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Culture and Circulation reflects an innovative approach to early modern Indian literature. The authors foreground the complex hybridity of literary genres and social milieus, capturing elements that have eluded traditional literary history. In this book, jointly edited by Thomas de Bruijn and Allison Busch, Hindi authors rub shoulders with their Persian counterparts in the courts of Mughal India; the fame of Mirabai, a poetess from Rajasthan, travels to Punjab; the sayings of Kabir are found to be as difficult to pin down as the holy men who transmitted them. Drawing on new archives in several Indian languages, Culture and Circulation presents fresh ideas that will be of interest to scholars of Indian literature, religious studies, and early modern history. Contributors include Stefano Pellò,Thibaut d'Hubert,Corinne Lefèvre, John Stratton Hawley, Gurinder Singh Mann, Thomas de Bruijn, Catharina Kiehnle, Allison Busch, Francesca Orsini, Heidi Pauwels, Robert van de Walle.
The nineteenth century witnessed a series of revolutions in the production and circulation of images. From lithographs and engraved reproductions of paintings to daguerreotypes, stereoscopic views, and mass-produced sculptures, works of visual art became available in a wider range of media than ever before. But the circulation and reproduction of artworks also raised new questions about the legal rights of painters, sculptors, engravers, photographers, architects, collectors, publishers, and subjects of representation (such as sitters in paintings or photographs). Copyright and patent laws tussled with informal cultural norms and business strategies as individuals and groups attempted to exert some degree of control over these visual creations. With contributions by art historians, legal scholars, historians of publishing, and specialists of painting, photography, sculpture, and graphic arts, this rich collection of essays explores the relationship between intellectual property laws and the cultural, economic, and technological factors that transformed the pictorial landscape during the nineteenth century. This book will be valuable reading for historians of art and visual culture; legal scholars who work on the history of copyright and patent law; and literary scholars and historians who work in the field of book history. It will also resonate with anyone interested in current debates about the circulation and control of images in our digital age.
Woolf details here the ways in which English men and women first became seriously aware of and interested in their own and the world's past. Previous works have focused exclusively on the writings of a small minority of historians, yet, through using a variety of manuscript and printed sources, this study examines the wider 'historical culture' within which historical and antiquarian studies could emerge.
Popular and Visual Culture: Design, Circulation and Consumption is a transnational project that fosters a dialogue with multiple origins, both in geographical and academic terms. From the onset, this book questions the concepts of visual and popular culture, terms which are currently applied both to describe scientific fields, as operative concepts in theoretical discourse, and to characterize specific cultural contexts. The book’s analysis and categorization of visual and popular culture pursues discourses and practices which mark different historical eras and shape social orders. Because popular iconic and written productions are the outcome of a network of political, economic, ideological and social circumstances that are often hardly detectable and too taken for granted to be critically recognized, even by those who draw, paint or write (and live) under their influence. That is why visual figurations of popular culture should be studied as the support of a deeply motivated symbolic discourse on the values shared by a community. This book deals, in a way or another, with how popular and visual artefacts and sceneries are socially built, preserved and/or contested. The volume brings together, not only different disciplinary perspectives, but also diverse empirical phenomena, while approaching the wide subject of visuality and popular culture.
This volume is about literary and cultural circulation, exploring the topic both in the form of case studies, analysing works and authors from diverse literatures and cultures, and by discussing the theoretical issues surrounding the subject of circulation in terms of temporality, place, method, material objects and concepts.
When Canadian authors win prestigious literary prizes, from the Governor General's Literary Award to the Man Booker Prize, they are celebrated not only for their achievements, but also for contributing to this country's cultural capital. Discussions about culture, national identity, and citizenship are particularly complicated when the honorees are immigrants, like Michael Ondaatje, Carol Shields, or Rohinton Mistry. Then there is the case of Yann Martel, who is identified both as Canadian and as rootlessly cosmopolitan. How have these writers' identities been recalibrated in order to claim them as 'representative' Canadians? Prizing Literature is the first extended study of contemporary award winning Canadian literature and the ways in which we celebrate its authors. Gillian Roberts uses theories of hospitality to examine how prize-winning authors are variously received and honoured depending on their citizenship and the extent to which they represent 'Canadianness.' Prizing Literature sheds light on popular and media understandings of what it means to be part of a multicultural nation.
How does movement affect the metropolis?
This book situates the medieval manuscript within its cultural contexts, with chapters by experts in bibliographical and theoretical approaches to manuscript study.
This is a book about one of the great untold stories of modern cultural life: the remarkable ascendancy of prizes in literature and the arts. Such prizes and the competitions they crown are almost as old as the arts themselves, but their number and power--and their consequences for society and culture at large--have expanded to an unprecedented degree in our day. In a wide-ranging overview of this phenomenon, James F. English documents the dramatic rise of the awards industry and its complex role within what he describes as an economy of cultural prestige. Observing that cultural prizes in their modern form originate at the turn of the twentieth century with the institutional convergence of art and competitive spectator sports, English argues that they have in recent decades undergone an important shift--a more genuine and far-reaching globalization than what has occurred in the economy of material goods. Focusing on the cultural prize in its contemporary form, his book addresses itself broadly to the economic dimensions of culture, to the rules or logic of exchange in the market for what has come to be called "cultural capital." In the wild proliferation of prizes, English finds a key to transformations in the cultural field as a whole. And in the specific workings of prizes, their elaborate mechanics of nomination and election, presentation and acceptance, sponsorship, publicity, and scandal, he uncovers evidence of the new arrangements and relationships that have refigured that field.
As a category in art history, circulation is rooted in the contemporary context of Internet culture and the digital image. Yet circulation, as a broader concept for the movement of art across time and space in vastly different cultural and media contexts, has been a factor in the history of the arts in the United States since at least the eighteenth century. The third volume in the Terra Foundation Essays series, Circulation brings together an international and interdisciplinary team of scholars, including Thierry Gervais, Tom Gunning, J. M. Mancini, Frank Mehring, and Hélène Valance, who map the multiple planes where artistic meaning has been produced by the circulation of art from the eighteenth century to the present. The book looks at both broad historical trends and the successes and failures of particular works of art from a wide variety of artists and styles. Together, the contributions significantly expand the conceptual and methodological terrain of scholarship on American art.