Issue Editor <\/strong>Daniel Laforest<\/p>\n portfolio<\/a> |\u00a0<\/strong>interview<\/a> | dialogue<\/a> | Tanya Ury<\/p>\n Introduction: Stealing the Image<\/a>| Daniel Laforest<\/p>\n Relationships of Ownership: Art and Theft in Bob Dylan\u2019s 1960s Trilogy<\/a>\u00a0|\u00a0Michael Rodgers<\/span><\/p>\n Portraits d\u2019un imaginaire de l\u2019avant-garde\u00a0:\u00a0le\u00a0Carr\u00e9 noir sur fond blanc\u00a0de Kazimir Malevitch et ses r\u00e9incarnations artistiques<\/a>\u00a0|\u00a0Genevi\u00e8ve Cloutier In Possession of a Stolen Weapon: From John Gay\u2019s Macheath to Rub\u00e9n Blades\u2019 Pedro Navaja<\/a>\u00a0|\u00a0Antonio Viselli<\/span><\/p>\n Stealing or Steeling\u00a0the Image?\u00a0The failed branding of the\u00a0Guerrillero Heroico\u00a0image of Che Guevara<\/a>\u00a0|\u00a0Maria-Carolina Cambre<\/span><\/p>\n Trauma Narratives, Mixed Media, and the Meditation on the Invisible<\/a>\u00a0|\u00a0Christof Decker<\/span><\/p>\n Perceptions of Jewish Female Bodies through Gustav Klimt and Peter Altenberg<\/a>\u00a0|\u00a0Susanne Kelley<\/span><\/p>\n (E)merging Discourses: Architecture and Cultural Studies<\/a>\u00a0|\u00a0Sarah McGaughey<\/span><\/p>\n Full Issue PDF<\/a>\u00a0| http:\/\/dx.doi.org\/10.17742\/IMAGE.stealimage.3-1<\/span><\/p>\n Stealing or Steeling the Image? The failed branding of the Guerrillero Heroico image of Che Guevara | Carolina Cambre<\/p>\n This article traces the ongoing tension between those who would characterize Alberto Korda\u2019s famous image of Che Guevara, The <\/em>Guerrillero Heroico<\/em>, as a brand, trademark or logo, and those who insist it is a political\/cultural icon and non-commercial and that these categories are mutually exclusive.\u00a0 The question of whether the image has been emptied of political content, and the debate around the copyrighting of an image considered by many to be in the public domain and a cultural icon are explored. The long-lasting struggle over the meanings and collective memories associated with this image indicate the possibility that both processes of commodification and radicalization of the image of Che Guevara can coexist. Using the literature on consumer research to engage definitions of branding as a commercially geared venture, this article teases out the problematics of different uses of the photograph and its derivatives, and highlights ambiguities around the notions of creation and authorship. After examining this image\u2019s role within Cuba, Cuban use outside of Cuba, and its commercial and non-commercial uses by non-Cubans, I conclude that attempts at branding products with this particular image fail, and therefore its copyrighting is irrelevant.<\/p>\n Portraits d\u2019un imaginaire de l\u2019avant-garde\u00a0:\u00a0le Carr\u00e9 noir sur fond blanc de Kazimir Malevitch et ses r\u00e9incarnations artistiques | Genevi\u00e8ve Cloutier<\/p>\n Kazimir Malevitch\u2019s \u201cBlack Square\u201d (1915) is one of the most recycled paintings in recent art history. More or less successfully, respectfully or ironically, artists from all around have gleefully reproduced it, ridiculed it, embezzled it and recycled it. In Russia, such has been the gravity of this phenomenon for the last thirty years, so that, it led to contemporary Russian art not being perceived as derived from<\/em> Malevitch but on <\/em>Malevitch. By retracing the long and tumultuous history of \u201cBlack Square\u201d and its numerous artistic \u2018reincarnations,\u2019 this essay focuses on what these practices of reproduction tell us about the attitude of artists towards \u201cBlack Square\u201d itself but also, perhaps mainly, about their relationship to an avant-garde with a controversial heritage of which this painting became the icon.