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The article investigates Minimalism's theatricality from the standpoint of Michael Fried's and Rosalind Krauss' critical readings. On the one hand, Krauss, from the very first moment in which she reflects on the works of Donald Judd and Dan Flavin, evidences their fundamental contradiction: the presence of the illusion, despite its rejection by the artists. On the other hand, Fried focuses on the alleged literalism of those projects, calling them theatricality. In the text, the two approaches will be confronted in order to explore the authors' different views on the notion of theatricality.

Within the paradigm of performance studies the properties of a literary text, including its performative potential, would initially be suppressed, and the activities and actions carried out by the author and the receiver (i. e. production and reception) would be foregrounded. Since the reception of a literary work is separate from its creation both in time and in space, in the present context we should treat both writing and reading as particular stagings or performances. According to him, the primary element of theatricality is a view-point external to the creator and the creation: the author sacrifices the dramatic illusion vitiated for a desire to impress the spectator and to solicit his applause - the inwarddirected process of creation becomes a performance directed outwards. First the figure of the author is present in the text, and the social role of the writer underlies that: both can more or less differ from the 'real' person of the author. [...]every individual work manifests some sort of a proto-text of its own, as well as the author's idea of this particular form of art and genre.

1967 m. Michaelo Friedo esė „Menas ir objektyvumas“ yra vienas žinomiausių ir įtakingiausių kada nors parašytų meno kritikos kūrinių, kuris ir toliau kuria naujas interpretacijas. Tačiau jos atvirai teologinė sudėtis niekada nebuvo nuodugniai tyrinėta. Šiame straipsnyje pagrindinis dėmesys skiriamas Friedo sprendimui kaip savo epigramą naudoti ilgą citatą iš Perry Millerio biografijos apie teologą Jonathaną Edwardsą, kurioje tvirtinama, kad Friedo esė labai pagrįsta Edwardso istorijos ir malonės sampratomis bei jai būdingomis formuluotėmis, atskleidžiančiomis aktyvų įsitraukimą į Millerio tekstą. Žinoma, kontekstai, kuriuose Edwardsas ir Friedas dirbo, buvo nepalyginamai skirtingi. Nepaisant to, išnagrinėjus būdus, kuriais Friedas rėmėsi Millerio tekstu ir Edwardso idėjomis, paaiškėjo, kad kuriant „Meną ir objektyvumą“ jie abu produktyviai paveikė šį meno teorijos traktatą. Michael Fried’s 1967 essay “Art and Objecthood” is one of the most well-known and influential pieces of art criticism ever written, and continues to generate novel interpretations. Its overtly theological cast, however, has never been the subject of close study. This article focuses on Fried’s decision to use a lengthy quotation from Perry Miller’s biography of the theologian Jonathan Edwards as his epigram, and contends that Fried’s essay is informed in significant ways by Edwards’ notions of history and grace, and characterized by wordings that reveal an active engagement with Miller’s text. Certainly, the contexts in which Edwards and Fried worked were irreducibly different. Nevertheless, an examination of the ways in which Fried drew on Miller’s text and Edwards’ ideas demonstrates that he was productively influenced by both in composing “Art and Objecthood.”

The Shape of the Signifieris a critique of recent theory--primarily literary but also cultural and political. Bringing together previously unconnected strands of Michaels's thought--from \"Against Theory\" toOur America--it anatomizes what's fundamentally at stake when we think of literature in terms of the experience of the reader rather than the intention of the author, and when we substitute the question of who people are for the question of what they believe. With signature virtuosity, Michaels shows how the replacement of ideological difference (we believe different things) with identitarian difference (we speak different languages, we have different bodies and different histories) organizes the thinking of writers from Richard Rorty to Octavia Butler to Samuel Huntington to Kathy Acker. He then examines how this shift produces the narrative logic of texts ranging from Toni Morrison'sBelovedto Michael Hardt and Toni Negri'sEmpire. As with everything Michaels writes,The Shape of the Signifieris sure to leave controversy and debate in its wake.

This thesis examines the intersection of mortality, technological evolution, and the shifting boundaries of human identity. Beginning with personal experiences of loss, I speak to my experience of observing my father's struggle with terminal cancer as an analogue to my own concerns surrounding death and medical interventions that prolong life. The concept of the \"Abhuman\"—a state between human and other—emerges as a central motif, drawing from gothic horror and cyberpunk aesthetics. Through my MFA thesis exhibition techgnosis, comprising seven medium to large-scale fired ceramic objects, I examine hybridity by fusing ceramic representations of industrial machinery and e-waste with organic forms, mirroring the gradual assimilation of technology into the human body. My research questions the trajectory of human evolution in response to biotechnology, speculating whether technological advancements will maintain our current morphology or lead to a re-articulated post-Anthropocene existence.

This article focuses on Alain Badiou’s surprisingly moderate response to the COVID-19 pandemic. It is shown that his dismissal of the virus as a familiar problem best dealt with by bureaucratic managers stems from an overly idealist approach to one of his key philosophical topics: the event.

The article investigates Minimalism’s theatricality from the standpoint of Michael Fried’s and Rosalind Krauss’ critical readings. On the one hand, Krauss, from the very first moment in which she reflects on the works of Donald Judd and Dan Flavin, evidences their fundamental contradiction: the presence of the illusion, despite its rejection by the artists. On the other hand, Fried focuses on the alleged literalism of those projects, calling them theatricality. In the text, the two approaches will be confronted in order to explore the authors’ different views on the notion of theatricality.

Genre painting, also called genre scene or “petit genre”, represents aspects of everyday life by portraying ordinary people engaged in common activities. Jean-Baptiste Greuze (1725–1805) and JeanSiméon Chardin (1699–1779) are probably the most famous painters specialized in this genre in the eighteenth century in France. It is striking that often the characters in their canvases are deeply absorbed in ordinary activities, forgetting the surrounding world. The purpose of our paper is to illustrate the representations of self-effacement in French painting of the eighteenth century, based on the analysis of some paintings by Greuze and Chardin and also on theoretical and critical texts of their time. We draw as well a parallel between the work of Michael Fried, Absorption and Theatricality: Painting and Beholder in the Age of Diderot, and the theory of the flow of the psychologist Mihály Csíkszentmihályi, to show their common points considering always their appearances in the genre paintings.

Johann Wolfgang von Goethe's 1809 novel Die Wahlverwandtschaften depicts two tableaux vivants scenes featuring contrasting female characters: Luciane and Ottilie. As the relationship of these scenes to the rest of the novel has proved enigmatic, I read them in conjunction with Goethe's Regeln für Schauspieler (Rules for Actors) as well as the aesthetic categories of absorption and theatricality from Michael Fried's work of the same name. Since tableaux vivants present a unique theatrical mode that maintains absolute stillness, I claim that it is the theme of movement that attests to their significance. Luciane's tableaux vivants scene is revealed to be an augmented form of actor discipline to restrain her disorderly and unpredictable personality. For Ottilie, the tableaux vivants scene demonstrates how restraining movement is implicated in the established societal norms for behavior.

There is a persistent but difficult-to-articulate idea of the cinema that its relations to other artistic media are somehow special. It has been viewed as a threat to the survival of older art forms, and some commentators have chosen to frame the cinema's relations with other arts in terms of a special power for reconciliation or harmony. Argentine director Matías Piñeiro gives us one variation on this idea when, in a tribute to Jacques Rivette, he characterized Rivette's works as having effected a kind of peaceful coexistence among various media.