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Pornography: The Musical (2003)
Catalin Brylla

Brian Hill’s musical documentaries embody the essence of Judith Butler’s notion of ‘performativity’ as the discourse used in identity formation. By asking his characters to sing their stories in addition to traditional interviews, Hill creates multiple screen identities, which elicits an embodied intimacy that is as much about freeing marginalised people to enact themselves in front of the camera as it is about revealing the director’s own performance. This article uses a cognitive framework to explore how Hill’s documentary, Pornography: The Musical (2003), leads the spectator to challenge existing social stereotypes of sex workers, as well as schematic ideas about traditional documentary form and function.

Film Studies
From Burke’s Philosophical Enquiry to British Romantic art
Author: Hélène Ibata

The challenge of the sublime argues that the unprecedented visual inventiveness of the Romantic period in Britain could be seen as a response to theories of the sublime, more specifically to Edmund Burke’s Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757). While it is widely accepted that the Enquiry contributed to shaping the thematics of terror that became fashionable in British art from the 1770s, this book contends that its influence was of even greater consequence, paradoxically because of Burke’s conviction that the visual arts were incapable of conveying the sublime. His argument that the sublime was beyond the reach of painting, because of the mimetic nature of visual representation, directly or indirectly incited visual artists to explore not just new themes, but also new compositional strategies and even new or undeveloped pictorial and graphic media, such as the panorama, book illustrations and capricci. More significantly, it began to call into question mimetic representational models, causing artists to reflect about the presentation of the unpresentable and the inadequacy of their endeavours, and thus drawing attention to the process of artistic production itself, rather than the finished artwork. By revisiting the links between eighteenth-century aesthetic theory and visual practices, The challenge of the sublime establishes new interdisciplinary connections which address researchers in the fields of art history, cultural studies and aesthetics.

An enactive reading of the Middle English cycle plays
Eva von Contzen

and culturally specific – manifestations of how cognition and literature have been enmeshed. In theatre studies, such experience-based, cognitive approaches emphasise the phenomenal, ‘lived’ body rather than the body as a representation or signifier. 13 Bruce McConachie in particular has made a strong case for applying cognitive theories to theatre studies, for instance by drawing on recent work on mirror neurons and embodiment to describe the multiple ways in which theatre captures the audience

in Enacting the Bible in medieval and early modern drama
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Celestino Deleyto

less interested in providing a list of more or less pure noir films than in the concept and the history of the term, and with the light that such an exploration may cast on the films themselves. Taking his cue from George Lakoff’s cognitive theory of categories ( 1987 ), Naremore argues that every movie is ‘transgeneric’ and polyvalent and that movie conventions have always mixed, and sees genres as social and historical

in The secret life of romantic comedy
Anja Dalgaard-Nielsen

and interrelate’.18 This study leans on the definition of Jepperson, Wendt, and Katzenstein, but draws more explicitly on the insights of cognitive and belief-system theories. This affords the advantage of being able not just to list ideas and values but also to rank them in relative importance and see how they form an internally coherent system. Most cognitive theories make the fundamental assumption that belief systems consist of different layers of ideas. Though terminologies differ they all draw a distinction between central, operational, and peripheral beliefs

in Germany, pacifism and peace enforcement
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Chanita Goodblatt and Eva von Contzen

, ‘Narrative Voice and Agency in Drama: Aspects of a Narratology of Drama’, New Literary History 32.3 (2001), pp. 659–79; Bruce McConachie, Engaging Audiences: A Cognitive Approach to Spectating in the Theatre (New York: Palgrave Macmillan, 2008); Bruce McConachie and F. Elizabeth Hart (eds), Performance and Cognition: Theatre Studies and the Cognitive Turn (London and New York: Routledge, 2006); June Schlueter, Dramatic Closure: Reading the End (Madison, NJ: Fairleigh Dickinson University Press, 1995); Jill Stevenson, Performance, Cognitive Theory, and Devotional

in Enacting the Bible in medieval and early modern drama
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Robert Lanier Reid

M.T. Crane, Shakespeare’s Brain: Reading with Cognitive Theory (Princeton University Press, 2001). 60 P.A. Jorgensen, Our Naked Frailties (University of California Press, 1971}; Lear’s Self-Discovery (University of California Press, 1967); and‘“Perplex’d in the Extreme”: The Role

in Renaissance psychologies
Space, memory, and material devotion
Susannah Crowder

and Performance: An Art Historian at the Crossroads’, ROMARD, 51 (2012), 51–9, Stevenson, Performance, Cognitive Theory. Attention to objects in performance emerges from trends in New Materialism and scholars such as Bill Brown, Graham Harman, Jane Bennett, and Bruno Latour. For example, R. L. A. Clark, ‘Constructing the Female Subject in Late Medieval Devotion’, in K. M. Ashley and R. L. A. Clark (eds), Medieval Conduct (Minneapolis: University of Minnesota Press, 2001), pp. 160–82. Raguin and Stanbury (eds), Women’s Space, p. 9 (see p. 10 for the ‘gendered

in Performing women
Megan Cavell, Jennifer Neville, and Victoria Symons

through engagements with literary theory. This section begins with Karin Olsen’s ‘Warriors and their battle gear: conceptual blending in Anhaga (R.5) and Wæpnum Awyrged (R.20)’, which draws on cognitive theory to discuss the mental labour that underlies the identification and evaluation of riddle solutions. After mapping out the process of conceptual blending, Olsen analyses Anhaga (R.5) and Wæpnum Awyrged (R.20), demonstrating how clues replace a blend’s narrative context and allow would-be solvers to narrow down possible referents. In so doing, Olsen makes

in Riddles at work in the early medieval tradition
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Cora Fox, Bradley J. Irish, and Cassie M. Miura

: Reinvigorating the Study of Dramatic Texts and Performance through Cognitive Science (New York: Palgrave Macmillan, 2010); Mary Thomas Crane, Shakespeare's Brain: Reading with Cognitive Theory (Princeton: Princeton University Press, 2001); Mary Thomas Crane, ‘Analogy, Metaphor, and the New Science: Cognitive Science and Early Modern Epistemology’, in Lisa Zunshine (ed.), Introduction to Cognitive Cultural Studies (Baltimore: Johns Hopkins University Press, 2010), pp. 103–14; Arthur F. Kinney, Shakespeare's Webs: Networks of Meaning in Renaissance Drama (New York

in Positive emotions in early modern literature and culture