Hyenas are almost universally regarded as nasty, scheming charlatans that skulk in the back alleyways of the animal kingdom. They have been scorned for centuries as little more than scavenging carrion-eaters, vandals, and thieves. Here to restore the Hyena’s reputation is Mikita Brottman, who offers an alternate view of these mistreated and misunderstood creatures and proves that they are complex, intelligent, and highly sociable animals.
Aspiring writers are often admonished to “show, not tell,” an instruction that immediately speaks to the relationship between the written word and the visual world. It is a tenuous correspondence—both literature and art are striving toward the same goal of depiction, but the reality they portray is shaped by their chosen tools. As François Brunet argues in Photography and Literature, the advent of photography posed one of the greatest challenges to writers—here was an artistic medium that could almost instantly distill a scene or perspective. As Brunet shows, the result of this challenge has been a fantastic interplay between the two and between photographers and writers themselves.
Photography and Literature assess the complete history of photography, and Brunet begins by examining how the invention of photography was shaped by written culture, both scientific and literary. As well, Brunet looks at the creation of the photo-book, the frequent personal discovery of photography by writers, and how photography and literature eventually began to trade tools and merge formats to create a new photo-textual genre. Highly illustrated, Photography and Literature reflects a photographer’s point of view, giving new attention to such works as the groundbreaking exploration of photography in The Pencil of Nature by William Henry Fox Talbot and Sophie Calle’s projects with Jean Baudrillard and Paul Auster.
Essential for anyone interested in the intersection of the verbal and the visual, Photography and Literature provides a fascinating wealth of autobiography, manifesto, and fiction as well as a variety of images from the first daguerreotypes to the digital age.
The mysterious world beneath the ocean’s surface and its inhabitants have captivated humanity for centuries—the Egyptians, Greeks, Romans, and ancient Chinese all kept fish in their homes to observe and admire. But it was not until the nineteenth-century invention of the aquarium that the deep was truly domesticated, offering the curious a chance to create an indoor exotic sea world, in miniature.
In The Ocean at Home, Bernd Brunner traces the development of the aquarium from the Victorian era to the present day. Along the way, in this fascinating history, Brunner provides insight into the cultural and social circumstances that accompanied the aquarium’s swift rise in popularity. Brunner tells a compelling story of obsession, discovery, and delight—from the aquarium’s origin as a tool for scientific observation to the Victorian era’s elaborately decorated containers of curiosity, to the great public aquariums that are popular in cities around the world today.
Featuring more than 100 illustrations, this updated edition of The Ocean at Home offers a colorful and captivating look at how a Victorian obsession still enchants many today. Both the owner of a humble goldfish bowl and the dazzled spectator at major public aquariums will find The Ocean at Home an appealing and knowledgable guide to the aquatic worlds we create.
British culture is marked by indelible icons—red double-decker buses, large oak wardrobes, and the compact sleekness of the Mini. But British industrial and product design have long lived in the shadows of architecture and fashion. Cheryl Buckley here delves into the history of British design culture, and in doing so uniquely tracks the evolution of the British national identity.
Designing Modern Britain demonstrates how interior design, ceramics, textiles, and furniture craft of the twentieth century contain numerous hallmark examples of British design. The book explores topics connected to the British design aesthetic, including the spread of international modernism, the eco-conscious designs of the 1980s and 1990s, and the influence of celebrity product designers and their labels. Buckley also investigates popular nostalgia in recent times, considering how museum and gallery exhibitions have been instrumental in reimagining Britain’s past and how the heritage industry has fueled a growing trend among designers of employing images of British culture in their work.
Artist and critic Victor Burgin’s visual and written works span four decades, and Parallel Texts presents a compilation of essays, interviews, and extracts that evidence the interconnectedness throughout his career of his vast artistic oeuvre exhibited around the world and his influential critical and theoretical writings on art.
Organized chronologically, Parallel Texts includes Burgin’s take on the emergence of conceptual art in the early 1970s, his explorations on the theoretical foundations for a post-conceptualist socialist art practice in such non-Western precedents as Maoism and Russian Formalism, and essays on the issues of gender politics and sexuality as they came to the fore in psychoanalytic criticism. In addition, excerpts from The End of Art Theory record his observations on an art world turning toward fashion and gaining unusual wealth. His later works, influenced by his experiences teaching cultural theory at the University of California, look at art theory from within an environment almost unrecognizably transformed by cultural, political, and economic globalization, as well as unprecedented forms of technology and violence.
An extensive selection of works from a long and influential artistic career, Parallel Texts will be invaluable to admirers of Burgin’s art and writing as well as those readers with an interest in contemporary art and art theory.
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