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Confronting contemporary African art's awkward coexistence with earlier African art as "ethnographic artifact," Geo-Graphics celebrates the flourishing of African art on the international circuit, while simultaneously asserting its ancestry and critiquing the valorization of heritage. David Adjaye's photographs of African capitals and an examination of contemporary African art centers further contextualize the continent's recent cultural transformations.
The Pataphysician’s Library is a study of aspects of 1890s French literature, with specific reference to the traditions of Symbolism and Decadence. Its main focus is Alfred Jarry, who has proved, perhaps surprisingly, to be one of the more durable fin-de-siècle authors. The originality of this study lies in its use of the enigmatic list of books termed the livres pairs, which appears in Jarry’s 1898 novel Gestes et Opinions du docteur Faustroll, pataphysicien, his best-known prose work. The greatest interest of the livres pairs lies in a group of works by Jarry’s friends and contemporaries, primarily Leon Bloy, Georges Darien, Gustave Kahn, Catulle Mendes, Josephin Madan, Rachilde, and Henri de Regnier. Several of these authors feature as the lords of islands visited by the pataphysician Dr Faustroll in his curious voyage around Paris. In conjunction with Jarry’s own works, the contemporary livres pairs serve to illustrate the vibrant and experimental atmosphere in which these authors worked.
"Frantisek Deak's Symbolist Theater is a welcome and fundamental contribution to the re-evaluation of European avant-garde theatre. Deak's analysis of symbolist theatre rebuts earlier approaches which concluded, as Haskell Block did in the 1969 Reader's Encyclopedia of World Drama, that attempts to stage symbolist plays were "doomed to failure," because of "an inherent opposition between symbolist premises and the demands of sustained theatrical elaboration." These earlier critiques analyzed symbolist theatre from the viewpoint of literary criticism, but Deak's book employs different methods by taking "as a premise that theater exists in performance" (7). Symbolist Theater leans conceptually on Czech structuralists and Russian formalists as it makes "theater criticism based on the reconstruction of the semantic gesture of the production;" criticism which "takes the text into consideration as one aspect of the structure" (10), and sees the symbolist theatre project as an effort to re-define the "signifying process" in general (132). Despite its title, however, Symbolist Theater is not an analysis of the whole symbolist theatre movement, but instead a focus on French symbolist theatre alone".