Janet Gallingani Casey
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780195338959
- eISBN:
- 9780199867103
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195338959.001.0001
- Subject:
- Literature, Women's Literature, American, 20th Century Literature
This book reconceptualizes American modernity by focusing on rurality and women. It challenges the notion of the city as the privileged site of modern experience, arguing that rurality—urbanity’s ...
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This book reconceptualizes American modernity by focusing on rurality and women. It challenges the notion of the city as the privileged site of modern experience, arguing that rurality—urbanity’s opposite, frequently associated with nostalgia and feminine sentimentality—was a fruitful geographic and psychic location for registering women’s perceptions of the modern. As its title implies, however, it is less about the empirical facts of farm life than about its abstractions—the idea of rurality, and the ways in which women were positioned, by themselves and others, in reference to it. Attending closely to language, images, and figurative connections, it demonstrates the theoretical importance of rurality to the imaginative construction of American modernity and modernism, and asserts that women had a special stake in that relation. To that end, it considers idea(l)s of women and rurality across a broad field of discourses and representational arenas, including social theory, periodical literature, literary criticism, photography, and, especially, women’s rural fiction (“low” and “high”). It engages such diverse subjects as eugenics, advertising, the literary prize culture of the 1920s, and the role of the camera in defining women as modern. It also relies on substantial archival research, and explores at length an underrecognized periodical, The Farmer’s Wife, which was the single nationally distributed farm periodical for women in the twentieth century. Ultimately, the book’s aim is to articulate an alternative mode of American modernism that had special meaning and appeal for women, and to show how that mode clearly responded to prevalent attitudes about agrarianism, modernity, and gender in the culture at large.Less
This book reconceptualizes American modernity by focusing on rurality and women. It challenges the notion of the city as the privileged site of modern experience, arguing that rurality—urbanity’s opposite, frequently associated with nostalgia and feminine sentimentality—was a fruitful geographic and psychic location for registering women’s perceptions of the modern. As its title implies, however, it is less about the empirical facts of farm life than about its abstractions—the idea of rurality, and the ways in which women were positioned, by themselves and others, in reference to it. Attending closely to language, images, and figurative connections, it demonstrates the theoretical importance of rurality to the imaginative construction of American modernity and modernism, and asserts that women had a special stake in that relation. To that end, it considers idea(l)s of women and rurality across a broad field of discourses and representational arenas, including social theory, periodical literature, literary criticism, photography, and, especially, women’s rural fiction (“low” and “high”). It engages such diverse subjects as eugenics, advertising, the literary prize culture of the 1920s, and the role of the camera in defining women as modern. It also relies on substantial archival research, and explores at length an underrecognized periodical, The Farmer’s Wife, which was the single nationally distributed farm periodical for women in the twentieth century. Ultimately, the book’s aim is to articulate an alternative mode of American modernism that had special meaning and appeal for women, and to show how that mode clearly responded to prevalent attitudes about agrarianism, modernity, and gender in the culture at large.
Éric Marty
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9780197266670
- eISBN:
- 9780191905391
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197266670.003.0006
- Subject:
- Literature, Film, Media, and Cultural Studies
With Roland Barthes par Roland Barthes (1975), Barthes broke with a taboo on the image shared by most Modern thinkers: a Marxist and structuralist puritanism closely associated with a violent ...
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With Roland Barthes par Roland Barthes (1975), Barthes broke with a taboo on the image shared by most Modern thinkers: a Marxist and structuralist puritanism closely associated with a violent critique of mimesis. The break Barthes introduced derived primarily from his uncoupling of mimesis from the regime of visibility particular to the image. The importance of Barthes’s little book will be explored by placing it in the context of Modernity. On the one hand, it will be read in relation to readings of the image associated with Barthes’s contemporaries (for example, Foucault on Velazquez’s Las Meninas); on the other, it will be read alongside his earlier and later proclamations relative to the image, from Mythologies to La Chambre claire. A shift will be traced from the rejection of mimesis in favour of non-figuration, to the emergence of a more fundamental visual paradigm for Barthes of animate/inanimate, initially accounting for his stated preference for photography over cinema, but ultimately neutralised, in the second part of La Chambre claire, through his discussion of the female automaton sequence in Fellini’s Casanova, and its fetishistic relation to the invisible/visible presence of the Winter Garden photo of Barthes’s mother as a child.Less
With Roland Barthes par Roland Barthes (1975), Barthes broke with a taboo on the image shared by most Modern thinkers: a Marxist and structuralist puritanism closely associated with a violent critique of mimesis. The break Barthes introduced derived primarily from his uncoupling of mimesis from the regime of visibility particular to the image. The importance of Barthes’s little book will be explored by placing it in the context of Modernity. On the one hand, it will be read in relation to readings of the image associated with Barthes’s contemporaries (for example, Foucault on Velazquez’s Las Meninas); on the other, it will be read alongside his earlier and later proclamations relative to the image, from Mythologies to La Chambre claire. A shift will be traced from the rejection of mimesis in favour of non-figuration, to the emergence of a more fundamental visual paradigm for Barthes of animate/inanimate, initially accounting for his stated preference for photography over cinema, but ultimately neutralised, in the second part of La Chambre claire, through his discussion of the female automaton sequence in Fellini’s Casanova, and its fetishistic relation to the invisible/visible presence of the Winter Garden photo of Barthes’s mother as a child.
