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What You See Is What You Hear develops a unique model of analysis that helps students and advanced scholars alike to look at audiovisual texts from a fresh perspective. Adopting an engaging writing style, the author draws an accessible picture of the field, offering several analytical tools, historical background, and numerous case studies. Divided into five main sections, the monograph covers problems of definitions, history, and most of all analysis. The first part raises the main problems related to audiovisuality, including taxonomical and historical questions. The second part provides the bases for the understanding of audiovisual creative communication as a whole, introducing a novel theoretical model for its analysis. The next three part focus elaborate on the model in all its constituents and with plenty of case studies taken from the field of cinema, TV, music videos, advertising and other forms of audiovisuality. Methodologically, the book is informed by different paradigms of film and media studies, multimodality studies, structuralism, narratology, “auteur theory” in the broad sense, communication studies, semiotics, and the so-called “Numanities.” What You See Is What You Hear enables readers to better understand how to analyze the structure and content of diverse audiovisual texts, to discuss their different idioms, and to approach them with curiosity and critical spirit.
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Ro murmurs into my ear. "Don't be afraid, Dol. They're not coming for us." Still, he slips his arm around me and we wait until the sky is clear. Because he doesn't know. Not really. Everything changed on The Day. The day the Icon appeared in Los Angeles. The day the power stopped. The day Dol's family dropped dead. The day Earth lost a war it didn't know it was fighting. Since then, Dol has lived a simple life in the countryside with fellow survivor Ro-safe from the shadow of the Icon and its terrifying power. Hiding from the one truth she can't avoid. They're different. They survived. Why? When the government discovers their secret, they are forced to join faint-hearted Tima and charismatic Lucas in captivity. Called the Icon Children, the four are the only humans on Earth immune to the power of the Icons. Torn between brooding Ro and her evolving feelings for Lucas, between a past and a future, Dol's heart has never been more vulnerable. And as tensions escalate, the Icon Children discover that their explosive emotions-which they've always thought to be their greatest weaknesses-may actually be their greatest strengths. Bestselling author Margaret Stohl delivers a thrilling novel set in a haunting new world where four teens must piece together the mysteries of their pasts-in order to save their future.
This Dictionary is part of the Oxford Reference Collection: using sustainable print-on-demand technology to make the acclaimed backlist of the Oxford Reference programme perennially available in hardback format. What is a ham-and-egger? What are Anglo-Saxon attitudes? Who or what is liable to jump the shark? Who first tried to nail jelly to the wall? The answers to these and many more questions are in this fascinating book. Here in one volume you can track down the stories behind the names and sayings you meet, whether in classic literature or today's news. Drawing on Oxford's unrivalled bank of reference and language online resources, this dictionary covers classical and other mythologies, history, religion, folk customs, superstitions, science and technology, philosophy, and popular culture. Extensive cross referencing makes it easy to trace specific information, while every page points to further paths to explore. A fascinating slice of cultural history, and a browser's delight from start to finish. What is the fog of war? Who first wanted to spend more time with one's family? When was the Dreamtime? How long since the first cry of Women and children first? Where might you find dark matter? Would you want the Midas touch? Should you worry about grey goo?
Over the centuries, European debate about the nature and status of images of God and sacred figures has often upset the established order and shaken societies to their core. Out of this debate, an identifiable doctrine has emerged of the image in general and of the divine image in particular. This fascinating work concentrates on these historical arguments, from the period of Late Antiquity up to the great and classic defenses of images by St. John of Damascus and Theodore of Studion. Icon extends beyond the immediate concerns of religion, philosophy, aesthetics, history, and art, to engage them all.
This book, newly revised and updated, examines the Eastern Church's theology of icons chiefly on the basis of the acta of the Seventh Ecumenical Council of 787. The political circumstances leading to the outbreak of the iconclast controversy in the eighth century are discussed in detail, but the main emphasis is on the theological arguments and assumptions of the council participants. Major themes include the nature of tradition, the relationship between image and reality, and the place of christology. Ultimately the argument over icons was about the accessibility of the divine. Icons were held by the iconophiles to communicate a deifying grace which raised the believer to participation in the life of God.
Icon painting has reached its zenith in Ukraine between the 11th and 18th centuries. This art is appealing because of its great openness to other influences – the obedience to the rules of Orthodox Christianity in its early stages, the borrowing from Roman heritage or later to the Western breakthroughs – combined with a never compromised assertion of a distinctly Slavic soul and identity. This book presents a handpicked and representative selection of works from the 11th century to the late Baroque period.
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John Cort explores the narratives by which the Jains have explained the presence of icons of Jinas (their enlightened and liberated teachers) that are worshiped and venerated in the hundreds of thousands of Jain temples throughout India. Most of these narratives portray icons favorably, and so justify their existence; but there are also narratives originating among iconoclastic Jain communities that see the existence of temple icons as a sign of decay and corruption. The veneration of Jina icons is one of the most widespread of all Jain ritual practices. Nearly every Jain community in India has one or more elaborate temples, and as the Jains become a global community there are now dozens of temples in North America, Europe, Africa, and East Asia. The cult of temples and icons goes back at least two thousand years, and indeed the largest of the four main subdivisions of the Jains are called Murtipujakas, or "Icon Worshipers." A careful reading of narratives ranging over the past 15 centuries, says Cort, reveals a level of anxiety and defensiveness concerning icons, although overt criticism of the icons only became explicit in the last 500 years. He provides detailed studies of the most important pro- and anti-icon narratives. Some are in the form of histories of the origins and spread of icons. Others take the form of cosmological descriptions, depicting a vast universe filled with eternal Jain icons. Finally, Cort looks at more psychological explanations of the presence of icons, in which icons are defended as necessary spiritual corollaries to the very fact of human embodiedness.