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Why does a society seek out images of violence? What can the consumption of violent imagery teach us about the history of violence and the ways in which it has been represented and understood? Assaf Pinkus considers these questions within the context of what he calls galleries of violence, the torment imagery that flourished in German-speaking regions during the fourteenth and fifteenth centuries. Exploring these images and the visceral bodily responses that they produced in their viewers, Pinkus argues that the new visual discourse on violence was a watershed in premodern conceptualizations of selfhood. Images of martyrdom in late medieval Germany reveal a strikingly brutal parade of passion: severed heads, split skulls, mutilated organs, extracted fingernails and teeth, and myriad other torments. Stripped from their devotional context and presented simply as brutal acts, these portrayals assailed viewers' bodies and minds so violently that they amounted to what Pinkus describes as \"visual aggressions.\" Addressing contemporary discourses on violence and cruelty, the aesthetics of violence, and the eroticism of the tortured body, Pinkus ties these galleries of violence to larger cultural concerns about the ethics of violence and bodily integrity in the conceptualization of early modern personhood. Innovative and convincing, this study heralds a fundamental shift in the scholarly conversation about premodern violence, moving from a focus on the imitatio Christi and the liturgy of punishment to the notion of violence as a moral problem in an ethical system. Scholars of medieval and early modern art, history, and literature will welcome and engage with Pinkus's research for years to come.

Explores the significance of postwar German representations of violence in other places and times. Germany's twentieth-century history has made imagining and representing violence in German culture challenging, meaning that it can be difficult to locate and explore critically the significance of violence in and for the postwar German states. This volume approaches that challenge through critical analysis of \"violence elsewhere,\" that is, constructions of violence in distant, imagined, or temporally distinct times and places. Such representations have offered a stage on which to imagine violence. Moreover, German representations of \"violence elsewhere\" are simultaneously images of Germany itself, revealing something about otherwise submerged meanings and functions of violence in German culture. The essays in this volume explore selected, emblematic works from East, West, and, later, unified Germany, which imagine violence in, for example, Latin America, Vietnam, Cambodia, the USA, and the Middle East, as well as in the respective \"other\" German state and in the German past. Drawing on fields including cultural, literary, film, visual, and gender studies, it introduces multidisciplinary theoretical approaches to the topic of violence elsewhere that may be transferable beyond German studies too. As such, the volume allows us to reflect more broadly on relationships between violence, culture, community, and the creation of identities, and to look beyond binary notions of \"here\" and \"elsewhere,\" \"self\" and \"other.\" It thus expands our understanding of what German culture is and could be. Edited by Clare Bielby and Mererid Puw Davies. Contributors: Seán Allan, Martin Brady, Evelien Geerts, Katharina Karcher, J.J. Long, Ernest Schonfield, and Katherine Stone. Chapter 8, \"Problematizing Political Violence in the Federal Republic of Germany: A Hauntological Analysis of the NSU Terror and a Hyper-Exceptionalized \"9/11\" is available as Open Access under the Creative Commons license CC BY-NC-ND. The open access version of this publication was funded by the European Research Council. This book is available as Open Access under the Creative Commons license CC BY-NC-ND.

Nothing excited early modern anatomists more than touching a beating heart. In his 1543 treatise, Andreas Vesalius boasts that he was able to feel life itself through the membranes of a heart belonging to a man who had just been executed, a comment that appears near the woodcut of a person being dissected while still hanging from the gallows. In this highly original book, Rose Marie San Juan confronts the question of violence in the making of the early modern anatomical image. Engaging the ways in which power operated in early modern anatomical images in Europe and, to a lesser extent, its colonies, San Juan examines literal violence upon bodies in a range of civic, religious, pedagogical, and \"exploratory\" contexts. She then works through the question of how bodies were thought to be constituted-systemic or piecemeal, singular or collective-and how gender determines this question of constitution. In confronting the issue of violence in the making of the anatomical image, San Juan explores not only how violence transformed the body into a powerful and troubling double but also how this kind of body permeated attempts to produce knowledge about the world at large. Provocative and challenging, this book will be of significant interest to scholars across fields in early modern studies, including art history and visual culture, science, and medicine.

The first in-depth analysis of how early modern people produced and consumed images of revolts and political violence, drawing on evidence from Russia, China, Hungary, Portugal, Germany, North America and other regions.

In Beyond Partition , Deepti Misri shows how 1947 marked the beginning of a history of politicized animosity associated with the differing ideas of \"India\" held by communities and in regions on one hand, and by the political-military Indian state on the other. Assembling literary, historiographic, performative, and visual representations of gendered violence against men and women, she establishes that cultural expressions do not just follow violence but determine its very contours, and interrogates the gendered scripts underwriting the violence originating in the contested visions of what \"India\" means. Ambitious and ranging across disciplines, Beyond Partition offers both an overview of and nuanced new perspectives on the ways caste, identity, and class complicate representations of violence, and how such representations shape our understandings of both violence and of India.