Kathrin Yacavone
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9780197266670
- eISBN:
- 9780191905391
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197266670.003.0007
- Subject:
- Literature, Film, Media, and Cultural Studies
Despite his infamous thesis of the ‘death of the author’ in the 1960s, in the last decade of his life, Roland Barthes developed a conception of authorship that brings together textual and ...
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Despite his infamous thesis of the ‘death of the author’ in the 1960s, in the last decade of his life, Roland Barthes developed a conception of authorship that brings together textual and biographical realities, coining the terms biographème and biographologue to describe the relation between the author’s life and work. This was accompanied by a renewed and related interest in photography, as evidenced by his illustrated Roland Barthes par Roland Barthes (1975) and La Chambre claire (1980). Taking this conjunction of authorship and photography as its starting point, this chapter juxtaposes Barthes’s understandings of the author with the evolving photographic iconography of his own authorial persona. It shows that theoretical reflection on authorship was already closely linked with photography and the visual representation of the writer figure in the early Michelet par lui-même (1954), before exploring how this relationship becomes more pronounced and self-reflexive in the 1970s. Analysis of photographic portraits of Barthes, focused on their iconography and style, reveals that the role photography has played in Barthes’s posthumous reception has followed its own dynamics, related to, yet transcending, his highly intentional photographic self-construction.Less
Despite his infamous thesis of the ‘death of the author’ in the 1960s, in the last decade of his life, Roland Barthes developed a conception of authorship that brings together textual and biographical realities, coining the terms biographème and biographologue to describe the relation between the author’s life and work. This was accompanied by a renewed and related interest in photography, as evidenced by his illustrated Roland Barthes par Roland Barthes (1975) and La Chambre claire (1980). Taking this conjunction of authorship and photography as its starting point, this chapter juxtaposes Barthes’s understandings of the author with the evolving photographic iconography of his own authorial persona. It shows that theoretical reflection on authorship was already closely linked with photography and the visual representation of the writer figure in the early Michelet par lui-même (1954), before exploring how this relationship becomes more pronounced and self-reflexive in the 1970s. Analysis of photographic portraits of Barthes, focused on their iconography and style, reveals that the role photography has played in Barthes’s posthumous reception has followed its own dynamics, related to, yet transcending, his highly intentional photographic self-construction.
James W. Cortada
- Published in print:
- 2005
- Published Online:
- September 2007
- ISBN:
- 9780195165876
- eISBN:
- 9780199789689
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195165876.003.0012
- Subject:
- Business and Management, Business History
This chapter describes the use of information technologies in two entertainment industries: video games and photography. It describes how the technology is used in the work of these industries ...
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This chapter describes the use of information technologies in two entertainment industries: video games and photography. It describes how the technology is used in the work of these industries (applications), development, and manufacture of its products, and in the digital goods sold to the public. These are characterized as part of the New Economy.Less
This chapter describes the use of information technologies in two entertainment industries: video games and photography. It describes how the technology is used in the work of these industries (applications), development, and manufacture of its products, and in the digital goods sold to the public. These are characterized as part of the New Economy.
Kaitlin M. Murphy
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780823282548
- eISBN:
- 9780823284818
- Item type:
- book
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823282548.001.0001
- Subject:
- Society and Culture, Latin American Studies
In Mapping Memory: Visuality, Affect, and Embodied Politics in the Americas, Kaitlin M. Murphy analyzes a range of visual memory practices that have emerged in opposition to political discourses and ...
