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Books on the topic 'Mise en abyme'

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Author: Grafiati

Published: 4 June 2021

Last updated: 5 September 2023

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1

Barry, Judith. Projections: Mise en abyme. North Vancouver, B.C: Presentation House Gallery, 1997.

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2

Eduardo Batarda: Mise en abyme. Lisboa: Galerias Municipais, EGEAC, 2016.

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3

Helga, Pakasaar, Wallis Brian 1953-, and Presentation House Gallery, eds. Judith Barry: Projections = mise en abyme. North Vancouver, B.C: Presentation House Gallery, 1997.

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4

Févry, Sébastien. La mise en abyme filmique: Essai de typologie. Liège: Editions du CEFAL, 2000.

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5

Donatella, Izzo, ed. Il Racconto allo specchio: Mise en abyme e tradizione narrativa. Roma: Nuova Arnica editrice, 1990.

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6

Berta, Luca. Oltre la mise en abyme: Teoria della metatestualità in letteratura e filosofia. Milano: FrancoAngeli, 2006.

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7

Cutrona, Alessandro. L'attualità della mise en abyme nelle opere di Peter Greenaway e Charlie Kaufman. Milano: Mimesis, 2016.

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8

L'expérience du roman: Lecture et mise en abyme chez Melville, Faulkner et Welles. Paris: Harmattan, 2011.

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9

Makkonen, Anna. Romaani katsoo peiliin: Mise en abyme -rakenteet ja tekstienvälisyys Marko Tapion Aape Heiskasen viikatetanssissa. Helsinki: Suomalaisen Kirjallisuuden Seura, 1991.

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10

Holmes, Jonathan. Mise en abyme and the suspension of dissent in "The taming of the shrew". Birmingham: University of Birmingham, 1999.

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11

D'Ottavi, Stefania D'Agata. Il sogno e il libro: La mise en abyme nei poemi onirici di Chaucer. Roma: Bulzoni editore, 1992.

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12

Durch den Spiegel: Die Mise en abyme in Dramen von Genet, Chaurette und Reza. Tübingen: Narr Verlag, 2014.

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13

Moudileno, Lydie. L' écrivain antillais au miroir de sa littérature: Mises en scène et mise en abyme du roman antillais. Paris: Editions Karthala, 1997.

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14

Naissances d'images: L'image dans l'image, des enluminures à la société des écrans. Paris: Klincksieck, 2018.

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15

Anne-Marie, Lecoq, and Musée des beaux-arts de Dijon., eds. La peinture dans la peinture. Paris: A. Biro, 1987.

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16

Fictions & interactions (Paris, France), ed. Fictions secondes: Mondes possibles et figures de l'enchâssement dans les oeuvres artistiques et littéraires. Paris: Éditions de la Sorbonne, 2019.

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17

The story within a story in biblical Hebrew narrative. Washington, D.C: Catholic Biblical Association of America, 2008.

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18

The author as hero: Self and tradition in Bulgakov, Pasternak, and Nabokov. Evanston, Ill: Northwestern University Press, 2002.

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19

Mise en abyme. Bromera, 2022.

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20

Mise en abyme. Paris, France: J'ai lu, 1996.

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21

Wallis, Brian, Mark Wigley, and Judith Barry. Judith Barry: Projections, Mise en Abyme. Presentation House Gallery/VAFS/Collapse, 2001.

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22

Les "Museum photographs" de Thomas Struth - une mise en abyme. MSH PARIS, 2005.

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23

Little Crystalline Seed: The Ontological Significance of Mise en Abyme in Post-Heideggerian Thought. State University of New York Press, 2019.

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24

Gauger, Charlotte. Abgrund Im Spiegel: Mise en Abyme - Zur Aufhebung der Ontologischen Dichotomien Von Kunst und Wirklichkeit. Transcript Verlag, 2019.

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25

BAILEY, L. A. Mise en AbÎme. Independently Published, 2018.

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26

Wyke, Maria. The Pleasures and Punishments of Roman Error. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198803034.003.0011.

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Early cinema, this chapter argues, struggled to balance the competing claims of moral purpose and entertainment where the legacy of Roman error was concerned. At the same time, cinema also sought to redefine and outperform other modes of classical reception (such as theatre, opera, painting, and the novel). Through a close examination of the French film Héliogabale, ou l’orgie romaine (Elagabalus, or the Roman Orgy), this chapter reveals how this dynamic plays out in the case of the boy-ruler viewed by tradition as the worst of Roman emperors. While the film’s concluding punishment of the emperor by a virile praetorian guard evokes contemporary French discourses of regeneration out of national decline, The Roman Orgy also displays an internal conflict in lingering pleasurably over Elagabalus’s transgressions. In this, its central character becomes device for cinematic mise-en-abyme, a technique that reflects the broader cultural debate over cinema in France.

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27

Ferguson, Sam. Paludes. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198814535.003.0003.

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Gide’s experimentation with diary-writing continues in Paludes. Like Les Cahiers d’André Walter, it is the diary (journal intime) of a character writing a novel (in this case also entitled ‘Paludes’, creating a structure of mise en abyme). The work’s exploration of diary-writing depends on a dizzying, comical instability in the text’s structure: first, the status of the main narrative (as a diary or some other sort of narrative) is never resolved; secondly, the relation between the main narrative and the narrator’s own literary creation (‘Paludes’) remains unclear. Paludes continues some of the theoretical themes from Les Cahiers d’André Walter, but the narrator of Paludes is more focused on embracing the contingency of diary-writing, as a way to escape the deterministic necessity of existence and achieve some sort of action and freedom in writing. The work calls for a new form of literary œuvre that can accommodate this diaristic contingency.

