, and even the disciplinary origins of art history. In the process, it explores media history and intermediality, social networks and cultural transfer, as well as the rise of new and nontraditional art forms. This book will be of particular interest to scholars of art history, intellectual history, European art, aesthetics, book illustration, material culture, reproduction, comics, and German history.

Featuring multidisciplinary research by an international team of leading scholars, this volume addresses the contested aspects of arabesque while exploring its penchant for crossing artistic and cultural boundaries to create new forms. Enthusiastically imported from its Near Eastern sources by European artists, the freely flowing line known as arabesque is a recognizable motif across the arts of painting, music, dance, and literature. From the German Romantics to the Art Nouveau artists, and from Debussy’s compositions to the serpentine choreographies of Loïe Fuller, the chapters in this volume bring together cross-disciplinary perspectives to understand the arabesque across both art historical and musicological discourses.

A comprehensive review of art in the first truly modern century A Companion to Nineteenth-Century Art contains contributions from an international panel of noted experts to offer a broad overview of both national and transnational developments, as well as new and innovative investigations of individual art works, artists, and issues. The text puts to rest the skewed perception of nineteenth-century art as primarily Paris-centric by including major developments beyond the French borders. The contributors present a more holistic and nuanced understanding of the art world during this first modern century. In addition to highlighting particular national identities of artists, A Companion to Nineteenth-Century Art also puts the focus on other aspects of identity including individual, ethnic, gender, and religious. The text explores a wealth of relevant topics such as: the challenges the artists faced; how artists learned their craft and how they met clients; the circumstances that affected artist’s choices and the opportunities they encountered; and where the public and critics experienced art. This important text: Offers a comprehensive review of nineteenth-century art that covers the most pressing issues and significant artists of the era Covers a wealth of important topics such as: ethnic and gender identity, certain general trends in the nineteenth century, an overview of the art market during the period, and much more Presents novel and valuable insights into familiar works and their artists Written for students of art history and those studying the history of the nineteenth century, A Companion to Nineteenth-Century Art offers a comprehensive review of the first modern era art with contributions from noted experts in the field.

The second volume shines a light on the cultural and social changes that took place during the epoch of European Restorations, when the death of the Napoleonic empire existed as a crucial moment for contemporaries. Expanding the transnational approach of Volume I, the chapters focus on the transmutation of ordinary experiences of war into folklore and popular culture, the emergence of grassroots radical politics and conspiracies on the Left and Right, and the relationship between literacy and religion, with new cases included from Spain, Norway and Russia. A wide-ranging and impressive work, this book completes a collection on the history of the European Restorations.

Literary drafts are a constant in literatures of all ages and linguistic areas, and yet their role in writing processes in various traditions has seldom been the subject of systematic comparative scrutiny. In 38 chapters written by leading experts in many different fields, this book charts a comparative history of the literary draft in Europe and beyond. It is organised according to eight categories of comparison distributed over the volume’s two parts, devoted respectively to ‘Text’ (i.e. the textual aspects of creative processes) and ‘Beyond Text’ (i.e. aspects of creative processes that are not necessarily textual). Across geographical, temporal, linguistic, generic and media boundaries, to name but a few, this book uncovers idiosyncrasies and parallels in the surviving traces of human creativity while drawing the reader’s attention to the materiality of literary drafts and the ephemerality of the writing process they capture.

David Houston Jones builds a bridge between practices conventionally understood as forensic, such as crime scene investigation, and the broader field of activity which the forensic now designates, for example in performance and installation art as well as photography. Contemporary work in these areas responds both to forensic evidence, including crime scene photography, and to some of the assumptions underpinning its consumption. It asks how we look, and in whose name, foregrounding and scrutinising the enduring presence of voyeurism in visual media and instituting new forms of ethical engagement. Such work responds to the object-oriented culture associated with the forensic and offers a reassessment of the relationship of human voice and material evidence. It displays an enduring debt to the discursive model of testimony which has so far been insufficiently recognised, and which forms the basis for a new ethical understanding of the forensic. Jones’s analysis brings this methodology to bear upon a strand of contemporary visual activity that has the power to significantly redefine our understandings of the production, analysis and deployment of evidence. Artists examined include Forensic Architecture, Simon Norfolk, Melanie Pullen, Angela Strassheim, John Gerrard, Julian Charrière, Trevor Paglen, Laura Poitras and Sophie Ristelhueber. The book will be of interest to scholars working in art history, visual culture, literary studies, modern languages, photography and critical theory.

This book is a critical interdisciplinary approach to the study of contemporary visual culture and image studies, exploring ideas about space and place and ultimately contributing to the debates about being human in the digital age. The upward and downward pull seem in a constant contest for humanity’s attention. Both forces are powerful in the effects and affects they invoke. When tracing this iconological history, Amanda du Preez starts in the early nineteenth century, moving into the twentieth century and then spanning the whole century up to contemporary twenty-first century screen culture and space travels. Du Preez parses the intersecting pathways between Heaven and Earth, up and down, flying and falling through the concept of being “spaced out”. The idea of being “spaced out” is applied as a metaphor to trace the visual history of sublime encounters that displace Earth, gravity, locality, belonging, home, real life, and embodiment. The book will be of interest to scholars working in art history, visual culture, media and cultural studies, phenomenology, digital culture, mobility studies, and urban studies.