<\/p>\n Trauma Narratives, Mixed Media, and the Meditation on the Invisible | Christof Decker<\/p>\n This essay examines the relationship between the history of trauma narratives and the development of media representations. Starting in the late 19th century, modernist cultures were increasingly forced to represent and reflect upon the traumatic experience of destruction and war. In this process of reflection, the \u2018invisibility\u2019 or unrepresentability of traumatic incidents became a recurring theme. Taking up W.J.T. Mitchell\u2019s suggestion that all media are \u201cmixed media,\u201d I argue that the technological, semiotic, and narrative hybridity of mixed media has a special relationship to this theme. More specifically, I want to show that the explicit or overt presentation of mixed media has historically been invoked as a trope of reflexivity and a way of expressing the difficulties of representing traumatic experience. I will begin my investigation with literary and visual examples from American modernism and conclude with more recent instances of mixed media hybrids combining analogue and digital media.<\/p>\n Perceptions of Jewish female bodies through Gustav Klimt and Peter Altenberg | Susanne Kelley<\/p>\n Gustav Klimt and Peter Altenberg are two figures within Viennese fin-de-si\u00e8cle cultural production whose art may reveal a perception of local Jewish culture through their different foci on the non-European female body image. Both men have moments in their career, when their attention turns to non-European cultures, through which they inadvertently represent and interpret their own. A selection of these two artists\u2019 most well-known works demonstrate two frameworks in which Viennese Jewishness can be read through an alignment of the female body with Asian and African cultures.<\/p>\n (E)merging Discourses: Architecture and Cultural Studies | Sarah McGaughey<\/p>\n Three recent works, Rosalind Galt\u2019s Pretty<\/em>, Anne Cheng\u2019s Second Skin<\/em>, and Daniel Purdy\u2019s On the Ruins of Babel<\/em> incorporate architectural history and architectural discourse into their analyses in ways that are new to their respective fields ranging from studies of film, gender, and race to intellectual history. Placing these three works in one essay allows for a detailed review of the ways in which each author employs architecture, at the same time as it reveals the benefits and challenges of incorporating architecture into cultural studies. The essay discusses the contributions of each work to their fields and also takes advantage of the different approaches to culture and architecture to explore the ways in which this relationship might continue to inform and generate productive studies.<\/p>\n Relationships of Ownership: Art and Theft in Bob Dylan\u2019s 1960s\u2019 Trilogy | Michael Rodgers<\/p>\n Bob Dylan\u2019s corpus is one continually engaged with appropriation and pilfering. This paper will look, predominantly, at three songs from his 1960s\u2019 trilogy \u2013 \u2018She Belongs To Me\u2019 from Bringing It All Back Home<\/em> (1965), \u2018Visions of Johanna\u2019 from Blonde on Blonde<\/em> (1966), and \u2018Desolation Row\u2019 from Highway 61 Revisited<\/em> (1965) \u2013 arguing that, in these songs, Dylan problematizes the interrelationship between art, theft, and ownership. I argue that, similar to the urban artist Banksy, Dylan challenges, toys with, and appropriates cultural images in order to continually question the concept of proprietorship whilst rescuing cultural images from esoterica and attempting to put them back into the public domain.<\/p>\n In Possession of a Stolen Weapon: From John Gay\u2019s Macheath to Rub\u00e9n Blades\u2019 Pedro Navaja\u00a0 | Antonio Viselli<\/p>\n This article analyses the cult salsa song \u201cPedro Navaja\u201d by Panamanian artist Rub\u00e9n Blades and the relevance of narrating such a genre peculiar to dancing, an analysis in accordance with adaptation theory outlined by Linda Hutcheon, and a Brechtian semiotic methodology which combines Gestus<\/em> with theories of the sign. \u201cPedro Navaja\u201d is arguably a re-writing of \u201cMack the Knife\u201d \u2013 or Die Moritat von Mackie Messer<\/em> \u2013 one which contains, as a sort of mise-en-abyme<\/em>, elements not only of Kurt Weill\u2019s song, but of both John Gay\u2019s The Beggar\u2019s Opera<\/em> and Bertolt