In 1739 China’s emperor authorized the publication of a medical text that included images of children with smallpox to aid in the diagnosis and treatment of the disease. Those images made their way to Europe, where they were interpreted as indicative of the ill health and medical backwardness of the Chinese. In the mid-nineteenth century, the celebrated Cantonese painter Lam Qua collaborated with the American medical missionary Peter Parker in the creation of portraits of Chinese patients with disfiguring pathologies, rendered both before and after surgery. Europeans saw those portraits as evidence of Western medical prowess. Within China, the visual idiom that the paintings established influenced the development of medical photography. In The Afterlife of Images, Ari Larissa Heinrich investigates the creation and circulation of Western medical discourses that linked ideas about disease to Chinese identity beginning in the eighteenth century.
Combining literary studies, the history of science, and visual culture studies, Heinrich analyzes the rhetoric and iconography through which medical missionaries transmitted to the West an image of China as “sick” or “diseased.” He also examines the absorption of that image back into China through missionary activity, through the earliest translations of Western medical texts into Chinese, and even through the literature of Chinese nationalism. Heinrich argues that over time “scientific” Western representations of the Chinese body and culture accumulated a host of secondary meanings, taking on an afterlife with lasting consequences for conceptions of Chinese identity in China and beyond its borders.
What is an Arab? Though many in the West would answer that question with simplistic stereotypes, the reality is far more complex and interesting. Arabs themselves have been debating Arab identity since pre-Islamic times, coming to a variety of conclusions about the nature and extent of their “Arabness.” Likewise, Westerners and others have attempted to analyze Arab identity, reaching mostly negative conclusions about Arab culture and capacity for self-government. To bring new perspectives to the question of Arab identity, Iraqi-born scholar Nissim Rejwan has assembled this fascinating collection of writings by Arab and Western intellectuals, who try to define what it means to be Arab. He begins with pre-Islamic times and continues to the last decades of the twentieth century, quoting thinkers ranging from Ibn Khaldun to modern writers such as al-Ansari, Haykal, Ahmad Amin, al-'Azm, and Said. Through their works, Rejwan shows how Arabs have grappled with such significant issues as the influence of Islam, the rise of nationalism, the quest for democracy, women's status, the younger generation, Egypt's place in the Arab world, Israel's role in Middle Eastern conflict, and the West's “cultural invasion.” By letting Arabs speak for themselves, Arabs in the Mirror refutes a prominent Western stereotype—that Arabs are incapable of self-reflection or self-government. On the contrary, it reveals a rich tradition of self-criticism and self-knowledge in the Arab world.
Imagine barnacle geese—creatures that begin life as leaves on a tree growing above water, but turn into small birds as soon as they fall in. Or the Lamb of Tartary that gestates inside a large gourd-like fruit. These are just some of the animal and plant hybrids imagined by early modern explorers and artists to describe unfamiliar flora and fauna.
In Before Disenchantment, Peter Mason explores how naturalists grappled with the problem of representing exotic plants and animals, turning an analytic eye on the sketches of German adventurer Caspar Schmalkalden, the skilled artistic renderings of Peter Paul Rubens, the observations of Dutch beachcomber Adriaen Coenen, and the antiquarian pursuits of Nicola Fabri de Peiresc, among others.
Featuring one hundred illustrations of these unusual and captivating creatures—from camel-sheep to races of monopods and red-haired dwarves—Before Disenchantment goes beyond orthodox histories of scientific illustration and champions a sense of wonder often lost in the modern world.
It is difficult to piece together existing records that describe the migrations of African Americans in the nineteenth-century American West. Efforts to assemble collections of oral histories, images, diaries, and other written documents on the black experience in the Western United States and Canada have proven surprisingly fruitful, however, and the rewarding culmination of such research flourished in the archival images found in this second edition of John Ravage’s Black Pioneers.
Using public and private collections in every western state and in Canada, Ravage has gathered more than three hundred photographs, line drawings, lithographs, stereoviews, and other images. This new edition also adds sections on black entertainers and ranchers, a chapter on the dating of historic photographs and their genealogical significance, as well as an expanded bibliography. All aid understanding of the black frontier experience.
Ravage goes beyond the stereotypical photography of the era, which often reflected white fears and prejudices, to present the works of frontier photographers. Galveston’s Lucius Harper, Denver’s John Green, and the Northwest’s nomadic James Presley Ball all bring life to their subjects and meaning to their presence in the American West. Black Pioneers is a vibrant visual document of the profound influence blacks had on communal and frontier history.
In The Cat and the Fiddle, Jeremy Barlow explores 700 years of musical humor, a topsy-turvy world in which monkeys fiddle and pigs play the bagpipes. It is a vision of chaos and devilry as depicted in a variety of sources—the illuminated borders of medieval manuscripts, eighteenth-century prints of urban life, and even the illustrations of children's books.
Barlow reveals the shifting meanings behind such images, as they were often symptomatic of larger cultural trend such as rapid industrialization and urbanization, an emerging class system, and the moral movements of the late nineteenth century. As he compellingly argues, the development of the printing press, the popular spectacle of public concerts, and the rise of new political uses for music all played a critical role in musical history and were distinctly evident in images of musical humor.
The archives of Oxford's Bodleian Library provided a rich supply of previously unpublished material for Barlow's research. With full-color images throughout, The Cat and the Fiddle will be a delight for scholars of art and political history as well as lovers of music everywhere.
The phrase “War on Terror” has quietly been retired from official usage, but it persists in the American psyche, and our understanding of it is hardly complete. Nor will it be, W. J. T Mitchell argues, without a grasp of the images that it spawned, and that spawned it.
Exploring the role of verbal and visual images in the War on Terror, Mitchell finds a conflict whose shaky metaphoric and imaginary conception has created its own reality. At the same time, Mitchell locates in the concept of clones and cloning an anxiety about new forms of image-making that has amplified the political effects of the War on Terror. Cloning and terror, he argues, share an uncanny structural resemblance, shuttling back and forth between imaginary and real, metaphoric and literal manifestations. In Mitchell’s startling analysis, cloning terror emerges as the inevitable metaphor for the way in which the War on Terror has not only helped recruit more fighters to the jihadist cause but undermined the American constitution with “faith-based” foreign and domestic policies.
Bringing together the hooded prisoners of Abu Ghraib with the cloned stormtroopers of the Star Wars saga, Mitchell draws attention to the figures of faceless anonymity that stalk the ever-shifting and unlocatable “fronts” of the War on Terror. A striking new investigation of the role of images from our foremost scholar of iconology, Cloning Terror will expand our understanding of the visual legacy of a new kind of war and reframe our understanding of contemporary biopower and biopolitics.
A knees-up at the county fair. A duo of dancing ogres. A celebratory circle dance at London’s Piccadilly Circus. All of these lively scenarios feature in this enchanting survey of dance illustration throughout the centuries. But what can these vibrant—and often irreverent—images reveal to us about the history of dance and our changing attitudes toward it over time?
