Lara Feigel
Biographic Data
| ID | 3087543 |
|---|---|
| NAME | Lara Feigel |
| GIVEN NAMES | Lara |
| FAMILY NAME | Feigel |
| SIGNATURE | FEIGEL L |
| AFFILIATIONS | King's College London |
| ORCID | 0000-0003-1383-7830 |
| VERIFIED | Yes |
| TOTAL WORKS | 18 |
| TOTAL CITATIONS | 4 |
| WORKS AS AUTHOR | 17 |
| WORKS AS EDITOR | 1 |
| FIRST PUBLICATION YEAR | 2012 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
Beyond the silence of the voice
Cinema’s relationship with the voice is passionate and enduring – perhaps nowhere more so than in silent cinema. This article takes the Lara Feigel’s experience of being supervised by Laura Marcus for a PhD on silent cinema as the basis for an exploration of sound and silence in film. Using Mladen Dolar’s theory of the voice, it reads Leos Carax’s Annette as a film fascinated by the tropes of silent cinema and specifically by its play with the pr…
The 2022 Ivan Juritz prize
The 2022 Ivan Juritz Prize brought us another extremely strong shortlist, which I am delighted to present here. Now more than ever, we need art that seeks to innovate to help us make sense of and s
Ivan Juritz Prize 2021
Ivan Juritz Prize 2020
The Ivan Juritz Prize-giving in June was a source of hope amid a period of anxiety and uncertainty. Given that we would not be able to perform the work live, we wondered about postponing the prize
Ivan Juritz Prize for Creative Experiment, 2019
Ivan Juritz prize for creative experiment, 2018
The 2018 Ivan Juritz prize winners inspire much-needed confidence. It’s easy at the moment to fall into a narrative in which everything is getting worse, and perhaps especially easy to do this if y
Writing War, Writing Lives
Introduction
‘Frieden, das ist nur Schlamperei, erst der Krieg schafft Ordnung.’ \nThese words from Brecht’s Mutter Courage may not have sounded as ironic to its first Berlin audiences in January 1949 as they do now. After four years of Allied occupation, with Soviets and Western Allies increasingly at odds and West Berlin completely cut off from its \nsurroundings and supported by airlift, peacetime may have seemed more of a mess than the war had. Since the …
Ivan Juritz Prize for creative experiment, 2017
Introduction to Ivan Juritz Prize 2016
Prize for creative responses to modernism
The Sermons in the Stones of Germany Preach Nihilism’
This article explores the literature and film produced by the writers and filmmakers sent by the British and Americans to occupied Germany in the four years after the war. Although these figures were intended to help transform the mentality of the Germans, it is argued here that they had less effect on Germany than Germany had on them, and that the crucial (albeit unwitting) result of their visits to Germany was the creation of a genre of art her…
The Future of Literary Thinking
All good writing takes us somewhere uncomfortable. One of the great services given by Textual Practice over the past 30 years has been to create a comfortable place for uncomfortable criticism. Yet right now, it is not writing but the world itself that is proving incommodious. What should criticism be doing in a political culture that has embraced hostility
Prize for creative responses to modernism
Writing war, writing lives
War affects life writing and lives affect war writing. In the eight articles in this volume, we see forms of life writing breaking their boundaries under the pressure of war. The ways in which this
The only diary I have kept
This article explores the popularity of the short story in the Second World War, arguing that for writers including Elizabeth Bowen, Henry Green, Rose Macaulay and William Sansom the short story formed a kind of war diary, assuaging their need to witness authentically the history they were participating in as firemen, ambulance drivers or Air Raid Precautions (ARP) wardens. Focusing on stories set in London, the article suggests that the short st…
Writing Between the Lives
The essays published in this special issue originated in a sizeable conference held by the Centre for Life-Writing Research at King's College London on the theme of ‘The Work of Life Writing’. This
I am not a camera
In the 1930s, a generation of British writers embraced the cinema at the same time as they committed themselves to left-wing politics. Stephen Spender later described radical German and Russian cinema as conveying ‘a message of hope like an answer to The Waste Land’. This article argues that cinema entered literature not just as a set of techniques, but as a mode of vision, and that this vision quickly became less hopeful. Having accepted the cin…
The Future of Literary Thinking
All good writing takes us somewhere uncomfortable. One of the great services given by Textual Practice over the past 30 years has been to create a comfortable place for uncomfortable criticism. Yet right now, it is not writing but the world itself that is proving incommodious. What should criticism be doing in a political culture that has embraced hostility
Writing Between the Lives