Brecht\u2019s The Threepenny Opera<\/em>. This study focuses on the fertile adaptation history of the highwayman Macheath since Gay\u2019s work, on close-readings of \u201cPedro Navaja\u201d \u2013 a narrativized cerebral salsa song \u2013 and on the ethics of adapting a character, story or genre. Finally, when the character Pedro Navaja is adapted from Blades\u2019 song by a cineaste and playwright, Blades, furious with what others have done with \u2018his\u2019 character, decides to resuscitate his eponymous hero killed off at the end of the original song in order to regain the authority of his creation. From theoretical questions including how to read an adaptation or what constitutes an adaptation, this article focuses on the diachronic recurrences of a specific character-type, on the significance of juxtaposing particular historical junctures and on the violence of adaptation and authorship.<\/p>\n TANYA URY (* 1951 in London) is a British – German artist and writer. Ury studied fine art at Exeter College of Art and Design from 1985 to 1988 and in 1989 1 semester at the Institute for Theatre, Film and Television Studies, Cologne University (D). In 1990 she graduated in Master of Fine Arts at Reading University. From 1991 to 1992 she was a guest lecturer at Sheffield Hallam University, with the Colin Walker Fellowship in Fine Art and from 2010 a PhD. in Humanities candidate, with Prof. Ernst J. van Alphen, Faculty of the Humanities, Leiden University Institute for Cultural Disciplines (LUICD) (NL). She has been living and working in Cologne, Germany, since 1993. Most of her family lived here before having to flee into exile to London because of their Jewish origins. As a writer, activist, and in her photography, installations, performance and video art Tanya Ury deals with questions of Judeo-German identity, the handling of German society with its history, the role of subaltern women against the background of migration and racism. Prostitution, voyeurism and the Holocaust are issues in a large number of her works.\u00a0http:\/\/tanyaury.com<\/a><\/p>\n CAROLINA CAMBRE received her doctorate from the Policy Studies in the Education department at the University of Alberta. Her dissertation research was titled The Politics of the Face: Manifestations of Che Guevara\u2019s Image and its Renderings, Progeny, and Agency<\/em>. Currently she is teaching courses in Mass Media and Advertising for the University of Western Ontario\u2019s Sociology department.<\/p>\n GENEVI\u00c8VE CLOUTIER obtained her PhD in Comparative Literature and Slavic Studies with a dissertation on the \u2018dread of history\u2019 in the Russian avant-garde. Currently, she is a post-doctoral fellow at the Figura Research Center of the Universit\u00e9 du Qu\u00e9bec \u00e0 Montreal focusing on the re-emergence of the avant-garde in contemporary culture.<\/p>\n CHRISTOPH DECKER is associate professor of American and media studies at the University of Munich\/Ludwig-Maximilians-Universit\u00e4t M\u00fcnchen. He received a Ph.D. from the Free University Berlin in 1994 and was Honorary Fellow at the University of Wisconsin-Madison. He is teaching in the Department of English and American Studies and has published widely on documentary and Hollywood cinema, avant-garde film, and the history of mass media. Most recently he edited Visuelle Kulturen der USA\/Visual Cultures of the USA<\/em> (2010) to which he contributed a chapter on American film.<\/p>\n SUSANNE KELLEY is Assistant Professor of German at Kennesaw State University. She holds a PhD from the University of California, Los Angeles. She has published on the role of Vienna 1900 in contemporary Vienna\u2019s self-marketing strategies as well as on the travel motif in post-Wende German literature. Her current research focus is modernism and Viennese culture, fin-de-si\u00e8cle and the visual arts, tourism and travel literature, and orientalism in literature and visual arts.