Drawing on a range of materials from the Bodleian Library, including manuscripts, visual art, dance cards, and invitations to balls, A Dance Through Time explores the imaginative ways in which artists and illustrators have responded to the challenge of creating a sense of movement. Social dancing reveals a dynamic tension between decorum and disregard, and for centuries artists have conveyed this in a highly stylized manner that makes use of curved forms to mimic gracious gestures and angular lines to represent those deemed showy or uncouth. Here, each illustration is carefully analyzed for what it shows us about the behavioral expectations of the time.
Lavishly illustrated, this book takes readers on a captivating journey through the changing fashions in European dance—from the waltz to the cha cha to the unbridled energy of rock and roll—providing ample insight into its history and colorful imagery.
Though in many respects similar to us moderns, the Greeks and Romans often conceived things differently than we do. The cultural inheritance we have received from them can therefore open our eyes to many “manners of life” we might otherwise overlook. The ancients told fascinating—but different—stories; they elaborated profound—but different—symbols. Above all, they confronted many of the problems we still face today—memory and forgetfulness; identity and its strategies; absolutist moralism and behavioral relativity—only in profoundly different ways, since their own cultural forms and resources were different. In The Ears of Hermes:Communication, Images, and Identity in the Classical World, renowned scholar and author Maurizio Bettini explores these different cultural experiences, choosing paths through this territory that are diverse and sometimes unexpected: a little-known variant of a myth or legend, such as that of Brutus pretending, like Hamlet, to be a Fool; a proverb, like lupus in fabula (the wolf in the tale), that expresses the sense of foreboding aroused by the sudden arrival of someone who was just the subject of conversation; or great works, like Plautus’ Amphitruo and Vergil’s Aeneid, where we encounter the mysteries of the Doppelgänger and of “doubles” fabricated to ease the pain of nostalgia. Or the etymology of a word—its own “story”—leads us down some unforeseen avenue of discovery. While scholarly in presentation, this book, in an elegant English translation by William Michael Short, will appeal not only to classicists but also students, as well as to anthropologists and historians of art and literature beyond classics.
Barbara Maria Stafford is at the forefront of a growing movement that calls for the humanities to confront the brain’s material realities. In Echo Objects, she argues that humanists should seize upon the exciting neuroscientific discoveries that are illuminating the underpinnings of cultural objects. In turn, she contends, brain scientists could enrich their investigations of mental activity by incorporating phenomenological considerations—particularly the intricate ways that images focus intentional behavior and allow us to feel thought.
As a result, Echo Objects is a stunningly broad exploration of how complex images—or patterns that compress space and time—make visible the invisible ordering of human consciousness. Stafford demonstrates, for example, how the compound formats of emblems, symbols, collage, and electronic media reveal the brain’s grappling to construct mental objects that are redoubled by prior associations. In contrast, she shows that findings in evolutionary biology and the neurosciences are providing profound opportunities for understanding aesthetic conundrums such as the human urge to imitate and the role of narrative and nonnarrative representation.
Ultimately, she makes an impassioned plea for a common purpose—for the acknowledgement that, at the most basic level, these separate projects belong to a single investigation.
“Heroic. . . . The larger message of Stafford’s intense, propulsive prose is unassailable. If we are to get much further in the great puzzle of ‘binding’—how the perception of an image, the will to act on intention, or the forging of consciousness is assembled from the tens of thousands of neurons firing at any one moment in time—then there needs to be action on all fronts.”—Science
In The Enemy in Italian Renaissance Epic, Andrea Moudarres examines influential works from the literary canon of the Italian Renaissance, arguing that hostility consistently arises from within political or religious entities. In Dante’s Divina Commedia, Luigi Pulci’s Morgante, Ludovico Ariosto’s Orlando Furioso, and Torquato Tasso’s Gerusalemme Liberata, enmity is portrayed as internal, taking the form of tyranny, betrayal, and civil discord. Moudarres reads these works in the context of historical and political patterns, demonstrating that there was little distinction between public and private spheres in Renaissance Italy and, thus, little differentiation between personal and political enemies.
Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
The biblical accounts of Eve's life are central to Western culture, occupying a privileged place in our literature and art, culture, and society. For both Judaism and Christianity, these stories involving Eve have for centuries been entangled with the religious and social construction of gender. The ambiguous biblical record of her life from the two versions of her creation, through her encounter with the forbidden fruit, to her expulsion from Eden, and followed by the tantalizing glimpses of her life in the real world has served through the ages as a mirror of commonly held views about women. For Jewish readers, Eve's role as metonym -- signifying womanhood, or Jewish womanhood, as a whole -- is of prime importance. By tracing the imagined character of Eve from ancient times to the present, Eternally Eve opens a window on the transmission and persistence of cultural and social values. Eternally Eve takes as its subject the many ways these stories can be read, interpreting the biblical narratives as well as their iteration by rabbinic midrashists and modern poets. Anne Lapidus Lerner argues that we must set aside, or at least rethink, a series of assumptions about Eve that have been dominant in Jewish thought for centuries and instead return to the original texts to rediscover meanings implicit in them. Using modern poetry about Eve as a touchstone for reinterpreting older texts, Lerner discovers that Genesis is often more open to contemporary values than are later rabbinic texts. Linking sacred texts to works of the classical and modern imagination, Lerner restores to her sources meanings suppressed or neglected over many years and demonstrates their power to speak today.
Image-transforming techniques such as close-up, time lapse, and layering are generally associated with the age of photography, but as Florike Egmond shows in this book, they were already being used half a millennium ago. Exploring the world of natural history drawings from the Renaissance, Eye for Detail shows how the function of identification led to image manipulation techniques that will look uncannily familiar to the modern viewer.
Egmond shows how the format of images in nature studies changed dramatically during the Renaissance period, as high-definition naturalistic representation became the rule during a robust output of plant and animal drawings. She examines what visual techniques like magnification can tell us about how early modern Europeans studied and ordered living nature, and she focuses on how attention to visual detail was motivated by an overriding question: the secret of the origins of life. Beautifully and precisely illustrated throughout, this volume serves as an arresting guide to the massive European collections of nature drawings and an absorbing study of natural history art of the sixteenth century.
Eyewitnessing evaluates the place of images among other kinds of historical evidence. By reviewing the many varieties of images by region, period and medium, and looking at the pragmatic uses of images (e.g. the Bayeux Tapestry, an engraving of a printing press, a reconstruction of a building), Peter Burke sheds light on our assumption that these practical uses are 'reflections' of specific historical meanings and influences. He also shows how this assumption can be problematic.
Traditional art historians have depended on two types of analysis when dealing with visual imagery: iconography and iconology. Burke describes and evaluates these approaches, concluding that they are insufficient. Focusing instead on the medium as message and on the social contexts and uses of images, he discusses both religious images and political ones, also looking at images in advertising and as commodities.
Ultimately, Burke's purpose is to show how iconographic and post-iconographic methods – psychoanalysis, semiotics, viewer response, deconstruction – are both useful and problematic to contemporary historians.
