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Author: Maryna Romanets
Publisher: ibidem-Verlag / ibidem Press
ISBN: 3838255763
Category : Language Arts & Disciplines
Languages : en
Pages : 234
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Book Description
In Anamorphosic Texts, Maryna Romanets turns a discriminating lens on a still “liminal” Ukrainian cultural space and, through its relation to the experiences of one of the earliest decolonized nations, Ireland, puts it on the discursive postcolonial map, thereby destabilizing the paradigm of homogeneous Eurocentricity adopted by much postcolonial critique. Bringing together two peripheral European literatures, Romanets uses Irish and Ukrainian histories as a shared point of reference, charting an essentially untouched area of comparative typology in postcolonial cultural politics. Returning to the chiaroscuro terrain of respective nineteenth-century Revivalist movements, she projects their volatile energies onto contemporary struggles of the two cultures to represent their occluded, traumatic pasts and ever-evasive presents. In five linked essays, Romanets explores, in their sociocultural contexts, the works of Kostenko, Ní Dhomhnaill, Zabuzhko, Pokalchuk, Vynnychuk, Poderviansky, Longley, Heaney, Murphy, Carson, Montague, Banville, and Izdryk. She examines the ways these authors evoke the significatory powers of their traditions to forge imaginary ones; interrogate the boundaries and slippages among personal, national, social, gendered, and historical disjunctions; and make every history open to revision and contestation. Drawing on postcolonial, intertextual, representation, and gender theories, Anamorphosic Texts reveals the mechanisms of conversion whereby Ukrainian and Irish writers, by engaging in epistemic dialogues with their own traditions, colonial discourses, and multicultural influxes, devise political strategies of empowerment and enunciation.
Author: Maryna Romanets
Publisher: ibidem-Verlag / ibidem Press
ISBN: 3838255763
Category : Language Arts & Disciplines
Languages : en
Pages : 234
Get Book Here
Book Description
In Anamorphosic Texts, Maryna Romanets turns a discriminating lens on a still “liminal” Ukrainian cultural space and, through its relation to the experiences of one of the earliest decolonized nations, Ireland, puts it on the discursive postcolonial map, thereby destabilizing the paradigm of homogeneous Eurocentricity adopted by much postcolonial critique. Bringing together two peripheral European literatures, Romanets uses Irish and Ukrainian histories as a shared point of reference, charting an essentially untouched area of comparative typology in postcolonial cultural politics. Returning to the chiaroscuro terrain of respective nineteenth-century Revivalist movements, she projects their volatile energies onto contemporary struggles of the two cultures to represent their occluded, traumatic pasts and ever-evasive presents. In five linked essays, Romanets explores, in their sociocultural contexts, the works of Kostenko, Ní Dhomhnaill, Zabuzhko, Pokalchuk, Vynnychuk, Poderviansky, Longley, Heaney, Murphy, Carson, Montague, Banville, and Izdryk. She examines the ways these authors evoke the significatory powers of their traditions to forge imaginary ones; interrogate the boundaries and slippages among personal, national, social, gendered, and historical disjunctions; and make every history open to revision and contestation. Drawing on postcolonial, intertextual, representation, and gender theories, Anamorphosic Texts reveals the mechanisms of conversion whereby Ukrainian and Irish writers, by engaging in epistemic dialogues with their own traditions, colonial discourses, and multicultural influxes, devise political strategies of empowerment and enunciation.
Author: Sanna Karkulehto
Publisher: Routledge
ISBN: 0429516193
Category : Literary Criticism
Languages : en
Pages : 289
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Book Description
The time has come for human cultures to seriously think, to severely conceptualize, and to earnestly fabulate about all the nonhuman critters we share our world with, and to consider how to strive for more ethical cohabitation. Reconfiguring Human, Nonhuman and Posthuman in Literature and Culture tackles this severe matter within the framework of literary and cultural studies. The emphasis of the inquiry is on the various ways actual and fictional nonhumans are reconfigured in contemporary culture – although, as long as the domain of nonhumanity is carved in the negative space of humanity, addressing these issues will inevitably clamor for the reconfiguration of the human as well. The Open Access version of this book, available at https://www.taylorfrancis.com/books/reconfiguring-human-nonhuman-posthuman-literature-culture-sanna-karkulehto-aino-kaisa-koistinen-essi-varis/e/10.4324/9780429243042, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.
