“Improving Public Space: Trauma Art and Retrospecitive-Futuristic Healing”, 73-98
in Arleen Ionescu and Maria Margaroni, eds. Arts of Healing: Cultural Narratives of Trauma. London: Rowman & Littlefield Ltd. In this article, I analyze three works of art, in different media and styles. The video shadow play In Search of Vanished Blood, by Nalini Malani, stands for the potential of painting and sound together to bring about a change in the public space where blood has vanished. The installation Palimpsesto by Doris Salcedo compels us to keep looking at the disasters of the refugee drownings; to refuse looking away from what happens right before our eyes. The third work is my own video installation Don Quijote: Sad Countenances, which revitalizes the age-old bestselling novel by Miguel de Cervantes.
“Movement, Precarity, Affect”. 83-96
in Deleuze, Guattari and the Art of Multiplicity, edited by Radek Przedpełski and S.E. Wilmer. Edinburgh: Edinburgh University Press 2020. This article appeared out of the conference on Deleuze and the Art of Multiplicity, held in Dublin, in 2016. As is now standard, the book took for yours to appear. In my contribution I tried to make the case for the double movement of images, dynamic and emotional.
“Annunciation: The Moving Image as an Act of Witnessing.” 197-218
in The Announcement: Annunciations and Beyond. Eds. Hana Gründler, Alessandro Nove, Itay Sapir. Berlin and Boston: Walter de Gruyter GmbH. This book, too, took years to appear. Here, the conference consisted mostly of historical considerations, with the Annunciation as a mythical event. I was asked because of my interest in the art of Eija-Liisa Ahtila, who had just made a video installation on the topic.
“Art Making as Analysis: Thought-Images and Image-Thinking.” 1-10
in Theoretical Studies in Literature and Art, Bejing, Vol. 40, no. 4, 2020
This article is a bit a preview of the book on image-thinking that is currently under peer review.
“Narrative Polyphonie: Kakophonie oder Zitastismus?” 111-122
in Polyphonie und Narration. Eds. Silvan Moosmüller, Boris Previšic, Trier: Wissenschaftlicher Verlag, Raven, Research on Alternative Varieties of Explorations in Narrative Band 7, 2020. I wrote this article to meet the challenge of writing about sound and music, of which I know precious little. Sometimes, doning something out of ignorance can help coming up with new ideas.
“Challenging and Saving the Author, for Creativity | Sfidare e salvare l’autore, per creatività”
in Vesper. Rivista di architettura, arti e teoria | Journal of Architecture, Arts & Theory, no. 2, Materia-autore | Author-Matter, Quodlibet, Macerata primavera-estate, 132-149 Spring-Summer 2020. This article I accepted to write because I wanted to avoid beating a dead horse. I am ever so grateful that the editors of this new Italian journal compelled to to rethink the issue of authorship we tend to think of as obsolete. Barthes and Foucault were smarter than that.
“Looking with Women”. 14-27
in Ikkunalla. Näkymiä sukupueleen, titaal ja aikaan. Kirsi Saarikankaan juhlakirja. Taidehistoriallisia tutkimuksia, Konsthistoriska studier (At the window. Prospects for gender, space and time. A commemorative book for Kirsi Saarikangas. Konsthistoriska studier (Art History Studies) 51, 202051, 2020
This piece was for a festschrift for Kirsi Saarikankaan, a colleague at the university of Helsinki I have known and appreciated for a very long time.
“La pensée-ciné: le retour d’Emma”. 5-21
in Flaubert et les sortilèges de l’image, eds. Barbara Vinken, Pierre-Marc de Biasi, Anne Herschberg Pierrot, Berlin/Boston, De Gruyter, 2020. The conference where I gave this paper happened in 2015. Madame Bovary has been my life-long favorite novel, and took a renewed interest when Michelle Williams Gamaker and I decided to turn it into a film.
In Medias Res
“In Medias Res: Visiting Nalini Malani’s Retrospective Exhibition, New Delhi, 2014”, Qui Parle: Critical Humanities and Social Sciences”, 24,1: 31-62, Fall/Winter 2015
I am more and more interested in the notion that what we do, as academic researchers and artist researchers, is always already part of something else, something we didn’t even consciously know about. Being in the middle of things - times, places, institutions, politics - is just part of what being human is. This is a first installment of my book project on the shadow plays of Indian artist Nalini Malani - see Book Projects.
La Maison Rouge
“Eccentricity in Order to Re-centre: La Maison Rouge”, Journal of Curatorial Studies, 4, 214-236, 2015
I have followed the developments in the Maison Rouge, a then-new exhibition space in Paris based on a private collection. They do exciting exhibitions, and I have analyzed their policy and practice.
Reflection: Memory and Storytelling in Proust
“Reflection: Memory and Storytelling in Proust”, 220-227 in Memory: a History, edited by Dmitri Nikulin. Oxford: Oxford University Press 2015
Too short - the article was requested for a short slot on a historical volume on memory.
Power to the Imagination!
“Power to the Imagination!” in Krisis, special issue Perspectives for the New University, 2, 68-76, 2015
This article is a revision of a lecture I gave in the framework of the protest movement in Amsterdam, last Spring. A trip down memory lane!
From Documentary to Fiction and Back
“From Documentary to Fiction and Back” (with Michelle Williams Gamaker) … (Ellipsis) WSOA Art Journal, 2015. For the new South-African Online journal we wrote an overview article about our entire filmic oeuvre. Just when circumstances forced Michelle and me to go our separate ways, this was a nice moment to look back. Read the article here.
An island of madness
“An island of madness: the social force of mental fortresses – a visual essay” (with Michelle Williams Gamaker) Transnational Cinemas, 1-15, 2015 http://dx.doi.org/10.1080/20403526.2015.1071040
This is my first “visual essay”. Together with Michelle we composed a selection of photographs from the Madness Project (A Long History of Madness) with short bits of text interpreting the photographs.
The Last Frontier
“The Last Frontier Migratory Culture, Video, and Exhibiting without Voyeurism.” In The International Handbooks of Museum Studies: Museum Transformations, edited by Annie E. Coombes and Ruth B. Phillips, vol. 4, 415-438. London: John Wiley & Sons, Ltd.
Here I continue my analysis of migratory culture. In the specific context of museum display, migration requires reflection on visibility, the risks of seeing as one-sided, and the potential deployment of display to engage a dialogue rather than solicit voyeuristic pleasure. Again, an exhibition of my own work is the empirical basis of the analysis.
In Your Face
“In Your Face: Migratory Aesthetics.” In The Culture of Migration: Politics, Aesthetics and Histories, edited by Sten Pulz Moslund, Anne Ring Petersen and Moritz Schramm, 147-170. London: I.B.Tauris, 2015
At the insistence of the volume editors I reviser my earlier (2012) article on facing. This version, like the previous one, is a dialogue with my video installation Nothing is Missing. Here, I concentrate the reflections around the concept of facing as the most effective tool to come to terms with migratory culture in a positive way.
“Zin zien.” Vooys 33, 2, 17-27, 2015
The journal Vooijs came out of an initiative of students of Dutch literature and has grown into a serious, mature magazine where questions of literary scholarship are discussed. I admire the energy and intelligence of the editors, which is why I cannot resist when they ask me for a contribution. The special issue in which this article appeared is devoted to revisiting the theories of literature that emerged in the general endeavor to make the Humanities more methodologically responsible, and see how such tools can respond to the contemporary world. Of course, I discuss narratology.The article is in Dutch.
Im Wirbel der Zeiten
“Im Wirbel der Zeiten. Lob des Anachronismus.” Sind alle Denker Traurig? Fallstudien zum melancholischen Grund des Schöpferischen in Asien und Europa, Günter Blamberger, Sidonie Kellerer, Tanja Klemm und Jan Söffner (ed.). Köln, Morphomata, 63-92, 2015
This article was written in the context of a fellowship year in Köln, Germany, in the “Wissenschaftcolleg” (research institute) Morphomata devoted to the question of the persistence and transformation of forms. It takes the concept of melancholy to Dürer’s famous print to question the usual interpretations of melancholia as well as of the print. True to the brief of the Colleg, I take the formal aspects of the print as a starting point. Staging a dialogue between Freud and Dürer, I reverse the chrono-logic and examine how Dürer “speaks back” to Freud. I also bring in contemporary views of depression.
“Documenting What? Auto-Theory and Migratory Aesthetics”. A Companion to Contemporary Documentary Film, edited by Alexandra Juhasz and Alisa Lebow, Oxford, UK: Wiley Blackwell, 2015, 124-144. In this article I discuss issues of the ethics of documentary-making from within my own practice. The essay, thus, also proposes on the side how it is possible to reflect on one’s own practice without falling into self-indulgence and narcissism. The analysis concerns some of my documentaries on migration and focuses on the dialogic nature of documentary making. The “what?” question of the titel leads to the relational aspects of the process, rather than the empirical situation of the people I don’t like to call “subjects”.
The Time It Takes
“The Time It Takes”. In How to Construct a Time machine, edited by Marquard Smith, 34-49. London: MK Gallery 2015
Although this is technically a catalogue essay, I present it in this rubric because it is heavily theoretical. I don’t discuss the works in the exhibition at all. Instead, taking off from Christian Marclay’s famous 2010 installation The Clock I discuss time and the image, and alternatives to the bossiness of clock time.
Always Too Long
“Always Too Long: My Short Film Experience”. Empedocles: European Journal for the Philosophy of Communication, special issue “Short Film Experience”, edited by Pepita Hesselberth and Carlos M. Roos. 5, 1&2, 13-18, 2015
Obviously, the editors asked for short articles, to match the topic. I discuss our difficulties in bringing across, in a short, the concept of “emotional capitalism” that underlies our film Madame B
“Filming Madness: A Conversation with Mieke Bal and Françoise Davoine”, 297-318 in LIstening to Trauma: Conversations with Leaders in the Theory and Treatment of Catastrophic Experience. INterviews and photography by Cathy Caruth. Baltimore, MD: The Johns Hopkins University Press
This in-depth interview was conducted by Cathy Caruth, one of the world’s leading theorists of trauma. Her authorship, and the participation of Françoise Davoine, author of the book we filmed, makes the interview special.
“Travel Companions”. The Ashgate Research Companion to Memory Studies, edited by Sionbhan Kattago, Farnham, UK: Ashgate, 2014, 145-162
Although the cases I discuss are spin-offs from my two books on Salcedo and Ahtila respectively the request of the editor to address the generic title “Companion” in the articles gave the analysis an interesting different turn.
“Moving Images: Two-Way”. Interactive Contemporary Art: Participation in Practice, edited by Kathryn Brown, London: I.B. Tauris 2014, 17-26
In invitation to contribute to this book allowed me to do a bit of “auto-theory” - the process of art making and analyzing combined.
“Masterly Maxims”. (response to Gayatri Chakravorty Spivak, An Aesthetic Education) PMLA vol. 129, number 3, May 2014, 491-497
The request for a commentary on Spivak’s new book made me rethink what I had written about her work in the final chapter of Travelling Concepts
“Interrcultural Curating”, Encyclopedia of Aesthetics, edited by Michael Kelly, vol. 2, 238-242, New York and Oxoford: Oxford University Press, 2014
“Peface”. Françoise Davoine, Mother Folly: a Tale. Stanford: Stanford University Press 2014, xiii-xxiv
Finally, the English translation of this masterpiece of “theoretical fiction” has appeared. In the e-book version clips from our film A Long History of Madness accompany each chapter.
“Mores leren”. Wat de verbeelding niet vermag! Essays bij het afscheid van Maaike Meijer. Onder redactie van Agnes Andewg en Lies Wesseling, 23-29. Nijmegen: Van Tilt, 2014. In this article, written in Dutch for a change! I complied by the volume editor’s brief to write about poetry, by selecting a children’s poem that has been important for me in my childhood. “Fairy Failure”, as it is titled in the English translation, by Annie M.G. Schmidt, uses humor, but the “lesson” of the poem - the moral of the fable is deeply ambivalent. I always remembered it fondly, and chose it get to the bottom of that fondness. It turned out during the writing that it is acutally a pretty awful enticement to conformity, not the rebellion often associated with Schmidt’s poems.
Stasis: How to See
“Stasis: How to See”, Trine Søndergaard, Stasis, Ostfilfern, Germany: Hatje Cantz, 7-24, 2013. This article is technically a catalogue essay (see that page for an image) I list it here as well because it turned out more substantial and more theoretical than it had been planned. I was so impressed by Søndergaard’s photography that I ended up writing about photography and ways of seeing more in general. I came up with the idea that invisibility can be a guide towards seeing “better”. I also discuss a few of the early twentieth century theorists of photography in relation to Søndergaard’s work.