In Feeling Persecuted, Anthony Bale explores the medieval Christian attitude toward Jews, which included a pervasive fear of persecution and an imagined fear of violence enacted against Christians. As a result, Christians retaliated with expulsions, riots, and murders that systematically denied Jews the right to religious freedom and peace. Through close readings of a wide range of sources, Bale exposes the perceived violence enacted by the Jews and how the images of this Christian suffering and persecution were central to medieval ideas of love, community, and home. The images and texts explored by Bale expose a surprising practice of recreational persecution and show that the violence perpetrated against medieval Jews was far from simple anti-Semitism and was in fact a complex part of medieval life and culture.
Bale’s comprehensive look at medieval poetry, drama, visual culture, theology, and philosophy makes Feeling Persecuted an important read for anyone interested in the history of Christian-Jewish relations and the impact of this history on modern culture.
The quest for physical health and fitness has a long history in the United States. From spinach to shredded wheat to patent medicines, from calisthenics to bicycling to organized sports, Americans have searched vigorously and with great imagination for health, vitality, and physical perfection. Focusing on the period from 1830 to 1940, this collection of essays by six distinguished historians explores Americans' fascination with health and sport, a preoccupation that continues even today in the current diet and fitness craze. In his introduction, Harvey Green discusses one of the major ironies of this period: that the "progress" and achievements Americans sought in the economic and technological spheres were in fact endangering their health and weakening the entire body politic. The rapid technological changes taking place in the world forced many people to alter fundamentally their thinking about the importance of health and physical fitness not just for themselves as individuals but also for the good of society. Other topics explored include changing attitudes toward fitness and wellness, how advertising reflected health concerns, iron as a symbol of vitality and strength, the increasing specialization of foods, and the advent of organized and competitive sports.
Anyone who was not in New Orleans during Hurricane Katrina and the subsequent flooding of the city experienced the disaster as a media event, a flood of images pouring across television and computer screens. The twenty-four-hour news cycle created a surplus of representation that overwhelmed viewers and complicated understandings of the storm, the flood, and the aftermath. As time passed, documentary and fictional filmmakers took up the challenge of explaining what had happened in New Orleans, reaching beyond news reports to portray the lived experiences of survivors of Katrina. But while these narratives presented alternative understandings and more opportunities for empathy than TV news, Katrina remained a mediated experience. In Flood of Images, Bernie Cook offers the most in-depth, wide-ranging, and carefully argued analysis of the mediation and meanings of Katrina. He engages in innovative, close, and comparative visual readings of news coverage on CNN, Fox News, and NBC; documentaries including Spike Lee’s When the Levees Broke and If God Is Willing and Da Creek Don’t Rise, Tia Lessin and Carl Deal’s Trouble the Water, and Dawn Logsdon and Lolis Elie’s Faubourg Treme; and the HBO drama Treme. Cook examines the production practices that shaped Katrina-as-media-event, exploring how those choices structured the possible memories and meanings of Katrina and how the media’s memory-making has been contested. In Flood of Images, Cook intervenes in the ongoing process of remembering and understanding Katrina.
The very question of “what do Jews think about the goyim” has fascinated Jews and Gentiles, anti-Semites and philo-Semites alike. Much has been written about immigrant Jews in nineteenth- and twentieth-century New York City, but Gil Ribak’s critical look at the origins of Jewish liberalism in America provides a more complicated and nuanced picture of the Americanization process.
Gentile New York examines these newcomers’ evolving feelings toward non-Jews through four critical decades in the American Jewish experience. Ribak considers how they perceived Gentiles in general as well as such different groups as “Yankees” (a common term for WASPs in many Yiddish sources), Germans, Irish, Italians, Poles, and African Americans. As they discovered the complexity of America’s racial relations, the immigrants found themselves at odds with “white” American values or behavior and were drawn instead into cooperative relationships with other minorities. Sparked with many previously unknown anecdotes, quotations, and events, Ribak’s research relies on an impressive number of memoirs, autobiographies, novels, newspapers, and journals culled from both sides of the Atlantic.
Ron Cowen offers a sweeping account of the century of experimentation that has consistently confirmed Einstein’s general theory of relativity. He shows how we got from Eddington’s pivotal observations of the 1919 eclipse to the Event Horizon Telescope, aimed at starlight wrapping around the black hole at our galaxy’s center.
Pictures from the past powerfully shape current views of the world. In books, television programs, and websites, new images appear alongside others that have survived from decades ago. Among the most famous are drawings of embryos by the Darwinist Ernst Haeckel in which humans and other vertebrates begin identical, then diverge toward their adult forms. But these icons of evolution are notorious, too: soon after their publication in 1868, a colleague alleged fraud, and Haeckel’s many enemies have repeated the charge ever since. His embryos nevertheless became a textbook staple until, in 1997, a biologist accused him again, and creationist advocates of intelligent design forced his figures out. How could the most controversial pictures in the history of science have become some of the most widely seen?
In Haeckel’s Embryos, Nick Hopwood tells this extraordinary story in full for the first time. He tracks the drawings and the charges against them from their genesis in the nineteenth century to their continuing involvement in innovation in the present day, and from Germany to Britain and the United States. Emphasizing the changes worked by circulation and copying, interpretation and debate, Hopwood uses the case to explore how pictures succeed and fail, gain acceptance and spark controversy. Along the way, he reveals how embryonic development was made a process that we can see, compare, and discuss, and how copying—usually dismissed as unoriginal—can be creative, contested, and consequential.
With a wealth of expertly contextualized illustrations, Haeckel’s Embryos recaptures the shocking novelty of pictures that enthralled schoolchildren and outraged priests, and highlights the remarkable ways these images kept on shaping knowledge as they aged.
Some Hispanic Americans living today can recall a time when barrio or ranch life was marked by a simplicity and neighborliness that has vanished with progress. These thirteen first-person accounts of southern Arizona residents capture a spirit evocative of the Hispanic presence in the Southwest—whether in San Antonio, Santa Fe, Pueblo, or Los Angeles—while striking photographs reflect the grace and dignity of these indomitable individuals.
Highlighting the ways that digital media can be used in interdisciplinary curriculum, Images and Identity brings together ideas from art and citizenship teachers in the Czech Republic, Germany, Ireland, Malta, Portugal, and the United Kingdom on producing online curriculum materials. This book offers a practical strategy for ways these different, but related, subjects can be taught. The first part of the book explores issues of art and citizenship education within a European context while the second contains case studies of curriculum experiments that can be applied to global classrooms. It will be of great interest to students and teachers of art and citizenship education.
Cottam explains the patterns of U.S. intervention in Latin America by focusing on the cognitive images that have dominated policy makers' world views, influenced the procession of information, and informed strategies and tactics. She employs a number of case studies of intervention and analyzes decision-making patterns from the early years of the cold war in Guatemala and Cuba to the post-cold-war policies in Panama and the war on drugs in Peru. Using two particular images-the enemy and the dependent-Cottam explores why U.S. policy makers have been predisposed to intervene in Latin America when they have perceived an enemy (the Soviet Union) interacting with a dependent (a Latin American country), and why these images led to perceptions that continued to dominate policy into the post-cold-war era.