<\/p>\n SARAH MCGAUGHEY is assistant professor of German at Dickinson College in Carlisle, Pennsylvania. She is completing a manuscript tentatively titled Ornament as Crisis: Architecture, Design, and Modernity in Hermann Broch’s Die Schlafwandler<\/span><\/em>. Her research focus is on spatial theory and architectural theory as it intersects with literature. She has published articles on topics ranging from fashion and furniture to the concept of style and architecture in Broch’s early works. Her next project is on architectural interiors of Modernism. Sarah McGaughey is a member of the board of directors of the international association of scholars working on Hermann Broch (IAB) and of the editorial advisory board of Imaginations: Journal of Cross-Cultural Image Studies<\/em>.<\/p>\n MICHAEL RODGERS is in the final stages of his PhD undertaking a Nietzschean analysis of Vladimir Nabokov\u2019s writings. He works as a Graduate Teaching Assistant at the University of Strathclyde and is currently editing a volume on \u2018Nabokov and Morality\u2019 derived from a conference that he organized last year. His article \u2018Lolita<\/em>\u2019s Nietzschean Morality\u2019 was published in Philosophy and Literature<\/em> in 2011 and he has another forthcoming on the topic of Nabokov\u2019s posthumous novel The Original of Laura<\/em>. He is a contributor to The Literary Encyclopedia<\/em>, the Slavonic and East European Review<\/em> and the Nabokov Online Journal<\/em>.<\/p>\n ANTONIO VISELLI is a doctoral candidate at the Centre for Comparative Literature at the University of Toronto. His primary area of interest focuses on musical aesthetics in literature, namely the \u201cfugue\u201d in French Symbolism and European Modernism. Antonio completed a Masters in Europe entitled \u201cMaster Mundus: Crossways in European Humanities,\u201d with degrees from the University of Perpignan (France), Bergamo (Italy) and St. Andrews (Scotland).<\/div>\n Stealing or Steeling the Image? The failed branding of the Guerrillero Heroico image of Che Guevara | Carolina Cambre<\/p>\n Cet article suit la trace historique d\u2019une tension persistante autour de la photo c\u00e9l\u00e8bre de Che Guevara intitul\u00e9e \u00ab\u00a0Guerrillero Heroico<\/em> \u00bb et prise par Alberto Korda. Cette tension prend place entre ceux qui la caract\u00e9risent comme une marque d\u00e9pos\u00e9e ou un logo et ceux qui insistent sur sa valeur de symbole politique et culturel non-commercial. Ces cat\u00e9gories s\u2019excluent mutuellement. Sont examin\u00e9s la lutte pour les droits de propri\u00e9t\u00e9 intellectuelle de cette image que beaucoup consid\u00e8rent comme un symbole culturel du domaine public, ainsi que la possibilit\u00e9 que cette image ait perdu sa valeur politique. La persistance de ce d\u00e9bat sur les significations et les formes de m\u00e9moires collectives qu\u2019on y associe indiquent la possibilit\u00e9 que le processus de marchandisation peut coexister avec celui de radicalisation en ce qui la concerne. Cet article fait ressortir le probl\u00e8me de la vari\u00e9t\u00e9 des emplois d\u2019une image et de ses d\u00e9riv\u00e9s, en m\u00eame temps qu\u2019il souligne les ambigu\u00eft\u00e9s autour des concepts de cr\u00e9ation et de paternit\u00e9 en utilisant des \u00e9tudes sur la consommation. Ayant \u00e9valu\u00e9 le r\u00f4le de cette image \u00e0 l\u2019int\u00e9rieur des fronti\u00e8res de Cuba, son emploi par les cubains \u00e0 l\u2019ext\u00e9rieur du pays, ainsi que ses emplois commercial et non-commercial par les autres, je conclus que la commercialisation de cette image est vou\u00e9e \u00e0 l\u2019\u00e9chec et qu\u2019il est inutile de rechercher les droits de propri\u00e9t\u00e9 intellectuelle.