Thinking in film
“Pensar em Filme”, Celeuma, special issue está tudo misturado, December 2013, read article here
First Memories and Second Thoughts
“First Memories and Second Thoughts.” Literature and the Bible: A Reader. Edited by Jo Carruthers, Mark Knight and Andrew Tate. London and New York: Routledge, 306-312, 2013
Scenography of Death: Figuration, Focalization, and Finding Out
“Scenography of Death: Figuration, Focalization, and Finding Out”, _Performance Research 18, 3: 179-186, June 2013 (with Michelle Williams Gamaker). Performance Research is an internationally widely read journal, and the invitation to contribute an article to their special issue “On Scenography” came just at the time that Michelle and I were getting a clear grip on our project Madame B.. We had just finished the big shoot in Finland, and the death scene had impressed us enormously. The context of this journal seemed the right place to reflect on what we were doing making this film and these installations. read article here (limited access)
Imaging Madness: Inter-ships
“Imaging Madness: Inter-ships” In/Print Issue 2, “Tricksters and Troubadours”, 52-70, June 2013. This article is the extended version of a lecture I gave at the Dublin Institute of Technology, at the occasion of the exhibition Facing It: Imaging Madness we held there in the Fall of 2011. The editor attended the lecture and subsequently asked me to publish it in their journal. In this article I focus especially on all the forms of inter-, from interdisciplinary to international, intermedial, to the inter-ship that is the intermediate state between madness and sanity where we all, in different ways, dwell, sometimes temporarily, sometimes permanently. It is part of my ongoing reflection on forms of difference and discrimination in contemporary society. read article here
Raconter en images: Flaubert Aujourd’hui
“Raconter en images: Flaubert Aujourd’hui” Lendemains: Revue Franco-Allemande. In this article I discuss how our video and film project Madame B attempts to be “loyal” to Flaubert’s particularly audio-visual manner of story-telling. The articles is part of a special section of the journal on narrative.
Buñuel’s Critique of Nationalism: A Migratory Aesthetic?
“Buñuel’s Critique of Nationalism: A Migratory Aesthetic?” A Companion to Luis Buñuel. Edited by Rob Stone and Daniel Gutiérrez-Albilla. Oxford, UK: Wiley-Blackwell’s, 116-137, 2013. The invitation to contribute to this volume was an opportunity to revisit the Spanish director’s films, many of which I had seen decades ago. I found them eerily different from the memories I had of them. And because I had worked on migratory aesthetics - the reason for the invitation - I wondered if, in Buñuel’s films, we have a prophetic reflection on this current topic, or if his preoccupation with nationalism and its discontents is something altogether different. I found both to be the case.
“Dezentrierung: Die Fragilitaet des Meisterns”. Ueber Pieter Friedl, herausegegeben von Dirk Snauwaert. Brussel: Wiels. 15-60, 2013
In fact, this is a recycling of an older article, originally published in the catalogue for an exhibition of Friedl’s work in MACBA, Barcelona. The context is so different that I don’t hesitate to consider it a new article. It is quite a feat on the part of Dirk Snaewaert, director of the extraordinary art center Wiels in Brussels, to start a book series meant for teaching, quite like the Anglo-american tradition of publishing “readers”. Instead of the lush coffee-table books that catalogs tend to be, this is a pocketbook format, with few, black-and-white illustrations and in-depth texts that analyse Friedl’s work, which is not always visually immediately understandable. It is “art that thinks”, as I like to call it - art that compels thought. In this case, on the non-mastery of the artist.
Affect and the Space We Share: Three Forms of Installation Art
“Affect and the Space We Share: Three Forms of Installation Art”. The Next Thing: Art in the Twenty-First Century. Edited by Pablo Baler. Madison, WIS: Fairleigh Dickinson University Press, 67-80, 2013
This article can be seen as a retrospective summary of my three books on political art. Only retrospectively did I realize to what extent the installation form binds the three bodies of art discussed in the books, otherwise so different. Between the common element of installation and the common element of the political potential of art, the bridge is, of course, the way each of the three artists insist on the need, in the contemporary world, to share space.
Not so Stupid
“Not so Stupid”. Parallax 19, 3: 50-69, 2013
A special issue on stupidity: I was not sure if I understood the assignment correctly, and I probably didn’t. But as it happens, Flaubert, the focus of my attention this entire year due to our video project Madame B, is also the master of stupidity. He uses the word regularly in his correspondence although not in his novels. Instead, there he stages it. My starting point in the article is the paradox of the Cretan liar: if everyone is stupid, how can the critic of stupidity be believable, since then, he, too, is inevitably stupid? I end up with a somewhat mitigated generalization on stupidity. read article here (limited access)
The Meaning of “C” in “C-MAP”
“The Meaning of ‘C’ in ‘C-MAP’”: Under this enigmatic title the museum of Modern Art posted my response to the C-MAP seminar in April 2013. C-MAP stands for Contemporary Modern Art Perspectives, and is a research group within the museum the members of which study possibilities for the museum to be more active internationally. I am a “counselor” for the group, and go once a year to participate in the seminar. As of this year the group has its own website, POST. read article here
Deliver Us From A-Historicism
“Deliver Us From A-Historicism: Metahistory for Non-Historians”. Philosophy of History After Hayden White. Edited by Robert Doran. London: Bloomsbury, 67-88
Hayden White had expressed the wish that I contribute to this collective volume that took off from his groundbreaking work on meta-history. I was ever so glad to seize the opportunity to reflect more deeply on the importance White’s work has had on my thinking about history. Under the banner of defeating binary thinking, I established a dialogue between White’s work and a contemporary art installation by Belgian artist Ana Torfs, Du Mentir-Faux. Like White’s Meta-History, Torfs’ slide installation has captivated me for a very long time, but I never got around to writing about it. This dialogue about history, its difficulties of access and the challenge to give meaning to events long past, seemed a natural place to think more about Torf’s work. The image that accompanies the articles of the present decade in this website is a detail from that art work.
“Art Moves”. Arken Bulletin Special issue Migration: Contemporary Art from India. 25-29, 2013
Invited to give a lecture and publish it in the institution’s Bulletin addressing the exhibition Indian Art Now was challenging for me. I knew virtually nothing about Indian art; just what I happened to have seen in a few exhibitions. I accepted because the organizers asked me to speak specifically about migration, or as I prefer to call it, migratory culture. In the end, it was a perfect opportunity to come up with a succinct argument about the movement in, through, and by art.
“Intercultural Story-Telling”. Kultur – Wissen – Narration: Perspektiven transdisciplinärer Erzählforschung für die Kulturwissenschaften. Edited by Alexandra Strohmaier. Wien/Graz: [transcript], 289-306, 2013
The challenge posed by an intercultural perspective to all theories and models of analysis that claim general validity, must be met, and so I tried. This was an opportunity to go back to earlier concepts such as “voice” and “foclaization” and integrate these with later preoccupations, such as the role of stories for cultural memory and a performative perspective on story-telling. Unfortunately, the book is entirely in German but for my article, so it will probably stay buried.
Lexicon for Cultural Analysis
“Lexicon for Cultural Analysis”. Die Lust an der Kultur/Theorie. Transdisziplinäre Interventionen Für Wolfgang Müller-Funk. Edited by Anna Babka, Daniela Finzi, Clemens Ruthner. Vienna and Berlin: Turia + Kant Verlag, 49-81. When invited to contribute to this “Festschrift” for a colleague in Vienna, I wanted to do something special. For this brilliant and prolific colleague had written an extraordinarily generous chapter about my work in one of his most recent of many books. So, instead of writing a single article I wrote 26 short ones - a “lexicon” (with a wink), offering ideas for each letter of the alphabet. It is the only text in English in this German publication.
Madame B.: l’analyse cinématographique d’un roman
“Madame B.: l’analyse cinématographique d’un roman”. Flaubert: Revue Critique et génétique. Flaubert [En ligne], Traductions/Adaptations, mis en ligne le 07 décembre 2012.
I am very pleased this specialized journal of Flaubert studies asked me to present the film project Michelle Williams Gamaker and I are currently working on Madame B. This will surely attract attention from Flaubert specialists. In the article I discuss a limited number of issues that emerged when we began considering how to update Madame Bovary as a critical commentary on today’s society.
Extranjerías, or How to Exit Cultural Autism
“Extranjerías, or How to Exit Cultural Autism.” Knowledge Politics and Intercultural Dynamics: Actions, Innovations, Transformations. Barcelona: United Nations University, 7-26. This article came in the aftermath of a course for PhD candidates of the international program of the United Nations University in Barcelona. I was on my way to Mexico to particpate in the celebration of an exhibition that included three of my films, so the most logical thing to do was talk about the point of making such films. The title of the exhibtion was “estranjerías” - hence my title. See Extranjerías, photos
Heterochrony in the Act: The Migratory Politics of Time
“Heterochrony in the Act: The Migratory Politics of Time”. Symmeikta: Collection of Papera Dedicated to the 40th Anniversary of the Institute for Art History, Faculty of Philosophy, University of Belgrade. Edited by Ivan Stevonic. Belgrade: Faculty of Philsophy, University of Belgrade, 579-596, 2012
This is a revised and extended version of an earlier article, published in a volume related to our exhibition 2MOVE.It is strange to see it in such a mixture of historical and modern discussions, a big large book published in Serbia. I list it here to be complete in my account of my writings. The 2011 Rodopi publication is more accessible and qua context, also more relevant.
“Zabójcze zwierciadla.” (Killing Mirrors) Antropologia. Kultury wizualnej. Ed. Anna Matysiak. Warszawa: Wydawnictwa Uniwersytetu Warszawsiego, 703-710, 2012. This is an old article on the “Medusa Effect” derived from my book Quoting Caravaggio. I mention it here because of the amazing coincidence: in one week, this article appeared in Polish, as did two of my books. This sudden surge of publications in Polish is enigmatic, but telling about the interest in Poland for the kind of work I do.
Facing: Intimacy Across Divisions
“Facing: Intimacy Across Divisions.” The Global and the Intimate: Feminism In Our Time, edited by Geraldine Pratt and Victoria Rosner.New York: Columbia University Press, 119-144, 2012. This article is a later, much elaborated version of an earlier piece I published when I just started this video project. The context for the first version was word-and-image studies, while now, the context is more political. Also, this is a book, supposedly with a longer shelf life. The issue remains, of course, the consequences of migration on the home front, embodied by the migrants’ mothers. See Nothing is Missing
The Task of Meaning Nothing
“The Task of Meaning Nothing.” XOXO, Curatorial Programme Goldsmiths College, 4-7. When the students asked me to contribute to the publication that marked the conclusion of their programme, the title, XOXO, provoked the desire to underwrite the meaninglessness of that title through a detour to abstract art. I was just completing a book on that subject and have begun to find it very important to notice and acknowledge the value of meaningless in cultural exchange.
“Curatorial Acts.” Journal of Curatorial Studies, 1, 2: 179-192, 2012. As my first contribution to this newly founded journal, I discuss the exhibition, in 2011-2012, Michelle Williams Gamaker and I presented of works derived from the film “A Long History of Madness.” I propose the concept of “curatorial acts” in analogy with speech acts, and theorised as meaning-producing decisions in the spatio-temporal realm of a museum space. This spatio-temporality is overdetermined by the exhibition of audio-visual moving images, which also integrate spatial and temporal aspects more strongly than, say, paintings.
“S-Words.” Journal of Visual Culture, 11, 2: 145-148, 2012. This short article is an homage to John Berger’s groundbreaking book “Ways of Seeing.” Berger put an end to the possibility to unify visuality, and made the singular, generic use of the term “art history” obsolete. I also look at the need Berger initiated to consider not only looking but also seeing as an activity, not a passive occurrence.
La maison: pour l’hospitalité
“La maison: pour l’hospitalité.” Transmédiations: traversées culturelles de la modernité tardive, edited by Jean-François Vallée, Jean Klucinskas, and Gilles Dupuis. Montréal: Les Presses de l’Université de Montréal, 25-40 2012.
This article appeared in a volume in honor of Walter Moser, a very dear friend and brilliant scholar. For me, Walter is the incarnation of unconditional hospitality, in all aspects of his life: as an interdisciplinary scholar more focused on facilitating group research than in his individual glory; as a friend whose house has been open to so many, and of which I have personally enjoyed the warmth and intellectual vibrancy; and as an international participant, speaker of many languages and organiser of events in different regions. For this reason I chose to integrate an analysis of Ahtila’s work “The House” with a running commentary on Moser’s most “hospitable” concepts.
Towards a Babel Ontology
“Towards a Babel Ontology.” European Journal of Women’s Studies, 18, 4, 439-447 2012 (with Michelle Williams Gamaker) After screening our film in London on the invitation of the Hearing Voice Network, Michelle and I were invited to write this article for a special issue of the journal on translation studies. We used the opportunity to address the issue of the multilingualism in the film A Long History of Madness. In the film, twelve different languages are spoken, as both a Utopian and a troubled expression of contemporary multicultural Europe.
“Imaging Pain.” In Ethics and Images of Pain. Edited by Asbjørn Grønstad and Hendrik Gustafsson. New York: Routledge, 115-143, 2012.
