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This essay, a meditation on the butterfly and its resonance in art history, is organized in three parts. I begin with Aby Warburg's fascination with moths and butterflies as documented by (1) his letters to Andre Jolles (e.g. the letter from 1900 known as 'But such high-flown movements are not for me'), (2) the Kreuzlingen pathological report and archives by Ludwig Binswanger (1881-1966) preserved in Tubingen, and (3) the Ninfa fiorentina file in the Warburg Institute. As Seelentierchen - soul animals, psyche - butterflies are archetypically connected to deep cultural affects regarding the soul, resurrection and immortality. Part 2 of the paper considers the butterfly as paradigm for the visual medium and the oculocentric paradigms in art history. Indeed, the butterfly has a specific visual (and sensory) impact on humankind with its flashy, quick, vibrant and hypnotic wings, its medusian eyes and its capability to camouflage itself (cf. 'Sciences diagonales' by Roger Caillois (1913-1978)). Hypnosis, Medusa and camouflage are three important paradigms with which to consider the essence of the image as a dis/appearing, enchanting, and deceiving medium. In Part 3, the three paradigms become the basis for new reflections about art history (and the history of art history) as a study of the butterfly, in short, as 'lepidopterology'.

Responsible for training all corporate trainers at Xerox Corporation, Jolles offers a down-to-earth, instructive look at teaching and training techniques which can be used in any professional, business or corporate seminar, workshop or training program. Covers a wide range of topics including course preparation, questioning methods, pacing for dynamic presentation, using visual aids, maintaining interest, giving feedback, evaluation and support. Features numerous anecdotes and tricks of the trade.

The studies gathered in this volume engage in different ways with the ideas of André Jolles (1874-1946), whose Einfache Formen (Simple Forms) was first published in 1930. Trained as an anthropologist, Jolles argued that these simple formsLegende (legend), Sage (saga), Mythe (myth), Rätsel (riddle), Spruch (proverb), Kasus (case), Memorabile (memorable action), Märchen (folk or fairy tale) and Witz (joke or witticism)which had circulated at a very early stage of human culture underlay the more sophisticated genres of literature. Unlike epic or tragedy, many of the simple forms are not theorised in classical rhetoric. The essays presented here focus on their reception in Hispanic culture from the Middle Ages to circa 1650. As such, the book will be of interest to scholars of medieval and early-modern Spanish, Catalan and Latin literature. It will also appeal to historians of Humanismm as well as scholars working on classical and Renaissance literary theory.

A seminal text in literary theory available in English for the first timeLegend, saga, myth, riddle, saying, case, memorabile, fairy tale, joke: André Jolles understands each of these nine “simple forms” as the reflection in language of a distinct mode of human engagement with the world and thus as a basic structuring principle of literary narrative. Published in German in 1929 and long recognized as a classic of genre theory, Simple Forms is the first English translation of a significant precursor to structuralist and narratological approaches to literature. Like Vladimir Propp’s Morphology of the Folktale, with which it is often compared, Jolles’s work is not only foundational for the later development of genre theory but is of continuing relevance today. A major influence on literary genre studies since its publication, Simple Forms is finally available in English.

Improvised trio featuring sound engineer and Synthi player Jean-Marc Foussat, and father and son Christian and Quentin Rollet. Foussat is famous for his hundreds of recordings of Derek Bailey, Steve Lacy, Massacre, Carlos Zingaro, Jolle Landre, and many others free improvisers, for labels like Hat Hut, Tzadik, and Rectangle. He made a cult record in 1983 called Abattage and has his own label Fou Records on which he releases mainly his own music. Christian Rollet is the drummer of Workshop de L