<\/p>\n Portraits d\u2019un imaginaire de l\u2019avant-garde\u00a0:\u00a0le Carr\u00e9 noir sur fond blanc<\/em> de Kazimir Malevitch et ses r\u00e9incarnations artistiques | Genevi\u00e8ve Cloutier<\/p>\n Le Carr\u00e9 noir sur fond blanc<\/em> de Kazimir Malevitch (1915) est l\u2019un des tableaux les plus \u00ab\u00a0r\u00e9cup\u00e9r\u00e9s\u00a0\u00bb dans l\u2019histoire r\u00e9cente de l\u2019art. Avec plus ou moins de bonheur selon les cas, avec respect ou ironie, les artistes de divers horizons l\u2019ont all\u00e8grement copi\u00e9, parodi\u00e9, d\u00e9tourn\u00e9, recycl\u00e9. En Russie, l\u2019ampleur du ph\u00e9nom\u00e8ne est telle depuis les quelque trente derni\u00e8res ann\u00e9es que, de l\u2019art contemporain russe, on a pu dire qu\u2019il \u00e9tait non pas un art apr\u00e8s<\/em> Malevitch, mais un art sur<\/em> Malevitch. Dans cet article, qui prend la forme d\u2019un parcours \u00e0 travers la longue et tumultueuse histoire du Carr\u00e9 noir<\/em> et de ses multiples \u00ab\u00a0r\u00e9incarnations\u00a0\u00bb artistiques, je m\u2019int\u00e9resse \u00e0 ce que ces pratiques de r\u00e9cup\u00e9ration viennent nous dire sur l\u2019attitude des artistes \u00e0 l\u2019\u00e9gard du Carr\u00e9 noir<\/em> lui-m\u00eame, mais aussi, et peut-\u00eatre surtout, sur leur relation avec une avant-garde \u00e0 l\u2019h\u00e9ritage controvers\u00e9 dont ce tableau est devenu l\u2019ic\u00f4ne.<\/p>\n Trauma Narratives, Mixed Media, and the Meditation on the Invisible | Christof Decker<\/p>\n Cet article examine le rapport entre l\u2019histoire du r\u00e9cit de l\u2019exp\u00e9rience traumatique et le d\u00e9veloppement des repr\u00e9sentations m\u00e9diatiques. \u00c0 partir de la fin du 19eme si\u00e8cle, les cultures de la modernit\u00e9 ont \u00e9t\u00e9 forc\u00e9es de repr\u00e9senter l\u2019exp\u00e9rience traumatique de la destruction et de la guerre, puis d\u2019y r\u00e9fl\u00e9chir. \u00c0 travers cette r\u00e9flexion, l\u2019invisibilit\u00e9<\/em> ou le non-repr\u00e9sentabilit\u00e9 des incidents traumatiques est devenu un th\u00e8me r\u00e9current dont je sugg\u00e8re ici le rapport particulier \u00e0 l\u2019hybridit\u00e9 s\u00e9miotique et celle narrative du suivant la suggestion de W.J.T. Mitchell que tous les m\u00e9dias sont multim\u00e9diatiques. Plus pr\u00e9cis\u00e9ment, je veux d\u00e9montrer que, traditionnellement, on a invoqu\u00e9 la pr\u00e9sentation explicite ou ouvertement multim\u00e9diatique comme un trope de r\u00e9flexivit\u00e9 et comme une fa\u00e7on d\u2019exprimer les difficult\u00e9s qu\u2019on rencontre en essayant de repr\u00e9senter l\u2019exp\u00e9rience traumatique. Je commence mon \u00e9tude avec des exemples du modernisme am\u00e9ricain pour en arriver \u00e0 des exemples plus r\u00e9cents de l\u2019hybridit\u00e9 multim\u00e9diatique en combinant les m\u00e9dias analogues et num\u00e9riques.<\/p>\n Perceptions of Jewish female bodies through Gustav Klimt and Peter Altenberg | Susanne Kelley<\/p>\n Gustav Klimt et Peter Altenberg sont deux personnalit\u00e9s viennoises de la culture fin-de-si\u00e8cle dont l\u2019art peut offrir des indices quant \u00e0 la perception de la culture juive \u00e0 travers leur repr\u00e9sentation du corps de la femme non-europ\u00e9enne. Tous deux ont r\u00e9ussi involontairement \u00e0 repr\u00e9senter et \u00e0 interpr\u00e9ter leur propre culture en se concentrant sur des cultures non-europ\u00e9ennes \u00e0 certains moments de leur carri\u00e8re. Cette s\u00e9lection des plus c\u00e9l\u00e8bres \u0153uvres de ces deux artistes fournit deux mod\u00e8les d\u2019interpr\u00e9tation de la jud\u00e9it\u00e9 viennoise \u00e0 travers la repr\u00e9sentation de corps de femmes asiatiques et africaines.<\/p>\n (E)merging Discourses: Architecture and Cultural Studies | Sarah McGaughey<\/p>\n Trois \u0153uvres r\u00e9centes\u00a0: \u00ab\u00a0Petty<\/em> \u00bb par Rosalind Galt, \u00ab\u00a0Second Skin<\/em> \u00bb par Anne Cheng, et \u00ab\u00a0On the Ruins of Babel<\/em> \u00bb par Daniel Purdy int\u00e8grent l\u2019histoire architecturale et le discours architectural d\u2019une fa\u00e7on innovatrice \u00e0 des domaines qui vont des \u00e9tudes filmiques aux \u00e9tudes sur les genres, aux \u00e9tudes raciales \u00e0 l\u2019histoire des id\u00e9es. Regrouper les trois \u0153uvres dans un article, permet d\u2019examiner la mani\u00e8re selon laquelle chaque auteur emploie l\u2019architecture, ainsi que de faire ressortir les avantages et les d\u00e9fis d\u2019incorporer l\u2019architecture dans le domaine des \u00e9tudes culturelles. Cet article \u00e9value les contributions de chaque \u0153uvre \u00e0 son domaine respectif, mais il profite aussi de la vari\u00e9t\u00e9 d\u2019approches de la culture et de l\u2019architecture pour explorer la possibilit\u00e9 que ces rapports interdisciplinaires puissent continuer \u00e0 ouvrir la voie \u00e0 des formes de recherches novatrices.