I have written about the issue of imaging pain before, but always about the images made by other people. This time, in a bold gesture I still feel a bit uncertain about, I discuss together the newest work by Colombian artist Doris Salcedo, on whose deeply mournful sculptural work I had published a book in 2010 Of What One Cannot Speak, and the film A Long History of Madness, where Michelle Williams Gamaker and I have struggled with the predicament of visually representing pain. Without in the least considering these two works comparable, they pose a comparable issue: what is to be gained, socially and politically, by imaging pain? I have fond memories of the conference out of which this volume emerged, and I am happy to share bookspace with Mark Reinhardt, whom I consider among the very best in political visual analysis.
Facing: Intimacy Across Divisions
“Facing: Intimacy Across Divisions.” In The Global and the Intimate: Feminism in Our Time. Edited by Geraldine Pratt and Victoria Rosner. New York: Columbia University Press, 119-144, 2012.
This is a renewed reflection on my long-term video installation project Nothing is Missing. The theme of this volume is the exactly right place for this reflection; intimacy and the difficulties to achieve and maintain it in a globalizing world is the topic of my installation. I am also very pleased to see this article published side-by-side with one of my friend and fellow-feminist Marianne Hirsch.
L’interdisciplinarité: travailler avec des concepts
“L’interdisciplinarité: travailler avec des concepts.” In La circulation des savoirs. Interdisciplinarité, concepts nomades, analogies, métaphores. Edited by Frédéric Darbellay.Bern, Berlin etc. Peter Lang, 25-58, 2012.
This article takes up, in compressed form, issues from my book Travelling Concepts in the Humanities.
In this collective volume of French and Swiss scholars, both humanists and scientists, a new and wider context for the ideas brings them to a potentially new audience.
“Spatialising Film.” in Hunting High and Low. Festschrift for Jostein Gripsrud.
Edited by Jan Fredrik Hovden and Karl Knapskog. Scandinavian Academic Press, 160-182, 2012.
This article in a volume dedicated to an old friend discusses what it entailed for Michelle Williams Gamaker and myself to turn our feature film A Long History of Madness official website. into an exhibition.
Cultural Analysis – Joseph Plays
“Cultural Analysis – Joseph Plays.”Mieke Bal, Maaike Bleeker, Bennett Carpenter and Frans-Willem Korsten. In Joost van den Vondel (1587-1669): Dutch Playwright in the Golden Age.Eds. Jan Bloemendal & Frans-Willem Korsten. Leiden: Brill, 317-340, 2012. read the article
My contribution to this collective article was to confront the interpretation of the Joseph story in Vondel’s plays with Rembrandt’s visual rewriting of it, as I had developed earlier in Loving Yusuf
Heterochrony in the Act: The Migratory Politics of Time
“Heterochrony in the Act: The Migratory Politics of Time.” Art and Visibility in Migratory Culture: Conflict, Resistance, and Agency. Eds. Mieke Bal and Miguel Á. Hernández-Navarro. Amsterdam: Rodopi, 211-139, 2011.
This article foregrounds the importance of the experience of time in migratory culture as an issue of “migratory politics”. Sensitizing oneself to the heterogeneity of time can be a great asset in intercultural communication. read article here (limited access)
Losing It: Politics of the Other (Medium)
“Losing It: Politics of the Other (Medium).” Journal of Visual Culture, 10, 3: 372-396
Based on the cinematic work of Eija-Liisa Ahtila, an inquiry in the affective effects of a heterogeneity that includes murder, maidenhood and madness. The article explores the encounter with other media and other people, and also invokes a work by Stan Douglas and one by Chantal Akerman.read article here (limited access)
Earth Aches: The Aesthetics of the Cut
“Earth Aches: the Aesthetics of the Cut.” In Cornerstones, edited by Juan A. Gaitán, Rotterdam, NL: Witte de With Publishers / Sternberg Press, 212-225
An overview of Doris Salcedo’s artistic practice, more extensively discussed in the book Of What One Cannot Speak.
“Baroque Matters.” In Rethinking the Baroque, edited by Helen Hills, Surray, UK: Ashgate, 183-202
Exploring the baroque aspects of four very diverse contemporary artworks, by Doris Salcedo, Ann Veronica Janssens, Roos Theuws and Heringa/Van Kalsbeek purchase
An Inter-Action: Rembrandt and Spinoza
“An Inter-Action: Rembrandt and Spinoza.” With Dimitris Vardoulakis. In Spinoza Now, edited by Dimitris Vardoualkis, Minneapolis, Minnesota, 277-306
Probing how visual art “thinks” and philosophy “images”. The relationship between the two figures is not based on biography but on what they made/wrote
Interdisciplinarity: Working with concepts
“Interdisciplinarity: Working with concepts.” Filolog III, 11-28 (Servia) 2011
A revised patchwork extract from the book Travelling Concepts
Food, Form, and Visibility
“Food, Form, and Visibility: The Aesthetics of Everyday Life”In Morphomata. Kulturelle Figurationen: Genese, Dynamik und Medialität, edited by Günter Bamberger und Dietrich Boschung. Köln: Morphomata 1
article based on the film GLUB (Hearts)
A Thousand and One Voices
“A Thousand and One Voices” In Confronting Universalities: Aesthetics and Politics under the Sign of Globalisation, eds. Mads Anders Baggesgaard, Jakob Ladegaard, 269-304. Aarhus University Press, 2011
article based on the film Mille et un joursread article here
Mektoub: When Art Meets History, Philosophy, and Linguistics
“Mektoub: When Art Meets History, Philosophy, and Linguistics.” In Case Studies in Interdisciplinary Research, ed. Allen F. Repko, Williams H. Newell, and Rick Szostak, 91–122. Thousand Oaks, CA: SAGE, 2011 article analyses Eija-Liisa Ahtila’s Where is Where? (2008)
“Deborah.” In The Cambridge Dictionary of Christianity, ed. Daniel Patte, 313. Cambridge: Cambridge University Press, 2010
Interview with Mieke Bal in Ekfrase
Asbjørn Grønstad and Øyvind Vågnes, “Migrasjonstenkeren: Et Intervju Med Mieke Bal.” Ekfrase: Nordic Journal of Visual Culture 1.1 (2010): 46–54.
True Lies: on Ana Torfs’s Du mentir-faux, or Some Dilemmas of History
“True Lies: on Ana Torfs’s Du mentir-faux, or Some Dilemmas of History.” In HiO-report 12: Framing War with Facts and Fiction in the Cultural Field, ed. Rune Ottosen and Solveig Steigen, 28–51. Oslo: Oslo University College, 2010
Working with Concepts
“Working with Concepts.” Slovo a smysl/Word & Sense 11/12 (2009): 202–12
The Quoted Artist
“The Quoted Artist.” Italian Journal 20, no. 3 (2010):40–43
Religion and Powerlessness: Elena in Nothing Is Missing
“Religion and Powerlessness: Elena in Nothing Is Missing.” In Powers: Religion as a Social and Spriritual Force, ed. Meerten B. ter Borg and Jan Willem van Henten, 209–239. New York: Fordham University Press, 2010
“Guest Column: Exhibition Practices.” PMLA 125, no. 1 (2010): 9–23 read article here (limited access)
After-Images: Mère folle
“After-Images: Mère folle.” Nomadikon: About Images 7 (2010)
“Y-cidad: los múltiples sentidos de ‘y’”, Versants 65: 3, fascículo español: 187-207, 2018
This article, in Spanish, discusses the distinction I am making between activist and activating art. The idea of “andness”, which I already used in the title of a 2013 book, comes from Deleuze’s resistance against binary opposition, which has been an ongoing inspiration for me.
“Narrando comida, haciéndonos urbanos: Glub y la estética de lo cotidiano” trans. Delia Boyano. Mitilogías hoy: revista de pensamiento, crítica y estudios literarios latinoamericanos, special issue “Restos, excedentes, basura: gestiones literarias y estéticas de lo residual en América Latina y El Caribe”, edited by Adriana López-Labourdette, Claudia Gronemann y Cornelia Sieber 17, junio: 245-265, 2018
This is the Spanish version, revised for the occasion, of the article from 2017
“Let’s Abolish the Peer Review System”, in Media Theory September 3, 2018 (n.p.) (online only) http://mediatheoryjournal.org/mieke-bal-lets-abolish-the-peer-review-system/
After my article “Power to the Imagination!”from 2015 this is a second article devoted to the current disastrous situation in the “neo-liberal” university. I come up with ten serious reasons why the system doesn’t work.
Politics of Time
“Activating Temporalities: The Political Power of Artistic Time”, Open Cultural Studies 10.1515/culture-2018-0009, 2018
At the request of Mexican scholar Paulina Aroch I participated in this volume on the importance, for art, of the legacy of Karl Marx. For me, temporality, also an ongoing interest, has taken new dimensions recently due to a new video project and a collaboration with Norwegian artist Jeannette Christensen.
“In the Absence of Post-”, 231-250 in Divya Dwivedi, Henrik Skov Nielsen, and Richard Walsh, (eds.) Narratology & Ideology: Negotiating Context, Form, and Theory in Postcolonial Narratives. Columbus, Ohio: Ohio State Press, 2018
This is my first elaborated radical argument against temporal distancing, the disavowal of the stickiness of time, and the disingenuous nature of the preposition “post-” especially in the term “post-colonial”.
“Towards a Relational Inter-Temporality”, 48-63 in Eva Wittcocx, Ann de Meester, Peter Carpreaau, Melanue Buhler, Xander Ksrskens (eds.), The Transhistorical Museum: Mapping the Field. Amsterdam: Valiz 2018
In my ongoing plea for care about the prepositions we tend to use, for “inter-” rather than “trans-“, I bring this to bear on the wonderful initiative of the Frans Hals Museum in Haarlem and the Museum M in Leuven, to vuild up a series of exhibitions that bring past and present art together.
“Violence Re-Viewed”, 213-223 in On Violence, eds. Rebecca Jagoe and Sharon Kivland, London: Ma Bibliothèque, 2018
Yet another article on Malani’s pictorial fight against violence and the way it is routinely condoned.
Ethics is not Moralism
“Is There an Ethics to Story-Telling?”, 37-54 in Story-Telling and Ethics: Literature, Visual Arts and the Power of Narrative, eds. Hanna Meretoja and Colin Davis. New York and London: Routledge, 2018
The ethical issues brought up after WWII by Theodor Adorno, which he later revised, are confronted with Georges Didi-Huberman’s attempt to salvage something of the visibility of the concentration camps.
To Accompany Madness
“Prólogo” 17-27 in Alberto Montoya Hernández Acompañar la locura. En las encrucijadas de un Sancho Panza. México: Circulo psicoanalítico Mexicano 2017
This article presents a further collaboration with one of the participants in the film on madness, A Long History of Madness where the author of the book, Alberto Montoya Hernández, plays the younger uncle of the psychoanalyst. He is an analyst himself, specialized in visual images of his patients.
Speaking and Vision
“Speaking Doesn’t Happen Without Vision”, 355-357 in Qui Parle? Anniversary issue, 26, 2, 2017
This is a short plea for the importance of focalization, which i where the visions of narrators and characters are hidden.
“Telling Food, Going Urban: Glub and the Aesthetics of Everyday Life”, 23-36 in How Are Things Being Told? Proceedings of the 3d International Conference “art, Science, City”, Malaga, 23-24 November 2017 ed. Blanca Montalvo
This online article offers a revised version of a much-earlier article on the cultural changes brought about by the habit of eating sunflower seeds in urban public space.
“Sneaky Snakes: Seduction, the Biblical imagination, and Activating Art”, 589-607 in The Bible and Feminism: Remapping the Field, ed. By Yvonne Sherwood, with the Assistance of Anna Fisk. Oxford: Oxford University Press, 2017
The request to participate in a collective volume of feminist revisionings of the Bible seemed an opportunity to combine my earlier work on the Bible with more recent work on visual art.
Marianne Maderna’s Honorary Women
“Im Angesicht der De-Figuration [de-facement]. Zwölf Fragmente zu Repräsentation”, 57-86 in Representation Revisited, ed. by Anna Babka and Katrin Lasthofer. Vienna: Turia + Kant 2017
This volume (in German) is devoted to the Viennese artist’s golden busts of women who never got their due place among the busts of famous men.
Stains Against Violence
“Stains against violence: Nalini Malani’s strategies for durational looking”, Journal for Contemporary Painting, 4, 1, 59-80, 2017
Even after writing a big book on her work In Medias Res, I couldn’t get enough of studying Malani’s art. This article analyses the work from the perspective of technical issues in painting.
Looking: a sensuous act, in the present
“Sensing the Present: ‘Conceptual Art of the Senses’”, Emma & Edvard: Love in the Time of Loneliness, 27-43 in Text Matters, 7, 7: 2017 (with Rachel E. Burke)
This article introduces the issues underlying the exhibition I curated in Oslo Emma & Edvard: Love in the Time of Loneliness, in a volume edited by Dorota Filipczak, devoted to the papers of the international conference held in Oslo during and about the exhibition.