Examines ideas of violence in German culture after 9/11 through the lens of \"violence elsewhere\" - exploring works and discourses about violence in distant locations or times. Following the Nazi era, the Holocaust, and the Second World War, in postwar Germany thinking or speaking about that extreme violence seemed distinctively difficult - even perhaps, at times, impossible. Yet we can learn about understandings of violence in this period in novel ways by exploring images and constructions in German culture of faraway violence, as shown in the recent volume Violence Elsewhere 1: Imagining Distant Violence in Germany, 1945-2001. As of September 11, 2001, violence came to appear transnationally, spectacularly mobile in new ways. Consequently, Violence Elsewhere 2 explores ideas about \"violence elsewhere\" in German-language culture since 2001. Here, \"elsewhere\" can mean not only distant places; it may also be violence perceived as foreign, or in the past. Simultaneously, this work suggests that the idea of 9/11 as a watershed in thinking about violence is more complex than meets the eye. Here, nine essays consider classic literary forms like poetry and prose fiction, from the short story to the intergenerational German family novel to Black feminist speculative fiction. Contributors examine, too, philosophy, performance and multimedia art, political and other forms of public discourse, and film. Topics include, amongst others, the \"war on terror,\" slow environmental violence, the Armenian genocide, portrayals of refugees and migrants, legacies of colonial violence, space travel, and the persistent resonance of the German past. Contributors: Sofía Forchieri, Susanne C. Knittel, Marie Kolkenbrock, Priscilla Layne, Joanne Leal, Francesca Lewis, Frauke Matthes, Lizzie Stewart, Nicola Thomas, and Kathrin Wunderlich. This book is available as Open Access under the Creative Commons license CC BY-NC-ND.

Why does a society seek out images of violence? What can the consumption of violent imagery teach us about the history of violence and the ways in which it has been represented and understood? Assaf Pinkus considers these questions within the context of what he calls galleries of violence, the torment imagery that flourished in German-speaking regions during the fourteenth and fifteenth centuries. Exploring these images and the visceral bodily responses that they produced in their viewers, Pinkus argues that the new visual discourse on violence was a watershed in premodern conceptualizations of selfhood. Images of martyrdom in late medieval Germany reveal a strikingly brutal parade of passion: severed heads, split skulls, mutilated organs, extracted fingernails and teeth, and myriad other torments. Stripped from their devotional context and presented simply as brutal acts, these portrayals assailed viewers' bodies and minds so violently that they amounted to what Pinkus describes as \"visual aggressions.\" Addressing contemporary discourses on violence and cruelty, the aesthetics of violence, and the eroticism of the tortured body, Pinkus ties these galleries of violence to larger cultural concerns about the ethics of violence and bodily integrity in the conceptualization of early modern personhood. Innovative and convincing, this study heralds a fundamental shift in the scholarly conversation about premodern violence, moving from a focus on the imitatio Christi and the liturgy of punishment to the notion of violence as a moral problem in an ethical system. Scholars of medieval and early modern art, history, and literature will welcome and engage with Pinkus's research for years to come.

This article explores the work of Israeli artist Avner Pinchover, focusing on his engagement with violence as both a performative act and an aesthetic strategy. Incorporating video and still image documentation to challenge the very cultural frameworks that embrace him, Pinchover's controlled yet unpredictable interventions—ranging from sculptural destruction to performative gestures—blur the lines between art and vandalism, iconoclasm and institutional critique and resonate beyond the art scene to reflect broader socio-political conflicts, particularly within the Israeli-Palestinian context. By exposing the \"elastic\" boundaries of institutionalized art through transgressive yet aestheticized acts, Pinchover's performative violence compels us to confront a deep-seated fascination with aggression controlled and mediated by cultural structures.

This two-volume set explores what postwar German representations and imaginings of violence in other places and times tell us about Germany. Germany's 20th-century history has made imagining and representing violence in German culture especially challenging: it has made certain constructions of violence unspeakable, even unthinkable. As a result, new ways of thinking about violence in postwar and contemporary German culture are needed. One such approach is critical analysis of \"violence elsewhere,\" that is, representations in literature, art, and film of violence in distant, imagined, or temporally distinct times and places. Such representations have offered Germans a stage on which to imagine violence. Moreover, German representations of \"violence elsewhere\" are simultaneously images of Germany itself, revealing something about otherwise submerged or deeply encoded meanings and functions of violence in German culture. This two-volume set explores what representations of \"violence elsewhere\" in a variety of works and genres tell us about Germany. Volume 1, covering the immediate postwar period, 1945-2001, considers works that arose in East, West, and reunified Germany and that imagine violence in foreign lands as well as in the respective \"other\" German state and in the German past. Volume 2 carries the inquiry forward to the post-9/11 world of the new Federal Republic. The volumes also introduce theoretical perspectives that are transferable beyond German Studies, allowing us to reflect more broadly on relationships between violence, culture, community, and the creation of identities. Contributors for Volume 1: Seán Allan, Martin Brady, Evelien Geerts, Katharina Karcher, J.J. Long, Ernest Schonfield, and Katherine Stone. Contributors for Volume 2: Sofía Forchieri, Susanne C. Knittel, Marie Kolkenbrock, Priscilla Layne, Joanne Leal, Francesca Lewis, Frauke Matthes, Lizzie Stewart, Nicola Thomas, and Kathrin Wunderlich. Chapter 8 of Volume 1, \"Problematizing Political Violence in the Federal Republic of Germany: A Hauntological Analysis of the NSU Terror and a Hyper-Exceptionalized \"9/11\" is available as Open Access under the Creative Commons license CC BY-NC-ND. The open access version of this publication was funded by the European Research Council. This book is available as Open Access under the Creative Commons license CC BY-NC-ND

Gender Matters opens the debate concerning violence in literature and the arts beyond a single national tradition and engages with multivalent aspects of both female and male gender constructs, mapping them onto depictions of violence.