Program Notes for Caravaggio (Jarman, UK, 1986)

Forum il canone cinematografico the film canon Questa pubblicazione è stata realizzata grazie al sostegno della Regione Friuli

idly portrayed states of exception ever let us go our way as subjects, at least, not so long as the world remains the world. An undoubted achievement of art-historical thought, Bosch and Bruegel is, at the same time, what Hans Blumenberg, confiding to a friend about a project he could advance no further, called a Halbzeug, a "semifinished product," halfraw and half-cooked. Like metaphor itself-which is always "half-conceptual" according to Blumenberg-a Halbzeug is an interpretative artifact in process. 15 This open quality affords Koerner's project a striking structural affinity and sympathy with the works of Bosch, the maker of monsters, and Bruegel, the painter of everyday life. Profoundly at odds with the sensational future discovery of that elusive "key" that will decode these works once and for all, Bosch and Bruegel offers an experiential moment capable, under the right conditions, of echoing down through the many receptions it has already anticipated.

The Comparatist, 2000

2021

A slightly different version was published in French as « La discordance des temps mise en oeuvres. Une relecture au prisme de l'art moderne », in Julien Vincent et François Jarrige (ed.), La modernité dure longtemps-Penser les discordances des temps avec Christophe Charle (Paris: Editions de la Sorbonne, 2020), pp. 161-180.

Criticism, 2005

The Screenplay as Book THOUGH HE WAS KNOWN most widely as a filmmaker, Derek Jarman' s literary output was prodigious and eclectic. He published art manifestos, diaries, notebooks, poetry, memoirs, autobiographies, and, of course, screenplays. In his 1996 introduction to Up in the Air, a collection of Jarman' s unfilmed screenplays, Michael O'Pray rightly points out that "for Jarman, scripts were never simply means to ends. They were always intensely personal writings that expressed strong beliefs and emotions. When they failed to materialise as films, they were not shelved and forgotten. They remained as projections of his inner world. They always seemed to have a life for him, to be part of himself, and I suspect it was painful for him to leave them behind." 1 Yet at the same time, O'Pray refers to the works published in Up in the Air as Jarman' s "unrealised film scripts," reverting to the conventional view of screenplays as incomplete texts looking elsewhere for their consummation and legitimacy. Such a view clings determinedly in this case to the belief that Jarman' s public recognition is based principally on his finished films. But as Roger Wollen reminds us, Jarman' s "output was not compartmentalized: he put over his ideas in every medium open to him." 2 And as Tony Peake suggests in his biography, "Jarman was, of course, far from being a novice with the pen." There are even those, Peake reminds us, who rate him more highly as a writer than as a painter or filmmaker, and Jarman himself in his private papers reveals a salient investment in his identity as a professional author. 3 Given his considerable contributions to the world of letters, it may be useful to see Jarman' s published screenplays not as "unrealised" precursors deferring by definition and necessity to another medium, but as literary texts that at times, as in Derek Jarman's Caravaggio, the 1986 companion screenplay to the film Caravaggio, make use of iconography from the feature films. As textual documents, Jarman' s "annotated screenplays" demand critical attention, 4 enunciating the uniquely peculiar status of the screenplay in late-twentiethcentury print culture while simultaneously foregrounding many of the 215

The Musical Quarterly, 2002

This poem, entitled “Kanon,” asks us, as a musical canon would, to sing out its lines not in sequence but in overlapping voices. And although it exhausts its logical possibilities of variation between time and need, one has the feeling, as in a children's round, that it could go on forever. ...

