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Foreword by Glenn D. Lowry. Text by Roxana Marcoci.
According to Didi-Huberman, visual representation has an "underside" in which intelligible forms lose clarity and defy rational understanding. Art historians, he contends, fail to engage this underside, and he suggests that art historians look to Freud's concept of the "dreamwork", a mobile process that often involves substitution and contradiction.
To the Chinese people, jade is a precious stone endowed with magical properties which encapsulated all that mankind aspires to in terms of character, elegance, tranquility, purity and virtue. The Chinese love jade not merely because of its rarity or its luster but because of a deeper aesthetic value. Chinese Jade: The Spiritual and Cultural Significance of Jade in China presents a comprehensive view of jade and its history in China from Neolithic times to the Qing dynasty. It illustrates pieces of jade that are on display not only in the Palace Museum in Beijing but in the many provincial and other museums across China. It will help the reader to understand what jade means to the Chinese in China; how it is classified and described and where it is found and worked and displayed. It has a value beyond that of a simple catalogue and places jade in its natural, and central, cultural context.
The classic work on the evaluation of city form. What does the city's form actually mean to the people who live there? What can the city planner do to make the city's image more vivid and memorable to the city dweller? To answer these questions, Mr. Lynch, supported by studies of Los Angeles, Boston, and Jersey City, formulates a new criterion—imageability—and shows its potential value as a guide for the building and rebuilding of cities. The wide scope of this study leads to an original and vital method for the evaluation of city form. The architect, the planner, and certainly the city dweller will all want to read this book.
We are Wampanoags, People of the Breaking Day. Nippa'uus the Sun, in his journey through the sky, warms us first as he rises over the rim of the sea. At his birth each new morning we say, "Thank you, Nippa'uus, for returning to us with your warmth and light and beauty." But it is Kiehtan, the Great Spirit, who made us all: we, the two-legged who stand tall, and the four-legged; those that swim and those that fly and the little people who crawl; and flowers and trees and rocks. He made us all, brothers sharing the earth. So begins the story of the Wampanoag people, the tribe that lived in southeastern Massachusetts at the time the Pilgrims landed. In this companion book to The Pilgrims of Plimoth, winner of the Boston Globe-Horn Book Award for nonfiction, Marcia Sewall recreates the world of the Wampanoags, the People of the Breaking Day. In a voice that evokes the pride and natural poetry of these native people and in paintings glowing with life and light, the distinguished author-illustrator presents another view of an important time in American history, a time before the meeting of two very different cultures.
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Why do we have such extraordinarily powerful responses toward the images and pictures we see in everyday life? Why do we behave as if pictures were alive, possessing the power to influence us, to demand things from us, to persuade us, seduce us, or even lead us astray? According to W. J. T. Mitchell, we need to reckon with images not just as inert objects that convey meaning but as animated beings with desires, needs, appetites, demands, and drives of their own. What Do Pictures Want? explores this idea and highlights Mitchell's innovative and profoundly influential thinking on picture theory and the lives and loves of images. Ranging across the visual arts, literature, and mass media, Mitchell applies characteristically brilliant and wry analyses to Byzantine icons and cyberpunk films, racial stereotypes and public monuments, ancient idols and modern clones, offensive images and found objects, American photography and aboriginal painting. Opening new vistas in iconology and the emergent field of visual culture, he also considers the importance of Dolly the Sheep—who, as a clone, fulfills the ancient dream of creating a living image—and the destruction of the World Trade Center on 9/11, which, among other things, signifies a new and virulent form of iconoclasm. What Do Pictures Want? offers an immensely rich and suggestive account of the interplay between the visible and the readable. A work by one of our leading theorists of visual representation, it will be a touchstone for art historians, literary critics, anthropologists, and philosophers alike. “A treasury of episodes—generally overlooked by art history and visual studies—that turn on images that ‘walk by themselves’ and exert their own power over the living.”—Norman Bryson, Artforum
Honig's short, pleasantly written book is a consideration of the images of women--as mothers, spinsters, girls, and supernatural women--in 19th-and early 20th-century fantasy novels for children. . . . Honig sees fantasy as a means of freeing women from the Victorian social restraints--at first, imaginatively. Choice This is the first book-length study of nineteenth-century children's fantasy from a feminist viewpoint. Honig focuses on a number of major works that are representative of the best of their era--including such classics as Alice's Adventures in Wonderland by Lewis Caroll; The Golden Key, The Princess and the Goblin, and others by George MacDonald; the works of Mary Louisa Molesworth; Peter and Wendy by James Barrie; The Five Children and Itand The Enchanted Castle by Edith Nesbit. Through a close reading of these fantasies Honig demonstrates that although Victorian women were still being repressed in the home and the marketplace, the female figure in literature played a role that was quite different from the traditional stereotype of the meek, submissive wife and mother.
Nineteenth-century chemists were faced with a particular problem: how to depict the atoms and molecules that are beyond the direct reach of our bodily senses. In visualizing this microworld, these scientists were the first to move beyond high-level philosophical speculations regarding the unseen. In Image and Reality, Alan Rocke focuses on the community of organic chemists in Germany to provide the basis for a fuller understanding of the nature of scientific creativity. Arguing that visual mental images regularly assisted many of these scientists in thinking through old problems and new possibilities, Rocke uses a variety of sources, including private correspondence, diagrams and illustrations, scientific papers, and public statements, to investigate their ability to not only imagine the invisibly tiny atoms and molecules upon which they operated daily, but to build detailed and empirically based pictures of how all of the atoms in complicated molecules were interconnected. These portrayals of “chemical structures,” both as mental images and as paper tools, gradually became an accepted part of science during these years and are now regarded as one of the central defining features of chemistry. In telling this fascinating story in a manner accessible to the lay reader, Rocke also suggests that imagistic thinking is often at the heart of creative thinking in all fields. Image and Reality is the first book in the Synthesis series, a series in the history of chemistry, broadly construed, edited by Angela N. H. Creager, John E. Lesch, Stuart W. Leslie, Lawrence M. Principe, Alan Rocke, E.C. Spary, and Audra J. Wolfe, in partnership with the Chemical Heritage Foundation.