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In Mapping Memory: Visuality, Affect, and Embodied Politics in the Americas, Kaitlin M. Murphy analyzes a range of visual memory practices that have emerged in opposition to political discourses and visual economies that suppress certain subjects and overlook past and present human rights abuses. From the Southern Cone to Central America and the US-Mexico borderlands, and across documentary film, photography, performance, memory sites, and new media, she compares how these visual texts use memory as a form of contemporary intervention. Interweaving visual and performance theory with memory and affect, Murphy develops new frameworks for analyzing how visual culture performs as an embodied agent of memory and witnessing. She argues that visuality is inherently performative; and analyzing the performative elements, or strategies, of visual texts—such as embodiment, reperformance, reenactment, haunting, and the performance of material objects and places—elucidates how memory is both anchored into and extracted from specific bodies, objects, and places. Murphy progressively develops the theory of memory mapping, defined as the visual process of representing the affective, sensorial, polyvocal, and temporally layered relationship between past and present, anchored within the specificities of place. Ultimately, by exploring how memory is “mapped” across a range of sites and mediums, Murphy argues that memory mapping is a visual strategy for producing new temporal and spatial arrangements of knowledge and memory that function as counter-practices to official narratives that often neglect or designate as transgressive certain memories or experiences.Less
In Mapping Memory: Visuality, Affect, and Embodied Politics in the Americas, Kaitlin M. Murphy analyzes a range of visual memory practices that have emerged in opposition to political discourses and visual economies that suppress certain subjects and overlook past and present human rights abuses. From the Southern Cone to Central America and the US-Mexico borderlands, and across documentary film, photography, performance, memory sites, and new media, she compares how these visual texts use memory as a form of contemporary intervention. Interweaving visual and performance theory with memory and affect, Murphy develops new frameworks for analyzing how visual culture performs as an embodied agent of memory and witnessing. She argues that visuality is inherently performative; and analyzing the performative elements, or strategies, of visual texts—such as embodiment, reperformance, reenactment, haunting, and the performance of material objects and places—elucidates how memory is both anchored into and extracted from specific bodies, objects, and places. Murphy progressively develops the theory of memory mapping, defined as the visual process of representing the affective, sensorial, polyvocal, and temporally layered relationship between past and present, anchored within the specificities of place. Ultimately, by exploring how memory is “mapped” across a range of sites and mediums, Murphy argues that memory mapping is a visual strategy for producing new temporal and spatial arrangements of knowledge and memory that function as counter-practices to official narratives that often neglect or designate as transgressive certain memories or experiences.
Joy Damousi
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9780197266663
- eISBN:
- 9780191905384
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197266663.003.0009
- Subject:
- History, European Modern History
In October 1949, in the closing month of the Greek Civil War, a young soldier named Pandelis Klinkatsis was killed stepping on a landmine in Northern Greece. Pandelis was my uncle. The announcement ...
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In October 1949, in the closing month of the Greek Civil War, a young soldier named Pandelis Klinkatsis was killed stepping on a landmine in Northern Greece. Pandelis was my uncle. The announcement of his death devastated his immediate family including my mother Sophia. I focus this chapter on the individual story of the loss of my uncle and my mother’s grief to cast a wider canvas on the emotions of war and their enduring legacies. This story explores the repercussions of war such as migration, the impact on sibling and romantic love, absence and separation during and after war. It examines the implications of these displacements in writing an emotional history of war. Such a history is typically conveyed through oral storytelling, and oral history forms the basis of the narrative. But there are two other ways in which the memory and emotion of war experience are kept alive in a transnational world. The first expression is in the form of photography, the second is the role grave sites play in the nexus between mourning and memory over time. Pandelis’s story takes us to Greece, Austria, America, and Australia. I argue that it encapsulates the complex geographical and emotional fragments created by war, which are manifest in love and death, mourning and memory, in a transnational context across four countries. Both the Second World War and the Greek Civil War created a landscape of emotions—the legacies of which are indelible—and continue to the present day.Less
In October 1949, in the closing month of the Greek Civil War, a young soldier named Pandelis Klinkatsis was killed stepping on a landmine in Northern Greece. Pandelis was my uncle. The announcement of his death devastated his immediate family including my mother Sophia. I focus this chapter on the individual story of the loss of my uncle and my mother’s grief to cast a wider canvas on the emotions of war and their enduring legacies. This story explores the repercussions of war such as migration, the impact on sibling and romantic love, absence and separation during and after war. It examines the implications of these displacements in writing an emotional history of war. Such a history is typically conveyed through oral storytelling, and oral history forms the basis of the narrative. But there are two other ways in which the memory and emotion of war experience are kept alive in a transnational world. The first expression is in the form of photography, the second is the role grave sites play in the nexus between mourning and memory over time. Pandelis’s story takes us to Greece, Austria, America, and Australia. I argue that it encapsulates the complex geographical and emotional fragments created by war, which are manifest in love and death, mourning and memory, in a transnational context across four countries. Both the Second World War and the Greek Civil War created a landscape of emotions—the legacies of which are indelible—and continue to the present day.