Author: Rolando Pérez
Publisher: Purdue University Press
ISBN: 1612491480
Category : Art
Languages : en
Pages : 334
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Book Description
Severo Sarduy never enjoyed the same level of notoriety as did other Latin American writers like García Márquez and Vargas-Llosa, and his compatriot, Cabrera-Infante. On the other hand, he never lacked for excellent critical interpretations of his work from critics like Roberto González Echevarría, René Prieto, Gustavo Guerrero, and other reputable scholars. Missing, however, from what is otherwise an impressive body of critical commentary, is a study of the importance of painting and architecture, firstly, to his theory, and secondly, to his creative work. In order to fill this lacuna in Sarduy studies, Rolando Pérez's book undertakes a critical approach to Sarduy's essays—Barroco, Escrito sobre un cuerpo, "Barroco y neobarroco," and La simulación—from the stand point of art history. Often overlooked in Sarduy studies is the fact that the twenty-three-year-old Sarduy left Cuba for Paris in 1961 to study not literature but art history, earning the equivalent of a Master's Degree from the École du Louvre with a thesis on Roman art. And yet it was the art of the Italian Renaissance (e.g., the paintings as well as the brilliant and numerous treatises on linear perspective produced from the 15th to the 16th century) and what Sarduy called the Italian, Spanish, and colonial Baroque or "neo-baroque" visually based aesthetic that interested him and to which he dedicated so many pages. In short, no book on Sarduy until now has traced the multifaceted art historical background that informed the work of this challenging and exciting writer. And though Severo Sarduy and the Neo-Baroque Image of Thought in the Visual Arts is far from being an introduction, it will be a book that many a critic of Sarduy and the Latin American "baroque" will consult in years to come.
Author: James Elkins
Publisher: Cornell University Press
ISBN: 1501723898
Category : Art
Languages : en
Pages : 344
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Book Description
Perspective has been a divided subject, orphaned among various disciplines from philosophy to gardening. In the first book to bring together recent thinking on perspective from such fields as art history, literary theory, aesthetics, psychology, and the history of mathematics, James Elkins leads us to a new understanding of how we talk about pictures. Elkins provides an abundantly illustrated history of the theory and practice of perspective. Looking at key texts from the Renaissance to the present, he traces a fundamental historical change that took place in the way in which perspective was conceptualized; first a technique for constructing pictures, it slowly became a metaphor for subjectivity. That gradual transformation, he observes, has led to the rifts that today separate those who understand perspective as a historical or formal property of pictures from those who see it as a linguistic, cognitive, or epistemological metaphor. Elkins considers how the principal concepts of perspective have been rewritten in work by Erwin Panofsky, Hubert Damisch, Martin Jay, Paul Ricoeur, Jacques Lacan, Maurice Merleau-Ponty, and E. H. Gombrich. The Poetics of Perspective illustrates that perspective is an unusual kind of subject: it exists as a coherent idea, but no one discipline offers an adequate exposition of it. Rather than presenting perspective as a resonant metaphor for subjectivity, a painter's tool without meaning, a disused historical practice, or a model for vision and representation, Elkins proposes a comprehensive revaluation. The perspective he describes is at once a series of specific pictorial decisions and a powerful figure for our knowledge of the world.
Author: Jonathan Crary
Publisher: MIT Press
ISBN: 9780262531078
Category : Design
Languages : en
Pages : 190
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Book Description
Jonathan Crary's Techniques of the Observer provides a dramatically new perspective on the visual culture of the nineteenth century, reassessing problems of both visual modernism and social modernity. This analysis of the historical formation of the observer is a compelling account of the prehistory of the society of the spectacle. In Techniques of the Observer Jonathan Crary provides a dramatically new perspective on the visual culture of the nineteenth century, reassessing problems of both visual modernism and social modernity. Inverting conventional approaches, Crary considers the problem of visuality not through the study of art works and images, but by analyzing the historical construction of the observer. He insists that the problems of vision are inseparable from the operation of social power and examines how, beginning in the 1820s, the observer became the site of new discourses and practices that situated vision within the body as a physiological event. Alongside the sudden appearance of physiological optics, Crary points out, theories and models of "subjective vision" were developed that gave the observer a new autonomy and productivity while simultaneously allowing new forms of control and standardization of vision. Crary examines a range of diverse work in philosophy, in the empirical sciences, and in the elements of an emerging mass visual culture. He discusses at length the significance of optical apparatuses such as the stereoscope and of precinematic devices, detailing how they were the product of new physiological knowledge. He also shows how these forms of mass culture, usually labeled as "realist," were in fact based on abstract models of vision, and he suggests that mimetic or perspectival notions of vision and representation were initially abandoned in the first half of the nineteenth century within a variety of powerful institutions and discourses, well before the modernist painting of the 1870s and 1880s.
Author: George Quasha
Publisher: Ediciones Polígrafa S.A.
ISBN:
Category : Art
Languages : en
Pages : 674
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Book Description
Foreword by Lynne Cooke. Text by George Quasha, Charles Stein.
