[...]d what is more ="trms">wonderful ='lgc'>[mirum='lgc'>], it occurred to me immediately ... that the dead could not remain long with the living ... So I decided to ="trms">question him quickly, for the vision seemed not a phantasm but true ='lgc'>[non fantastica sed verax='lgc'>] ... ='lgc'>[The monk attests his faith and affirms that he has been murdered; then he disappears.='lgc'>] I ="trms">wondered greatly ... then rested my head again ... and immediately he reappeared ... I rushed toward him and ... began to kiss him as before ... I heard the same answers as above concerning his state, his vision of God, the certitude of the ="frds scrmbld"nttrm="Christianson">Christian faith, and his death ... ='lgc'>[Then='lgc'>] I woke up and found my eyes wet and my cheeks warmed by fresh tears.
='lgc'>=/= Hamlet's experience with his father's ghost (='lgc'>='lgc'>--> has no ="trms">epistemological ="trms">wonder)

Peter of Tarentaise
confronted with a deformed man, ="trms">questioned him closely and sent him away unhealed but with a new sense of self-worth

='strcls'>**moral reaction described in heightened emotion-="trms">language='strcls'>**
(we see) ='strcls'>*the ="trms">response enacted inside the ="trms">story='strcls'>*

Julian of Norwich
her most ="trms">wonder-filled ="trms">language
because of the incarnation we are a marvelous mixture (medle se mervelous) of sin and grace

="large lg2" stl="font-size:110%"> the unheards-of... عجایبِ (="nms">ajayeb-e)
describing unheard-of prodigy (of green ="trms">children born from the earth)


👉
William of Newburgh
what he cannot grasp (attingere or rimari) ='lgc'>[there must be a “reason"='lgc'>] ='lgc'>='lgc'>==> forced to marvel at (mirari) ='lgc'>--means='lgc'>='lgc'>--> a significance or moral use (utilitas)
="lsts lst1">•mysterious dog discovered in a stone
="lsts lst1">•a crucifix in the sky
="lsts lst1">•
='lgc'>}='lgc'>='lgc'>--> rarity ='lgc'>+ (they have a) secret reason
='lgc'>}='lgc'>--="ppl">Bynum='lgc'>='lgc'>--> ='strcls'>*="trms">wonder-reaction='lgc'> = significance-reaction='strcls'>* ='lgc'>~= ='strcls'>****things are signs or portents (not because of their ="trms">natures or their causes but ='lgc'>[from their ="trms">ontology='lgc'>]) because they indicate or point ='lgc'>[from their utility='lgc'>]='strcls'>****
='at'>#telegram ="trms">bestiary
='at'>#index finger

="trms">monster ='lgc'><='lgc'>-- ="trms">monstrare='lgc'>: to know

(for theologians, chroniclers, preachers) ="trms">wonderful='lgc'> = strange ='lgc'>+ rare ='lgc'>+ inexplicable (never merely strange or simply inexplicable)
='lgc'>='lgc'>--> it was ='strcls'>***a strange that ="trms">mattered, that pointed beyond itself to meaning='strcls'>*** (='lgc'>='lgc'>--> ='at'>#="trms">wonders of pits)


(='mywrk'>my work for WIELS, ="trms">Wonders of the Moon – A Thousand Years of Sleepwalking 2020)
="lsts lst1">•='strcls'>*not='strcls'>* all medieval statements about ="trms">wonder were synonymous or compatible
="lsts lst1">•how people acted and reacted necessarily were ='strcls'>*not='strcls'>* in very close ="trms">synchrony with the de="trms">finition they gave or the ابتذال platitudes they propounded


="trms">wonder in medieval texts
='lgc'>=/= increasingly rare exception to an enlightenment sense of unbreachable laws of ="trms">nature
='lgc'>=/= startle reflex of early ="trms">modern psychology
='lgc'>=/= appropriation practiced by early ="trms">modern rulers, explores, conquistadors (adventurer)


