The article describes copies of three early-printed books at the Manchester
Grammar School, which have not previously been noted in the bibliographies.
These are the Missale Romanum (Venice, 1494), De Re
Militari (Rome, 1494), and Aquinas, Summa contra
Gentiles (Cologne, 1501). Two of the books have Hungarian
connections, as is shown by inscriptions in them. They appear to have been at
the grammar school since the late nineteenth or early twentieth century, but
their detailed provenance remains obscure.
This book presents a contemporary, eyewitness account of the life of Martin Luther translated into English. Johannes Cochlaeus (1479–1552) was present in the great hall at the Diet of Worms on April 18, 1521 when Luther made his famous declaration before Emperor Charles V: ‘Here I stand. I can do no other. God help me. Amen’. Afterward, Cochlaeus sought Luther out, met him at his inn, and privately debated with him. Luther wrote of Cochlaeus, ‘may God long preserve this most pious man, born to guard and teach the Gospel of His church, together with His word, Amen’. However, the confrontation left Cochlaeus convinced that Luther was an impious and malevolent man. Over the next twnety-five years, Cochlaeus barely escaped the Peasant's War with his life. He debated with Melanchthon and the reformers of Augsburg. It was Cochlaeus who conducted the authorities to the clandestine printing press in Cologne, where William Tyndale was preparing the first English translation of the New Testament (1525). For an eyewitness account of the Reformation—and the beginnings of the Catholic Counter-Reformation—no other historical document matches the first-hand experience of Cochlaeus. After Luther's death, it was rumoured that demons seized the reformer on his death-bed and dragged him off to Hell. In response to these rumours, Luther's friend and colleague Philip Melanchthon wrote and published a brief encomium of the reformer in 1548. Cochlaeus consequently completed and published his monumental life of Luther in 1549.
The historical context of the ninth-century Cologne Codex Carolinus manuscript (Codex Vindobonensis 449)
Dorine van Espelo
Rulers, popes and bishops: the
historical context of the ninth-century
Cologne Codex Carolinus manuscript
(Codex Vindobonensis 449)
Dorine van Espelo
A unique source in many respects, the Codex epistolaris Carolinus comprises
ninety-nine papal letters that were sent to the Carolingian court between 739
and 790.1 These are mostly addressed to the Frankish rulers Charles Martel,
Pippin III, Carloman and Charlemagne, but there are also three letters
grouped together in the collection about Adoptionism sent by Pope Hadrian
I to the Spanish bishops. The letters
Death and rebirth: corpse or chrysalis
Max Ernst died on the 1st of August 1914. He resuscitated the 11th of November
1918 as a young man aspiring to become a magician and to find the myth of
Max Ernst (1942: 28)
Context: Cologne Dada1
The Cologne Dada group was founded in 1919 as, in Max Ernst’s words, ‘the
W/3 group for the idiots of the West, 3 for the 3 conspirators: Hans Arp, J. T.
Baargeld and Max Ernst’ (‘la Centrale W/3 pour les idiots de l’Ouest, 3 pour
les 3 conjurés: Hans Arp, J. T. Baargeld et Max Ernst’, 1970: 40). They collaborated
An aesthetic controversy during the establishment of the BBC Radiophonic Workshop and the radiophonic poem Private Dreams and Public Nightmares
and Public Nightmares mirror the general situation at the BBC during a phase when traditional values met the experimental avant-garde developments in radiophonic art and in music as well. The efforts to establish an electronic studio at the BBC beginning in November 1956 came relatively late compared to continental Europe, where electronic studios at broadcasting corporations in Paris, Cologne and Milan were, as major actors, essential to the development of avant-garde electroacoustic music. In direct reaction to developments on the Continent, the BBC took a strong
fairground, cabaret, exhibition
The public needs to be violated in unusual positions.
Francis Picabia (1978: 25)
In Dada’s privileged spaces – the fairground, the cabaret, the exhibition, the
cinema – from Zurich’s Cabaret Voltaire to the Salle Gaveau in Paris, via the
Cologne Brauhaus Winter brewery or Otto Burchardt’s Berlin art gallery, it is
enlightening to consider dadaist activities in terms of performance rather than
simply spectacle, process rather than product. Although the term ‘performance
art’ was first used around 1970 to
Dada bodies focuses critical attention on Dada’s limit-forms of the human image from an international and interdisciplinary perspective, in its different centres (Zurich, Berlin, Cologne, Hanover, Paris and New York) and diverse media (art, literature, performance, photography and film). Iconoclastic or grotesque, a montage of disparate elements or reduced to a fragment, machine-part or blob, Dada’s bodily images are confronted here as fictional constructs rather than mimetic integrated unities. They act as both a reflection of, and a reflection on, the disjunctive, dehumanised society of wartime and post-war Europe, whilst also proposing a blueprint of a future, possible body. Through detailed analysis of works by Max Ernst, Francis Picabia, Hannah Höch, Marcel Duchamp and others, informed by recent theoretical and critical perspectives, the work offers a reassessment of the movement, arguing that Dada occupies an ambivalent space, between the battlefield (in the satirical exposure of the lies of an ideology that sought to clothe the corpse of wartime Europe) and the fairground (in the playful manipulation of the body and its joyful renewal through laughter, dream and dance).
This book presents new research on the histories and legacies of the German
Expressionist group, Der Blaue Reiter, the founding force behind modernist
abstraction. For the first time Der Blaue Reiter is subjected to a variety of
novel inter-disciplinary perspectives, ranging from a philosophical enquiry into
its language and visual perception, to analyses of its gender dynamics, its
reception at different historical junctures throughout the twentieth century,
and its legacies for post-colonial aesthetic practices. The volume offers a new
perspective on familiar aspects of Expressionism and abstraction, taking
seriously the inheritance of modernism for the twenty-first century in ways that
will help to recalibrate the field of Expressionist studies for future
scholarship. Der Blaue Reiter still matters, the contributors argue, because the
legacies of abstraction are still being debated by artists, writers,
philosophers and cultural theorists today.
There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.
This work demonstrates that resistance to occupation by Nazi Germany and Fascist Italy during the Second World War has to be seen through a transnational, not a national, lens. It explores how people often resisted outside their country of origin because they were migrants, refugees or exiles who were already on the move. It traces their trajectories and encounters with other resisters and explores their experiences, including changes of beliefs, practices and identities. The book is a powerful, subtle and thought-provoking alternative to works on the Second World War that focus on single countries or on grand strategy. It is a ‘bottom up’ story of extraordinary individuals and groups who resisted oppression from Spain to the Soviet Union and the Balkans. It challenges the standard chronology of the war, beginning with the formation of the International Brigades in Spain and following through to the onset of the Cold War and the foundation of the state of Israel. This is a collective project by a team of international historians led by Robert Gildea, author of Fighters in the Shadows: A New History of the French Resistance (Faber & Faber, 2015). These have explored archives across Europe, the USA, Russia and Israel in order to unearth scores of fascinating individual stories which are woven together into themed chapters and a powerful new interpretation. The book is aimed at undergraduates and graduates working on twentieth-century Europe and the Second World War or interested in the possibilities of transnational history.