James W. Cortada
- Published in print:
- 2005
- Published Online:
- September 2007
- ISBN:
- 9780195165876
- eISBN:
- 9780199789689
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195165876.003.0008
- Subject:
- Business and Management, Business History
This chapter defines what makes up the media and entertainment industries in the economy, and how that has grown in size and importance over the past half century. It includes book publishing, ...
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This chapter defines what makes up the media and entertainment industries in the economy, and how that has grown in size and importance over the past half century. It includes book publishing, magazine publishing, newspapers, radio, television, music recording, game and toy producers, and photography. It concludes with a discussion of the general patterns of adoption of computer applications by these industries, including use of the Internet.Less
This chapter defines what makes up the media and entertainment industries in the economy, and how that has grown in size and importance over the past half century. It includes book publishing, magazine publishing, newspapers, radio, television, music recording, game and toy producers, and photography. It concludes with a discussion of the general patterns of adoption of computer applications by these industries, including use of the Internet.
Paul Crowther
- Published in print:
- 2007
- Published Online:
- May 2007
- ISBN:
- 9780199210688
- eISBN:
- 9780191705762
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199210688.003.0009
- Subject:
- Philosophy, Aesthetics
This chapter addresses a much neglected issue: the importance of the artwork's relation to the momentary. It begins with a phenomenology of the Moment and introduces its links to style, image, and ...
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This chapter addresses a much neglected issue: the importance of the artwork's relation to the momentary. It begins with a phenomenology of the Moment and introduces its links to style, image, and art. These links are then developed in much more detail through analysis of those arts of temporal realization, where perceptual or imaginative acquaintance with the image necessarily involves a linear temporal process. The contrasting way in which arts of spatial realization — most notably pictorial representation — relate to the Moment is investigated. It is argued that perspectival works have a privileged role. The chapter ends with a consideration of photography in relation to this role.Less
This chapter addresses a much neglected issue: the importance of the artwork's relation to the momentary. It begins with a phenomenology of the Moment and introduces its links to style, image, and art. These links are then developed in much more detail through analysis of those arts of temporal realization, where perceptual or imaginative acquaintance with the image necessarily involves a linear temporal process. The contrasting way in which arts of spatial realization — most notably pictorial representation — relate to the Moment is investigated. It is argued that perspectival works have a privileged role. The chapter ends with a consideration of photography in relation to this role.
Kama Maclean
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780195338942
- eISBN:
- 9780199867110
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195338942.003.0002
- Subject:
- Religion, Hinduism
This chapter presents a historiographical review and critique of textual sources documenting the mela (premodern, colonial Oxford, and contemporary accounts of the mela in a range of languages, but ...
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This chapter presents a historiographical review and critique of textual sources documenting the mela (premodern, colonial Oxford, and contemporary accounts of the mela in a range of languages, but predominantly written by observers, as opposed to participants), in the interests of delineating the discursive nature of power. A discernible discourse of danger emerges, underpinning the administration and management of the mela; it was heavily informed by records of deadly battles between sadhu akharas in 18th century Haridwar and sealed with 19th century experiences with epidemic diseases, unregulated crowds, and what was perceived as esoteric or mysterious Hindu practices. The chapter draws attention to the power and prevalence of such representations and concludes with a consideration of the politics of photographic representation at the 2001 Kumbh Mela, when the High Court of Allahabad enforced a ban on photography at the bathing ghats, limiting the ability of freelance and agency photographers from all over the world to photograph the bathing rituals. It is argued that the representations of the mela, in writing and in photography, have served to historically constrain it, and often, by extension, India, for it was frequently argued that the scale of the crowds attending the Kumbh reflected a microcosm of India, neatly representing a cross‐section of its diverse regional, linguistic, and caste communities.Less
This chapter presents a historiographical review and critique of textual sources documenting the mela (premodern, colonial Oxford, and contemporary accounts of the mela in a range of languages, but predominantly written by observers, as opposed to participants), in the interests of delineating the discursive nature of power. A discernible discourse of danger emerges, underpinning the administration and management of the mela; it was heavily informed by records of deadly battles between sadhu akharas in 18th century Haridwar and sealed with 19th century experiences with epidemic diseases, unregulated crowds, and what was perceived as esoteric or mysterious Hindu practices. The chapter draws attention to the power and prevalence of such representations and concludes with a consideration of the politics of photographic representation at the 2001 Kumbh Mela, when the High Court of Allahabad enforced a ban on photography at the bathing ghats, limiting the ability of freelance and agency photographers from all over the world to photograph the bathing rituals. It is argued that the representations of the mela, in writing and in photography, have served to historically constrain it, and often, by extension, India, for it was frequently argued that the scale of the crowds attending the Kumbh reflected a microcosm of India, neatly representing a cross‐section of its diverse regional, linguistic, and caste communities.
