Horst S. Daemmrich General Editor Vol. 119 Interdisciplinary Perspectives _ Edited by Leslie Boldt, Corrado Federici, and Ernesto VirgultiLibrary of Congress Cataloging-in-Publication Data references and index. ie Anne, editor of compilation Corrado, editor of compitation. II. Virguli, Emesto, editor of compilation. PNS6.SSSS53_ 80993384 —de23 2013028589 ISBN 978-1-4331-2343-6 (hardeover = alk. paper) ISBN 978-1-1539-1200-3 (e-book) ISSN 1086-3970 Bibliographic information published by Die Deutsche Nationalbibliothek. Die Deutsche Nationalbiblithek lists this publication in the “Deutsche ‘Nationalbibliografe”; detailed bibliographic data is available ‘on the Internet at hip/dnb. dnb de! The paper inthis book meets the guidelines for permanence and durability ‘of the Committee on Production Guidelines for Book Longevity ‘of the Council of Library Resources @D ©2013 Peter Lang Publishing, Ine, New York 29 Broadway, 18th floor, New York, NY 10006 ‘www peteriang.com All tights reserved. Reprint or reproduction, even partially in all forms such as microfilm, ‘erograph, microfiche, mierocard, and offset stitly prohibited, Printed in Germany Contents Introduction vii Part I. Silence that “Speaks” through Codes 1, Rhetorical Uses of Silence and Spaces 1 Keith Grant-Davies 2. Sounding Silence, Composing Absence of the Screen and Stage: 13 Gus Van Sant’s Gerry and Samuel Beckett's Not I Ariel Harrod 3. The Visiting Muse: Antiquity and the Suggestive Power 25 of Silence in the Room Frescoed by Correggio. ‘Maria Luisa Chiusa 4, Muted Epigraph in Kierkegaard’s Fear and Trembling at Lori Yamato Part II. Political and Cultural Silencing 5. Cartographic Silences in Brian Friel’s Translations 59 ‘Matthew Moore 6. Power of the Void: Fascism and Silence in the Poetry 6 of Bertolt Brecht and Paul Celan Paul Peters 7. “To have him all in black”: The “Absence” of Havel in 83 Samuel Beckett’s Catastrophe: A Late Cold War Text Sheelagh Russell-Brown Part III. Silencing One’s Own Voice 8 When the Silencer Is Also the Silenced: The Mechanisms 7 of Self-censorship Magda Stoinska anc Vikki CecchettoContents Milutin Gubas’s Which Way to the Bastille? Or How to Foster Silence Catherine Parayre ’artIV. Fascination with the Void 0. The Image of the Falling Man Revisited Sandra Singer 1. Reflections on the Violence of Art Bruce Elder ’art V. Body Language 2. The A/porias of Skin: Secrets and Secretions of Self and Other ‘Mark Cauchi (with Wrik Mead and Rui Pimenta) 3. Listening to the Pines: Japanese Tea Ceremony as a Form ‘of Contemplative Ellipsis Alexandre Avdulov 4. A Silent Language: Reflections on “Pure” and “Uncorrupted” Pantomime Elisa Segnini ‘art VI. Classical and Medieval Silence adex ‘When a Singer Must Be Silenced Anton Jansen Keeping Your Mouth Shut: How To Be a Good Mistress, (Silenced Women in Latin Elegy) Carol Merriam Speaking Saintly Silence in the Thirteenth Century: the Case of Elizabeth of Hungary Kathleen Garay 1m 127 143 187 173 185 203 217 233 247 Introduction The present volume comprises essays developed from papers presented at the sixth biennial Image & Imagery Intemational Conference, held at Brock University, October 17-18, 2011. The theme of the conference was Silence and the Silenced, which dealt with the many meanings of the term “silence.” Keith Grant-Davie notes that rhetoricians have always focussed more on words than on silences (the spaces between and around words), and that si- Tence has been seen traditionally as a sign of rhetorical weakness. He exam- ines the ways in which silences operate rhetorically, the forms that silences take, the way in which we differentiate them, and the ways in which silences extend beyond the aural realm into the visual or physical. From Rhetoric, Grant-Davie goes on to examine silence in television (how singer Harry Belafonte fell asleep involuntarily in front of TV cameras), silence at a wed- ding ceremony, in advertisements, and in a Hitchcock film, as well as the spatial equivalents of silence in architecture (from IKEA to Frank Lloyd Wright). Ariel Harrod’s starting point is the traditional lack of interest in the ab- sence of sound in silent films and theater, convinced that an ‘ontology of si: Tence* can be formulated by delving into the production of ‘absolute empti: ness’ of sound. To this end, he examines the relationship among sound, image, and space on screen and on stage through his study of Vana Sant’s film Gerry and Samuel Beckett's play Nor J. Citing recent critical writing on emptiness in theatre and in cinema, Harrod develops the concept of *com- posed silence’ in these two media, ultimately to underscore the characters” inability to communicate in the selected works. Maria Luisa Chiusa examines the 16th-century frescoes of Correggio executed in the private apartments of the abbess of the Convent of St Paul in Padua in terms of the private dialogues between the patron and her guests, conducted in the silence of the cloister as well and in terms of the coded speech of the frescoes themselves, which challenge the suffocating conformi- ty of the Church, Chiusa reflects on the textual evidence to argue that abbess Giovanna Piacenza, daughter of an influential family, enjoyed greater free- dom and privileges than were permitted other abbesses and that she exploited these privileges to collaborate with Correggio in executing a series of fres- ccoes that praise classical motifs and intellectual freedom, much of which would have been subject to censorship had it not been ambiguous and subject to interpretation, Lori Yamato notes that Kierkegaard’s text is almost overwhelmed by paratext (epigraph, prefaces, epilogue, ete.) that together make it difficult to broach the main argument of the work, namely that Abraham's decision to