The essays published in this special issue originated in a sizeable conference held by the Centre for Life-Writing Research at King's College London on the theme of ‘The Work of Life Writing’. This
I am not a camera
In the 1930s, a generation of British writers embraced the cinema at the same time as they committed themselves to left-wing politics. Stephen Spender later described radical German and Russian cinema as conveying ‘a message of hope like an answer to The Waste Land’. This article argues that cinema entered literature not just as a set of techniques, but as a mode of vision, and that this vision quickly became less hopeful. Having accepted the cin…
Writing Between the Lives
The essays published in this special issue originated in a sizeable conference held by the Centre for Life-Writing Research at King's College London on the theme of ‘The Work of Life Writing’. This
I am not a camera
In the 1930s, a generation of British writers embraced the cinema at the same time as they committed themselves to left-wing politics. Stephen Spender later described radical German and Russian cinema as conveying ‘a message of hope like an answer to The Waste Land’. This article argues that cinema entered literature not just as a set of techniques, but as a mode of vision, and that this vision quickly became less hopeful. Having accepted the cin…
Prize for creative responses to modernism
Writing war, writing lives
War affects life writing and lives affect war writing. In the eight articles in this volume, we see forms of life writing breaking their boundaries under the pressure of war. The ways in which this
The only diary I have kept
This article explores the popularity of the short story in the Second World War, arguing that for writers including Elizabeth Bowen, Henry Green, Rose Macaulay and William Sansom the short story formed a kind of war diary, assuaging their need to witness authentically the history they were participating in as firemen, ambulance drivers or Air Raid Precautions (ARP) wardens. Focusing on stories set in London, the article suggests that the short st…
Prize for creative responses to modernism
The Sermons in the Stones of Germany Preach Nihilism’
This article explores the literature and film produced by the writers and filmmakers sent by the British and Americans to occupied Germany in the four years after the war. Although these figures were intended to help transform the mentality of the Germans, it is argued here that they had less effect on Germany than Germany had on them, and that the crucial (albeit unwitting) result of their visits to Germany was the creation of a genre of art her…
The Future of Literary Thinking
All good writing takes us somewhere uncomfortable. One of the great services given by Textual Practice over the past 30 years has been to create a comfortable place for uncomfortable criticism. Yet right now, it is not writing but the world itself that is proving incommodious. What should criticism be doing in a political culture that has embraced hostility
Introduction to Ivan Juritz Prize 2016
Writing War, Writing Lives
Introduction
‘Frieden, das ist nur Schlamperei, erst der Krieg schafft Ordnung.’ \nThese words from Brecht’s Mutter Courage may not have sounded as ironic to its first Berlin audiences in January 1949 as they do now. After four years of Allied occupation, with Soviets and Western Allies increasingly at odds and West Berlin completely cut off from its \nsurroundings and supported by airlift, peacetime may have seemed more of a mess than the war had. Since the …
Ivan Juritz Prize for creative experiment, 2017
Ivan Juritz prize for creative experiment, 2018
The 2018 Ivan Juritz prize winners inspire much-needed confidence. It’s easy at the moment to fall into a narrative in which everything is getting worse, and perhaps especially easy to do this if y
Ivan Juritz Prize for Creative Experiment, 2019
Ivan Juritz Prize 2020
The Ivan Juritz Prize-giving in June was a source of hope amid a period of anxiety and uncertainty. Given that we would not be able to perform the work live, we wondered about postponing the prize
Ivan Juritz Prize 2021
The 2022 Ivan Juritz prize
The 2022 Ivan Juritz Prize brought us another extremely strong shortlist, which I am delighted to present here. Now more than ever, we need art that seeks to innovate to help us make sense of and s
Beyond the silence of the voice
Cinema’s relationship with the voice is passionate and enduring – perhaps nowhere more so than in silent cinema. This article takes the Lara Feigel’s experience of being supervised by Laura Marcus for a PhD on silent cinema as the basis for an exploration of sound and silence in film. Using Mladen Dolar’s theory of the voice, it reads Leos Carax’s Annette as a film fascinated by the tropes of silent cinema and specifically by its play with the pr…
Art (17 works) · History (17 works) · Literature (11 works) · Aesthetics (10 works) · Art history (8 works) · Narrative (5 works) · Academic Publishing and Open Access (4 works) · Jewish Identity and Society (4 works) · Philosophy (4 works) · Psychology (4 works)