Download Free Word Becomes Image Book in PDF and EPUB Free Download. You can read online Word Becomes Image and write the review.

Presents a diachronic investigation providing a rich case study as well as an approach tracing the contours of a category of Roman material culture defined by the Roman period technique of openwork carving. This work shows how openwork vessels are a reflection of a wide-reaching Roman cultural aesthetic.
The simultaneously tautological and oxymoronic nature of word / image relations has become a subject of massive debate in the post-modern period. This is not only because of the increasing predominance of word / image messages within our modern media-saturated culture, but also because intellectual disciplines are becoming increasingly sensitized to the essentially hybrid nature of the way we construct meaning in the world. The essays in this volume offer an exemplary insight into both aspects of this phenomenon. Focussing on both traditional and modern media (theatre, fiction, poetry, graphic art, cinema), the essays of Reading Images and Seeing Words are deeply concerned to show how it is according to signifying codes (rhetoric, poetics, metaphor), that meaning and knowledge are produced. Not the least value of this collection is the insight it gives into the multiple models of word / image interaction and the rich ambiguity of the tautological and oxymoronic relations they embody.
Max van Manen offers an extensive exploration of phenomenological traditions and methods for the human sciences. It is his first comprehensive statement of phenomenological thought and research in over a decade. Phenomenology of practice refers to the meaning and practice of phenomenology in professional contexts such as psychology, education, and health care, as well as to the practice of phenomenological methods in contexts of everyday living. Van Manen presents a detailed description of key phenomenological ideas as they have evolved over the past century; he then thoughtfully works through the methodological issues of phenomenological reflection, empirical methods, and writing that a phenomenology of practice offers to the researcher. Van Manen’s comprehensive work will be of great interest to all concerned with the interrelationship between being and acting in human sciences research and in everyday life. Max van Manen is the editor of the series Phenomenology of Practice, https://www.routledge.com/series/PPVM
With the emerging dominance of digital technology, the time is ripe to reconsider the nature of the image. Some say that there is no longer a phenomenal image, only disembodied information (0-1) waiting to be configured. For photography, this implies that a faith in the principle of an "evidential force" – of the impossibility of doubting that the subject was before the lens – is no longer plausible. Technologically speaking, we have arrived at a point where the manipulation of the image is an ever-present possibility, when once it was difficult, if not impossible. What are the key moments in the genealogy of the Western image which might illuminate the present status of the image? And what exactly is the situation to which we have arrived as far as the image is concerned? These are the questions guiding the reflections in this book. In it we move, in Part 1, from a study of the Greek to the Byzantine image, from the Renaissance image and the image in the Enlightenment to the image as it emerges in the Industrial Revolution. Part 2 examines key aspects of the image today, such as the digital and the cinema image, as well as the work of philosophers of the image, including: Roland Barthes, Walter Benjamin, Gilles Deleuze, Jean-Paul Sartre and Bernard Stiegler.
Discussing the diverse relationships between law and the artistic image, this book includes coverage of the history of the relationship between art and law, and the ways in which the visual is made subject to the force of the law.
The novelist and philosopher Iris Murdoch and the painter Harry Weinberger engaged in over twenty years of close friendship and intellectual discourse, centred on sustained discussion of the practice, teaching and morality of art. This book presents a reappraisal of Murdoch’s novels – chiefly, three mature novels, The Sea, The Sea (1978), Nuns and Soldiers (1980) and The Good Apprentice (1985), and two enigmatic late novels, The Green Knight (1993) and Jackson’s Dilemma (1995) – which are perceived through the prism of her discourse with Weinberger. It draws on a run of almost 400 letters from Murdoch to Weinberger, and on Murdoch’s philosophical writings, Weinberger’s private writings, the remarks of both artists in interviews, and other material relating to their views on art and art history, much of which is unpublished and has received no previous critical attention. Scrutiny of their shared values, methods and the imagistic dialogue that takes place in their art provides original perspectives on Murdoch’s creativity, and new ways of understanding her experimentation with the visual arts. This book offers a new line of enquiry into Murdoch's novels, and into the relationship between literature and the visual arts.
This concise volume offers an introduction to religion and the digital arts that is thematically organized around traditional religious categories such as ritual and myth paired with corresponding digital categories such as code and avatars.
“Western people no longer hear; everything is grasped by sight. They no longer speak; they show.” -- Jacques Ellul Well-known for his many books on sociology and theology, Jacques Ellul creatively braids these two strands together in this provocative examination of how reality (which is visual) has superseded truth (which is verbal) in modern times. Ellul explores biblical texts for distinguishing visual cultural forms from the communicative (divine and human) Word, then examines how this distinction plays out with the rise of audiovisual media in the 20th-century West. Even in human speech, visual forms dominate contemporary life and devalue the word; this insight informs discussion of the image/word clash in religion, politics, and art. After a scathing critique of present-day idolatry, Ellul places his hope for nonviolent community in the fragile spoken word. Ultimately, Ellul sees the Bible as presenting a hopeful vision of reconciliation—between visual reality and spoken truth. A new afterword by Jacob Marques Rollison contextualizes Ellul’s stance within French postmodern thought, illuminating Humiliation of the Word as an outspokenly “Protestant communication ethic” in contemporary philosophical and theological discussions of language.
It is a book about the essence of faith to testify that faith is the martyrdom to deny my existence. This book is based on the basic knowledge of the Bible and some philosophical thoughts, including new religious and philosophical concepts. This book describes in the view of faith about Christianity, and demonstrates that man, who was born as a fleshly existence, is called to be the spiritual essence, which is the existentiality of Jesus.