Emerging from Darkness: Faith Emotion and the Body in the Baroque, 2023

05_127-188_Emerging_from_Darkness_After_Caravaggio The essay in this section, 'Caravaggio and painting from the Model', is by David R. Marshall. "Emerging from Darkness: Faith Emotion and the Body in the Baroque" was an exhibition at the Hamilton Gallery, Hamilton, Victoria, Australia, from December 2023 to April 2024. The exhibition was organised by Hamilton gallery in partnership with the National Gallery of Victoria. It was supported by AWN Electronics, Allan and Maria Myers, Southern Grampians Shire Council, Hamilton Gallery, the National Gallery of Victoria, and the Victorian Government through Visit Victoria and the Regional Events fund. The exhibition was initiated by the Director of Hamilton Gallery, Joshua White, and conceived by Lisa Beaven and David R. Marshall. It was curated by Lisa Beaven and David R. Marshall, with Laurie Benson of the National Gallery of Victoria. The catalogue was edited by David R Marshall and Lisa Beaven. Works were sourced from private collections, The National Gallery of Victoria, The National Gallery of Australia and the University of Melbourne Collections. Entries are by: PBB Piers Baker-Bates, The Open University LMB Lisa Beaven, Latrobe University LCB Laurie Benson, National Gallery of Victoria CB Caitlin Breare, National Gallery of Victoria MTC Maria Teresa Cantaro, Freelance Researcher TG Ted Gott, National Gallery of Victoria DJ David Jaffé, formerly National Gallery of Australia DRM David R. Marshall, University of Melbourne MM Matthew Martin, University of Melbourne CR Callum Reid, University of Melbourne SMR Susan Russell, Independent Scholar ET Esther Theiler, La Trobe University LW Lucinda Ward, National Gallery of Australia JW John Weretka, University of Melbourne This exhibition catalogue presents original research on painters and sculptors including: Guglielmo della Porta; Agostino Carracci; Alessandro Algardi; Andrea Brustolon; Annibale Carracci; Antonio Allegri da Correggio; Artemisia Gentileschi; Bartolomeo Manfredi; Bernardo Cavallino; Bernardo Licinio; Charles Le Brun / Judocus de Vos; Claude Mellan; Federico Barocci; Gianlorenzo Bernini; Giovanni Francesco Romanelli; Giuseppe Castiglione / Li Yantai; Guercino; Guido Reni; Jacques Callot; Jan Miel; Johannes Panneels; Joost de Pape; Jusepe da Ribera; Lavinia Fontana; Luca Giordano; Lucas Vorsterman I; Mattia Preti; Michel Lasne; Nicholas Régnier; Orazio Gentileschi; Peter Paul Rubens; Pierre Mariette I; Prospero Fontana; Salvator Rosa; Sophonisba Anguissola; Valentin de Boulogne; Carlo Maratti.

E. Nicolaci, "Translating the Canon, Filling the Absence," in Anne Carson/Antiquity, ed. Laura Jansen, 2021

As part of the volume Anne Carson/Antiquity edited by Laura Jansen (Bloomsbury 2021), this essay offers a comparative look at Anne Carson’s Nox (2010) and Catullus’ poem 101. After a lifetime working on translating poem 101, in 2010 Carson constructed Nox, an epitaph in a box in dedication to her lost brother Michael. The book consists in a long unpaged scroll, with lexicographical entries for each word of poem 101 intertwining with photos, pieces of letters, poems and notes related to Michael Carson. Looking at the interplay between past and present, absence and presence, silence and voice, as they emerge both in Catullus and in Carson’s translation, I show how Nox expresses the mediating potential for artefacts to cross the barriers of time and space.

2009

Encouraging foreign language students to read critically and to dialogue with the text, as suggested in Skopinskaja's article, is an approach that can be adopted not only in language but also literature classes at both secondary and tertiary levels. Literature in particular gives an opportunity for two types of reading mentioned by the author, efferent and aesthetic. However, contemporary reader's task becomes more complicated when it comes to reading foreign classics, as relating them to the previous knowledge and experience (as emphasised by Skopinskaja) becomes more diffi cult since it involves overcoming both cultural and historical context barriers. Still, the good reasons for taking this effort were explained in the article. How to motivate the student of English literature to engage ("establish a personal and aesthetic interaction between a reader and a text") with the 17 th century poem? The solution seems to be in creating convincing conditions enabling the students' dialogic interaction. The task described below was developed for college students and was inspired by the dramatic quality of Donne's poetic text. This discussion focuses only on the last stanza of the poem. The whole poem is provided at the end of the paper. Cruel and sudden, hast thou since Purpled thy nail in blood of innocence? Wherein could this fl ea guilty be, Except in that drop which it suck'd from thee? Yet thou triumph'st, and say'st that thou Find'st not thyself nor me the weaker now. 'Tis true; then learn how false fears be; Just so much honour, when thou yield'st to me, Will waste, as this fl ea's death took life from thee. (from The Flea by John Donne) After a short introduction to the literary conventions of the epoch and analysing selected literary devices such as conceits and syllogisms, the students were invited to brought to you by CORE View metadata, citation and similar papers at core.ac.uk