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  1.  44
    Narratology: Introduction to the Theory of Narrative.Lawrence R. Schehr, Christine van Boheemen & Mieke Bal - 1988 - Substance 17 (1):83.
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  2.  21
    An Inter-Action: Rembrandt and Spinoza.Dimitris Vardoulakis & Mieke Bal - 2011 - In Spinoza Now. Minneapolis: University of Minnesota Press. pp. 277-303.
    Spinoza and Rembrandt were contemporaries and in fact they were neighbours in Amsterdam. Even though there is no record that they ever met, it is hard to imagine that they never crossed paths. This article seeks to explore common ideas that we can find in the philosopher and the painter. This contributes both to a philosophical examination of Rembrandt and examines the possibility of an aesthetics in Spinoza.
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  3.  70
    Telling, Showing, Showing off.Mieke Bal - 1992 - Critical Inquiry 18 (3):556-594.
    The American Museum of Natural History is monumental not only in its architecture and design but also in its size, scope, and content. This monumental quality suggests in and of itself the primary meaning of the museum inherited from its history: comprehensive collecting as a form of domination.8 In this respect museums belong to an era of scientific and colonial ambition, from the Renaissance through the early twentieth century, with its climactic moment in the second half of the nineteenth century. (...)
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  4.  27
    The Rhetoric of Sincerity.Ernst van Alphen, Mieke Bal & Carel Smith (eds.) - 2008 - Stanford University Press.
    The essays in this volume demonstrate how the performance of sincerity is culturally specific and is enacted in different ways in different media and disciplines, including law and the arts.
  5. Narrative Theory: Critical Concepts in Literary and Cultural Studies.Mieke Bal (ed.) - 2004 - Routledge.
    This set of volumes sketches the history, breadth, and applicability of narrative theory, thus demonstrating its value as an analytical instrument. The collection includes articles from the leading names of narrative theory, such as Roland Barthes, Mikhail Bakhtin, Tzvetan Todorov and Jean-Françoise Lyotard, as well as lesser-known, though equally important, contributions. Titles already available in this series include _Deconstruction_ and _Modernism_. Forthcoming titles include _Romanticism_ and _Structuralism_.
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  6.  24
    Semiotic Elements in Academic Practices.Mieke Bal - 1996 - Critical Inquiry 22 (3):573-589.
  7.  19
    A Special Guest Of Text Matters. Mieke Bal: “Writing With Images”.Dorota Filipczak & Mieke Bal - 2014 - Text Matters - a Journal of Literature, Theory and Culture 4 (4):15-27.
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  8. A Thousand And One Voices.Mieke Bal - 2011 - In Mads Anders Baggesgaard & Jakob Ladegaard (eds.), Confronting universalities: aesthetics and politics under the sign of globalisation. Aarhus: Aarhus University Press.
     
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  9.  17
    Always too long: My short-film experience.Mieke Bal - 2015 - Empedocles: European Journal for the Philosophy of Communication 5 (1):13-18.
    Attempting to explain, in a short film, a theoretical concept that underlies our the feature film Madame B (Bal & Williams Gamaker, 2014), I discovered that narrativity and description, always in tension, merge into more clarity as the film gets shorter.
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  10.  20
    De-Disciplining the Eye.Mieke Bal - 1990 - Critical Inquiry 16 (3):506-531.
    In this essay I will explore a mode of reading I call “reading for the text.” A text is what we make of a work when reading it: roughly, a meaningful, well-structured whole with a beginning and an end. But as a mode of reading, textuality allows for constant activity, a continual shaping nd reshaping of sign-events. I will argue that reading for a sense of textuality, and for the wholeness this simple textuality entails, does not necessarily preclude awareness of (...)
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  11. Force and meaning-the interdisciplinary struggle of psychoanalysis, semiotics, and aesthetics.Mieke Bal - 1987 - Semiotica 63 (3-4):317-344.
     
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  12.  28
    Looking at love: an ethics of vision.Mieke Bal - 1997 - Diacritics 27 (1):59-72.
    In lieu of an abstract, here is a brief excerpt of the content:Looking at Love an Ethics of VisionMieke Bal (bio)Kaja Silverman. The Threshold Of The Visible World. New York: Routledge, 1996.“The eye can confer the active gift of love upon bodies which have long been accustomed to neglect and disdain,” writes Kaja Silverman in her most recent book, The Threshold of the Visible World. The sentence neatly summarizes her project. “The active gift of love” is the central concept of (...)
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  13. Light in painting: dis-seminating art history.Mieke Bal - 1994 - In Peter Brunette & David Wills (eds.), Deconstruction and the visual arts: art, media, architecture. New York, NY, USA: Cambridge University Press. pp. 49--64.
     
