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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.
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.
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.
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.
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.
Presents a collection of critical essays on the works of William Shakespeare.
The brash young artist James Ensor painted Christ's Entry into Brussels in 1889 during a period of extraordinary artistic and political fomentation in his native Belgium. It is one of the most dazzling, innovative, and perplexing paintings created in Europe in the late nineteenth century, rivaling any work of its period in audacity and ambition. Huge in scale, complex in design and execution, and brimming with social commentary, the startling canvas presents a scene filled with clowns, masked figures, and--barely visible amid the swirling crowds--the tiny figure of Christ on a donkey entering the city of Brussels. This insightful volume examines the painting in light of Belgium's rich artistic, social, political, and theological debates in the late nineteenth century, and in the context of James Ensor's exceptional career, in order to decipher some of the painting's messages and meanings.
This book explores “Making of” sites as a genre of cultural artefact. Moving beyond “making-of” documentaries, the book analyses novels, drama, film, museum exhibitions and popular studies that re-present the making of culturally loaded film adaptations. It argues that the “Making of” genre operates on an adaptive spectrum, orienting towards and enacting the adaptation of films and their making. The book examines the behaviours that characterise “Making of” sites across visual media; it explores the cultural work done by these sites, why recognition of “Making of” sites as adaptations matters, and why our conception of adaptation matters. Part one focuses on the adaptive domain presented by the “Making of” John Ford’s The Quiet Man. Part two attends to “Making of” Gone with the Wind sites, and concludes with “Making of” The Lord of the Rings texts as the acme of the cultural risks and investments charted in earlier chapters.
Both in antiquity and in modern scholarship, classical Sparta has typically been viewed as an exceptional society, different in many respects from other Greek city-states. This view has recently come under challenge from revisionist historians, led by Stephen Hodkinson. This is the first book devoted explicitly to this lively historical controversy. Historians from Britain, Europe and the USA present different sides of the argument, using a variety of comparative approaches. The focus includes kingship and hegemonic structures, education and commensality, religious institutions and practice, helotage and ethnography. The volume concludes with a wide-ranging debate between Hodkinson and Mogens Herman Hansen (Director of the Copenhagen Polis Centre), on the overall question of whether Sparta was a normal or an exceptional polis.
Psychoanalytic Collisions Second Edition wrestles with a theme that confronts every psychotherapist: the gap between illusions and realities about the professional self. Joyce Slochower closely examines situations in which the therapist’s professional and personal wishes collide with the actuality of everyday clinical work. The book unpacks the dynamics of these collisions on both beginning and seasoned therapists, offering ways of sustaining a professional ideal while also exploring the mixed impact of that ideal on clinical work. In examining how illusions and ideals affect the therapeutic encounter for both better and worse, Psychoanalytic Collisions invites the reader into the consulting room. This Second Edition has been substantially revised. It includes updated clinical and theoretical material as well as a new chapter about mutual idealizations that coalesce between patient and analyst. Slochower argues that psychoanalytic collisions can be productively engaged, even if they often cannot be fully resolved.The very act of engagement—whether by establishing new grounds for collaboration in the wake of real-world catastrophe, wrestling with clinical impasses that arise from the divergent expectations of analyst and patient, or owning up to and addressing the analyst’s "secret delinquencies"—reveals how therapeutic hopefulness can coexist with an acceptance of the analyst’s all-too-human fallibility. Psychoanalytic Collisions shows how idealization is intrinsic both to forging an analytic identity and practicing across a lifetime. Slochower’s work challenges readers to confront their own vulnerabilities and limits while also embracing a professional ideal that is at once human and inspiring. The book is an essential resource for psychoanalysts, psychotherapists, pastoral counselors, and readers interested in the practice of psychotherapy today.