Mark Singleton
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780195395358
- eISBN:
- 9780199777303
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195395358.003.0009
- Subject:
- Religion, Religion and Society, Hinduism
The argument in Chapter 8 is that modern postural practice cannot be understood without an examination of the technologies of visual reproduction. Advances in photography and print distribution ...
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The argument in Chapter 8 is that modern postural practice cannot be understood without an examination of the technologies of visual reproduction. Advances in photography and print distribution created the conditions for a popular yoga of the body and dictated to a large extent the features of that body. The result of modern yoga's overwhelming reliance on photographic realism has elided the body of “traditional” haṭha yoga.Less
The argument in Chapter 8 is that modern postural practice cannot be understood without an examination of the technologies of visual reproduction. Advances in photography and print distribution created the conditions for a popular yoga of the body and dictated to a large extent the features of that body. The result of modern yoga's overwhelming reliance on photographic realism has elided the body of “traditional” haṭha yoga.
Cathy Gutierrez
- Published in print:
- 2009
- Published Online:
- September 2009
- ISBN:
- 9780195388350
- eISBN:
- 9780199866472
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195388350.003.0003
- Subject:
- Religion, Religion and Society
Spiritualists believed that science would reveal the truths of their metaphysical claims and embraced medical and technological progress on all fronts. Spiritualist ritual was predicated on the ...
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Spiritualists believed that science would reveal the truths of their metaphysical claims and embraced medical and technological progress on all fronts. Spiritualist ritual was predicated on the invention of the telegraph: instant and invisible communication across space was the precursor to communication with those in heaven. With the steam engine revolutionizing ideas of time, futurity and progress competed with the lionizing of the past. Spiritualists proposed that new machines could be made to perfect communication with the dead and created several devices from the simple to the extraordinary. Photography, a burgeoning medium that seemed purely objective to most observers, was conscripted to prove the existence of the dead as spirit photographs proliferated across the country and abroad.Less
Spiritualists believed that science would reveal the truths of their metaphysical claims and embraced medical and technological progress on all fronts. Spiritualist ritual was predicated on the invention of the telegraph: instant and invisible communication across space was the precursor to communication with those in heaven. With the steam engine revolutionizing ideas of time, futurity and progress competed with the lionizing of the past. Spiritualists proposed that new machines could be made to perfect communication with the dead and created several devices from the simple to the extraordinary. Photography, a burgeoning medium that seemed purely objective to most observers, was conscripted to prove the existence of the dead as spirit photographs proliferated across the country and abroad.
Christopher J. Howgego
- Published in print:
- 2005
- Published Online:
- January 2012
- ISBN:
- 9780197262962
- eISBN:
- 9780191734533
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197262962.003.0012
- Subject:
- Archaeology, Archaeological Methodology and Techniques
The systematic study of coinage at the level of individually engraved die revolutionized numismatics; however the laborious nature of such work has severely limited its application. Die studies are ...
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The systematic study of coinage at the level of individually engraved die revolutionized numismatics; however the laborious nature of such work has severely limited its application. Die studies are important for attribution and chronology as well as for quantification. Exhaustive study on coinage reveals great evidences particularly in economic history. This chapter discusses the potential posed by image analysis and photography on the field of numismatics. It discusses the principal technique challenges, with a view to stimulating discussion as to the best way forward.Less
The systematic study of coinage at the level of individually engraved die revolutionized numismatics; however the laborious nature of such work has severely limited its application. Die studies are important for attribution and chronology as well as for quantification. Exhaustive study on coinage reveals great evidences particularly in economic history. This chapter discusses the potential posed by image analysis and photography on the field of numismatics. It discusses the principal technique challenges, with a view to stimulating discussion as to the best way forward.
Amos Morris-Reich
- Published in print:
- 2016
- Published Online:
- May 2016
- ISBN:
- 9780226320748
- eISBN:
- 9780226320915
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226320915.003.0002
- Subject:
- History, History of Science, Technology, and Medicine
Chapter One reconstructs the use of racial photography as scientific evidence between 1876 and 1922. It commences with the Dammann brothers' Atlas, in which “racial type” photographs illustrate races ...