<\/p>\n Relationships of Ownership: Art and Theft in Bob Dylan\u2019s 1960s\u2019 Trilogy | Michael Rodgers<\/p>\n L\u2019\u0153uvre de Bob Dylan continue \u00eatre sujet \u00e0 l\u2019appropriation et au pillage. Cet article \u00e9value, principalement, trois chansons qui font partie de la trilogie d\u2019albums parue pendant les ann\u00e9es 60 \u2013 She Belongs To Me<\/em> de l\u2019album Bringing It All Back Home<\/em> (1965), Visions of Johanna<\/em> de Blonde on Blonde<\/em> (1966), et Desolation Row<\/em> de Highway 61 Revisited<\/em> (1965). Je cherche soutenir qu\u2019\u00e0 travers ces chansons Dylan propose des nouveaux probl\u00e8mes quant \u00e0 l\u2019interrelation entre l\u2019art, le vol et la propri\u00e9t\u00e9. Mon argument est que, \u00e0 l\u2019instar de l\u2019artiste urbain Banksy, Dylan joue avec les images culturelles et se les appropries en m\u00eame temps qu\u2019il les met \u00e0 l\u2019\u00e9preuve afin de mettre en doute le concept de propri\u00e9t\u00e9. \u00c0 travers ses \u0153uvres, Dylan r\u00e9cup\u00e8re ces images \u00e0 partir de leur marginalit\u00e9, pour les replacer dans un espace publique.<\/p>\n In Possession of a Stolen Weapon: From John Gay\u2019s Macheath to Rub\u00e9n Blades\u2019 Pedro Navaja | Antonio Viselli<\/p>\n Cet article examine la chanson salsa culte \u00ab\u00a0Pedro Navaja\u00a0\u00bb de l\u2019artiste panam\u00e9en Rub\u00e9n Blades en regard de montrer l\u2019importance de la narration \u00e0 l\u2019int\u00e9rieur d\u2019un genre particulier \u00e0 la danse, et en utilisant la th\u00e9orie de l\u2019adaptation de Linda Hutcheon et la m\u00e9thodologie s\u00e9miotique brechtienne combinant le Gestus<\/em> avec les th\u00e9ories du signe. \u00ab\u00a0Pedro Navaja\u00a0\u00bb est une r\u00e9\u00e9criture de la chanson \u00ab\u00a0Mack the Knife<\/em> \u00bb (\u00ab\u00a0Die Moritat von Mackie Messer<\/em> \u00bb); elle utilise les \u00e9l\u00e9ments de la chanson de Kurt Weill pour cr\u00e9er une sorte de mise en abyme. Elle contient aussi des \u00e9l\u00e9ments des chansons \u00ab\u00a0The Beggar\u2019s Opera<\/em> \u00bb par John Gay et \u00ab The<\/em> Threepenny Opera<\/em> \u00bb par Bertolt Brecht. L\u2019article \u00e9value les nombreuses adaptations du bandit de grand chemin, Macheath, suivant son utilisation chez Gay, et examine l\u2019\u00e9thique de l\u2019adaptation d\u2019un personnage, d\u2019une histoire ou d\u2019un genre, en m\u00eame temps qu\u2019il effectue une lecture d\u00e9taill\u00e9 de \u00ab\u00a0Pedro Navaja\u00a0\u00bb comme une chanson salsa intellectuelle et narrative. Au bout du compte Blades d\u00e9cide de ressusciter le protagoniste \u00e9ponyme qu\u2019il avait tu\u00e9 \u00e0 la fin de la chanson originale lorsqu\u2019il trouve exasp\u00e9rant ce que les autres font de Pedro Navaja dans leurs adaptations. Il le fait pour reprendre les droits de propri\u00e9t\u00e9 sur sa cr\u00e9ation. Cet article se concentre sur la r\u00e9apparition diachronique d\u2019un personnage type, sur la signification de la juxtaposition de conjonctures historiques sp\u00e9cifiques et sur la violence quant \u00e0 l\u2019adaptation et \u00e0 la propri\u00e9t\u00e9 en posant des questions th\u00e9oriques, y compris celle de ce qui constitue une adaptation et la question des fa\u00e7ons dont celle-ci doit \u00eatre lue.