Dare to Doubt
“Dare to Doubt, in The Philosophical Salon, of the LA Review of Books, 2017
I wouldn’t have bothered putting such a short piece in this list, if it wasn’t for the current state of the world, where incipient doubt is silenced by screaming. You can read it here
“Intership: Anachronism between Loyalty and the Case”. In The Oxford Handbook of Adaptation Studies, edited by Thomas Leitch. New York and Oxford: Oxford University Press, 179-196, 2017
This is the second article in a row in a handbook, in which I reflect on my own film making practice. This article offers a strong argument for anachronism and for the genre of the case study, albeit qualified. The case is our Madame B. In the article I also insist on the different ways the preposition “inter-” adds more specificity to what it indicates than alternatives such as “trans-” and “multi-“. I have made this argument repetitively since the 1980s, but it is still needed, it seems.
Intimacy, Modesty, Silence
“Intimacy, Modesty, Silence: Documentary Filmmaking in the Face of Trauma”, in The Philosophy of Documentary Film: Image, Sound, Fiction, Truth, edited by David LaRocca, Foreword by Timothy Corrigan. London: Lexington Books 2017, 261-286
After having made some 16 documentary films, all around issues of migration, interculturality, and identity, all in a positive spirit, I have been asked many times to reflect on my practice. A few articles have resulted, and this is one of them. The volume as a whole offers a profound reflections on the genre of documentary film, and could be very useful for teaching.
El tiempo que se toma
“El tiempo que se toma”, Contra Narrativas, Revista de Estudios Visuales. Murca, SP, November 2016, np, read here. This is a slightly reworked version of a catalogue essay, mentioned in that section. Here, the context is an academic journal.
Scale as a Political Tool
Scale as a Political Tool: Louise Bourgeois’ Cells as a Mode of Living. On the Occasion of the Munich Exhibition”, in Kunst Chronik, 69, 7, July 2016, 349-362
The brilliant exhibition of Louise Bourgeois’ Cells at the Haus der Kunst in Munich was the occasion for this return to Bourgeois’ work after many years. The Cells have always excited me for their scale, which I knew to be meaningful beyond the aesthetic and the memorial meanings. The invitation to give a lecture in Munich gave me the opportunity to reflect more deeply, and with my renewed interest in political art, on these extraordinary works.
Breaking the Narrative
“Breaking the Narrative: The Madame B Project and Historical Loyalty”, in Narrative im Bruch. Theoretische Positionen und Anwendungen, edited by Anna Babka, Marlen Bidwell-Steiner, and Wolfgang Müller-Funk. Vienna: V&R unipress / Vienna University Press 2016, 255-270
The volume for which this article was solicited is devoted to narratives that do not obey the rules and expectations of the genre of the novel. I am always happy to be asked to write about material I have worked on for a film project. Instead of circularity, as one might expect, examining once more my own project yields another layer of meaning.
“Reasonable Doubt: Kijken naar denkbeelden”, 56-65 in Tijdschrift voor biografie 5, 4, 2016
Written in Dutch, in this article I explain the motivation and process of making the film Reasonable Doubt. Although the journal that solicited the article is devoted to biography, my article explains in what way this film is necessarily NOT a biography - cannot be one, in order to be loyal to the life and person portrayed. Full text, in Dutch: kijken_naar_denkbeelden.pdf
Movement and the Still Image
“Movement and the Still Image”, 15-44 in Espacio, Tiempo y Forma VII, 4, 2016
This article is the introduction to a dossier I edited for this Spanish journal that is developing an international profile.
On the basis of Bergson’s Matter and Memory I argue that all images move, and unpack that idea through three paintings by Edvard Munch, and a few new paintings by Jussi Niva. The article also briefly introduces the contributions to the dossier. It can be accessed free of charge. Here is a pdf of my article: revistamovement.pdf For more on the dossier, and a link to the entire dossier, see Editing
Affect as a cultural force
“Afekt jako siła kulturowa” (trans. Anna Turczyn), 33-46 in Historie afektywne I polityki pamienci (Affective Histories and the Politics of Memory), edited by Elżbieta Wichrowska, Anna Szczepan-Wojnarska, Roma Sendyka, Ryszard Nycz. Warsaw: Institut Badan, literackich pan wydawnictwo (The Institute of Literary Research of the Polish Academy of Sciences) 2016
As the next item, the same holds here: although some bits & pieces of this article were taken from published work, as such this paper does not exist in English, unfortunately. It was written for the occasion, a Summer School on Affect and Politics in Nieborów, Poland.
Lostness: A Profound Mutation of the question of “we” (in Polish)
“Zagubienie: “gruntowna przemiana kwestii naszego ‘my’” trans. Tomasz Bilczewski and Anna Kowalcze-Pawlik, 501-548 in Historie afektywne I polityki pamienci, edited by Elzbiet Wichrowskia, Anna Szczepan-Wojnarskia, Roma Sendyka and Rochard Nycz. Warsaw: Institut Badan, literackich pan wydawnictwo 2016
Although some bits & pieces of this article were taken from published work, as such this paper does not exist in English, unfortunately. It was written for the occasion, a reflection on a group exhibition in Lodz, Poland, in which I participated with Nothing is Missing.
From Documentary to Fiction and Back
“From Documentary to Fiction and Back”, in …, Johannesburg, SA, nr. 1, 2016 (no page numbers) To read the article, see here Written with Michelle Williams Gamaker, this is an account of our video-making activities since 2002, when we first met and embarked in the making of Mille et un jours up to our current, separate projects.
Long Live Anachronism
“Long Live Anachronism”, 281-304 in Being Contemporary: French Literature, Culure, and Politics Today edited by Lia Brozgal and Sara Kippur. Liverpool, UK: Liverpool University Press 2016
Making Madame B has inspired a few articles on temporality and cinematic dialogues with novels. This article was solicited for a book in homage to my old friend Susan Rubin Suleiman. It has turned out a fabulous volume on issues of contemporaneity.
“Lostness, Tents, and Faces: When Home Fails Us” 113-140 in Home: Concepts, Constructions and Contexts edited by Cecile Sandten and Kathy-Ann Tan. Trier, Germany: Wissenschaftlicher Verlag Trier, 2016
Based on my documentary video installation project Nothing is Missing the request for this paper gave me an opportunity to update the issue of the mothers of migrants in a new, more actual framework.
Mieke has written many articles for academic journals and other publications.
Select a decade for a full list of Mieke's articles over the years.
Exhibition as a Syntax of the Face
“Exhibition as a Syntax of the Face.” Manifesta Journal: Journal of Contemporary Curatorship 9 (2009-2010): 13-22
Becoming of the World versus Identity Politics
“Becoming of the World versus Identity Politics.” Nordlit: Tidsskrift i litteratur og kultur 24 (2009): 9-30
The Commitment to Face
“The Commitment to Face.” In Commitment and Complicity in Cultural Theory & Practice, eds. Begüm Özden Firat, Sarah De Mul and Sonja van Wichelen, 120-136. Basingstoke: Macmillan, 2009
Narrating Art? Some Discontinuous Reflections
“Narrating Art? Some Discontinuous Reflections”. In 10,000 Francs Reward (The Contemporary Art Museum, Dead or Alive), eds. Manuel Borja-Villel, Yolanda Romero, Francisco Baena et al, 121-139. Barcelona: Actar D (BNV Producciones), 2009
(Spanish) “¿Arte Narrativo? Reflexiones Discontinuas”
Lecture published in 10,000 Francs Reward (The Contemporary Art Museum, Dead or Alive), the publication of the proceedings of the event of the same name, run by the Association of Contemporary Art Directors of Spain (ADACE) and organised by the Ministry of Culture, the State Corporation for Spanish Cultural Actions Abroad (SEACEX and the International University of Andalusia) UNIA artandthinking.
Working with Concepts
Bal, Mieke(2009)’Working with Concepts’,European Journal of English Studies,13:1,13 — 23 read article here (limited access)
Response: Ariel Dorfman’s Quest for Responsibility
“Response: Ariel Dorfman’s Quest for Responsibility.” Art Bulletin, 41, no. 1 (2009): 44-50 read article here (limited access)
Lesbarkeit der Kultur
“Lesbarkeit der Kultur” In Bibel als Literatur, eds. Hans-Peter Schmidt and Daniel Weidner, 281-306.München: Wilhelm Fink Verlag, 2008
“Visual Analysis.” In The SAGE Handbook of Cultural Analysis, eds. Tony Bennett and John Frow, 163-184. London: SAGE Publications, 2008
“Heterochronotopia.” In Migratory Settings, eds. Murat Aydemir and Alex Rotas, 35–56. Amsterdam and New York: Rodopi, 2008
“Mélanges.” In Literature and Beyond: Festschrift for Willem G. Weststeijn on the Occasion of his 65th Birthday, eds. Eric de Haard, Wim Honselaar and Jenny Stelleman, 65–91. Amsterdam: Pegasus, 2008
Migratory Terrorism. In Mind the Screen: Media Concepts According to Thomas Elsaesser. Eds Kooijman, Jaap, Patricia Pisters and Wanda Strauven. Amsterdam: Amsterdam University Press, 2008, 297-309
Research Practice: New Words on Cold Cases
Research Practice: New Words on Cold Cases. In What is Research in the Visual Arts: Obsession, Archive, Encounter, eds. Michael Ann Holly and Marquard Smith, 196-211. Williamstown MA: Sterling and Francine
Clark Art Institute, 2008
Beautiful Suffering: La douleur des images
Beautiful Suffering: La douleur des images. In Face au Réel: Éthique de la forme dans l’art contemporain. Eds: Careri, Giovanni and Bernhard Rüdiger. Lyon: Archibooks + Sautereau Éditeur, 2008
Gemengde Gevoelens. In Denkwerk: Cahier EAJ. Uitgave in het kader van het Programma Een Ander Justitie, Den Haag: Ministerie van Justitie, 2008, 118-133
Double Movement. In 2MOVE: Video Art Migration. Mieke Bal, Miguel Á. Hernández-Navarro. Murcia: Cendeac, 2008, 13-82 read article here
“Migratory Aesthetics: Double Movement.” EXIT, no. 32 (2008): 150–161
(Spanish) “Estéticas migratorias: Movimiento doble.” EXIT, no. 32 (2008): 138–149
Exhibition as Film
Exhibition as Film. In (Re)Visualizing National History: Museums and National Identities in Europe in the New Millennium. Ed Robin Ostow. Toronto: Univerisity of Toronto Press, 2008, 15-47
Phantom Sentences. In Phantom Sentences: Essays in linguistics and literature presented to Ann Banfield. Eds Kawashima, Robert S., Gilles Philippe and Thelma Sowley. Bern: Peter Lang, 2008, 17-42
Loving Yusuf: A Story of Taboos
Loving Yusuf: A Story of Taboos. In: Hecate: An Interdisciplinary Journal of Women’s Liberation, vol. 33 no. 2, 2007, 14-30
A Thousand and One Voices
A Thousand and One Voices. In: the Amsterdam International Electronic Journal for Cultural Narratology (AJCN), No 4 autumn 2007. Read the article online at the AJCN website.
Far Encounters: Looking Desire
Far Encounters: Looking Desire. In Ways of Seeing, Ways of Speaking. Eds Fleckenstein, Kristie S., Sue Hum and Linda T. Calendrillo. West Lafayette: Parlor Press LLC, 2007, 179-202
Reading, Writing, Filming, Dreaming, Dressing
“Reading, Writing, Filming, Dreaming, Dressing.” In Art History: About Mieke Bal, edited by Deborah Cherry, Oxford, UK: Blackwell (June 2007), 406-417 (with Michael Ann Holly) read article here (limited access)
What If? The Language of Affect
What If? The Language of Affect. In In(ter)discipline: New Languages for Criticism. Eds Beer, Gilliam, Malcolm Bowie and Beate Perrey. London: Modern Humanities Research Association and Maney Publishing, 2007, 6-24
Lost in Space, Lost in the Library
Lost in Space, Lost in the Library. In: Essays in Migratory Aesthetics. Eds Sam Durrant and Catherine Lord, No 17, 2007, 23-36 read article here (limited access)
From Cultural Studies to Cultural Analysis
In: Kritische Berichte: Zeitschrift für Kunst- und Kulturwissenschaften. Volume 2, 2007, 33-44
Lost in Space: the Violence of Language
In: Interpretations: European Research Project for Poetics and Hermeneutics. Volume No. 1 Violence and Art, ed. Kata Kulavkova. Skopje: Macedonian Academy of Sciences and Arts 2007, 53-68
Women’s Rembrandt. In: Museums After Modernism: Strategies of Engagement. Eds Griselda Pollock and Joyce Zemans. Oxford: Blackwell 2007, 40-69
Exhibition as Film
Exhibition as Film. In: Exhibition Experiments. Eds Sharon MacDonald and Paul Basu. Oxford: Blackwell Publishing 2007, 71-93
Journal of Visual Culture, Volume 6 number 1 April 2007
Edited by Joanne Morra and Mieke Bal
Mieke Bal article ‘Translating Translation’ pp. 109-124 read article here (limited access)
Another Publication, piet zwart institute
Another publication is a book project around the manifold perspectives on otherness. Magnanimous in its ubiquitous applications, the ‘other’ floats between different points of view. The aim of this publication is to bind together different proposals, as a strategy to approach this somewhat bankrupt term. Twelve writers were invited to contibute a text on this subject, each writing a preface to a possible book.
