This volume looks at masking and unmasking as indivisible aspects of the same process. It gathers articles from a wide range of disciplines and addresses un/masking both as a historical and a contemporary phenomenon. By highlighting the performative dimensions of un/masking, it challenges dichotomies like depth and surface, authenticity and deception, that play a central role in masks being commonly associated with illusion and dissimulation. The contributions explore topics such as the relationship between face, mask, and identity in artistic contexts ranging from Surrealist photography to video installations and from Modernist poetry to fin-de-siècle cabaret theater. They investigate un/masking as a process of transition and transformation – be it in the case of the wooden masks of the First Nations of the American Northwest Coast or of the elaborate costumes and vocal masking of pop icon Lady Gaga. In all of these instances, the act of un/masking has the power to simultaneously hide and reveal. It destabilizes supposedly fixed identities and blurs the lines between the self and the other, the visible and the invisible. The volume offers new perspectives on current debates surrounding issues such as protective masks in public spaces, facial recognition technologies, and colonial legacies in monuments and museums, offering insight into what the act of un/masking can mean today. With contributions by Laurette Burgholzer, Joyce Cheng, Sarah Hegenbart, Bethan Hughes, Judith Kemp, Christiane Lewe, W. Anthony Sheppard, Bernhard Siegert, Anja Wächter, and Eleonore Zapf.
This book offers a coherent representation of the etymology of historical and contemporary lexicalised idioms involving colour. The investigation covers idioms such as Grundonnerstag, Thursday of Holy Week', blau sein, to be drunk', rot sehen, to get angry', idioms from other languages, such as the Dutch Blauwboekjes, defamatory writings', the French conte blue, lie', loan translations such as blaues Blut from the Spanish sangre azul.
This volume looks at masking and unmasking as indivisible aspects of the same process. It gathers articles from a wide range of disciplines and addresses un/masking both as a historical and a contemporary phenomenon. By highlighting the performative dimensions of un/masking, it challenges dichotomies like depth and surface, authenticity and deception, that play a central role in masks being commonly associated with illusion and dissimulation. The contributions explore topics such as the relationship between face, mask, and identity in artistic contexts ranging from Surrealist photography to video installations and from Modernist poetry to fin-de-siècle cabaret theater. They investigate un/masking as a process of transition and transformation – be it in the case of the wooden masks of the First Nations of the American Northwest Coast or of the elaborate costumes and vocal masking of pop icon Lady Gaga. In all of these instances, the act of un/masking has the power to simultaneously hide and reveal. It destabilizes supposedly fixed identities and blurs the lines between the self and the other, the visible and the invisible. The volume offers new perspectives on current debates surrounding issues such as protective masks in public spaces, facial recognition technologies, and colonial legacies in monuments and museums, offering insight into what the act of un/masking can mean today. With contributions by Laurette Burgholzer, Joyce Cheng, Sarah Hegenbart, Bethan Hughes, Judith Kemp, Christiane Lewe, W. Anthony Sheppard, Bernhard Siegert, Anja Wächter, and Eleonore Zapf.
THE RETURN OF MARIE-JOELLE dramatically built around a romance, family values and traditions, is a vivid tale of eternal love spanning the mystery of life, death and beyond. Caught in a violent storm while canoeing on the Dordogne River in Southwest France, Marie Joelle at the age of seventeen tragically drowns. A few years later, her family and friends find themselves helplessly baffled by a mystery that shakes their core beliefs about life and death. The subsequent birth of Anais continues to mystify everyone as the little girls behavior gives many compelling manifestations indicating the possibility that the soul of their beloved Marie-Joelle has been reincarnated in the body of the child Anais. The story, carries an intriguing charm which may captivate a diversity of readers, regardless of their spiritual convictions, for this is not a treatise on any particular religious creed.
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