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First published in 1989, this collection of essays brings into focus the history of a specific form of violence – that of representation. The contributors identify representations of self and other that empower a particular class, gender, nation, or race, constructing a history of the west as the history of changing modes of subjugation. The essays bring together a wide range of literary and historical work to show how writing became an increasingly important mode of domination during the modern period as ruling ideas became a form of violence in their own right. This reissue will be of particular value to literature students with an interest in the concept of violence, and the boundaries and capacity of discourse.
First published in 1990, this book argues that any theory of language constructs its ‘object’ by separating ‘relevant’ from ‘irrelevant’ phenomena — excluding the latter. This leaves a ‘remainder’ which consists of the untidy, creative part of how language is used — the essence of poetry and metaphor. Although this remainder can never be completely formalised, it must be fully recognised by any true account of language and thus this book attempts the first ‘theory of the remainder’. As such, whether it is language or the speaker who speaks is dealt with, leading to an analysis of how all speakers are ‘violently’ constrained in their use of language by social and psychological realties.
The volumes in this set, originally published between 1999 and 2003, draw together early works in social theory by leading sociologist Anthony Elliott. The collection covers some of his major works in the field of social theory, with a paticular focus on psychoanalysis, and social theorists within the area of sociology. The works in this set make accessible previously unavailable works from the early stages of Anthony Elliott's ongoing and prolific career to date.
First published in 1988, this book attempts to tackle the problem of how to write about art, culture, and the issues of postmodernism in a style appropriate to what is being claimed. The letters are written on art’s behalf to a range of institutions and individuals, and have as their recurring concern the relation between art, culture and representation — both art as representation and how art is represented to, and for, the surrounding culture. They explore the context and viability of art through a range of themes, including writing, the aestheticisation of everyday life, style, design pleasure, fragmentation, hyphenation, technology, and the museum — drawing on materials from the visual arts, music, literature, post-structuralism, contemporary criticism, philosophy, and sociology.
First published in 1959, this book is concerned with the methodology of art history, and so with questions about historical thinking; it enquires what scientific history of art can accomplish, what are its mean and limitations? It contains philosophical reflections on history and begins with chapters on the scope and limitations of a sociology of art, and the concept of ideology in the history of art. The chapter on the concept of "art history without names" occupies the central position in the book — thoroughly discussing the basic philosophical outlook for the whole work. There are also further chapters on psychoanalysis, folk art and popular art. The chapter on the role of convention in the history of art points the way for further study.
Bodies and Machines is a striking and persuasive examination of the body-machine complex and its effects on the modern American cultural imagination. Bodies and Machines, first published in 1992, explores the links between techniques of representation and social and scientific technologies of power in a wide range of realist and naturalist discourses and practices. Seltzer draws on realist and naturalist writing, such as the work of Hawthorne and Henry James, and the discourses which inform it: from scouting manuals and the programmes of systematic management to accounts of sexual biology and the rituals of consumer culture. He explores other mass-produced and mass-consumed cultural forms, including visual representations such as composite photographs, scale models, and the astonishing iconography of standardization.
This companion interrogates the relationship between theatre and youth from a global perspective, taking in performances and theatre made by, for, and about young people. These different but interrelated forms of theatre are addressed through four critical themes that underpin the ways in which analysis of contemporary theatre in relation to young people can be framed: political utterances – exploring the varied ways theatre becomes a platform for political utterance as a process of dialogic thinking and critical imagining; critical positioning – examining youth theatre work that navigates the sensitive, dynamic, and complex terrains in which young people live and perform; pedagogic frames – outlining a range of contexts and programmes in which young people learn to make and understand theatre that reflects their artistic capacities and aesthetic strategies; applying performance – discussing a range of projects and companies whose work has been influential in the development of youth theatre within specific contexts. Providing critical, research-informed, and research-based discussions on the intersection between young people, their representation, and their participation in theatre, this is a landmark text for students, scholars, and practitioners whose work and thinking involves theatre and young people.
At the Violet Hour offers a richly historicized, trenchant look at the interlocking of literature with violence in British and Irish modernist texts.
First published in 1990, this collection of essays in literary criticism, feminist theory and race relations was named one of the top twenty-five books of 1988 by the Voice Literary Supplement. The title covers such subjects as black literature; the reconstruction of culture, changing arts, letters and sciences to include the topics of women and gender; and, the nature of family and the changing roles of women within society. As such, Catharine Stimpson employs a transdisciplinary approach, to encourage greater understanding of the differences among women, and thus socially-constructed differences in general. Where the Meanings Are tells of some of the arguments within feminism during the re-designing and designing of cultural spaces, as post-modernism began to change the boundaries of race, class, and gender. It will therefore be of great value to students and general readers with an interest in the relationship between gender and culture, sex and gender difference, feminist theory and literature.
Revitalization of religious and cultural traditions is taking place in nearly all contemporary Asian societies, as is shown in Faith in the Future: Understanding the Revitalization of Religions and Cultural Traditions in Asia. Revitalization is not unique to Asia, it is one of the most significant new global trends in religion and society. While they are a response to globalization and rapid change, revitalization movements are not backward looking but represent a struggle by local people for their right to determine their own future in a changing world, while also reflecting their desire to find an appropriate place and status for themselves within a global context which they take for granted. The volume provides a comparative analysis of the key features and aspirations of revitalization movements and assesses their scope for shaping the future trajectories of societies in all parts of the world.