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Chapter One reconstructs the use of racial photography as scientific evidence between 1876 and 1922. It commences with the Dammann brothers' Atlas, in which “racial type” photographs illustrate races conceived in terms of “types.” It then proceeds to examine the works of Alphonse Bertillon, Francis Galton and Rudolf Martin who thought of photography as a form of scientific measurement.The second part of the chapter reconstructs a parallel but lesser-known genealogy in which photography was employed in the observation of biological variety and was tightly connected to the rise of Mendelian genetics. This section focuses on Carl Heinrich Stratz, Redcliffe Salaman, and Eugen Fischer. The chapter concludes with discussions in the history and philosophy of art concerning “seeing” examining two books, Rembrandt (1916) by Georg Simmel and Principles in Art History by Heinrich Wölfflin (1916).Less
Chapter One reconstructs the use of racial photography as scientific evidence between 1876 and 1922. It commences with the Dammann brothers' Atlas, in which “racial type” photographs illustrate races conceived in terms of “types.” It then proceeds to examine the works of Alphonse Bertillon, Francis Galton and Rudolf Martin who thought of photography as a form of scientific measurement.The second part of the chapter reconstructs a parallel but lesser-known genealogy in which photography was employed in the observation of biological variety and was tightly connected to the rise of Mendelian genetics. This section focuses on Carl Heinrich Stratz, Redcliffe Salaman, and Eugen Fischer. The chapter concludes with discussions in the history and philosophy of art concerning “seeing” examining two books, Rembrandt (1916) by Georg Simmel and Principles in Art History by Heinrich Wölfflin (1916).
Jonathan P. J. Stock
- Published in print:
- 2004
- Published Online:
- May 2008
- ISBN:
- 9780195167498
- eISBN:
- 9780199867707
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195167498.003.0002
- Subject:
- Music, Ethnomusicology, World Music
This chapter reviews approaches to the empirical documentation of music as found in comparative musicology, folklore studies, and through the fifty-year history of ethnomusicology. Means of gathering ...
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This chapter reviews approaches to the empirical documentation of music as found in comparative musicology, folklore studies, and through the fifty-year history of ethnomusicology. Means of gathering and measuring research data are shown to be linked to available technology as well as to prevailing intellectual paradigms. The central part of the chapter focuses on empirical aspects of participant-observation, including the keeping of field notes, interviewing, photography, and audio- and video-recording. Good practice conventions for data preservation are explained and illustrated. The chapter's coda emphasizes the importance of ethics in research that documents the voices of live people.Less
This chapter reviews approaches to the empirical documentation of music as found in comparative musicology, folklore studies, and through the fifty-year history of ethnomusicology. Means of gathering and measuring research data are shown to be linked to available technology as well as to prevailing intellectual paradigms. The central part of the chapter focuses on empirical aspects of participant-observation, including the keeping of field notes, interviewing, photography, and audio- and video-recording. Good practice conventions for data preservation are explained and illustrated. The chapter's coda emphasizes the importance of ethics in research that documents the voices of live people.
Alfonso Moreno
- Published in print:
- 2007
- Published Online:
- January 2008
- ISBN:
- 9780199228409
- eISBN:
- 9780191711312
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199228409.003.0002
- Subject:
- Classical Studies, European History: BCE to 500CE
This chapter presents a case study of the agriculture and economy of the large suburban deme Euonymon. Archaeological evidence from this deme and its neighbors on the southern Athenian plain and the ...
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This chapter presents a case study of the agriculture and economy of the large suburban deme Euonymon. Archaeological evidence from this deme and its neighbors on the southern Athenian plain and the coastal strip of Attica west of Hymettos is examined, particularly aerial photography showing the systematic use of terracing and roads. The deme's demography and economy are examined in the context of the pattern of settlement in the countryside, and the coordinated efforts of neighboring communities. It is argued that the intensive cultivation of cash crops (especially olives), the economic and social interdependence of neighbouring Attic demes, and their reliance on the urban market of Athens, were the basis of the economy of the Athenian countryside in the Classical period. The division sometimes seen by modern scholars between urban and rural life in Athens is therefore fundamentally incorrect.Less
This chapter presents a case study of the agriculture and economy of the large suburban deme Euonymon. Archaeological evidence from this deme and its neighbors on the southern Athenian plain and the coastal strip of Attica west of Hymettos is examined, particularly aerial photography showing the systematic use of terracing and roads. The deme's demography and economy are examined in the context of the pattern of settlement in the countryside, and the coordinated efforts of neighboring communities. It is argued that the intensive cultivation of cash crops (especially olives), the economic and social interdependence of neighbouring Attic demes, and their reliance on the urban market of Athens, were the basis of the economy of the Athenian countryside in the Classical period. The division sometimes seen by modern scholars between urban and rural life in Athens is therefore fundamentally incorrect.