(="ppl">Bynum making the point that) although by late 15th century medieval artists had begun to paint ="trms">wondering faces with the startle reflex ='lgc'>--='not'>✕='lgc'>='lgc'>--> it is more difficult to be sure whether a figure confronted with stupendous, bizarre, or d="trms"nttrm="already,spread">read-filled news is amzed or not
='lgc'>='lgc'>--> ='strcls'>***the amazement had a strong cognitive component='strcls'>*** ='lgc'>: you could ="trms">wonder only were you knew that you failed to understand ='lgc'>--entailed='lgc'>='lgc'>--> a passionate desire for the ="trms">scientia it lacked, it was a stimulus and incentive to investigation

significance-reaction='lgc'>: a flooding with awe, pleasure, d="trms"nttrm="already,spread">read owing to something deeper ='strcls'>*="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurking in the ="trms">phenomenon='strcls'>*

="trms">wonder was ="trms">situated
="trms">wonder was perspectival (even if miracles were not)


(medieval theories of) ="trms">wonder='lgc'>: nonappropriative (empathically not to ="trms">consume and incorporate), yet based in facticity ='lgc'>+ singularity
='strcls'>*="trms">wonder='lgc'>: to give back the goblet after draining the potion ='heart'>♥ ='lgc'>[='lgc'>='lgc'>--> my mood on telegram ="trms">animals, to receive their concreteness and ="trms">specificity='lgc'>]
(Bernard of Clairvaux='lgc'>:) if you do not believe the event, you will not marvel at it ='lgc'>{you can marvel only at something that is (at least to some sense) ='lgc'>[='strcls'>*='lgc'>]there='lgc'>: concreteness ='lgc'>+ ="trms">specificity='lgc'>} ='lgc'>[='lgc'>='lgc'>--> ="trms">wonder at the object of doom, cat videos, popular media='lgc'>]

admiratio='lgc'>: (a medieval sense) cognitive, perspectival, nonappropriative, deeply respectful of ='strcls'>*the ="trms">specificity of the ="trms">world='strcls'>*
='lgc'>=/= investigate
='lgc'>=/= imitate
='lgc'>=/= ="trms">generalize
='lgc'>=/= post="trms">modern ="trms">anxiety='lgc'>:
="lsts lst2">◦we emphasize how hard it is to knwo
="lsts lst2">◦we are aware that any ="trms">response involves some appropriation
="lsts lst2">◦we suspect the awareness (of collectors of marvels='lgc'>: awe and d="trms"nttrm="already,spread">read are ="trms">situated) shatters the possibility of ="trms">writing any coherent account of the ="trms">world
="lsts lst2">◦we fear that the particular is the trivial and that significance is merely the projection of our own values ="trms">onto the ="trms">past

amazement is suppressed by='lgc'>:
="lsts lst1">•citing of too many cases
="lsts lst1">•="trms">formulation of general laws
="lsts lst1">•inductio exemplorum


medieval ='lgc'>='lgc'>--> ="trms">wonder ='lgc'>='lgc'>==> knowl="trms"nttrm="knowledge,Knowledge">edge
post="trms">modern ='lgc'>='lgc'>--> politics ='lgc'>='lgc'>==> knowl="trms"nttrm="knowledge,Knowledge">edge


="ppl">Bynum ='lgc'>='lgc'>--> our research is better when we move only cautiously to understanding, when fear that we may appropriate the “other” leads us not so much to ="trms">writing about ourselves and our fears as to ='strcls'>*="trms">crafting our ="trms">stories with attentive ="trms">wondering care='strcls'>*

="large lg1" stl="font-size:124%"> strange view of things ='lgc'>--Aquinas='lgc'>='lgc'>--> teaching
='lgc'>='lgc'>==> students='lgc'>:
="lsts lst1">•gaze in ="trms">wonder at texts and artifacts
="lsts lst1">•quick to puzzle over a ="trms">translation
="lsts lst1">•slow to project
="lsts lst1">•slow to appropriate
="lsts lst1">•quick to assume there is a significance='strcls'>*


(sometimes you need to be binocular='lgc'>: see your ="trms">society on its own terms ='lgc'>+ to take a step back and see it as something as realy bizarre and odd ='lgc'>='lgc'>--> “strange view of things” ='lgc'>[='lgc'><='lgc'>-- 19th century French ="trms">poets='lgc'>] ='lgc'>=/= normal modes of perception about things)
='lgc'>--='qstn'>?='lgc'>='lgc'>--> they way i feel extremely alienated by politics, journalism, fashoin, ="trms">marketing

