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"Examining the themes of presence and absence, the relationship between photography and theatre, history and death, these 'reflections on photography' begin as an investigation into the nature of photographs. Then, as Barthes contemplates a photograph of his mother as a child, the book becomes an exposition of his own mind."--Alibris.
An NPR Best Book of the Year A CrimeReads Historical Fiction Best Book of the Year At a chance encounter at a Berlin soirée in 1928, the photographer Alfred Eisenstaedt captures three very different women together in one frame: up-and-coming German actress Marlene Dietrich; Anna May Wong, the world’s first Chinese American star; and Leni Riefenstahl, whose work as a director of propaganda art films would first make her famous—then, infamous. The trajectories of these women’s lives wind from Weimar Berlin to LA’s Chinatown, from the Bavarian Alps to the Champs-Élysées, and the different settings they inhabit are as richly textured as the roles they play: siren, victim, predator, or lover, each one a carefully calibrated performance. In the orbit of each star live secondary players whose voices and viewpoints reveal the legacy each woman left behind. Intimate and clear-eyed, this is a visceral depiction of womanhood—its particular hungers, its oblique calculations, and its eventual betrayals.
"Like the delayed rays of a star" contemplates the role of the gaze in photography while attempting to pierce the propaganda surrounding US-centric perceptions of Beirut. The work immerses the viewer into the photographer's domestic space through sun-drenched portraits from her Ottoman-era home. The images aim to question the misplaced anxieties of what it means to grow up in a post 9/11 image landscape, to live and work in Lebanon, and give birth to one's first child in Beirut on August 4th--the same day as the catastrophic 2020 Beirut explosion. The photographs confront this rhetoric and conditioned fear by documenting a confluence of "perfume, smoke, fruit, flowers, baking bread, and exhaust fumes" with the subtleties of passing time ruptured by light; these nuanced moments draw inward, decentering the authorial lens, intentionally shifting how mediated photographs affect one's community. In moments charged by Beirut's 2019 rebellion, economic collapse, the pandemic, and the most recent 2020 blast, this publication seeks to resist the narrative tropes of the Western gaze by asking us, "Will there ever be another way to see Beirut?"
Out of Touch investigates how skin has become a crucial but disavowed figure in twentieth-century literature, theory, and cultural criticism. These discourses reveal the extent to which skin figures in the cultural effect of changes in visual technologies, a development argued by critics to be at the heart of the contest between surface and depth and, by extension, Western globalization and identity politics. The skin has a complex history as a metaphorical terrain over which ideological wars are fought, identity is asserted through modification as in tattooing, and meaning is inscribed upon the human being. Yet even as interventions on the skin characterize much of this history, fantasy and science fiction literature and film trumpet skin's passing in the cybernetic age, and feminist theory calls for abandoning the skin as a hostile boundary.
Late Medieval and Renaissance art was surprisingly pushy; its architecture demanded that people move through it in prescribed patterns, its sculptures played elaborate games alternating between concealment and revelation, while its paintings charged viewers with imaginatively moving through them. Viewers wanted to interact with artwork in emotional and/or performative ways. This inventive and personal interface between viewers and artists sometimes conflicted with the Church’s prescribed devotional models, and in some cases it complemented them. Artists and patrons responded to the desire for both spontaneous and sanctioned interactions by creating original ways to amplify devotional experiences. The authors included here study the provocation and the reactions associated with medieval and Renaissance art and architecture. These essays trace the impetus towards interactivity from the points of view of their creators and those who used them. Contributors include: Mickey Abel, Alfred Acres, Kathleen Ashley, Viola Belghaus, Sarah Blick, Erika Boeckeler, Robert L.A. Clark, Lloyd DeWitt, Michelle Erhardt, Megan H. Foster-Campbell, Juan Luis González García, Laura D. Gelfand, Elina Gertsman, Walter S. Gibson, Margaret Goehring, Lex Hermans, Fredrika Jacobs, Annette LeZotte, Jane C. Long, Henry Luttikhuizen, Elizabeth Monroe, Scott B. Montgomery, Amy M. Morris, Vibeke Olson, Katherine Poole, Alexa Sand, Donna L. Sadler, Pamela Sheingorn, Suzanne Karr Schmidt, Anne Rudloff Stanton, Janet Snyder, Rita Tekippe, Mark Trowbridge, Mark S. Tucker, Kristen Van Ausdall, Susan Ward.
A Companion to Derrida is the most comprehensive single volume reference work on the thought of Jacques Derrida. Leading scholars present a summary of his most important accomplishments across a broad range of subjects, and offer new assessments of these achievements. The most comprehensive single volume reference work on the thought of Jacques Derrida, with contributions from highly prominent Derrida scholars Unique focus on three major philosophical themes of metaphysics and epistemology; ethics, religion, and politics; and art and literature Introduces the reader to the positions Derrida took in various areas of philosophy, as well as clarifying how derrideans interpret them in the present Contributions present not only a summary of Derrida’s most important accomplishments in relation to a wide range of disciplines, but also a new assessment of these accomplishments Offers a greater understanding of how Derrida’s work has fared since his death
A new collection of essays by the internationally recognized cultural critic and intellectual historian Martin Jay that revolves around the themes of violence and visuality, with essays on the Holocaust and virtual reality, religious violence, the art world, and the Unicorn Killer, among a wide range of other topics.
The French Connections of Jacques Derrida offers stimulating and accessible essays that address, for the first time, the issue of Derrida's relation to French poetics, writing, thought, and culture. In addition to offering considerations of Derrida through studies of such significant French authors as Mallarmé, Baudelaire, Valéry, Laporte, Ponge, Perec, Blanchot, and Barthes, the book also reassesses the development of Derrida's work in the context of structuralism, biology, and linguistics in the 1960s, and looks at the possible relationships between Derrida's writing and that of the Surrealist and Oulipa groups. Derrida is introduced as one whose work is as much poetic as it is philosophical, and who is strikingly French and yet not unproblematically so. [Contributors include Boris Belay, John Brannigan, Christopher Johnson, John P. Leavey, Jr., Ian Maclachlan, Jessica Maynard, Laurent Milesi, Ruth Robbins, Michael Syrotinski, Michael Temple, Burhan Tufail, and Julian Wolfreys.]