In 1979, a Kekchi Maya Indian accidentally discovered the entrance to Naj Tunich, a deep cave in the Maya Mountains of El Peten, Guatemala. One of the world’s few deep caves that contain rock art, Naj Tunich features figural images and hieroglyphic inscriptions that have helped to revolutionize our understanding of ancient Maya art and ritual. In this book, Andrea Stone takes a comprehensive look at Maya cave painting from Preconquest times to the Colonial period. After surveying Mesoamerican cave and rock painting sites and discussing all twenty-five known painted caves in the Maya area, she focuses extensively on Naj Tunich. Her text analyzes the images and inscriptions, while photographs and line drawings provide a complete visual catalog of the cave art, some of which has been subsequently destroyed by vandals. This important new body of images and texts enlarges our understanding of the Maya view of sacred landscape and the role of caves in ritual. It will be important reading for all students of the Maya, as well as for others interested in cave art and in human relationships with the natural environment.
The act of drawing a line or uttering a word is often seen as integral to the process of making art. This is especially obvious in music and the visual arts, but applies to literature, performance, and other arts as well. These collected essays, written by scholars from diverse fields, take a historical view of the richness of creation out of nothing (creatio ex nihilo) in order to draw out debates, sometimes implicit and sometimes formally stated, about the production and reproduction of cultural meaning in a period of great change and novelty, between the beginnings of the medieval intellectual tradition and the imprint of the Enlightenment. The authors pose the following questions: Do tradition and creativity conflict with one another, or are they complementary? What are the tensions between composition and live performance? What is the role of the audience in perceiving the object of art? Are such objects fixed or flexible? What about the status of the event? Is the event part of creation, in the sense that it disturbs the still waters of historical continuity? These and other questions build on the foundation of Roland Barthes' concept of Degree Zero, offering new insights into what it means to create.
Of one and a half million surviving photographs related to Nazi concentration camps, only four depict the actual process of mass killing perpetrated at the gas chambers. Images in Spite of All reveals that these rare photos of Auschwitz, taken clandestinely by one of the Jewish prisoners forced to help carry out the atrocities there, were made as a potent act of resistance.
Available today because they were smuggled out of the camp and into the hands of Polish resistance fighters, the photographs show a group of naked women being herded into the gas chambers and the cremation of corpses that have just been pulled out. Georges Didi-Huberman’s relentless consideration of these harrowing scenes demonstrates how Holocaust testimony can shift from texts and imaginations to irrefutable images that attempt to speak the unspeakable. Including a powerful response to those who have criticized his interest in these images as voyeuristic, Didi-Huberman’s eloquent reflections constitute an invaluable contribution to debates over the representability of the Holocaust and the status of archival photographs in an image-saturated world.
Images of a Free Press
Lee C. Bollinger University of Chicago Press, 1991 Library of Congress KF4774.B65 1991 | Dewey Decimal 342.730853
Rich in historical detail, Images of a Free Press is an elegant, powerful guide to the evolution of our modern conception of freedom of the press, which finds expression in laws that protect print journalism and regulate broadcast media. Bollinger argues that this distinction remains meaningful but he advocates a more sophisticated approach to issues of privacy, access, and technology. Providing concrete guidelines for improving media laws, Images of a Free Press is a vital First Amendment primer for lawyers, media professionals, and critics, and all concerned citizens.
"Images of a Free Press is the natural sequel to Lee Bollinger's first book, The Tolerant Society, and is destined to become a standard in first amendment scholarship."—Rodney A. Smolla, Constitutional Commentary
"Revisiting themes he first explored some fifteen years ago, Bollinger now adds further to our understanding of the complex relationship among the First Amendment, the Supreme Court, the public, the press and the democratic process. This is a work of insight, sensitivity, and power. Bollinger has a profound knowledge of and a deep affection for his subject, and it shows."—Geoffrey R. Stone, Michigan Law Review
"This thoughtful, understated book remains a call to come join the town meeting and hammer out some new rules of order. Scholars and citizens alike could do well to read Bollinger's book and accept his challenge."—Yale Law Review
"For a number of years, Lee Bollinger has argued that the First Amendment has been applied differently to the print media than it has been to the broadcast media. In his new book, Images of a Free Press, Bollinger provides a concise, persuasive account of why this is so—and why it ought to be so."—Columbia Law Review
This bilingual collection of essays, the fruits of a conference held in 1989 to commemorate the join Bicentennials of Georgetown University and the French Revolution, illuminates the various ways in which the American Revolution and its aftermath directly and indirectly influenced France before and after the French Revolution. The essays cluster around several basic themes: the condition of Native Americans and African-Americans, French perceptions of political, religious, and economic issues in the new republic, and the ways in which French images of America were affected by travel literature and the performing and plastic arts. The intercultural and interdisciplinary approaches taken by the fifteen authors are equally various and include social and political history, literary history and criticism, and linguistics.
Images Of Animals
Eileen Crist Temple University Press, 2000 Library of Congress QL751.C8824 1999 | Dewey Decimal 591.5
Seeing a cat rubbing against a person, Charles Darwin described her as "in an affectionate frame of mind"; for Samuel Barnett, a behavioralist, the mental realm is beyond the grasp of scientists andbehavior must be described technically, as a physical action only. What difference does this difference make? In Eileen Crist's analysis of the language used to portray animal behavior, the difference "is that in the reader's mind the very image of the cat's 'body' is transfigured...from an experiencing subject...into a vacant object."
Images of Animals examines the literature of behavioral science, revealing how works with the common aim of documenting animal lives, habits, and instincts describe "realities that are worlds apart." Whether the writer affirms the Cartesian verdict of an unbridgeable chasm between animals and humans or the Darwinian panorama of evolutionary continuity, the question of animal mind is ever present and problematic in behavioral thought. Comparing the naturalist writings of Charles Darwin, Jean Henri Fabre, and George and Elizabeth Peckham to works of classical ethology by Konrad Lorenz and Nikolaas Tinbergen and of contemporary sociobiology, Crist demonstrates how words matter. She does not attempt to defend any of these constructions as a faithful representation of animal existence, but to show how each internally coherent view molds the reader's understanding of animals. Rejecting the notion that "a neutral language exists, or can be constructed, which yields incontestably objective accounts of animal behavior," Crist argues that "language is not instrumental in the depiction of animals and, in particular, it is never impartial with respect to the question of animal mind."
Focusing on the years from 1922 to 1938, this book revisits an important moment in black cultural history to explore how visual elements were used in poems, novels, and photography to undermine existing stereotypes. Miriam Thaggert identifies and analyzes an early form of black American modernism characterized by a heightened level of experimentation with visual and verbal techniques for narrating and representing blackness. The work of the writers and artists under discussion reflects the creative tension between the intangibility of some forms of black expression, such as spirituals, and the materiality of the body evoked by other representations of blackness, such as "Negro" dialect.
By paying special attention to the contributions of photographers and other visual artists who have not been discussed in previous accounts of black modernism, Thaggert expands the scope of our understanding of the Harlem Renaissance and contributes to a growing recognition of the importance of visual culture as a distinct element within, and not separate from, black literary studies.
Thaggert trains her critical eye on the work of James Weldon Johnson, Nella Larsen, George Schuyler, Carl Van Vechten, James Van Der Zee, and Aaron Siskind—artists who experimented with narrative and photographic techniques in order to alter the perception of black images and to question and reshape how one reads and sees the black body. Examining some of the more problematic authors and artists of black modernism, she challenges entrenched assumptions about black literary and visual representations of the early to mid twentieth century.