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

(in the style of temporal and spatial complexity) learning from tv series ='lgc'>='lgc'>--> ="trms">interweaving of='lgc'>:
="lsts lst1">•flash-backs
="lsts lst1">•flash-sideways from parallel ="trms">worlds
="lsts lst1">•jumping chronologies
="lsts lst1">•plotlines
="lsts lst1">•mental images
="lsts lst1">•uncanny ="trms">relations of characters to each other
="lsts lst1">•

='strcls'>***time ="trms">travel series ='lgc'>--signal='lgc'>='lgc'>--> national ="trms">memory-crisis='strcls'>***

(spatiotemporal) jigsaw ='lgc'>='lgc'>==> audience engagement (in trying to solve the pozzels ='lgc'>='lgc'>--> you solve ='lgc'>=/= watch)

television ='lgc'>=/= rea="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list-="trms">modernist-post="trms">modernist cultural ="trms">trajectories of art

main traidemarks of post="trms">modernity='lgc'>:
="lsts lst1">•self-reflexivity
="lsts lst1">•="trms">intertextuality
="lsts lst1">•visual and ="trms">narrative disorientation
="lsts lst1">•fragmentation
="lsts lst1">•contamination of genres
="lsts lst1">•irony
="lsts lst1">•="trms">pastiche
="lsts lst1">•hypertextual ="trms">travel

Batori

="trms">consumer capitalism ='lgc'>==Jameson='lgc'>='lgc'>==> erase/lack of ="trms">history ='lgc'>='lgc'>==> nostalgic revisitation of the ="trms">past

="large lg3" stl="font-size:112%"> traumatic events of the ="trms">past ='lgc'>='lgc'>--> self-critical ="trms">memory-culture ='lgc'>='lgc'>--> (in Dark TV series) German national self-understanding ='lgc'>[visiting Third Reich ='lgc'>+ ="ppl">Nietzschean eternal return ='lgc'>+ wormhole='lgc'> = floating state of identity ='lgc'><='lgc'>-- this is the achievement of the Dark TV series='lgc'>: selling the German nation to their ="trms">international audience as a commodity='lgc'>]

Dark TV series='lgc'> = national ="trms">narratives ='lgc'>+ global post="trms">modern visual practices

space='lgc'>: gray
force='lgc'>: violence
="trms">inter="trms">relation='lgc'>: neglect

(Dark's sty="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic) labyrinthine time-="trms">memory mosaic (protagonists meeting with their elder/younger selves, ="trms">memory images, time ="trms">travel etc.) ='lgc'>='lgc'>--> locate the ="trms">spectator ='lgc'>='lgc'>==> viewer is encouraged to find a way out of the labyrinth ='lgc'>[='lgc'>='lgc'>~=> care for the German characters with their double burden (Nazi ='lgc'>+ GDR) of traumatic recollections ='lgc'>='lgc'>~=> a ="trms">positive affirmative identity for contemporary Germany (='lgc'>~~> nationalism ='lgc'>=/= sense of existential homelessness)='lgc'>]
='lgc'>}='lgc'>='lgc'>--> ='strcls'>*TV series becomes a form of ="trms">memory='strcls'>* (protagonist='lgc'> = German nation)

="large lg4" stl="font-size:111%">
(serial ="trms">poetic of) cliff-h="trms"nttrm="danger,stranger">anger structure
maintaining an (absolute) ="trms">aesthetic continuity

='lgc'>{time='lgc'>: liquid realm ='lgc'>=/= ="trms">history='lgc'>: fixed realm='lgc'>}='lgc'><='lgc'>--Dark='lgc'>-- protagonists must face when looking for their own identity


new German Cinema (Berlin School) ='lgc'>='lgc'>--> ghostliness, constant ="trms">travel, national division, alienation, rootlessness, inbetween-identity of the protagonists, stuckness in time ='lgc'>=/= Heimat='lgc'>: ='thdf'>the idea of stable secured ="trms">community

="large lg5" stl="font-size:135%"> ="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

labyrinth is architecture at it's best='qstn'>?
space as a limit and space as an environment
the ="trms">relation of ornament to void space (background)
entering the space (pointing, direction) versus filling the space

in purely perceptual terms, all that i[...]