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Essays and examples reveal the esthetic and sexual aspects of the cutting edge of fashion photography and discuss the work of Erwin Blumenfeld and Karl Lagerfeld.
Essays and examples reveal the esthetic and sexual aspects of the cutting edge of fashion photography and discuss the work of Erwin Blumenfeld and Karl Lagerfeld.
While many acknowledge that Friedrich Nietzsche and Michel Foucault have redefined our notions of time and history, few recognize the crucial role that 'the infinite relation' between seeing and saying plays in their work. Shapiro reveals the full extent of Nietzsche and Foucault's concern with the visual.
The book is an authoritative and up-to-date collection of original essays on one of the greatest of all English poets, Percy Bysshe Shelley. It covers a wide range of topics, exploring Shelley's life and work from various angles.
The fourteen contributors to Sites of Vision explore the hypothesis that the nature of visual perception about which philosophers talk must be explicitly recognized as a discursive construction, indeed a historical construction, in philosophical discourse. In recent years scholars from many disciplines have become interested in the "construction" of the human senses--in how the human environment shapes both how and what we perceive. Taking a very different approach to the question of construction, Sites of Vision turns to language and explores the ways in which the rhetoric of philosophy has formed the nature of vision and how, in turn, the rhetoric of vision has helped to shape philosophical thought. The central role of vision in relation to philosophy is evident in the vocabulary of the discipline--in words such as "speculation," "observation," "insight," and "reflection"; in metaphors such as "mirroring," "perspective," and "point of view"; and in methodological concepts such as "reflective detachment" and "representation." Because the history of vision is so pervasively reflected in the history of philosophy, it is possible for both vision and thought to achieve a greater awareness of their genealogy through the history of philosophy. The fourteen contributors to Sites of Vision explore the hypothesis that the nature of visual perception about which philosophers talk must be explicitly recognized as a discursive construction, indeed a historical construction, in philosophical discourse.
A social history of childbearing and motherhood focused on black and white women in slave-owning households in the antebellum and Civil War South. In Born Southern, V. Lynn Kennedy addresses the pivotal roles of birth and motherhood in slaveholding families and communities in the Old South. She assesses the power structures of race, gender, and class—both in the household and in the public sphere—and how they functioned to construct a distinct antebellum southern society. Kennedy’s unique approach links the experiences of black and white women, examining how childbirth and motherhood created strong ties to family, community, and region for both. She also moves beyond a simple exploration of birth as a physiological event, examining the social and cultural circumstances surrounding it: family and community support networks, the beliefs and practices of local midwives, and the roles of men as fathers and professionals. The southern household—and the relationships among its members—is the focus of the first part of the book. Integrating the experiences of all women, black and white, rich and poor, free and enslaved, these narratives suggest the complexities of shared experiences that united women in a common purpose but also divided them according to status. The second part moves the discussion from the private household into the public sphere, exploring how southerners used birth and motherhood to negotiate public, professional, and political identities. Kennedy’s systematic and thoughtful study distinguishes southern approaches to childbirth and motherhood from northern ones, showing how slavery and rural living contributed to a particularly southern experience.
William Faulkner occupied a unique position as a modern writer. Although famous for his modernist novels and their notorious difficulty, he also wrote extensively for the "culture industry," and the works he produced for it—including short stories, adaptations, and screenplays—bore many of the hallmarks of consumer art. His experiences as a Hollywood screenwriter influenced him in a number of ways, many of them negative, while the films turned out by the "dream factories" in which he labored sporadically inspired both his interest and his contempt. Faulkner also disparaged the popular magazines—though he frequently sold short stories to them. To what extent was Faulkner's deeply ambivalent relationship to—and involvement with—American popular culture reflected in his modernist or "art" fiction? Peter Lurie finds convincing evidence that Faulkner was keenly aware of commercial culture and adapted its formulae, strategies, and in particular, its visual techniques into the language of his novels of the 1930s. Lurie contends that Faulkner's modernism can be best understood in light of his reaction to the popular culture of his day. Using Theodor Adorno's theory about modern cultural production as a framework, Lurie's close readings of Sanctuary, Light in August, Absalom! Absalom!, and If I Forget Thee, Jerusalem uncover the cultural history that surrounded and influenced the development of Faulkner's art. Lurie is particularly interested in the influence of cinema on Faulkner's fiction and especially the visual strategies he both deployed and critiqued. These include the suggestion of cinematic viewing on the part of readers and of characters in each of the novels; the collective and individual acts of voyeurism in Sanctuary and Light in August; the exposing in Absalom! Absalom! and Light in Augustof stereotypical and cinematic patterns of thought about history and race; and the evocation of popular forms like melodrama and the movie screen in If I Forget Thee, Jerusalem. Offering innovative readings of these canonical works, this study sheds new light on Faulkner's uniquely American modernism.
This book is a study of the complex relationship between matter and idea that shaped the nineteenth-century culture of art, and that in turn determined the course of still-current accounts of art's nature and value. Fundamental questions about the effects of material conditions on the creation and reception of art arose as early as the nineteenth century, and put important pressures on later eras. The place of class distinctions in the making and reception of art, the relationship between copy and original, the effects of display on art appreciation, even the role of pleasure itself: this book treats these and related issues as productive conceptual challenges with an unresolved relationship to matter at their core. Drawing on recent scholarship on the history of art and its institutions, Material Inspirations places cultural developments such as the emergence of new sites for exhibition and the astonishing proliferation of printed reproductions alongside a wide range of texts including novels, poems, travel guidebooks, compendia of antiquities, and especially the great line of critical writing that emerged in the period. The study vivifies a dynamic era, which is still too often seen as static and unchanging, by emphasizing the transformations taking place throughout the period in precisely those areas that have appeared to promise little more than repetition or continuity: collection, exhibition, and reproduction. The book culminates with the two great critics of the period, John Ruskin and Walter Pater, but it also includes close analysis of other prose writers, as well as poets and novelists ranging from William Blake to Robert Browning, George Eliot to Henry James. Significant developments addressed include the vogue for the representation of Old Masters in the first half of the century, ongoing innovations in the creation and diffusion of reproductions, and the emergence of the field of art history itself. At the heart of each of these the book identifies a material pressure shaping concepts, texts, and works of art.
Presenting new and diverse scholarship, this wide-ranging collection of 43 original chapters asks what European cinema tells us about Europe. The book engages with European cinema that attends to questions of European colonial, racialized and gendered power; seeks to decentre Europe itself (not merely its putative centres); and interrogate Europe’s various conceptualizations from a variety of viewpoints. It explores the broad, complex and heterogeneous community/ies produced in and by European films, taking in Kurdish, Hollywood and Singapore cinema as comfortably as the cinema of Poland, Spanish colonial films or the European gangster genre. Chapters cover numerous topics, including individual films, film movements, filmmakers, stars, scholarship, representations and identities, audiences, production practices, genres and more, all analysed in their context(s) so as to construct an image of Europe as it emerges from Europe’s film corpus. The Companion opens the study of European cinema to a broad readership and is ideal for students and scholars in film, European studies, queer studies and cultural studies, as well as historians with an interest in audio-visual culture, nationalism and transnationalism, and those working in language-based area studies.
Response to Death presents a literary historical perspective on mourning, tracing examples of mourning in literary works from the medieval world to the present day. Contributors offer a chronological examination of the concept of the work of mourning in specific literary and historical contexts, beginning with an exploration of the medieval York Cycle of plays and sixteenth-century French women's lyric, and continuing through the Renaissance with considerations of Shakespeare, the nineteenth century, and into the twentieth century.