Author: Roland Bleiker
Publisher: Routledge
ISBN: 1317930886
Category : Political Science
Languages : en
Pages : 795
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Book Description
We live in a visual age. Images and visual artefacts shape international events and our understanding of them. Photographs, film and television influence how we view and approach phenomena as diverse as war, diplomacy, financial crises and election campaigns. Other visual fields, from art and cartoons to maps, monuments and videogames, frame how politics is perceived and enacted. Drones, satellites and surveillance cameras watch us around the clock and deliver images that are then put to political use. Add to this that new technologies now allow for a rapid distribution of still and moving images around the world. Digital media platforms, such as Twitter, YouTube, Facebook and Instagram, play an important role across the political spectrum, from terrorist recruitment drives to social justice campaigns. This book offers the first comprehensive engagement with visual global politics. Written by leading experts in numerous scholarly disciplines and presented in accessible and engaging language, Visual Global Politics is a one-stop source for students, scholars and practitioners interested in understanding the crucial and persistent role of images in today’s world.
Author: Rosalind E. Krauss
Publisher: MIT Press
ISBN: 9780262611053
Category : Design
Languages : en
Pages : 374
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Book Description
The Optical Unconscious is a pointed protest against the official story of modernism and against the critical tradition that attempted to define modern art according to certain sacred commandments and self-fulfilling truths. The account of modernism presented here challenges the vaunted principle of "vision itself." And it is a very different story than we have ever read, not only because its insurgent plot and characters rise from below the calm surface of the known and law-like field of modernist painting, but because the voice is unlike anything we have heard before. Just as the artists of the optical unconscious assaulted the idea of autonomy and visual mastery, Rosalind Krauss abandons the historian's voice of objective detachment and forges a new style of writing in this book: art history that insinuates diary and art theory, and that has the gait and tone of fiction. The Optical Unconscious will be deeply vexing to modernism's standard-bearers, and to readers who have accepted the foundational principles on which their aesthetic is based. Krauss also gives us the story that Alfred Barr, Meyer Shapiro, and Clement Greenberg repressed, the story of a small, disparate group of artists who defied modernism's most cherished self-descriptions, giving rise to an unruly, disruptive force that persistently haunted the field of modernism from the 1920s to the 1950s and continues to disrupt it today. In order to understand why modernism had to repress the optical unconscious, Krauss eavesdrops on Roger Fry in the salons of Bloomsbury, and spies on the toddler John Ruskin as he amuses himself with the patterns of a rug; we find her in the living room of Clement Greenberg as he complains about "smart Jewish girls with their typewriters" in the 1960s, and in colloquy with Michael Fried about Frank Stella's love of baseball. Along the way, there are also narrative encounters with Freud, Jacques Lacan, Georges Bataille, Roger Caillois, Gilles Deleuze, and Jean-François Lyotard. To embody this optical unconscious, Krauss turns to the pages of Max Ernst's collage novels, to Marcel Duchamp's hypnotic Rotoreliefs, to Eva Hesse's luminous sculptures, and to Cy Twombly's, Andy Warhol's, and Robert Morris's scandalous decoding of Jackson Pollock's drip pictures as "Anti-Form." These artists introduced a new set of values into the field of twentieth-century art, offering ready-made images of obsessional fantasy in place of modernism's intentionality and unexamined compulsions.
Author: Ursyn, Anna
Publisher: IGI Global
ISBN: 1466646284
Category : Computers
Languages : en
Pages : 539
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Book Description
As interactive application software such as apps, installations, and multimedia presentations have become pervasive in everyday life, more and more computer scientists, engineers, and technology experts acknowledge the influence that exists beyond visual explanations. Computational Solutions for Knowledge, Art, and Entertainment: Information Exchange Beyond Text focuses on the methods of depicting knowledge-based concepts in order to assert power beyond a visual explanation of scientific and computational notions. This book combines formal descriptions with graphical presentations and encourages readers to interact by creating visual solutions for science-related concepts and presenting data. This reference is essential for researchers, computer scientists, and academics focusing on the integration of science, technology, computing, art, and mathematics for visual problem solving.
Author: Rosalind E. Krauss
Publisher: MIT Press
ISBN: 9780262611657
Category : Art
Languages : en
Pages : 250
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Book Description
These essays on nine women artists are framed by the question, born of feminism, "What evaluative criteria can be applied to women's art?" Since the 1970s Rosalind Krauss has been exploring the art of painters, sculptors, and photographers, examining the intersection of these artists concerns with the major currents of postwar visual culture: the question of the commodity, the status of the subject, issues of representation and abstraction, and the viability of individual media. These essays on nine women artists are framed by the question, born of feminism, "What evaluative criteria can be applied to women's art?" In the case of surrealism, in particular, some have claimed that surrealist women artists must either redraw the lines of their practice or participate in the movement's misogyny. Krauss resists that claim, for these "bachelors" are artists whose expressive strategies challenge the very ideals of unity and mastery identified with masculinist aesthetics. Some of this work, such as the "part object" (Louise Bourgeois) or the "formless" (Cindy Sherman) could be said to find its power in strategies associated with such concepts as écriture feminine. In the work of Agnes Martin, Eva Hesse, or Sherrie Levine, one can make the case that the power of the work can be revealed only by recourse to another type of logic altogether. Bachelors attempts to do justice to these and other artists (Claude Cahun, Dora Maar, Louise Lawler, Francesca Woodman) in the terms their works demand.