Thaggert concludes her study with a close look at the ways in which Harlem and the Harlem Renaissance were reimagined and memorialized in two notable texts—Wallace Thurman's 1932 satire Infants of the Spring and the Metropolitan Museum of Art's controversial 1969 exhibition "Harlem on My Mind: The Cultural Capital of Black America, 1900–1968."
Aristotle believed semen to be the purest of all bodily secretions, a vehicle for the spirit or psyche that gives form to substance. For Proust’s narrator in Swann’s Way, waking to find he has experienced a nocturnal emission, it is the product of “some misplacing of my thigh.” The heavy metal band Metallica used it to adorn an album cover. Beyond its biological function, semen has been applied with surprising frequency to metaphorical and narratological purposes.
In Images of Bliss, Murat Aydemir undertakes an original and extensive analysis of images of male orgasm and semen. In a series of detailed case studies—Aristotle’s On the Generation of Animals; Andres Serrano’s use of bodily fluids in his art; paintings by Holbein and Leonardo; Proust’s In Search of Lost Time; hard-core pornography (both straight and gay); and key texts from the poststructuralist canon, including Lacan on the phallus, Bataille on expenditure, Barthes on bliss, and Derrida on dissemination—Aydemir traces the complex and often contradictory possibilities for imagination, description, and cognition that both the idea and the reality of semen make available. In particular, he foregrounds the significance of male ejaculation for masculine subjectivity. More often than not, Aydemir argues, the event or object of ejaculation emerges as the instance through which identity, meaning, and gender are not so much affirmed as they are relentlessly and productively questioned, complicated, and displaced.
Combining close readings of diverse works with subtle theoretical elaboration and a keen eye for the cultural ideals and anxieties attached to sexuality, Images of Bliss offers a convincing and long overdue critical exploration of ejaculation in Western culture.
Murat Aydemir is assistant professor of comparative literature at the University of Amsterdam.
The Anthropology of Iceland presents the first perspectives on Icelandic anthropology from both Icelandic and foreign anthropologists. The thirteen essays in this volume are divided into four themes: ideology and action; kinship and gender; culture, class, and ethnicity; and the Commonwealth period of circa 930 to 1220, which saw the flowering of sagas. Insider and outsider viewpoints on such topics as the Icelandic women's movement, the transformation of the fishing industry, the idea of mystical power in modern Iceland, and archaeological research in Iceland merge to form an international, comparative discourse.
Individually and collectively, by bringing the insights of anthropology to bear on Iceland, the native and foreign authors of this volume carry Iceland into the realm of modern anthropology, advancing our understanding of the island's people and the practice of anthropology.
Why do early films present the Netherlands as a country full of canals and windmills, where people wear traditional costumes and wooden shoes, while industries and modern urban life are all but absent? Images of Dutchness investigates the roots of this visual repertoire from diverse sources, ranging from magazines to tourist brochures, from anthropological treatises to advertising trade cards, stereoscopic photographs, picture postcards, magic lantern slide sets and films of early cinema.This richly illustrated book provides an in-depth study of the fascinating corpus of popular visual media and their written comments that are studied for the first time. Through the combined analysis of words and images, the author identifies not only what has been considered Ÿtypically DutchŒ in the long nineteenth century, but also provides new insights into the logic and emergence of national clichés in the Western world.
Although German Americans number almost 43 million and are the largest ethnic group in the United States, scholars of American literature have paid little attention to this influential and ethnically diverse cultural group. In a work of unparalleled depth and range, Waldemar Zacharasiewicz explores the cultural and historical background of the varied images of Germany and Germans throughout the past two centuries. Using an interdisciplinary approach known as comparative imagology, which borrows from social psychology and cultural anthropology, Zacharasiewicz samples a broad spectrum of original sources, including literary works, letters, diaries, autobiographical accounts, travelogues, newspaper reports, films, and even cartoons and political caricatures.
Starting with the notion of Germany as the ideal site for academic study and travel in the nineteenth century and concluding with the twentieth-century image of Germany as an aggressive country, this innovative work examines the ever-changing image of Germans and Germany in the writings of Louisa May Alcott, Samuel Clemens, Henry James, William James, George Santayana, W. E. B. Du Bois, John Dewey, H. L. Mencken, Katherine Anne Porter, Kay Boyle, Thomas Wolfe, Upton Sinclair, Gertrude Stein, Kurt Vonnegut, Thomas Pynchon, William Styron, Walker Percy, and John Hawkes, among others.
In this work Robert M. Levine undertakes two separate and important tasks: to provide the first overview of the history of photography in Latin America until the advent of the cheap cameras that permitted mass photography, and to analyze the photographic record for clues to the use of the images as historical documents. Levine has woven together an account of the development of photographic equipment and processes, with the artists and entrepreneurs who actually took the pictures, and places the emergence of photography firmly in the historical context of Latin American societies. Treating the photographs themselves—some 225 in all—Levine develops criteria for questions we can ask of the photographs in an attempt to extract emotional, psychological, and personal information, as well as the more obvious material evidence. This is an often subjective process, one that can lead to differing results, and observers may well come to conclusions departing radically from those of the author. But this may well be one of the most important functions of an innovative work, the creation of controversy that stimulates forward motion in a discipline.
"Harper's poetry is not limited by color or attitude. In Images of Kin, Harper amazes with his keen sense of political and personal
histories, his breadth of expression. This collection fixes Harper as
one of the dominant poetic voices of his generation"
-- Chicago Sun-Times
"It is Mr. Harper's achievement to have projected his most difficult
and complex insights and feelings through the epical manner, yet at the
same time carried us along to identify with him."
-- New York Times Book Review
The German occupation of the Netherlands during World War II left a lasting mark on Dutch memory and culture. This book is the first to explore depictions of that period in films made a generation later, between 1962 and 1986. As Dutch public opinion towards the war altered over the postwar decades, the historical trajectory of Dutch recovery and reconstruction-political, economic, and, most complicated of all, psychological-came to be revealed, often unconsciously, in the films of the period.
What is considered a good life in contemporary societies? Can we measure well-being and happiness? Reflecting a global interest on the topics of well-being, happiness, and the good life in the face of the multiple failures of millennial capitalism, Images of Public Wealth or the Anatomy of Well-Being in Indigenous Amazonia deliberately appropriates a concept developed by classical economists to understand wealth accumulation in capitalist societies in order to denaturalize it and assess its applicability in non-capitalist kin-based societies.
Mindful of the widespread discontent generated by the ongoing economic crisis in postindustrial societies as well as the renewed attempts by social scientists to measure more effectively what we consider to be “development” and “economic success,” the contributors to this volume contend that the study of public wealth in indigenous Amazonia provides not only an exceptional opportunity to apprehend native notions of wealth, poverty, and the good life, but also to engage in a critical revision of capitalist constructions of living well.
Through ethnographic analysis and thought-provoking new approaches to contemporary and historical cases, the book’s contributors reveal how indigenous views of wealth—based on the abundance of intangibles such as vitality, good health, biopower, and convivial relations—are linked to the creation of strong, productive, and moral individuals and collectivities, differing substantially from those in capitalist societies more inclined toward the avid accumulation and consumption of material goods.
