By Maurizio Ascari, Adriana Corrado
Crossing borders – either bodily and imaginatively – is a part of our ‘nomadic' postmodern id, yet transcultural and transnational exchanges have additionally performed an immense function within the centuries-long approaches of hybridisation that helped to type the substantial geographic, political and imaginitive box of variety we name Europe. This quantity gathers jointly the paintings of students from numerous eu international locations in an try and motivate a collective mirrored image upon old – and sometimes ‘mythical' – destinations and landscapes, in addition to upon the thresholds and faultlines that unite or separate them. the problems the amount tackles are tender and intricate, for the stumble upon of ameliorations engenders either interest and suspicion and there's no effortless option to create a brand new synthesis whereas respecting and selling variety. in spite of the fact that, on account that Europe is unavoidably a cultural and political entity ‘in the making', Europeans may still include the ‘great narrative' of a ‘utopian project', uniting their efforts to paintings in the direction of a civilisation that's grounded on plurality and openness.
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Sample text
Now in Golder’s Green Crematorium, the red-figure krater with a Dionysiac scene, containing his ashes, was a gift to Freud from Princess Marie Bonaparte. It stands on a plinth designed by Freud’s son Ernst, father of Lucian; see Lynn Gamwell and Richard Wells eds, Sigmund Freud and Art: His personal Collection of Antiquities (New York and London: SUNY and Freud Museum, 1989), p. 32. There are now Blue Plaques commemorating both Sigmund and his daughter, Anna, on the front of the house in Maresfield Gardens.
This was written before the principal publications of August Weismann, whose experiments seemed to show that acquired characteristics or repeated mutation had no effect on heredity; David Young, The Discovery of Evolution (Cambridge: CUP, 1992), p. 167; F. , XXV, p. 635 and The Complete Correspondence of Sigmund Freud and Ernest Jones 1908-1939, ed. by R. Andrew Paskauskas (Cambridge, Mass: Harvard UP, 1993), doc. 82. Duncan, p. 205. 42 Edward Chaney Richard Dadd in Egypt in late 1842. Providing a far clearer example of Oedipal father-hatred than Freud’s 17th-century German painter, Christoph Haizmann, or his case-study of Dostoevsky,10 or indeed most of the Frazerderived myths in his Totem and Taboo, which argues that parricide was “the principal and primal crime of humanity”, Dadd returned home from “the stream of new sensations” he encountered in Egypt in an extremely distracted state, compounded by sunstroke and his readings in Egyptian religion.
47. Diodorus’s enthusiastic account of Ozymandias, who was clearly based on Rameses II, had been well-known since Poggio Bracciolini’s Latin translation of 1472 (further popularised by Serlio in Book III of his treatise on architecture, which adds much on Egypt, including the 1530s observations of the future Cardinal, Marco Grimani). In all versions, including Baldelli’s 1574 Italian version (p. 39), the statement (presumably once in hieroglyphs) was printed in upper case and highlighted: “I am Ozymandias, King of Kings, if anyone would know how great I am and where I lie, let him surpass/see my works”.