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  14.  7
    Memoir: Moments of Meaning-Making III.Mieke Bal - 2022 - philoSOPHIA: A Journal of Continental Feminism 12 (1):117-137.
    Abstract:The three short pieces below are the third set of vignettes in an alphabetically ordered series of entries, which, together, will constitute a non-subject-centered autobiography. Professional memories are merged with personal ones. I call them “vignettes” to underline the fragmentary nature of memory.
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  15.  5
    Moments of Meaning-Making III: G–I.Mieke Bal - 2022 - philoSOPHIA: A Journal of Continental Feminism 12 (1-2):117-137.
    The three short pieces below are the third set of vignettes in an alphabetically ordered series of entries, which, together, will constitute a non-subject-centered autobiography. Professional memories are merged with personal ones. I call them “vignettes” to underline the fragmentary nature of memory.
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  16.  2
    Moments of Meaning-Making IV: J–L.Mieke Bal - 2023 - philoSOPHIA: A Journal of Continental Feminism 13 (1):160-182.
    The three short pieces below are part of an alphabetically ordered series of entries, which, together, will constitute a non-subject-centered autobiography. Professional memories are merged with personal ones. To underline the fragmentary nature of memory, I call them “vignettes.”.
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  17.  1
    Moments of Meaning-Making V: M–O.Mieke Bal - 2024 - philoSOPHIA: A Journal of Continental Feminism 14 (1):73-96.
    The three short pieces below are part of an alphabetically ordered series of entries, which, together, will constitute a non-subject-centered autobiography. Professional memories are merged with personal ones. To underline the fragmentary nature of memory, I call them "vignettes.".
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  18.  4
    Second–Person Narrative.Mieke Bal - 1996 - Paragraph 19 (3):179-204.
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  19.  22
    Three-Way Misreading.Mieke Bal - 2000 - Diacritics 30 (1):2-24.
    In lieu of an abstract, here is a brief excerpt of the content:diacritics 30.1 (2000) 2-24 [Access article in PDF] Three-Way Misreading Mieke Bal Gayatri Chakravorty Spivak. A Critique of Postcolonial Reason: Toward a History of the Vanishing Present. Cambridge: Harvard UP, 1999. [CPR] Introduction: Reading Other-Wise This openly declared interest makes my reading the kind of "mistake" without which no practice can enable itself. 1 --Gayatri Chakravorty Spivak, Critique of Postcolonial ReasonAs many readers of this journal familiar with her (...)
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  20.  12
    " You do what you have to do": a response to Josef Früchtl.Mieke Bal - 2008 - Krisis 9 (1):59-69.
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  21.  48
    Sensing the Present: “Conceptual Art of the Senses”.Rachel E. Burke & Mieke Bal - 2017 - Text Matters - a Journal of Literature, Theory and Culture 7 (7):27-54.
    After Rachel E. Burke briefly introduces the essays presented with a focus on our contemporary relationship to modern subjectivity, Mieke Bal will make the case for the sense of presentness on an affective and sensuous level in Munch’s paintings and Flaubert’s writing by selecting a few topics and cases from the book Emma and Edvard Looking Sideways: Loneliness and the Cinematic, published by the Munch Museum in conjunction with the exhibition Emma & Edvard. It is this foregrounded presentness that not (...)
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  22.  8
    Towards a Babel ontology.Michelle Williams Gamaker & Mieke Bal - 2011 - European Journal of Women's Studies 18 (4):439-447.
    This article presents a few issues in the making of our film A Long History of Madness that pertain to the ‘Babylonic’. Spoken in 12 languages, ranging across six centuries, and shot in five countries, the film possesses an inherent Babylonism. It makes a case for a multilingual mode of communicating. Yet, beyond the obvious need for verbal communication, for which subtitles are necessary but insufficient, the film presents other reasons for extending the concept of translation. The knot of potential (...)
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  23.  12
    The Bible as Literature: A Critical Escape. [REVIEW]Mieke Bal - 1986 - Diacritics 16 (4):70.
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  24.  15
    The Politics of CitationThe Colonial HaremWildheid en Beschaving: De Europese Verbeelding van AfrikaDifference and Pathology: Stereotypes of Sexuality, Race, and Madness. [REVIEW]Mieke Bal, Malek Alloula, Myrna Godzich, Wlad Godzich, Raymond Corbey & Sander Gilman - 1991 - Diacritics 21 (1):24.
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