Mieke Bal preface ‘Migratory Aesthetics’ 13-19
Beautiful Suffering: Photography and the Traffic in Pain.
The Pain of Images - Mieke Bal p. 93 - 115 In: Beautiful Suffering: Photography and the Traffic in Pain. Reinhardt, Mark, Holly Edwards, and Erina Duganne, editors Co-published with Williams College Museum of Art. 216 p., 74 color plates, 16 figures. 10-1/2 x 9-1/2 2006
Also translated into Spanish: “El arte contemporáneo y el mundo: el dolor de las imágines.” 145-181 in Cuerpo y mirada, huellas del siglo XX, Edición a cargo de Aurora Fernández Polanco. Madrid: Museo nacional Centro de Arte Reina Sofía 2007
From Sub- to Suprasemiotic: The Sign as Event
“From Sub- to Suprasemiotic: The Sign as Event.” In Images: a Reader, eds. Sunil Manghani, Arthur Piper, and Jon Simons, 115-118. London: SAGE Publications, 2006 read article here
Facing Severance. In: Intermédialités, ed. Johanne Villeneuve, No 8 Automne 2006, 189-210 read article here
Amsterdam International Electronic Journal for Cultural Narratology (AJCN), issue autumn 2006
Read Mieke’s article in the Amsterdam International Electronic Journal for Cultural Narratology (AJCN), issue autumn 2006:
LOOPS & GAPS: Video as Entrance into the Unknown
Lepljive podobe: krcenje casovne dimenzije v umetnosti trajana
(Sticky images: the foreshortening of time in an art of duration)
Likovne Besede (Art Words) poletje/summer 2006, 39-51, Ljubljana: Union of the Slovene Fine Artists Associations, 2006
Affekt als kulturelle Kraft
In Affekte. Analysen ästhetisch-medialer Prozesse. Hg.: Antje Krause-Wahl, Heike Oehlschlägel, Serjoscha Wiemer, Einleitung 7-19. Bielefeld: transcript Verlag, 2006
Metaphoring: Making a Niche of Negative Space
In Metaphoricity and the Politics of Mobility, ed. Maria Margaroni, Effie Yiannopoulou,159-180.
Amsterdam-New York: Editions Rodopi B.V., 2006
In ‘Psychoanlaysis and the Image’, edited by Griselda Pollock, 30-59,
Oxford, UK etc.: Blackwell Publishing, 2006.
Faithfully Submitted: The Logic of the Signature in Marcel Proust’s ‘A la recherche’
In ‘Sign Here! Handwriting in the Age of New Media’, Sonja Neef, José van Dijck, and Eric Ketelaar (eds.), 150-163. Amsterdam: Amsterdam University Press, 2006.
Erste Person, zweite Person, dieselbe Person. Zum Verhältnis von Ausstellen und Beschreiben aus narratologischer Sicht
In ‘Narration und Geschlecht. Texte - Medien - Episteme’. Edited by Sigrid Nieberle and Elisabeth Strowick, 283-314. Köln, Weimar, Wien: Böhlau Verlag, 2006.
In ‘Reading Charlotte Salomon’, edited by Michael P. Steinberg and Monica Bohm-Duchen, 167-193. Ithaca and London: Cornell University Press, 2006.
The Commitment to Look
In Journal of Visual Culture, no. 4 (2005): 145-162. read article here (limited access)
In ‘The Artemisia Files: Artemisia Gentileschi for Feminists and Other Thinking People’, edited by Mieke Bal, ix-xxv. Chicago: University of Chicago Press, 2005.
Grounds of Comparison
In ‘The Artemisia Files: Artemisia Gentileschi for Feminists and Other Thinking People’, edited by Mieke Bal, 129-168. Chicago: University of Chicago Press, 2005.
Food, Form, and Visibility: Glub and the Aesthetics of Everyday Life
Postcolonial Studies, 8:1, 2005: 51-77. read article here (limited access)
Reprinted in ‘Enigma Objekta ? Zbornik teorijskih tekstova’, edited by Gordan Karabogdan and Nikica Klobucar, 9-23. Zagreb: I.T.GRAF, 2005.
To Read a Picture
In ‘The J. Hillis Miller Reader’, edited by Julian Wolfreys, 82-88. Edinburgh: Edinburgh University Press, 2005.
Interdisciplinary Approaches to Narrative
In ‘Encyclopedia of Narrative Theory’, edited by David Herman, Manfred Jahn, and Marie-Laure Ryan, 250-252. London and New York: Routledge, 2005.
In ‘Encyclopedia of Narrative Theory’, edited by David Herman, Manfred Jahn, and Marie-Laure Ryan, 629-633. London and New York: Routledge, 2005.
The Violence of Gender
In ‘A Companion to Gender Studies’, edited by Philomena Essed, David Theo Goldberg, and Audrey Kobayashi, 530-43. Malden, Oxford, Carlton: Blackwell Publishing, 2005.
L’éthique de la description
dans ‘Les Lieux du réalisme. Pour Philippe Hamon’. Études réunies et présentées par Vincent Jouve et Alain Pagès avec la collaboration de Boris Lyon-Caen et Alexandrine Viboud. Paris, Éditions L’improviste / Presses de la Sorbonne Nouvelle, 146-157.
Critique of Voice. The Open Score of Her Face
In ‘Analysieren als Deuten. Wolf Schmid zum 60. Geburtstag’, edited by Lazar Fleishman, Christine Gölz, and Aage A. Hansen-Löve, 31-51. Hamburg: Hamburg University Press, 2004.
Light Writing: Portraiture in a Post-Traumatic Age
In ‘The Photograph’, Special Issue of Mosaic (A Journal for the Interdisciplinary Study of Literature), edited by Dawne McCance, 27:4, 2004: 1-19.
PMLA (Publication of the Modern Language Association of America) 119: 5, 2004: 1289-1292.
Akte des Schauens: Proust und die visuelle Kultur
In ‘Marcel Proust und die Künste’, edited by Wolfram Nitsch and Riner Zaiser, 90-111; translated by Maria Imhof and Kirsten Kramer. Insel Verlag: Frankfurt am Main and Leipzig, 2004.
Over-writing as Un-writing: Descriptions, World-Making, and Novelistic Time
In ‘Narrative Theory: Critical Concepts in Literary and Cultural Studies’, volume I, edited by Mieke Bal, 341-388. London and New York: Routledge, 2004.
Religious Canon and Literary Identity
In ‘Literary Canons and Religious Identities’, edited by Erik Borgman, Bart Philipsen, and Lea Verstricht, 9-32. Aldershot: Ashgate, 2004.
Telling Objects: A Narrative Perspective on Collecting
In ‘Grasping the World: The Idea of the Museum’, edited by Donald Preziosi and Claire Farago, 84-102. Aldershot: Ashgate, 2004.
Exposing the Public
In ‘Die Spur durch den Spiegel: Der Film in der Kultur der Moderne’, edited by Malte Hagener, Johann N. Schmidt, and Michael Wedel, 51-64. Berlin: Bertz-Verlag, 2004. Reprinted in ‘A companion to Museum Studies’, edited by Sharon Macdonald, 525-542. New York and Oxford: Blackwell, 2006, selected as a Choice Outstanding Academic Book of 2007
Meanwhile: Literature in an Expanded Field
In ‘Africa and its Significant Others: Forty Years of Intercultural Entanglement’, edited by Isabel Hoving, Frans-Willem Korsten, and Ernst van Alphen: ‘Thamyris Intersecting: Place, Sex and Race’, 11, 2003: 183-198. read article here (limited access)
Cultuur en traditie
In ‘Denken over cultuur’, edited by Peter van Zilfhout, 225-55. Heerlen: Open Universiteit Nederland, 2003.
Embracing the Horizon
In ‘Cultural History: Straddling Borders. John Neubauer zum 70. Geburtstag’, Special Issue of arcadia (International Journal of Literary Studies), edited by Mieke Bal and Jan van Luxemburg, 38:2, 2003: 414-18.
De droom als theater: De droomduiding in het licht van hedendaagse cultuurstudies
In ‘De droomduiding herdacht: Essays over cultuuronderzoek en psychoanalyse’, edited by Mieke Taat, 93-107. Amsterdam: Uitgeverij Boom, 2003.
Mieke Bal’s Reply to the Responses to Her Article ‘Visual Essentialism and the Object of Visual Culture’ (Journal of Visual Culture 2:1, 2003: 5-32)
‘Journal of Visual Culture’ 2:2, 2003: 260-68. Translated into Spanish by Carolina Díaz, David García Casado, and María Teresa Tellechea: ‘Respuesta Las Respuestas’. In ‘Estudios Visuales’ 2, 2004: 97-107. read article here (limited access)
In ‘Mirror or Mask: Self-representation in the Modern Age’, number 11 of ‘Berliner Theaterwissenschaft’, edited by David Blostein and Pia Kleber, 11-43. Berlin: VISTAS Verlag, 2003.
Meanwhile: Literature in an Expanded Field
AUMLA (Journal of the Australasian Universities Language & Literature Association) 99, 2003: 1-22.
Sich verzweigende Pfade und Kristalle in Louise Bourgeois? Philosophie der Temporalität/Anthropometamorphosis: Forking Paths and Crystals in Louise Bourgeois? Philosophy of Temporality
In ‘Louise Bourgeois: Intime Abstraktionen/Louise Bourgeois: Intimate Abstractions, edited by Beatrice E. Stammer, et al., 116-44. Berlin: Akademie der Künste, 2003.
Her Majesty’s Masters
In ‘The Art Historian: National Traditions and Institutional Practices’, edited by Michael F. Zimmermann, 81-109. Williamstown, MA: Sterling and Francine Clark Art Institute, 2003.
Critique of Voice: The Open Score of her Face
In ‘Travelling Concepts III: Memory, Narrative, Image’, edited by Nancy Pedri, 91-114. Amsterdam: ASCA Press, 2003.
Autotopography: Louise Bourgeois as Builder
In ‘Interfaces: Women, Autobiography, Image, Performance’, edited by Sidonie Smith and Julia Watson, 163-185. Ann Arbor: University of Michigan Press, 2003. (an earlier version of this essay appeared as ‘Narrative Inside Out’ in ‘Oxford Art Journal’ [see below]; this essay, with minor differences, first appeared in ‘Biography’ [see below])
From Cultural Studies to Cultural Analysis: A Controlled Reflection on the Formation of Method
In ‘Interrogating Cultural Studies: Theory, Politics and Practice’, edited by Paul Bowman, 30-40. London: Pluto Press, 2003. read article here
Norman Bryson, British Historian of Art and Visual Culture
In ‘Key Writers on Art: The Twentieth Century’, edited by Chris Murray, 62-68. London and New York: Routledge, 2003.
Visual Essentialism and the Object of Visual Culture
Journal of Visual Culture 2:1, 2003: 5-32. read article here (limited access)
Translated by Carolina Díaz, David García Casado, María Teresa Tellechea into Spanish: ‘El Esencialismo Visual Y El Objeto de los Estudios Visuales’. In Estudios Visuales 2, 2004: 11-49. Translated by Csáky Marianne Fordítása into Hungarian: ‘Vizuális esszencializmus és a vizuális kultúra tárgya’. In Enigma 41, 2004: 86-116.
Autotopography: Louise Bourgeois as Builder
Biography: An Interdisciplinary Quarterly 25:1, 2002: 180-202. read article here
Descrizioni, costruzione di mondi e tempo della narrazione
In ‘Il romanzo’, Volume II: Le Forme, edited by Franco Moretti, 189-224. Milan: Einaudi, 2002.
The Genius of Rome: Putting Things Together
Journal of Visual Culture 1:1, 2002: 25-45. read article here (limited access)
Der Rembrandt der Frauen
In ‘Korrespondenzen: Visuelle Kulturen zwischen Früher Neuzeit und Gegenwart’, edited by Matthias Bickenbach and Axel Fliethmann, 27-54. Cologne: DuMont Literatur und Kunst Verlag, 2002.
In ‘Feminist Consequences: Theory for the New Century’, edited by Elisabeth Bronfen and Misha Kavka, 321-52. New York: Columbia University Press, 2001.
Auf die Haut / Unter die Haut: Barockes steigt an die Oberfläche
In ‘Barock: Neue Sichtweisen einer Epoche’, edited by Peter J. Burgard, 17-51. Vienna; Cologne; Weimar: Böhlau Verlag, 2001.
Yesterday Isn’t What It Used to Be
‘Documents’ 21, 2001/2002: 11-23.
In ‘Louise Bourgeois? Spider: The Architecture of Art-Writing’, translated by Petr and Olga Serebriany. Novy Mir Isskustva (The New World of Art), 23, (St. Petersburg) 2001: 24-28.
‘Um_ní - Art’ (Journal of the Institute for Art History of the Academy of Sciences of the Czech Republic), 5:XLIX, 2001: 370-83.