<\/p>\n TANYA URY (* 1951 \u00e0 Londres) est une artiste et \u00e9crivaine britanno-germanique. Elle a \u00e9tudi\u00e9 les beaux-arts au Exeter College of Art and Design de 1985 \u00e0 1988, et a compl\u00e9t\u00e9 un semestre en 1989 \u00e0 l\u2019Institute for Theatre, Film and Television Studies de l\u2019Universit\u00e9 de Cologne. Elle a obtenu une ma\u00eetrise en beaux-arts de l\u2019University of Reading en 1990, puis a occup\u00e9 un poste de ma\u00eetre de conf\u00e9rence invit\u00e9 \u00e0 la Sheffield Hallam University de 1991 \u00e0 1992, gr\u00e2ce au Colin Walker Fellowship in Fine Arts. Depuis 2010, elle est candidate au doctorat en Humanities au Leiden University Institute for Cultural Disciplines, sous la supervision du professeur Ernst J. van Alphen. Tanya Ury vit \u00e0 Cologne, en Allemagne, depuis 1993. La plupart des membres de sa famille ont v\u00e9cu en ce lieu avant de devoir s\u2019exiler \u00e0 Londres en raison de leur origine juive. En tant qu\u2019\u00e9crivaine et activiste, de m\u00eame qu\u2019avec ses photographies, ses installations, et ses performances sur vid\u00e9o, Tanya Ury se confronte aux questions de l\u2019identit\u00e9 jud\u00e9o-germanique, au traitement par l\u2019Allemagne de son pass\u00e9 historique, au r\u00f4le subalterne jou\u00e9 par les femmes en regard de l\u2019immigration et du racisme. La prostitution, le voyeurisme, et l\u2019Holocauste sont \u00e9galement abord\u00e9s dans un grand nombre de ses \u0153uvres.\u00a0http:\/\/tanyaury.com<\/a><\/p>\n CAROLINA CAMBRE est titulaire d\u2019un doctorat en en \u00e9ducation, avec sp\u00e9cialisation en politiques de l\u2019enseignement de l\u2019Universit\u00e9 d\u2019Alberta avec une th\u00e8se intitul\u00e9e \u00ab\u00a0The Politics of the Face: Manifestations of Che Guevara\u2019s Image and its Renderings, Progeny, and Agency<\/em> \u00bb. Actuellement, elle enseigne des cours de m\u00e9dias et de publicit\u00e9 au d\u00e9partement de sociologie de l\u2019Universit\u00e9 de Western Ontario.<\/p>\n GENEVI\u00c8VE CLOUTIER Titulaire d\u2019un doctorat en \u00e9tudes slaves et litt\u00e9rature compar\u00e9e et auteure d\u2019une th\u00e8se sur la \u00ab\u00a0terreur de l\u2019histoire\u00a0\u00bb dans l\u2019avant-garde russe, Genevi\u00e8ve Cloutier est pr\u00e9sentement stagiaire post-doctorale au centre de recherche Figura de l\u2019UQAM, o\u00f9 elle s\u2019int\u00e9resse aux r\u00e9surgences de l\u2019avant-garde dans la culture contemporaine.<\/p>\n CHRISTOF DECKER est professeur agr\u00e9g\u00e9 d\u2019\u00e9tudes am\u00e9ricaines et m\u00e9diatiques \u00e0 l\u2019Universit\u00e9 de Munich (Ludwig – Maximilians – Universit\u00e4t M\u00fcnchen<\/em>) o\u00f9 il enseigne dans le cadre du d\u00e9partement d\u2019\u00e9tudes anglaises et am\u00e9ricaines. Titulaire d\u2019un doctorat de l\u2019Universit\u00e9 libre de Berlin (1994) et membre honorifique \u00e0 l\u2019Universit\u00e9 du Wisconsin-Madison, il est auteur de nombreuses publications sur le cin\u00e9ma documentaire, sur le cin\u00e9ma hollywoodien, sur le film d\u2019avant-garde, et sur l\u2019histoire des m\u00e9dias de masse. R\u00e9cemment, il a fait la contribution d\u2019un chapitre sur le film am\u00e9ricain dans le livre \u00ab\u00a0Visuelle Kulturen der USA\/Visual Cultures of the USA<\/em> \u00bb (2010), qu\u2019il a \u00e9galement \u00e9dit\u00e9.<\/p>\n SUSANNE KELLEY est ma\u00eetre de conf\u00e9rences en allemand \u00e0 L\u2019universit\u00e9 Kennesaw State. Elle est titulaire d\u2019un doctorat de l\u2019Universit\u00e9 de Californie Los Angeles. Ses publications se concentrent sur le r\u00f4le du Vienne des ann\u00e9es 1900 dans les strat\u00e9gies contemporaines d\u2019autopromotion, ainsi que sur le th\u00e8me du voyage dans la litt\u00e9rature allemande d\u2019apr\u00e8s la R\u00e9unifications. Actuellement elle m\u00e8ne des recherches sur modernisme dans la culture viennoise, les arts visuels de la fin de si\u00e8cle, la litt\u00e9rature de tourisme et de voyage, ainsi que l\u2019orientalisme dans la litt\u00e9rature et dans les arts visuels.