- Title Pages
- Introduction Being Contemporary, Then and Now
- Chapter One Coping with Contemporariness
- Chapter Two Rethinking Periodization for the ‘Now-Time’
- Chapter Three (After) Conceptualism
- Chapter Four Identities in Flux
- Chapter Five The Paradoxes of Being Contemporary
- Chapter Six Of Sade, Blanchot, and the French Twentieth Century
- Chapter Seven Alain Badiou and Antisemitism
- Chapter Eight What Does ‘Vichy’ Mean Now?
- Chapter Nine Forces of Solidarity and Logics of Exclusion
- Chapter Ten Narrative, Testimony, Fiction
- Chapter Eleven ‘Moral Witnessing’?
- Chapter Twelve From ‘Never Forgetting’ to ‘Post-Remembering’ and ‘Co-witnessing’
- Chapter Thirteen ‘I’ in the Plural
- Chapter Fourteen Selves at Risk
- Chapter Fifteen Risking Who One Is, at the Risk of Thinking
- Chapter Sixteen ‘La Connaissance par corps’
- Chapter Seventeen Long Live Anachronism
- Chapter Eighteen Colette’s <i>Côtelettes</i>, or the Word Made Flesh
- Chapter Nineteen Choices: Beckett’s Way
- Chapter Twenty Making <i>L’Etranger</i> Contemporary
- Chapter Twenty-One A Nest in the Air
- Chapter Twenty-Two Adrien and Marcel Proust
- Chapter Twenty-Three Vulnerable Times<sup>*</sup>
Long Live Anachronism
Long Live Anachronism
- (p.281) Chapter Seventeen Long Live Anachronism
- Being Contemporary
- Liverpool University Press
‘Long Live Anachronism’, written by Mieke Bal, is the first essay in the ‘Novel Rereadings’ section and provides a self-conscious analysis of Bal’s own collaborative art practice and its outcomes. In the essay, Bal makes a passionate plea for the essential role of anachronism in our understanding of contemporaneity in art, and suggests that her collaborative audio-visual installation project ‘Madame B’ (what she calls an ‘unfaithful’ adaptation of Flaubert’s novel) ‘actualizes’ the nineteenth-century text to release ‘its political thrust,’ demonstrating the work’s durable ‘aliveness.’
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