In ‘Homo Orthopedicus: le corps et ses prothèses à l?époque (post)moderniste’, edited by Nathalie Roelens and Wanda Strauven, 139-66. Paris; Budapest; Turin: L?Harmattan, 2001.
Mise en scène: Zur Inszenierung von Subjektivität
In ‘Ästhetik der Inszenieurung. Dimensionen eines künstlerischen, kulturellen und gesellschaftlichen Phänomens’, edited by Josef Früchtl and Jörg Zimmermann, translated by Sonja Neef, 198-221. Frankfurt am Main: Suhrkamp Verlag, 2001.
‘Likovne besede - Artwords’, 57:58, 2001: 98-102.
Legal Lust: Literary Litigations
‘The Australian Feminist Law Journal’ (Special Issue: ‘Writing Against Legal Racism: Law and Literature Explorations’), edited by Judith Grbich and Peter Hutchings, 2001: 1-22.
Postmodern Theology as Cultural Analysis
In ‘The Blackwell Companion to Postmodern Theology’, edited by Graham Ward, 3-23. Oxford: Blackwell, 2001.
Pour une histoire pervertie
In ‘Résurgences baroques: les trajectoires d?un processus transculturel’, edited by Nicolas Goyer and Walter Moser, 61-88. Brussels: Éditions de la Lettre Volée, 2001.
La répétition, la tête dans les nuages / Rehearsal, Head in the Clouds
In ‘Action, on tourne / Action, We?re Filming’, edited by Laurence Gateau, 34-73. Nice: Villa Arson, 2001.
Voix/voie narrative: la voix métaphorée
In ‘La Voix Narrative: Cahier de Narratologie’, 1:10, edited by Jean-Louis Brau, 9-36. Nice: Centre de Narratologie Appliquée, 2001.
Mission Impossible: Postcards, Pictures, and Parasites
In ‘Religion and Media’, edited by Hent de Vries and Samuel Weber, 241-68. Stanford: Stanford University Press, 2001.
Introduction: Travelling Concepts and Cultural Analysis
In ‘Travelling Concepts: Text, Subjectivity, Hybridity’, edited by Joyce Goggin and Sonja Neef, 7-25. Amsterdam: ASCA Press, 2001.
Performance and Performativity, Lier en Boog
Special Issue ‘Exploding Aesthetics’, edited by Annette W. Balkema and Henk Slager, 16, 2001: 108-24.
Expanded version in: ‘Kultur-Analysen’
(Interventionen 10), edited by Jörg Huber, 197-241. Zurich: Instituts für Theorie der Gestaltung und Kunst an der Hochschule für Gestaltung und Kunst & Edition Voldemeer, 2001.
‘Diacritics’, 30:1, 2001: 2-24. read article here (limited access)
Pour une interprétation intempestive
In ‘Où en est l’interprétation de l’oeuvre d’art”, edited by Régis Michel, 239-67. Paris: Musée du Louvre and École Nationale Supérieure des Beaux-Arts, 2000.
In ‘Encyclopedia of Feminist Theories’, edited by Lorraine Code, 244-45. London: Routledge, 2000.
In ‘Encyclopedia of Feminist Theories’, edited by Lorraine Code, 357-59. London: Routledge, 2000.
‘Poetics Today’ (Special Issue ‘Harshav Festschrift’) 21:3, 2000: 479-502. read article here (limited access)
Fantasy and the Mirror of Nature
In ‘Imagination und Wirklichkeit: Zum Verhältnis von mentalen und realen Bildern in der Kunst der frühen Neuzeit’, edited by Klaus Krüger and Alessandro Nova, 183-94. Mainz: Verlag Philipp von Zabern, 2000.
Ecstatic Aesthetics: Metaphoring Bernini
In ‘Critical Issues’ series 4/2000 of ‘Artspace Visual Art Centre Sydney’, Monograph.
Revised version in: ‘Compelling Visuality: The Work of Art in and out of History’, edited by Claire Farago and Robert Zwijnenberg, 1-30. Minneapolis; London: University of Minnesota Press, 2003.
Religious Canon and Literary Identity
Plenary Lecture at 10th Conference of the ‘Society for Literature and Religion’: ‘Literary Canon and Religious Identity’, University of Nijmegen, 2000.
‘European Electronic Journal for Feminist Exegesis’, 2:2000 (no page numbers).
In ‘The Visual-Narrative Matrix: Interdisciplinary Collisions and Collusions’, edited by Graham Coulter-Smith, 7-16. Southampton: Southampton Institute, 2000.
Sticky Images: the Foreshortening of Time in an Art of Duration
In ‘Time and the Image’, edited by Carolyn Bailey Gill, 79-99. Manchester: Manchester University Press, 2000.
Memory Acts: Performing Subjectivity
‘Performance Research’, 5:3, 2000: 102-14. read article here
The Spirit as Parasite
‘Western Humanities Review’ (Special Issue ‘Text and Spirit’, from the Tanner Lectures on Human Values of Western Humanities) LIII:4, 1999/2000: 315-35.
Crossroad Theory and Travelling Concepts: From Cultural Studies to Cultural Analysis
In ‘The Future of Cultural Studies: Essays in Honour of Joris Vlasselaers’, edited by Jan Baetens and José Lambert, 3-21. Leuven: Leuven University Press, 2000.
Snow White in the Wrong Story: Cultural Analysis, Aesthetics, and Catastrophic Culture
In ‘Aesthetic Theory, Art and Popular Culture’ (Kulturstudier No. 8), edited by Jostein Gripsrud, 33-57. Kristiansand: Nordic Academic Press, 1999.
Selbstporträt in einem facettierten Spiegel
In ‘Schneewittchen: über den Mythos kalter Schönheit. Ein Eiskristallbuch’, edited by Gerda Buxbaum and Christina Lammer, 105-17. Tübingen: Konkursbuchverlag Claudia Gehrke, 1999.
Narrative Inside Out: Louise Bourgeois’ “Spider” as Theoretical Object
‘Oxford Art Journal’ 22:2, 1999: 101-26. read article here (limited access)
Basic Instincts and Their Discontents
In ‘Text and Visuality: Word and Image Interactions 3’, edited by M. Heusser, et al., 13-32. Amsterdam/Atlanta, GA: Rodopi, 1999.
In ‘Acts of Memory: Cultural Recall in the Present’, edited by Mieke Bal, Jonathan Crewe and Leo Spitzer, vii-xvii. Hanover, NH/London: University Press of New England, 1999.
Memories in the Museum: Preposterous Histories
In ‘Acts of Memory: Cultural Recall in the Present’, edited by Mieke Bal, Jonathan Crewe and Leo Spitzer, 171-90. Hanover, NH/London: University Press of New England, 1999.
Geelzucht en Schone Letteren
‘De Witte Raaf’ 77, January-February 1999: 1-3.
All in the Family: Familiarity and Estrangement According to Marcel Proust
In ‘The Familial Gaze’, edited by Marianne Hirsch, 223-47. Dartmouth, NH: University Press of New England, 1999.
Ruumiiseen sisällytetty Tila (Space, Incorporated)
In ‘Kuvasta tilaan’, edited by Kirsi Saarikangas, 299-333. Tampere: Vastapaino, 1999.
Frame Her If You Can!
‘Art Bulletin of Nationalmuseum Stockholm’, Volume 5, 1998: 137-52.
In ‘Center 18: Record of Activities and Research Reports’, June 1997- May 1998, 45-48. Washington, DC: National Gallery of Art, Center for Advanced Study in the Visual Arts, 1998.
Seeing Signs: The Use of Semiotics for the Understanding of Visual Art
In ‘The Subjects of Art History: Historical Objects in Contemporary Perspectives’, edited by Mark A. Cheetham, Michael Ann Holly, and Keith Moxey, 74-93. New York: Cambridge University Press, 1998.
Close Reading Today: From Narratology to Cultural Analysis
In ‘Grenzüberschreitungen: Narratologie im Kontext/Transcending Boundaries: Narratology in Context’, edited by Walter Grünzeig and Andreas Solbach, 19-40. Tübingen: Gunter Narr Verlag, 1998.
A Meagre One Thousand Words for Stefan Germer
‘Texte zur Kunst’ 8:31, 1998: 43-45.
Reading Bathsheba: From Master Codes to Misfits
In “Rembrandt?s ‘Bathsheba Reading King David?s Letter’,” edited by Ann Jensen Adams, 119-46. New York and Cambridge: Cambridge University Press, 1998.
Semiotics as a Theory of Art
In ‘Encyclopedia of Aesthetics’, Volume 4, edited by Michael Kelly, 263-67. New York and Oxford: Oxford University Press, 1998. (co-author: Norman Bryson)
Narrative and the Visual and Literary Arts
In ‘Encyclopedia of Aesthetics’, Volume 3, edited by Michael Kelly, 328-31. New York and Oxford: Oxford University Press, 1998.
Charles Sanders Peirce
In ‘Encyclopedia of Aesthetics’, Volume 3, edited by Michael Kelly, 448-51. New York and Oxford: Oxford University Press, 1998.
Back to the Future: Art and Its History
‘Semiotica 119’ 3:4, 1998: 287-308.
Alter Ego: le regard hétéropathique dans ‘A la recherche du temps perdu’
In ‘Texte: Iconicité et Narrativité’, edited by J. Leblanc, 107-25. Toronto: Trinity College, 1998.
Introduction to Reading ‘Rembrandt’: Beyond the Word-Image Opposition
In ‘Interdisciplinarity: Essays from the Literature’, edited by William H. Newell, 363-87. New York: The College Entrance Examination Board, 1998.
In ‘Signs & Space / Raum & Zeichen’, Proceedings of International Conference on the Semiotics of Space and Culture in Amsterdam, edited by E.W.B. Hess-Lüttich, Jürgen E. Müller, and Aart van Zoest, 199-223. Tübingen: Gunter Narr Verlag, 1998.
Semiotics and Art History: A Discussion of Context and Senders
In ‘The Art of Art History: A Critical Anthology’, edited by Donald Preziosi, 242-56. Oxford: Oxford University Press, 1998. (co-author: Norman Bryson)
Túl a szó-kép oppozíción (an adaptation of Chapter 1 of Reading ‘Rembrandt’: Beyond the Word-Image Opposition)
‘Enigma’ 14-15, 1998: 132-64.
Shifting Visions: History and the Contemporary Collection (& Discussion)
In ‘The Curator, the Museum, the Collection, International Committee of Museums of Modern Art (CIMAM) Annual Meeting Barcelona 1997’, 27-37. Fundación ‘la Caixa’: Barcelona, 1997.
Vers une narratologie visuelle: poétique du détail dans la narration. L’exemple de Proust
In ‘Los géneros literarios: curso superior de narratología narratividad-dramaticidad’, edited by María Concepción Pérez, 17-30. Sevilla: Universidad de Sevilla 1997.
Documenta X: le parcours
‘Omnibus hors-série’ October, 1997: 8-40.
Narratologie et dialogue
In ‘Le dialogique’, edited by Daniel Luzzati, et al., 259-68. Bern: Peter Lang, 1997.
Looking at Love: An Ethics of Vision
‘Diacritics’ 27:1, 1997: 59-72. read article here(limited access)
Narcissus - Vision and Semiotic Space
‘European Journal for Semiotic Studies’ 9:1, 1997: 139-57.
Een jongetje van zes en een plaatje van een moeder
In ‘Liber amicarum. Over kunst, literatuur en filosofie’, edited by J.J. Pott, V. Vasteling, R. van de Vall, and K. Vintges, 96-107. Meppel: Boom, 1997.
In het museum: hedendaags exhibitionisme
In ‘Teken en betekenis’, edited by Jan C.A. van de Lubbe and Aart J.A. van Zoest, 126-40. Haarlem: Aramith, 1997.
In ‘Narratology: An Introduction’, edited and with an introduction by Susana Onega and José Angel García Landa, 115-28. London and New York: Longman 1996.
Originally published in ‘Narratology: Introduction to the Theory of Narrative’, by Mieke Bal, translated by Christine van Boheemen, 100-14.
Toronto: University of Toronto Press, 1985.
In ‘Generations and Geographies in the Visual Arts: Feminist Reading’, edited by Griselda Pollock, 25-41. London: Routledge, 1996.
Proust et l’image primitive
‘Gradiva - Revue Européenne d?anthropologie littéraire’ 1:1, 1996: 59-70.
Un objet d’obsession: la photo d’outre-tombe
‘Vives lettres’ 1:2, 1996: 75-91.
Lacan in dialoog: Kaja Silverman en film
In ‘In dialoog met Lacan’, edited by Nathalie Kok and Kees Nuijten,195-216. Meppel: Boom, 1996.
Le verre grossissant
‘Etudes Littéraires’ 28:3, 1996: 13-28. read article here
‘Paragraph’ (Special Issue: ‘Painting and Narrative’, edited by Michael Worton) 19:3, 1996: 179-204.
Semiotic Elements in Academic Practices (Critical Response)
‘Critical Inquiry’ 22, 1996: 569-85. read article here
The Discourse of the Museum
In ‘Thinking About Museums’, edited by Reesa Greenberg, Bruce Ferguson, and Sandy Nairne, 201-18. New York: Routledge, 1996.