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28

Goh, Robbie B. H. Christopher Nolan. Bloomsbury Publishing Plc, 2022. http://dx.doi.org/10.5040/9781350140004.

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Christopher Nolan is the writer and director of Hollywood blockbusters like The Dark Knight and The Dark Knight Rises, and also of arthouse films like Memento and Inception. Underlying his staggering commercial success however, is a darker sensibility that questions the veracity of human knowledge, the allure of appearance over reality and the latent disorder in contemporary society. This appreciation of the sinister owes a huge debt to philosophy and especially modern thinkers like Friedrich Nietzsche, Sigmund Freud and Jacques Derrida. Taking a thematic approach to Nolan’s oeuvre, Robbie Goh examines how the director’s postmodern inclinations manifest themselves in non-linearity, causal agnosticism, the threat of social anarchy and the frequent use of the mise en abyme, while running counter to these are narratives of heroism, moral responsibility and the dignity of human choice. For Goh, Nolan is a ‘reluctant postmodernist’. His films reflect the cynicism of the modern world, but with their representation of heroic moral triumphs, they also resist it.

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29

d'Hubert, Thibaut. Literary Urbanity in Mrauk U. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190860332.003.0003.

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Chapter 2 focuses on urban literature and the milieu of the Bengali-speaking dignitaries. I provide a view of the cosmopolitan society of Mrauk U, and I try to locate Bengali-speaking Muslims in this environment. Narrowing down the focus on Ālāol’s immediate entourage, I observe the economy of the courts that he attended. These gatherings were organized by Bengali-speaking Muslim dignitaries who worked for the king of Arakan’s administration. I analyze how Ālāol described the relationship of his patrons and how he used the notion of “grandeur” to articulate the aspects of his own activity as a court poet. In the last section, I focus on a story found in one of Ālāol’s poems, which I read as a mise en abyme of his activity as a man of letters that provides insights into the way he conceived of patronage and the function of speech and eloquence in a courtly context.

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30

Egidi, Margreth, Ludger Lieb, Mireille Schnyder, Moritz Wedell, Johannes Bartuschat, Ladina Bezzola Lambert, Anna Kathrin Bleuler, et al. Liebesgaben. Erich Schmidt Verlag GmbH & Co. KG, 2012. http://dx.doi.org/10.37307/b.978-3-503-13743-5.

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Was ist eine Gabe? Löschen Tauschcharakter und Reziprozität die Gabe aus? Gibt es eine Gabe, die nicht erwidert werden will? Gibt es einen Überschuss des Gebens über die Gabe hinaus? Der Band untersucht solche und benachbarte Fragen, die aus den einschlägigen Theoriediskussionen bekannt sind, an literarischen Modellierungen von Liebesgaben in vormodernen Texten. Im Liebesdiskurs, so scheint es, können Gaben einen besonders prekären Status erhalten: kann hier doch eine Tausch-, Substitutions- und Vergeltungslogik zur Anwendung kommen auf das, was gemeinhin als inkommensurabel gilt – die Liebe. Zugleich sind Liebesgaben in vormoderner Literatur von hoher Relevanz für poetologische und narratologische Fragestellungen: Ihre literarische Modellierung kann zum 'mise en abyme' werden, zum Rückverweis des poetischen Textes auf sich selbst; Liebesgaben-Entwürfe werden ferner vielfach zu zentralen Brennpunkten und Schaltstellen narrativer Strukturen und Dynamiken. Die Beiträge gehen auf zwei Tagungen zu Liebesgaben in der lateinischen, deutschen, englischen und italienischen Literatur der Vormoderne zurück, die einander mit unterschiedlichen Akzentsetzungen ergänzten; dies spiegelt sich in der zweiteiligen Anlage des Bandes, der sich im ersten Teil kommunikativen, semiotischen und performativen Aspekten und im zweiten Teil narratologischen und poetologischen Dimensionen der Liebesgabe widmet.

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31

L'Anthropologue en déroute. Payot, 2001.

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32

Le drame lyrique au début du xxe siecle - hysterie et mise en abime. L'Harmattan, 2002.

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33

LaRocca, David, ed. Metacinema. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190095345.001.0001.

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When a work of art shows an interest in its own status as a work of art—either by reference to itself or to other works—we have become accustomed to calling this move “meta.” While scholars and critics have, for decades, referred to reflexivity in films, it is only here, for the first time, that a group of leading and emerging film theorists joins to directly and systematically address with clarity and rigor the meanings and implications of the meta for cinema. In ten new essays and a selection of vital canonical works, contributors chart, explore, and advance the ways in which metacinema is at once a mode of filmmaking and a heuristic for studying cinematic attributes. What we have here, then, is not just an engagement with certain practices and concepts in widespread use in the movies (from Hollywood to global cinema, from documentary to the experimental and avant-garde), but also the development of a veritable and vital new genre of film studies. Since metacinema has become an increasingly prominent cultural phenomenon—a kind of art and logic familiar to everyday experience around the world—its abundance and pervasiveness draws our attention. With more and more films expressing reflexivity, recursion, reference to other films, mise en abîme, seriality, and exhibiting related intertextual traits, the time is overdue for the kind of capacious yet nuanced critical study now in hand.

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