"Churchland and Hooker have collected ten papers by prominent philosophers of science which challenge van Fraassen's thesis from a variety of realist perspectives. Together with van Fraassen's extensive reply . . . these articles provide a comprehensive picture of the current debate in philosophy of science between realists and anti-realists."—Jeffrey Bub and David MacCallum, Foundations of Physics Letters
Images of the Child
Harry Eiss University of Wisconsin Press, 1994 Library of Congress HQ784.M3I48 1994
This collection of articles on images of the child offers an excellent range of perspectives on an equally wide range of concerns, including advertising, girls' book series, rap music, realistic fiction, games, dolls, violence, and movies. Taken together as a book, this collection confirms the complexity of the world of childhood, and demonstrates how strongly images of the child reflect the entire culture.
As warriors, freedom fighters and victims, as mothers, wives and prostitutes, and as creators and members of peace movements, women are inevitably caught up in the net of war. Yet women’s participation in warfare and peace campaigns has often been underestimated or ignored. Images of Women in Peace and War explores women’s relationships to war, peace, and revolution, from the Amazons, Inka and Boadicea, to women soldiers in South Africa, Mau Mau freedom fighters and the protestors at Greenham Common. The contributors consider not only the reality of women’s participation but also look at how their actions have been perceived and represented across cultures and through history. They examine how sexual imagery is constructed, how it is used to delineate women’s relation to warfare and how these images have sometimes been subverted in order to challenge the status quo. The book raises important questions about whether women have a special prerogative to promote peace and considers whether the experience of motherhood leads to a distinctive women’s position on war. The authors find that their analyses lead them to deal with arguments on the basic nature of the sexes and to reevaluate our concepts of “peace,” “war,” and “gender.”
The extreme anti-Western actions and attitudes of Iranians in the past decade have astonished and dismayed the West, which has characterized the Iranian positions as irrational and inexplicable. In this groundbreaking study of images of the West in Iranian literature, however, M. R. Ghanoonparvar reveals that these attitudes did not develop suddenly or inexplicably but rather evolved over more than two centuries of Persian-Western contact. Notable among the authors whose works Ghanoonparvar discusses are Sadeq Hedayat, M. A. Jamalzadeh, Hushang Golshiri, Gholamhoseyn Sa‘edi, Simin Daneshvar, Moniru Ravanipur, Sadeq Chubak, and Jalal Al-e Ahmad. This survey significantly illuminates the sources of Iranian attitudes toward the West and offers many surprising discoveries for Western readers, not least of which is the fact that Iranians have often found Westerners to be as enigmatic and incomprehensible as we have believed them to be.
The first collection of writings and images focused on an off-reservation Indian boarding school, The Indian School on Magnolia Avenue shares the fascinating story of this flagship institution, featuring the voices of American Indian students.
In 1902, the federal government opened Sherman Institute in Riverside, California, to transform American Indian students into productive farmers, carpenters, homemakers, nurses, cooks, and seamstresses. Indian students helped build the school and worked daily at Sherman; teachers provided vocational education and placed them in employment through the Outing Program.
Contributors to The Indian School on Magnolia Avenue have drawn on documents held at the Sherman Indian Museum to explore topics such as the building of Sherman, the school’s Mission architecture, the nursing program, the Special Five-Year Navajo Program, the Sherman cemetery, and a photo essay depicting life at the school.
Despite the fact that Indian boarding schools—with their agenda of cultural genocide— prevented students from speaking their languages, singing their songs, and practicing their religions, most students learned to read, write, and speak English, and most survived to benefit themselves and contribute to the well-being of Indian people.
Scholars and general readers in the fields of Native American studies, history, education, public policy, and historical photography will find The Indian School on Magnolia Avenue an indispensable volume.
The dawn of the twentieth century in Japan witnessed the rise of a peculiar problem: the “Woman Problem.” This, at least, was the term used in an ongoing debate among the government and various intellectuals over how to define gender roles. While the government worked hard to promote the “good wife, wise mother” paradigm, certain female members of society had other notions about how to engage with their world.
In The Japanese “New Woman,” Dina Lowy focuses on this new female image as it was revealed, discussed, and debated in popular newspapers and magazines in the 1910s, as well as on the lives of a specific group of women—members of the feminist literary organization known as the Seitosha. These women drew on a variety of sources, including Zen training, Western writings and ideas, and Japanese morals and arts as they tried to open up new spaces for female activity beyond the confines of the home. Lowy shows how the Seitosha set a precedent that would be emulated in the decades to follow as Japanese women continued to question the patriarchal order, experiment with alternative visions, and pursue their rights in a variety of forms. This work also provides a context for comparative studies of New Women, gender debates, and the modernizing process.
Why would a man tie up a cheap suitcase with grass rope, leave his family and his paesani in Italy to risk his life and meager possessions among the dock thieves of Naples and Genoa to suffer the congestion and stench of steerage accommodations aboard ship, to endure the assembly-line processing of Ellis Island, to wander almost incommunicado through a city of sneering strangers speaking an unknown tongue, to perform ten to twelve hours of heavy manual labor a day for wages of perhaps $1.65—most of which he probably owed to the "company store" before he got it? Why were there not just a few such men but droves of them coming to the United States in the late nineteenth and early twentieth century? How did they survive and—some of them—prosper? How did they surmount the language barrier? Why did some stay, some go home, and some bounce back and forth repeatedly across the Atlantic? Michael La Sorte examines these questions and more in this lively study of Italian immigration prior to World War I. In exploring for answers, he draws upon the commentary of recent scholars, as well as the statistical documents of the day. But most importantly, he has searched out individual stories in the published and unpublished diaries, letters, and autobiographies of immigrants who lived the "greenhorn" (grignoni) experience. In their own language, the men bring to life the teeming tenements of New York's Mulberry Street, the exploitative labor-recruiting practices of Boston's North Square, and the harsh squalor of work camp life along the country's expanding railroad lines. What emerges is a powerful, moving, alternately funny and appalling picture of their everyday lives. Through detailed narration, La Sorte traces the men's lives from their native villages across the Atlantic through the ports of entry to their first immigrant jobs. He describes their views of Italy, America, and each other, the cultural and linguistic adjustments that they were compelled to make, and their motives for either Americanizing or repatriating themselves. His chapter on "Italglish" (a hybrid language developed by the greenhorns) will echo in the ears of Italian-Americans as the sound of their parents' and grandparents' voices.
The Language of Images
W. J. T. Mitchell University of Chicago Press, 1980 Library of Congress NX60.L33 | Dewey Decimal 700
"A remarkably rich and provocative set of essays on the virtually infinite kinds of meanings generated by images in both the verbal and visual arts. Ranging from Michelangelo to Velazquez and Delacroix, from the art of the emblem book to the history of photography and film, The Language of Images offers at once new ways of thinking about the inexhaustibly complex relation between verbal and iconic representation."—James A. W. Heffernan, Dartmouth College
In living rooms across the country, Americans have fallen in love with law-related television programming. From primetime legal dramas such as Law and Order, The Guardian, CSI, JAG, and Judging Amy to a host of daytime courtroom spectacles including Judge Judy, People's Court, and Divorce Courtviewers are endlessly entertained by the practices of the criminal justice system.