Signs in Painting
‘The Art Bulletin’ LXXVIII:1, 1996: 6-9. read article here
The Gaze in the Closet
In ‘Vision in Context: Historical and Contemporary Perspectives on Sight’, edited by Teresa Brennan and Martin Jay, 139-54. London: Routledge, 1996.
Franco Adami, Tableau
‘Fine Arts Magazine’ 19:1, 1996: 106-11. read article here
Cultural Studies and Philosophy
‘Parallax’ 1:1, 1995: 110-13.
Reading the Gaze: The Construction of Gender in ‘Rembrandt’
In ‘Vision & Textuality’, edited by Stephen Melville and Bill Readings, 147-73. London: MacMillan, 1995.
Serbian translation: ‘Citanje pogleda: konstrukcija roda u Rembranta’, translated by Miroslava Andjelkovic and Rastko Jovanovic, 161-186.
In ‘Uvod u feministicke teorije slike’, edited by Branislava Andjelkovic. Center for Contemporary Art: Belgrade, 2002.
Bird Watching: Visuality and Lesbian Desire in Marcel Proust’s A la recherche du temps perdu
‘Thamyris’ 2:1, 1995: 45-66. read article here\
Lire l’un avec l’autre: Chardin et Proust
In ‘Rhétorique et image. Textes en hommage à A. Kibédi Varga’, edited by Leo Hoek and Kees Meerhoff, 179-97. Amsterdam/Atlanta, GA: Rodopi, 1995.
Plaidoyer pour un personnage plat: à propos d’une page de Proust
In ‘Le personnage romanesque. Cahiers de narratologie’, edited by Gérard Lavergne, 11-28. Nice: Association des Publications de la Faculté des Lettres de Nice, 1995.
Zichtbaar ont-zettend: Proust en het fotografisch oog
In ‘Marcel Proust Vereniging Jaarboek’, edited by J. Plessen, et al., 77-93. Amsterdam: Marcel Proustvereniging and Bosbespers, 1993/94.
De Turner-turn. Over de ritueelgekte in de literatuurwetenschap in de jaren tachtig
‘Antropologische verkenningen’ 13:4, 1994: 56-68.
Verhalende teksten; De vertelsituatie; Effecten; Interpretatie (four chapters)
In ‘Inleiding Letterkunde’, part 1: Literatuuranalyse, edited by Lizette Duyvendak. Verhalende teksten, 237-62; De vertelsituatie, 263-90; Effecten, 319-42; Interpretatie, 343-64. Heerlen: Open Universiteit, 1994.
‘C.R.I.N.’ (Special Issue ‘Proust contemporain’, edited by Sophie Bertho) 28, 1994: 117-30.
The Rape of Lucrece and The Story of W
In ‘Reclamations of Shakespeare’, edited by A.J. Hoenselaars, 75-104. Amsterdam: Rodopi, 1994.
Een gebruiksaanwijzing in gebruik: narratologie van onderzoek naar onderwijs
‘De Nieuwe Taalgids’ 87:4, 1994: 352-55. read article here
Head Hunting: “Judith” on the Cutting Edge of Knowledge
‘Journal for Studies on the Old Testament’ 63, 1994: 3-34; reprinted in ‘A Feminist Companion to Esther, Judith and Susanna’, edited by Athalya Brenner, 253-86. Sheffield, UK: Sheffield Academic Press, 1995.
In ‘Virtute e canoscenza’, edited by Rob de Jong, David Rijser and Jan de Ruijter, 63-72. Amsterdam: Barlaeus Gymnasium, 1994.
Identification et apprentissage de la compassion: Proust et la photographie
In ‘(En)jeux de la communication romanesque. Hommage à Françoise van Rossum-Guyon’, edited by Suzanne van Dijk and Christa Stevens, 241-56. Amsterdam/Philadelphia: Rodopi, 1994.
Dead Flesh, or the Smell of Painting
In ‘Visual Culture: Images and Interpretations’, edited by Norman Bryson, Michael Holly and Keith Moxey, 365-83. Hannover and London: Wesleyan University Press, 1994.
Telling Objects: A Narrative Perspective on Collecting
In ‘The Cultures of Collecting’, edited by John Elsner and Roger Cardinal, 97-115. London: Reaktion Books 1994; also in Japanese edition of ‘The Cultures of Collecting’. Tokyo: Kenkyusha Ltd., 1998: 123-45.
Weliswaar, maar: de binaire oppositie voorbij
‘Simulacrum’ 3:1, 1994: 9-12.
Scared to Death
In ‘The Point of Theory’, edited by Mieke Bal and Inge E. Boer, 32-47. Amsterdam: Amsterdam University Press/New York: Continuum, 1994; revised version as “Scared to Death: Metaphor, Theory, and the Adventure of Scholarship”. In ‘In Good Company: Essays in Honor of Robert Detweiler’, edited by David Jasper and Mark Ledbetter, 11-32. Atlanta, GA: The Scholars Press, 1994.
A Body of Writing: Judges 19
In ‘A Feminist Companion to Judges’, edited by Athalya Brenner, 208-30. Sheffield, UK: Sheffield Academic Press, 1993.
Light in Painting: De-seminating Art History
In ‘Deconstruction and the Visual Arts: Art, Media, Architecture’, edited by Peter Brunette and David Wills, 49-64. New York: Cambridge University Press, 1993.
Vitsen med narratologi
‘Tidskrift för litteraturvetenskap’ 2-3, 1993: 3-25.
Heroism and Proper names, or the Fruits of Analogy
In ‘A Feminist Companion to Ruth’, edited by Athalya Brenner, 42-70. Sheffield, UK: Sheffield Academic Press, 1993.
Letteren, vrouwenstudies, psychoanalyse: een driehoeksverhouding met relatieproblemen
‘Allure’ 1, 1993: 89-106.
The Elders and Susanna
‘Biblical Interpretation’ 1:1, 1993: 1-19.
Metaphors He Lives By
‘Semeia’ 61, 1993: 185-207.
His Master’s Eye
In ‘Modernity and the Hegemony of Vision’, edited by David M. Levin, 379-404. Berkeley: University of California Press, 1993.
Give and Take
In ‘Gender, Race, Identity’, edited by Craig Barrow, Katherine Frank, John Phillips and Reed Sanderlin, 3-9. Chattanooga, TN: Southern Humanities Press, 1993.
First Person, Second Person, Same Person: Narrative as Epistemology
‘New Literary History’ 24:2, 1993: 293-320. read article here (limited access)
Cultuur en macht, leereenheid 12
In ‘Denken over cultuur: gebruik en misbruik van een concept’, edited by Auke van Breemen and Johannes Fabian, 327-47. Heerlen: Open Universiteit, 1993.
Als de dood: theorie, metaforen en het avontuur van wetenschap
‘Monograph’ (22 pp.), University of Amsterdam (inaugural address), 1993.
Avec son regard de maître
‘Protée’ Automne 1992: 54-68.
Prema kritickoj naratologiji
In ‘Suvremena teorija pripovijedanja’, edited by Vladimir Biti, 54-68 & 313-40. Zagreb: Globus, 1992.
Telling, Showing, Showing Off: A Walking Tour
‘Critical Inquiry’ 18, Spring 1992: 556-94. read article here
Over Her Dead Body
In ‘Literature and Gender’, edited by Iqbal Kaur, 3-24. New Delhi: D.K. Publishers Ltd., 1992.
Narratology and the Rhetoric of Trashing
‘Comparative Literature’ 44:3, 1992: 293-306. read article here
The Predicament of Semiotics
‘Poetics Today’ 13:3, 1992: 543-52. read article here
Rape: Problems of Intention
In ‘Feminism and Psychoanalysis’, edited by Elizabeth Wright, 367-71. Oxford: Basil Blackwell, 1992.
De hang naar houvast
‘Opzij’ 20:2, 1992: 51-59. read article here
Who Cares? Where Stories Come From and What They Do
In ‘Information in a Healthy Society/Health in the Information Society’, edited by Ad van Berlo and Yvonne Kiwitz-De Ruijter, 276-81. Knegsel: Akontes Publishing, 1992.
‘The Art Bulletin’ LXXIV:3, 1992: 528-31 (co-author: Norman Bryson).
De grenzen van wetenschappelijkheid
‘Forum der Letteren’ 33:4, 1992: 275-83.
The Point of Narratology
‘Poetics Today’ 11:4, 1991: 727-53. read article here
A Body of Writing
‘Crossroads/Continuum’ 1:2, 1991: 110-26.
Semiotics and Art History
‘The Art Bulletin’ LXXIII:2, 1991: 174-208 (co-author: Norman Bryson). read article here (limited access)
Serbian translation: Semiotika i istorija umetnosti. Prelom (Break), 1:I, 161-192. Center for Contemporary Art, Belgrade: Spring 2001 (translated by Ksenija Stevanovic and Dragana Kitanovic).
The Politics of Citation
‘Diacritics’, 21:1, Spring 1991: 25-45. read article here
Mooie boel: een driehoeksverhouding in lagen
In ‘Visies op cultuur en literatuur: opstellen naar aanleiding van het werk van J.J.A. Mooi’, edited by Rien T. Segers, 157-62. Amsterdam/Atlanta, GA: Rodopi, 1991.
Murder and Difference: Uncanny Sites in an Uncanny World
‘Journal of Literature and Theology’ 5:1, 1991: 11-19. read article here
“Door zuiverheid gedreven”: het troebele water van Het land van herkomst van E. du Perron
In ‘De canon onder vuur. Nederlandse literatuur tegendraads gelezen’, edited by Ernst van Alphen and Maaike Meijer, 122-42. Amsterdam: Van Gennep, 1991.
Une ou deux choses…
‘Protée’ 19:1, 1991: 51-60.
Lots of Writing
‘Semeia’ 54: 1991, 77-102; also in ‘Poetics Today’ 15:1, 1994, 89-114; reprinted in ‘Ruth and Esther: A Feminist Companion to the Bible’ (Second Series), edited by Athalya Brenner, 212-38. Sheffield, UK: Sheffield Academic Press, 1999. read article here
Experiencing Murder: Ritualistic Interpretation of Ancient Texts
In ‘Victor Turner and the Construction of Cultural Criticism: Between Literature and Anthropology’, edited by Kathleen M. Ashley, 3-20. Bloomington: Indiana University Press, 1990.
Dealing/With/Women: Daughters in the Book of Judges
In ‘The Bible and Critical Theory’, edited by Regina Schwartz, 16-39. Oxford: Basil Blackwell, 1990.
The Rape of Narrative and the Narrative of Rape: Speech Acts and Body Language in Judges
In ‘Selected Papers from the English Institute’, edited by Elaine Scarry, 1-32. Baltimore: Johns Hopkins University Press, 1988; paperback reprint: 1990.
Dis-semination: “Rembrandt” and the Navel of the Text
‘Literature, Interpretation, Theory’ 2:1990, 145-66.
De-disciplining the Eye
‘Critical Inquiry’ 1990, 16:3, 506-31. read article here
In ‘Natuur en cultuur’, edited by Raymond Corbey and Paul van der Grijp, 209-19. Baarn: Ambo, 1990.
Over haar lijk: waarheid, wetenschap en cultuurverschil
‘Monograph’ 1990. Amsterdam: An Dekker; reprinted with an afterword, in ‘Een zee van golven. 5 jaar Annie Romein-Verschoorlezingen’, edited by Agnes Verbiest and Anne van de Zande, 18-48. Nijmegen: Vita, 1995.
Visual Poetics: Reading with the Other Art
In ‘Theory Between the Disciplines: Authority, Vision, Politics’, edited by Martin Kreiswirth and Mark A. Cheetham,135-50. Ann Arbor: University of Michigan Press, 1990.
Reading as Empowerment. Teaching the Bible from a Feminist Perspective
In ‘Teaching the Bible as Literature in Translation’, edited by Barry N. Ohlsen and Yael S. Feldman, 87-92. New York: The Modern Language Association of America, 1989.
Visual Readers and Textual Viewers
‘V/S Versus’ 52/53, 1989: 133-50.
On Looking and Reading. Word and Image, Visual Poetics, and Comparative Arts
‘Semiotica’ 76:3/4, 1989: 283-320. read article here
Language and Its Motivations
In ‘Three Cultures: Fifteen Lectures on the Confrontation of Academic Cultures’, a publication of the Stichting Praemium Erasmianum, 31-42. Rotterdam: Universitaire Pers Rotterdam, 1989.
The Effects of Language
In ‘Three Cultures: Fifteen Lectures on the Confrontation of Academic Cultures’, a publication of the Stichting Praemium Erasmianum, 57-70. Rotterdam: Universitaire Pers Rotterdam, 1989.
Literature and its Insistent Other
‘Journal of the American Academy of Religion’ LVII:2, 1989: 373-83. read article here
Geheimpjes uit het rovershol. Een reactie op Evelyn Kellers analyse van wetenschappelijke taal
‘Tijdschrift voor vrouwenstudies’ 38:10:2, 1989: 271-86.
