The American Museum of Natural History is monumental not only in its architecture and design but also in its size, scope, and content. This monumental quality suggests in and of itself the primary meaning of the museum inherited from its history: comprehensive collecting as a form of domination.8 In this respect museums belong to an era of scientific and colonial ambition, from the Renaissance through the early twentieth century, with its climactic moment in the second half of the nineteenth century. (...) It belongs in the category of nineteenth-century endeavors such as experimental medicine , evolutionary biology , and the naturalistic novel , all of which claimed to present a comprehensive social study. Such projects have been definitively compromised by postromantic critique, postcolonial protest, and postmodern disillusionment.9But in spite of its appearance, that prefix post- doesn’t make things any easier. Any museum of this size and ambition is today saddled with a double status; it is necessarily also a museum of the museum, a preserve not for endangered species but for an endangered self, a “metamuseum”: the museal preservation of a project ruthlessly dated and belonging to an age long gone whose ideological goals have been subjected to extensive critique.10 Willy-nilly, such a museum solicits reflections on and of its own ideological positions and history. It speaks to its own complicity with practices of domination while it continues to pursue an educational project that, having emerged out of those practices, has been adjusted to new conceptions and pedagogical needs. Indeed, the use of the museum in research and education is insisted on in its self-representations, including the Guide. 9. For an example of the postmodern critique, see Michael M. J. Fischer, “Ethnicity and the Postmodern Arts of Memory,” in Writing Culture: The Poetics and Politics of Ethnography, ed. Clifford and George E. Marcus , pp. 194-233.10. The metamuseal function of a museum like the American Museum is analyzed in Ames, Museums, the Public, and Anthropology. Mieke Bal is professor of the theory of literature at the University of Amsterdam and retains a visiting professorship in the comparative arts program at the University of Rochester. Her most recent book is Reading “Rembrandt”: Beyond the Word-Image Opposition. (shrink)

In this essay I will explore a mode of reading I call “reading for the text.” A text is what we make of a work when reading it: roughly, a meaningful, well-structured whole with a beginning and an end. But as a mode of reading, textuality allows for constant activity, a continual shaping nd reshaping of sign-events. I will argue that reading for a sense of textuality, and for the wholeness this simple textuality entails, does not necessarily preclude awareness of (...) a fundamental lack of unity, while reading for the effect of the real, in spite of the promotion of the “realistic detail,” tends to do so. The two modes of reading are fundamentally different; yet the conflict between them is not necessarily obvious, nor should such conflict be avoided, ignored, or smoothed out.The goal of this confrontation is not to promote textual reading at the expense of realistic reading. It is the conflict between them I wish to promote. The two modes of reading can be brought to bear on the same work, although they are incompatible. As a result, activating both modes is in itself a critical endeavor: their very combination helps one to avoid the unifying fallacy. Textual and realist readings are a problematic and thereby productive combination. Mieke Bal is professor of comparative literature and Susan B. Anthony Professor of women’s studies at the University of Rochester. The author of Death and Dissymmetry: The Politics of Coherence in the Book of Judges, her forthcoming book is Reading “Rembrandt”: Beyond the Word-Image Opposition. (shrink)

This essay is about the essay, a form of thought alive that is partial in the two senses of the word: subjective and fragmented. Thinking as social, performative, and always un-finished; as dialogic. Through the mythical figure of Cassandra, who could foresee the future but was cursed to be never believed, I tried to “figure,” make a figural shape for the thoughts on the indifference of people towards the imminent ecological disaster of the world. At the invitation of Jakub Mikurda (...) of the Łódź Film School to come and make an essay film, within one week, but with the participation of many great professionals, I was able to create, at least in the first draft, the essay film IT’S ABOUT TIME! The ambiguity of the title suggests the bringing together of my thoughts about time, in relation to history in its interrelation with the present, and, as the exclamation mark intimates, the urgency to do something. The former is enacted by a tableau vivant of Cassandra’s lover Aeneas as Caravaggio’s John the Baptist, with a contemporary painting by David Reed shifting over it; and by interactions with two paintings by Ina van Zyl. The urgency is presented in many of the dialogues, quoted from various sources, especially Christa Wolf’s novel Cassandra. I argue that “thinking in film,” with film as a medium for thought, is what the essay film’s foremost vocation is. Through a reflection on “thought-images,” which I see as the result of “image-thinking,” I also argue for the intellectual gain to be had from “essaying” thought artistically. (shrink)

This set of volumes sketches the history, breadth, and applicability of narrative theory, thus demonstrating its value as an analytical instrument. The collection includes articles from the leading names of narrative theory, such as Roland Barthes, Mikhail Bakhtin, Tzvetan Todorov and Jean-Françoise Lyotard, as well as lesser-known, though equally important, contributions. Titles already available in this series include _Deconstruction_ and _Modernism_. Forthcoming titles include _Romanticism_ and _Structuralism_.

After Rachel E. Burke briefly introduces the essays presented with a focus on our contemporary relationship to modern subjectivity, Mieke Bal will make the case for the sense of presentness on an affective and sensuous level in Munch’s paintings and Flaubert’s writing by selecting a few topics and cases from the book Emma and Edvard Looking Sideways: Loneliness and the Cinematic, published by the Munch Museum in conjunction with the exhibition Emma & Edvard. It is this foregrounded presentness that not (...) only produces the ongoing thematic relevance of these works, but more importantly, the sense-based conceptualism that declares art and life tightly bound together. If neither artist eliminated figuration in favour of abstraction, they had a good reason for that. Art is not a representation of life, but belongs to it, illuminates it and helps us cope with it by sharpening our senses. As an example, a few paintings will clarify what I mean by the noun-qualifier “cinematic” and how that aesthetic explains the production of loneliness. (shrink)

This article presents a few issues in the making of our film A Long History of Madness that pertain to the ‘Babylonic’. Spoken in 12 languages, ranging across six centuries, and shot in five countries, the film possesses an inherent Babylonism. It makes a case for a multilingual mode of communicating. Yet, beyond the obvious need for verbal communication, for which subtitles are necessary but insufficient, the film presents other reasons for extending the concept of translation. The knot of potential (...) confusion and the need for ‘translation’ are the ontological uncertainties surrounding ‘madness’ itself. The key questions are: are people mad? Do they perform madness, or do others perceive them as mad because they are too dissimilar from them to be accepted as ‘normal’? This fundamental uncertainty affects all forms of alterity. Translation becomes, then, a tool to negotiate alterity under the terms of the acceptance of this ontological uncertainty. (shrink)

The essays in this volume demonstrate how the performance of sincerity is culturally specific and is enacted in different ways in different media and disciplines, including law and the arts.