But with television courtrooms appearing more like the studio of The Jerry Springer Show than institutions of justice, and with weekly dramas seamlessly blending cutting-edge forensic science with exaggerated fictions, it calls to question: just what is it about these shows that has the public so captivated? And, what effects do the images of crime and order presented through the media have on society's view of the actual legal and criminal justice systems?
In Law and Order: Images, Meanings, Myths, Mariana Valverde draws on examples from film, television, and newspapers to examine these questions and to demonstrate how popular culture is creating an unrealistic view of crime and crime control. Valverde argues that understanding the impact of media representations of courtrooms, police departments, prisons, and the people who populate them is essential to comprehending the reality of criminal justice.
Introducing a wealth of resources in social and cultural studies along with suggestions for classroom discussions and assignments, this book pushes the field of criminology in new and exciting theoretical directions. It is essential reading for students and scholars of criminal justice and law.
Listening to Images
Tina M. Campt Duke University Press, 2017 Library of Congress TR183.C366 2017
In Listening to Images Tina M. Campt explores a way of listening closely to photography, engaging with lost archives of historically dismissed photographs of black subjects taken throughout the black diaspora. Engaging with photographs through sound, Campt looks beyond what one usually sees and attunes her senses to the other affective frequencies through which these photographs register. She hears in these photos—which range from late nineteenth-century ethnographic photographs of rural African women and photographs taken in an early twentieth-century Cape Town prison to postwar passport photographs in Birmingham, England and 1960s mug shots of the Freedom Riders—a quiet intensity and quotidian practices of refusal. Originally intended to dehumanize, police, and restrict their subjects, these photographs convey the softly buzzing tension of colonialism, the low hum of resistance and subversion, and the anticipation and performance of a future that has yet to happen. Engaging with discourses of fugitivity, black futurity, and black feminist theory, Campt takes these tools of colonialism and repurposes them, hearing and sharing their moments of refusal, rupture, and imagination.
In the Lives of Images, Peter Mason examines four striking case studies involving the production and transmission of visual images of non-European peoples. Beginning with what has been taken to be the earliest three-dimensional European representation of Native Americans, he then focuses on the migration of such images via 16th century Meso-American codices to the murals painted by Diego Rivera four centuries later. Mason also looks at the relationship between drawing and engraving of natives of Formosa by Georges Psalmanaazaar, who never traveled to that country. Finally, he examines representations of the native peoples of Tierra del Fuego, from their first encounters with Europeans in the late 16th century to the present, paying particular attention to their visual traces in the work of such well-known artists as Odilon Redon.
Mason's fascinating study teases out some of the implications of these particular cases to discover a concept of the image that is both primary and can truly be said to have a life of its own.
From the earliest depictions of Benjamin Franklin and his kite experiment to 21st-century renderings of mad scientists, representations of American scientists in the popular media reveal a great deal about our cultural hopes and fears. In an entertaining and insightful survey of popular media over three hundred years of American history—religious tracts, political cartoons, literature, theater, advertising, art, comic books, radio, music, television, and film—Glen Scott Allen examines the stereotypes assigned to scientists for what they tell us about America's pride in its technological achievements as well as our prejudices about certain "suspect" kinds of scientific investigation.
Working in the tradition of cultural studies, Allen offers an analysis that is historically comprehensive and critically specific. Integrating both "high" literature and "low" comedy, he delves into the assumptions about scientists—good, bad, and mad—that have been shaped by and have in turn shaped American cultural forces. Throughout the book, his focus is on why certain kinds of scientists have been lionized as American heroes, while others have been demonized as anti-American villains.
Allen demonstrates that there is a continuous thread running from the seminal mad scientists of Hawthorne's nineteenth-century fiction to modern megalomaniacs like Dr. Strangelove; that marketing was as important to the reputation of the great independent inventors as technological prowess was; and that cultural prejudices which can be traced all the way back to Puritan ideology are at work in modern scientific controversies over cloning and evolution.
The periods and movements examined are remarkably far-ranging: the literature and philosophy of the Romantics; the technology fairs and utopian fiction of the nineteenth century; political movements of the 1930s and 1940s; the science fiction boom of the 1950s; the space and arms races of the 1960s and 1970s; the resurgence of pseudo-sciences in the 1980s and 1990s. This book will be of interest not just to teachers and students of cultural studies and the history of science and technology but to anyone interested in American culture and how it shapes our experience and defines our horizons.
In a century-old edition of a British newspaper, a quaint narrative entitled "A Visit to the Comstock" was prefaced by the following poem: Paint me, Washoe, as you see it, / Tinting with a truthful touch; / Line it with a faithful pencil, / Do not colour overmuch. Many writers through the decades have "coloured overmuch" in their descriptions of Nevada by using picturesque words and extreme language when discussing the paradoxical state. Idah Meacham Strobridge, often called "Nevada's first woman of letters", pointed out that images of Nevada frequently suggest a "mirage-land", a place where nothing is quite what it seems. Wilbur S. Shepperson's examination of such mirages--imaginary, literary, historical, real--is the subject of Mirage-Land: Images of Nevada. In the pages of this book, readers will discover ways in which a variety of men and women image-makers envisioned the Silver State, as well as ways they communicated their visions to others. Shepperson explains the process of mirage building by introducing readers to details from myriad sources--journals, diaries, historic newspapers, government reports, essays, magazines, novels, and even chamber of commerce promotional brochures. The well-known accents of John C. Fremont, Mark Twain, and Dan De Quille mingle with such little-known voices as Louise M. Palmer, Henry T. Williams, and George Wharton James among others. While the exemplary voices may express paradox, self-contradiction, antithesis, even confusion, Shepperson arranges his examples in a way that shows readers an aggregate vision. For him, Nevada history and Nevada humanity together embrace the length of Highway 395, the width of Interstates 80 and 15, and the breadthof a good many gravel roads in between. Essentially Shepperson sees few meaningful differences between the Comstock of the 1860s, other mining camps, sheep and cattle operations, Reno of the 1930s, and the present-day Las Vegas.
Walden Pond. The Grand Canyon.Yosemite National Park. Throughout the twentieth century, photographers and filmmakers created unforgettable images of these and other American natural treasures. Many of these images, including the work of Ansel Adams, continue to occupy a prominent place in the American imagination. Making these representations, though, was more than a purely aesthetic project. In fact, portraying majestic scenes and threatened places galvanized concern for the environment and its protection. Natural Visions documents through images the history of environmental reform from the Progressive era to the first Earth Day celebration in 1970, showing the crucial role the camera played in the development of the conservation movement.
In Natural Visions, Finis Dunaway tells the story of how visual imagery—such as wilderness photographs, New Deal documentary films, and Sierra Club coffee-table books—shaped modern perceptions of the natural world. By examining the relationship between the camera and environmental politics through detailed studies of key artists and activists, Dunaway captures the emotional and spiritual meaning that became associated with the American landscape. Throughout the book, he reveals how photographers and filmmakers adapted longstanding traditions in American culture—the Puritan jeremiad, the romantic sublime, and the frontier myth—to literally picture nature as a place of grace for the individual and the nation.