Macht, mythe en misverstand of het recht om verkeerd te lezen. Over Richteren 19 en het interpretatieprobleem
Monograph (40 pp.), Katholieke Theologische Universiteit Amsterdam, 1989.
In ‘En zij lachte en het lichtte: scepsis als grondslag voor het zien van vrouwen’, edited by Hanna van Dorsen, et al., 13-18. Voorburg: Protestantse Stichting tot Bevordering van het Bibliotheekwezen en de Lectuurvoorziening in Nederland, 1989.
Communicatie of eenzijdige macht: Susanna en de ouderlingen in de bijbel en bij Rembrandt
In ‘Communicatie’, edited by L. Feenstra, R.O. Fock and N.H.H. Beyer, 58-87. Meppel/Amsterdam: Boom, 1989.
In ‘Feministisch gelesen’, Vol. 2, edited by Renate Jost, Mieke Korenhof and Eva Renate Schmidt, 47-54. Stuttgart: Kreuz Verlag, 1988.
‘Spektator’ 18:5, 1988-89: 336-39.
Rivalität zwischen Männern - Grund der Unterdrückung von Frauen
In ‘Feministisch gelesen’, Vol. 1, edited by Renate Jost, Mieke Korenhof and Eva Renate Schmidt, 60-66. Stuttgart: Kreuz Verlag, 1988.
‘Semeia: An Experimental Journal for Biblical Criticism’ 42, 1988: 133-55.
Introduction: Visual Poetics
‘Style’ 22:2, 1988: 177-82. read article here
Speech, Murder, Tricks and Gender: Judges 4 and 5
‘Recherches sémiotiques/Semiotic Inquiry’ 7:2, 1987: 127-51.
Myth à la lettre: Freud, Mann, Genesis and Rembrandt, and the Story of the Son
In ‘Discourse in Psychoanalysis and Literature’, edited by Shlomith Rimmon-Kenan, 57-89. London: Methuen, 1987; reprinted in ‘A Feminist Companion to Genesis’, edited by Athalya Brenner, 343-78. Sheffield, UK: Sheffield Academic Press, 1993.
Force and Meaning: Rembrandt and the Interdisciplinary Struggle of Psychoanalysis, Semiotics and Aesthetics
‘Semiotica’ 63:3/4, 1987: 244-317.
Virginity: Toward a Feminist Philology
‘Dispositio: Revista Hispanica de Semiotica Literaria’ XII, 1987: 30-32 & 65-82. read article here
Naar zijn beeld en gelijkenis, of de identiteit van en tussen vertelinstanties
‘Forum der Letteren’ 28:1, 1987: 43-52.
Tekst en geschiedenis. Reflecties over de sociale kleur van literatuur
In ‘Verbeelden. Themaboek 10’, edited by Lida Coumou, et al., 9-24. Groningen: Z.U.V., 1987.
Tuer sur parole. Pour une narratologie dynamique
In ‘Sémiotique et analyse textuelle: description, paraphrase, métalangage’, edited by Maryse Souchard, 234-77. Winnipeg: Collège Saint Boniface, 1987. Also in ‘Protée’ (special issue “L’Epreuve du texte. Description et métalangage”) 15:3, 1987: 80-103.
The Language of Subjectivity
In ‘Linguistics and the Study of Literature’, edited by Th. D’haen, 201-17. Amsterdam: Rodopi, 1986.
‘Poetics Today’ 7:3, 1986: 555-64. read article here
Quelle est la faute de l’abbé Mouret? Pour une narratologie diachronique et polémique
‘Australian Journal of French Studies’ 23:2, 1986:149-68. read article here
De tekenen des tijds en de tijd als teken
In ‘De macht van de tekens. Opstellen over maatschappij, tekst en literatuur’, edited by Aart van Zoest, 71-84. Utrecht: HES, 1986.
De Bijbel als volksliteratuur
In ‘Ik zing mijn lied voor al wie met mij gaat. Vrouwen in de volksliteratuur’, edited by Ria Lemaire, 45-71. Utrecht: HES, 1986. Also in ‘Eu canto a quen comigo camiña’, edited by Ria Lemaire, 43-70. Santiago de Compostela: Edicións Laiovento, 1998.
The Bible as Literature: A Critical Escape
‘Diacritics’, Winter 1986: 71-79. read article here
Inconsciences de Chéri; Chéri existe-t-il?
In ‘Colette, nouvelles approches critiques’, edited by Bernard Bray, 15-25. Paris: Nizet, 1986.
Sexuality, Sin and Sorrow: The Emergence of the Female Character. A Reading of Genesis 1-3
‘Poetics Today’ (special issue “The Female Body in Western Culture: Semiotic Perspectives”) 6:1-2, 1985: 21-42. read article here (limited access) Also in ‘The Female Body in Western Culture: Contemporary Perspectives’, edited by Susan Suleiman, 317-38. Cambridge, MA: Harvard University Press, 1986. Also in ‘Women, Gender, Religion: A Reader’, edited by Elizabeth A. Castrelli, 149-73. New York: Palgrave, 2001.
Ruth o come ammettere l’amore. Preliminari a proposito d’un particolare
In ‘Le donne e i segni. Scrittura, linguaggio, identità nel segno della differenza femminile’, edited by Partizi Magli, 131-51. Ancona: il lavoro editoriale, 1985.
Semiotiek in de literatuur. Communiceren, vertellen, liegen: de narratieve semiotiek van Bernstein
In ‘Semiotiek’, edited by Suzette Haakma, 40-54. Utrecht, Studium Generale, 1985.
Why I? Discussing the Subject in/of Semiotics
‘Poetics Today’ 5:4, 1984: 857-965. read article here
The Rhetoric of Subjectivity
‘Poetics Today’ 5:2, 1984: 337-76. read article here
Pour une théorie critique de la subjectivité narrative
‘Lalies’ IV, 1984: 107-48. read article here
Réfléchir la réflexion: du nom propre à la mise en abyme
‘Annali dell’Istituto Universitario Orientale’, Naples, 1984: 7-48.
Preface and Introduction
‘Poetics’ (special issue “Psychopoetics-Theory”) 13:4/5, 1984: i-ii & 279-98. Also in ‘Style’ (special issue “Psychopoetics at Work”) 18:3, 1984: 239-60.
Mise en abyme and Metatextuality: Sexual Politics in the Book of Ruth
In ‘Pragmatics and Stylistic’, edited by W. van Peer and J. Renkema, 71-94. Leuven/Amersfoort: Acco,
In ‘Moderne encyclopedie van de wereldliteratuur’, Vol. 10, edited by A.G.H. Bachrach, et al., 106-08. Haarlem: De Haan, 1984.
Sexuality, Semiosis and Binarism: A Narratological Comment on Bergren and Arthur
‘Arethusa’ (special issue “Semiotics and Classical Studies”) 16:1-2, 1983: 117-35. read article here
The Semiotics of Symmetry, or the Use of Hermeneutic Models
‘V/S Versus’ 35-36, 1983: 7-36.
Hoe eng is de poort? Het boek Ruth vanuit een feministische visie
‘Schrift’ 85, 1983: 30-39.
‘Tijdschrift voor vrouwenstudies’ 4:13, 1983: 121-34.
Naar een kritisch gebruik van genre-begrippen
‘Schrift’ 90, 1983: 234-40.
The Narrating and the Focalizing: A Theory of the Agents in Narrative
‘Style’ 17:2, 1983: 234-69 (translation of chapter from ‘Narratologie’).
Verteltheorie als instrument voor ideologiekritiek
In ‘Feministische theologie’, edited by C. Halkes, 266-80. Nijmegen: Studium Generale, 1982; revised version: ‘Spektator’ 13:4, 1983.
Théorie de la description. L’exemple de Madame Bovary
In ‘Flaubert. La dimension du texte’, edited by P.M. Wetherhill, 175-236. Manchester: Manchester University Press, 1982.
Mimesis and Genre Theory in Aristotle’s Poetics
‘Poetics Today’ 3:1, 1982: 171-80. read article here
Delila’s onschuld. Narratologie, psychoanalyse en ideologiekritiek
‘Tijdschrift voor vrouwenstudies’ 3:9, 1982: 34-73.
Wilde dieren, of de verscheurde eenheid. Over “De Sirenen” van Maria Dermoût
In ‘Over verhalen gesproken’, edited by J. Hoogteijling and F. C. de Rover, 97-124. Groningen: Wolters-Noordhoff, 1982 (co-author: Ernst van Alphen); reprinted in ‘De toekomst der herinnering. Essais over moderne Nederlandse literatuur’, edited by Ernst van Alphen, 128-56. Amsterdam: Van Gennep, 1993.
Structuralism, History and the Semiotics of the Subject: Recent Developments in French Literary Theory
‘Amsterdamer Beiträge zur neueren Germanistik’ (special issue “Schwerpunkte der Literaturwissenschaft ausserhalb des deutschen Sprachraums”) 15, 1982: 55-78.
On Meanings and Descriptions
‘Studies in 20th Century Literature’ (special issue “The Semiotics of Literary Signification”) 6:1 & 2, 1981-82: 100-48.
The Laughing Mice, or On Focalization
‘Poetics Today’ 2:2, 1981: 203-12. read article here
Notes on Narrative Embedding
‘Poetics Today’ 2:2, 1981: 41-59. read article here
Aristoteles semioticus. Een aantekening bij een voetnoot bij 47a
‘Spektator’ 10:6, 1981: 490-95. read article here
Methoden in de literatuurwetenschap
‘Tijdschrift voor vrouwenstudies’ 2:7, 1981: 394-417. read article here
Logica en realisme. Kanttekeningen bij J. A. Dautzenberg: ‘De logische opbouw van de verhaaltheorie’
‘Forum der Letteren’ 22:2, 1981: 204-06.
Teksttypen en taalhoudingen
In ‘Literaire genres en hun gebruik’, edited by Mieke Bal, 7-31. Muiderberg: Coutinho, 1981. read article here
Narrativité et manipulation
‘Degrés’ (special issue “Texte et Idéologie”) 8:24-25, 1980-81: c1-c24.
Descriptions. Etude du discours descriptif dans le texte narratif
‘Lalies’ 1, 1980: 99-129. read article here
‘Zagadnienia Rodzajôw Literackich’ 23:1, 1980: 11-18. read article here
Tradition et renouvellement. Enseigner la littérature, à quoi bon?
‘Le Français dans le monde’ 20:154, 1980: 59-64. read article here
Huisje, boompje, beestje. Over beschrijvingen in verhalende teksten
‘Spektator’ 9:4, 1980: 304-34. read article here
Structure narrative et signification. Le cas de Wuthering Heights
‘Neophilologus’ 1980: 333-46 (co-author: Aart van Zoest). read article here
‘Moderne encyclopedie van de wereldliteratuur’, Vol. 3, edited by A.G.H. Bachrach, et al., 243-46, Haarlem: De Haan, 1980. read article here
Wat zijn personages en wat doen we ermee?
In ‘Mensen van papier. Over personages in de literatuur’, edited by Mieke Bal, 1-13. Assen: Van Gorcum, 1979.
De homo semioticus en zijn interpretatie van de werkelijkheid
‘Hollands Maandblad’ 375, 1979. read article here
Over lachende muizen en naïve zieners
‘Forum der Letteren’ 20:4, 1979: 471-76. read article here
Mise en abyme et iconicité
‘Littérature’ 29, 1978: 116-28. read article here (limited access)
Over narratologie, narrativiteit en narratieve tekens
‘Spektator’ 7:9, 1978: 528-48. read article here
Gebruiksaanwijzing bij het bestuderen van de verhaaltheorie van Greimas
Internal publication, Instituut voor Algemene literatuurwetenschap, Rijksuniversiteit Utrecht, 1978.
De grote afstand tussen leerling en literatuur
‘NRC Handelsblad’, Cultureel Supplement, 7 April 1978.
Wanbegrip is nog sterieler (discussion)
‘Forum der Letteren’ 18:4, 1977: 301-04. read article here
Strukturalistische verhaalanalyse: een poging tot sytematisering
‘Forum der Letteren’ 18:2, 1977: 105-19 (reprinted in ‘Romaneske’, 1978). read article here
L’analyse structurale du récit
‘Le Français dans le monde’, 17 July 1977: 6-14. read article here
Narration et focalisation: pour une théorie des instances du récit
‘Poétique’ 29, 1977: 107-27. read article here
L’enseignement de la narratologie
‘Rapports’ 47:2, 1977: 59-64.
Du nouveau sur Colette
‘Rapports’ XLI:4, 1974: 12-23.
Un roman dans le roman: encadrement ou enchâssement?
‘Neophiologus’ LVII:1, 1974: 2-21. read article here
Fonction de la description romanesque
‘Revue des Langues Vivantes’ XL:2, 1974: 132-49.
Fonction narrative de la description
‘Actes de la journée de travail sur Madame Bovary’, Paris: E.N.S.(Feb.) 1973: 7-14.
Colette devant la critique
‘Rapports’ XLI:2, 1971: 56-63.