Philip Waller
- Published in print:
- 2008
- Published Online:
- January 2010
- ISBN:
- 9780199541201
- eISBN:
- 9780191717284
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199541201.003.0008
- Subject:
- History, British and Irish Modern History
This chapter highlights commercial aspects of the cult of authorial celebrity. Well-known writers featured in product advertising, selling anything from toothpaste, pens, cigarettes, and pipe ...
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This chapter highlights commercial aspects of the cult of authorial celebrity. Well-known writers featured in product advertising, selling anything from toothpaste, pens, cigarettes, and pipe tobacco, to health tonics and whisky. Some even penned advertising slogans; others profited from merchandise associated with their creations — Beatrix Potter and Kate Greenaway dolls, toys, board games, cards, and wallpapers; Little Lord Fauntleroy costumes and Trilby hats. Authors' attitudes to the new medium of photography are also explored. They feared being caught off guard, while appreciating the publicity value of carefully posed (and touched-up) images for reproduction in popular papers and periodicals. Similarly they generally enjoyed sitting for famous portraitists and sculptors in order to be captured for posterity, although certain representations caused author and artist to quarrel. Among the writers discussed here are: Mrs Hodgson Burnett, Hall Caine, Marie Corelli, Kipling, George Du Maurier, George Meredith, George Moore, George Bernard Shaw, Robert Louis Stevenson, Swinburne, Tennyson, Francis Thompson, and W. B. Yeats.Less
This chapter highlights commercial aspects of the cult of authorial celebrity. Well-known writers featured in product advertising, selling anything from toothpaste, pens, cigarettes, and pipe tobacco, to health tonics and whisky. Some even penned advertising slogans; others profited from merchandise associated with their creations — Beatrix Potter and Kate Greenaway dolls, toys, board games, cards, and wallpapers; Little Lord Fauntleroy costumes and Trilby hats. Authors' attitudes to the new medium of photography are also explored. They feared being caught off guard, while appreciating the publicity value of carefully posed (and touched-up) images for reproduction in popular papers and periodicals. Similarly they generally enjoyed sitting for famous portraitists and sculptors in order to be captured for posterity, although certain representations caused author and artist to quarrel. Among the writers discussed here are: Mrs Hodgson Burnett, Hall Caine, Marie Corelli, Kipling, George Du Maurier, George Meredith, George Moore, George Bernard Shaw, Robert Louis Stevenson, Swinburne, Tennyson, Francis Thompson, and W. B. Yeats.
Richard Barrios
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780195377347
- eISBN:
- 9780199864577
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195377347.003.0006
- Subject:
- Music, Popular
A rundown of the individual elements and artists that would join together to form the musical film. To create the songs, studios bought music publishers and hired songwriters to create lower-common ...
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A rundown of the individual elements and artists that would join together to form the musical film. To create the songs, studios bought music publishers and hired songwriters to create lower-common denominator versions of Broadway and pop hits. Music arrangements and sound recording slowly improved, as did photography and editing. Two-color Technicolor was hugely popular, then became a liability through its limited palette and loss of quality control. The personnel drew from both stage veterans and film people: directors such as Lubitsch and Mamoulian, stage and opera stars like Jolson and Lawrence Tibbett, and silent-film performers with acceptable voices, such as Bebe Daniels and Gloria Swanson.Less
A rundown of the individual elements and artists that would join together to form the musical film. To create the songs, studios bought music publishers and hired songwriters to create lower-common denominator versions of Broadway and pop hits. Music arrangements and sound recording slowly improved, as did photography and editing. Two-color Technicolor was hugely popular, then became a liability through its limited palette and loss of quality control. The personnel drew from both stage veterans and film people: directors such as Lubitsch and Mamoulian, stage and opera stars like Jolson and Lawrence Tibbett, and silent-film performers with acceptable voices, such as Bebe Daniels and Gloria Swanson.
Françoise Meltzer
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9780226625638
- eISBN:
- 9780226625775
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226625775.001.0001
- Subject:
- Literature, Film, Media, and Cultural Studies
This book draws on literature and a never-before-seen cache of photographs taken by a member of the French Resistance (who is also the author's mother), immediately following the Allied bombing of ...
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This book draws on literature and a never-before-seen cache of photographs taken by a member of the French Resistance (who is also the author's mother), immediately following the Allied bombing of Berlin and other German cities near the end of World War II. The book explores the representation of catastrophe through the gaze of the camera's lens. It uses the medium and witnessing of photography to question the ethics of targeting civilians during war.Less
This book draws on literature and a never-before-seen cache of photographs taken by a member of the French Resistance (who is also the author's mother), immediately following the Allied bombing of Berlin and other German cities near the end of World War II. The book explores the representation of catastrophe through the gaze of the camera's lens. It uses the medium and witnessing of photography to question the ethics of targeting civilians during war.