<\/p>\n SARAH MCGAUGHEY est ma\u00eetre de conf\u00e9rences dans le D\u00e9partement d\u2019allemand\u00a0 \u00e0 Dickinson College \u00e0 Carlisle, en Pennsylvanie. Elle est en train de terminer un manuscrit ayant le titre provisoire de \u00ab\u00a0Ornament as Crisis: Architecture, Design, and Modernity in Hermann Broch’s <\/em>Die Schlafwandler\u00a0\u00bb. Ses recherches se concentrent sur l\u2019intersection entre la litt\u00e9rature, la th\u00e9orie spatiale, et que la th\u00e9orie architecturale. Ses publications vont de la mode et de l\u2019ameublement au concept du style et \u00e0 l\u2019architecture dans les premi\u00e8res \u0153uvres de Broch. Son prochain projet traite des int\u00e9rieurs architecturaux dans le cadre du modernisme. Sarah McGaughey est membre du conseil d\u2019administration de l\u2019association internationale des sp\u00e9cialistes de Hermann Broch, ainsi que du comit\u00e9 scientifique d\u2019Imaginations\u00a0: revue d\u2019\u00e9tudes interculturelles de l\u2019image.<\/em><\/p>\n MICHAEL RODGERS est sur le point d\u2019obtenir son doctorat avec une analyse nietzsch\u00e9enne des \u0153uvres de Vladimir Nabokov. Il occupe un poste d\u2019auxiliaire d\u2019enseignement \u00e0 l\u2019Universit\u00e9 de Strathclyde, o\u00f9 il \u00e9dite actuellement un volume d\u00e9riv\u00e9 d\u2019un colloque qu\u2019il a organis\u00e9 l\u2019ann\u00e9e pass\u00e9e et qui portait de \u00ab\u00a0Nabokov et la moralit\u00e9\u00a0\u00bb. Il a publi\u00e9 un article intitul\u00e9 Lolita\u2019s Nietzschean Morality<\/em> dans Philosophy and Literature<\/em> en 2011, et il attend la publication d\u2019un autre texte sur le livre posthume de Nabokov\u00a0L\u2019original de Laura<\/em>. Il est contributeur \u00e0 The Literary Encyclopedia<\/em>, Slavonic and East European Review<\/em> et au Nabokov Online Journal<\/em>.<\/p>\n ANTONIO VISELLI est candidat au doctorat au Centre de la litt\u00e9rature compar\u00e9e \u00e0 l\u2019Universit\u00e9 de Toronto. Il s\u2019int\u00e9resse principalement \u00e0 l\u2019esth\u00e9tique musicale dans la litt\u00e9rature, en particulier \u00e0 la fugue dans le cadre du symbolisme fran\u00e7ais et du modernisme europ\u00e9en. Son m\u00e9moire intitul\u00e9e \u00ab\u00a0Master Mundus: Crossways in European Humanities<\/em> \u00bb est le r\u00e9sultat d\u2019une dipl\u00f4me conjointe de l\u2019Universit\u00e9 de Perpignan (France), celle de Bergamo (Italie) et celle de St. Andrews (Ecosse).<\/div> Imaginations Issue 3-1 | Stealing the Image Table of Contents |\u00a0Table des mati\u00e8res Issue Editor Daniel Laforest Guest Artist portfolio |\u00a0interview | dialogue | Tanya Ury Dossier: Stealing the Image Introduction: Stealing the Image| Daniel Laforest Relationships of Ownership: Art and Theft in Bob Dylan\u2019s 1960s Trilogy\u00a0|\u00a0Michael Rodgers Portraits d\u2019un imaginaire de l\u2019avant-garde\u00a0:\u00a0le\u00a0Carr\u00e9 noir sur […]<\/p>\n","protected":false},"author":4062,"featured_media":3363,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[96,4],"tags":[],"class_list":["post-2866","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-stealing-the-image-3-1","category-article","wpautop"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/imaginations.space\/wp-content\/uploads\/2012\/06\/coversmall.jpg","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p707hj-Ke","_links":{"self":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts\/2866","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/users\/4062"}],"replies":[{"embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2866"}],"version-history":[{"count":65,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts\/2866\/revisions"}],"predecessor-version":[{"id":8669,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts\/2866\/revisions\/8669"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/media\/3363"}],"wp:attachment":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2866"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2866"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2866"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Guest Artist<\/strong><\/h4>\n
Dossier: Stealing the Image<\/strong><\/h4>\n
\n<\/span><\/p>\nGeneral Contributions<\/h4>\n
Review Essay<\/h4>\n
\n
\nArticle Abstracts<\/strong><\/h5>\n
About the Contributors<\/h4>\n
Guest Artist<\/h4>\n
Authors<\/h4>\n
\u00c0 propos des contributeurs<\/h4>\n
Artiste\u00a0invit\u00e9e<\/strong><\/h4>\n
Auteurs<\/h4>\n