Des O'Rawe
- Published in print:
- 2016
- Published Online:
- May 2016
- ISBN:
- 9780719099663
- eISBN:
- 9781526104137
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719099663.001.0001
- Subject:
- Film, Television and Radio, Film
Regarding the real: cinema, documentary, and the visual arts develops an approach to the study of documentary film focussing on its aesthetic and cultural relations to the modern visual arts, ...
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Regarding the real: cinema, documentary, and the visual arts develops an approach to the study of documentary film focussing on its aesthetic and cultural relations to the modern visual arts, especially: animation, assemblage, photography, painting, and architecture. In particular, it examines how documentary practices have often incorporated methods and expressive techniques derived from these art forms. Combining close analysis with cultural history, the book re-assesses the influence of the modern visual arts in subverting the structures of realism typically associated with documentary film, and considers the work of figures whose preferred film language is associative, and fragmentary, and for whom the documentary remains an open form, an unstable expressive phenomenon that at its best interrogates its own narratives, and intentions. In the course of its discussion, the book charts a path that leads from Len Lye to Hiroshi Teshigahara, and includes along the way figures such as Joseph Cornell, Johan van der Keuken, William Klein, Jean-Luc Godard, Jonas Mekas, Raymond Depardon.Less
Regarding the real: cinema, documentary, and the visual arts develops an approach to the study of documentary film focussing on its aesthetic and cultural relations to the modern visual arts, especially: animation, assemblage, photography, painting, and architecture. In particular, it examines how documentary practices have often incorporated methods and expressive techniques derived from these art forms. Combining close analysis with cultural history, the book re-assesses the influence of the modern visual arts in subverting the structures of realism typically associated with documentary film, and considers the work of figures whose preferred film language is associative, and fragmentary, and for whom the documentary remains an open form, an unstable expressive phenomenon that at its best interrogates its own narratives, and intentions. In the course of its discussion, the book charts a path that leads from Len Lye to Hiroshi Teshigahara, and includes along the way figures such as Joseph Cornell, Johan van der Keuken, William Klein, Jean-Luc Godard, Jonas Mekas, Raymond Depardon.
Derek Attridge
- Published in print:
- 2010
- Published Online:
- March 2012
- ISBN:
- 9780748640089
- eISBN:
- 9780748652112
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748640089.001.0001
- Subject:
- Literature, Criticism/Theory
What is the importance of deconstruction, and the writing of Jacques Derrida in particular, for literary criticism today? This book argues that the challenge of Derrida's work for our understanding ...
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What is the importance of deconstruction, and the writing of Jacques Derrida in particular, for literary criticism today? This book argues that the challenge of Derrida's work for our understanding of literature and its value has still not been fully met; traces a close engagement with Derrida's writing over two decades; and reflects an interest in that work going back a further two decades, showing how it can illuminate a variety of topics. Chapters include an overview of deconstruction as a critical practice today, discussions of the secret, postcolonialism, ethics, literary criticism, jargon, fiction and photography, and responses to the theoretical writing of Emmanuel Levinas, Roland Barthes and J. Hillis Miller. Also included is a discussion of the recent reading of Derrida's philosophy as ‘radical atheism’, and the book ends with a conversation on deconstruction and place with the theorist and critic Jean-Michel Rabaté. Running throughout is a concern with the question of responsibility, as exemplified in Derrida's own readings of literary and philosophical texts: responsibility to the work being read, responsibility to the protocols of rational argument and responsibility to the reader.Less
What is the importance of deconstruction, and the writing of Jacques Derrida in particular, for literary criticism today? This book argues that the challenge of Derrida's work for our understanding of literature and its value has still not been fully met; traces a close engagement with Derrida's writing over two decades; and reflects an interest in that work going back a further two decades, showing how it can illuminate a variety of topics. Chapters include an overview of deconstruction as a critical practice today, discussions of the secret, postcolonialism, ethics, literary criticism, jargon, fiction and photography, and responses to the theoretical writing of Emmanuel Levinas, Roland Barthes and J. Hillis Miller. Also included is a discussion of the recent reading of Derrida's philosophy as ‘radical atheism’, and the book ends with a conversation on deconstruction and place with the theorist and critic Jean-Michel Rabaté. Running throughout is a concern with the question of responsibility, as exemplified in Derrida's own readings of literary and philosophical texts: responsibility to the work being read, responsibility to the protocols of rational argument and responsibility to the reader.