Beautifully illustrated with photographs by Ansel Adams, Eliot Porter, and a host of other artists, Natural Visions will appeal to a wide range of readers interested in American cultural history, the visual arts, and environmentalism.
Today crisis appears to be the normal order of things. We seem to be turning in widening gyres of economic failure, species extinction, resource scarcity, war, and climate change. These crises are interconnected ecologically, economically, and politically. Just as importantly, they are connected—and disconnected—in our imaginations. Public imaginations are possibly the most important stage on which crises are played out, for these views determine how the problems are perceived and what solutions are offered.
In The Nature of Spectacle, Jim Igoe embarks on multifaceted explorations of how we imagine nature and how nature shapes our imaginations. The book traces spectacular productions of imagined nature across time and space—from African nature tourism to transnational policy events to green consumer appeals in which the push of a virtual button appears to initiate a chain of events resulting in the protection of polar bears in the Arctic or jaguars in the Amazon rainforest. These explorations illuminate the often surprising intersections of consumerism, entertainment, and environmental policy. They show how these intersections figure in a strengthening and problematic policy consensus in which economic growth and ecosystem health are cast as mutually necessitating conditions. They also take seriously the potential of these intersections and how they may facilitate other alignments and imaginings that may become the basis of alternatives to our current socioecological predicaments.
“Waterman's profound respect for the northern lands burns on every page, and his photos and essays prove to us that there is still beauty in this world—beauty worth fighting for.”—Robert Redford
North of the sixtieth parallel, the sun shines for less than six hours in the winter, and towering mountains are the only skyscrapers. Pristine waters serve caribou, moose, and bears in an unbroken landscape. At any given moment in this spectacular scenery, there’s a chance that Jonathan Waterman is present, trekking across the land. A masterful adventurer, Waterman has spent decades exploring the farthest reaches of our beautiful spaces. The essays and photographs collected in Northern Exposures are a product of this passion for exploration and offer an unparalleled view into adventuring in the north and beyond.
Picking up after In the Shadow of Denali, his first book of essays, Northern Exposures collects twenty-three stories from Waterman’s thirty-year career that show the evolution of the adventurer’s career and work, from ducking avalanches near the Gulf of Alaska, to searching for the most pristine tundra on the continent, and from writing haiku on Denali in the depth of winter to decrying oil development in the Arctic National Wildlife Refuge. Ninety-six spectacular photographs taken by Waterman during his expeditions lend a broader context and allow readers to fully understand his heartfelt argument for protecting these places. Whether active, aspiring, or just armchair adventurers, readers will be inspired by Waterman’s daring spirit.
African American sprinters Tommie Smith and John Carlos protesting racial segregation in the United States in 1968. Hitler watching the Berlin Olympics in 1936. Michael Phelps’ photo finish in the 100-meter butterfly to win his seventh of a record eight medals in 2008. Since its creation in 1896, the Olympic Games have produced iconic images such as these, from the second the Olympic flame is lit at the lavish opening ceremony to the moment that same flame is extinguished at its close. As billions across the globe watch this showcase of fitness, strength, and skill, few understand how the pictorial legacy of the Games continues to shape the way the events are viewed today.
Olympic Visions explores how painters and sculptors, photographers and filmmakers, and architects and designers have helped to affect the consciousness of spectators around the world. Mike O’Mahony describes and analyzes images such as documentary photographs and posters made of the Olympics throughout history. He also looks at the many special objects, including coins, medals, and sculptures, that have been made to commemorate the games. His detailed insights into the world of Olympic artifacts, combined with the beautiful illustrations included here, present a crucial addition to our understanding of the games and the way we watch them.
With the next Olympic Games beginning in London in July, Olympic Visions will be an essential companion to viewers tuning in to cheer on their national teams to triumph and glory.
Walter Benjamin’s “Critique of Violence,” widely considered his final word on law, proposes that all manifestations of law are false stand-ins for divine principles of truth and justice that are no longer available to human beings. However, he also suggests that we must have law—we are held under a divine sanction that does not allow us to escape our responsibilities. James R. Martel argues that this paradox is resolved by considering that, for Benjamin, there is only one law that we must obey absolutely—the Second Commandment against idolatry. What remains of law when its false bases of authority are undermined would be a form of legal and political anarchism, quite unlike the current system of law based on consistency and precedent.
Martel engages with the ideas of key authors including Alain Badiou, Immanuel Kant, and H.L.A. Hart in order to revisit common contemporary assumptions about law. He reveals how, when treated in constellation with these authors, Benjamin offers a way for human beings to become responsible for their own law, thereby avoiding the false appearance of a secular legal practice that remains bound by occult theologies and fetishisms.
Lange's examination of the fights that led to the ratification of the Nineteenth Amendment in 1920 reveals the power of images to change history.
For as long as women have battled for equitable political representation in America, those battles have been defined by images—whether illustrations, engravings, photographs, or colorful chromolithograph posters. Some of these pictures have been flattering, many have been condescending, and others downright incendiary. They have drawn upon prevailing cultural ideas of women’s perceived roles and abilities and often have been circulated with pointedly political objectives.
Picturing Political Power offers perhaps the most comprehensive analysis yet of the connection between images, gender, and power. In this examination of the fights that led to the ratification of the Nineteenth Amendment in 1920, Allison K. Lange explores how suffragists pioneered one of the first extensive visual campaigns in modern American history. She shows how pictures, from early engravings and photographs to colorful posters, proved central to suffragists’ efforts to change expectations for women, fighting back against the accepted norms of their times. In seeking to transform notions of womanhood and win the right to vote, white suffragists emphasized the compatibility of voting and motherhood, while Sojourner Truth and other leading suffragists of color employed pictures to secure respect and authority. Picturing Political Power demonstrates the centrality of visual politics to American women’s campaigns throughout the nineteenth and early twentieth centuries, revealing the power of images to change history.
Between 1945 and 1961, an estimated 2.5 million people fled East Germany in search of the political and economic freedom offered by West Germany. To thwart this tide of defections, on the morning of August 13, 1961, hundreds of East German troops began erecting the Berlin wall—a barrier that would take nearly twenty years to complete and would eventually span 166 kilometers. In Postcards from Checkpoint Charlie, the Bodleian Library assembles a stunning collection of images to document the wall’s impact worldwide.
The postcards in this fascinating volume trace the development of the wall—from its beginnings as a simple stretch of barbed wire to the daunting final structure made of concrete and containing over 300 watchtowers. The images capture scenes of tension and urgency, such as those at Checkpoint Charlie, where we see Allied and East German soldiers coldly observing one another through binoculars. Others document the wall’s ties with American history, including pictures of John F. Kennedy in 1963 when he declared his solidarity with all Berliners and a picture of Ronald Regan when he implored Mikhail Gorbachev to tear down the wall. Also included are images from the toppling of the wall, when thousands of joyful East Germans realized the fulfillment of their personal dreams and marked the conclusion of the cold war.
An intimate look at one of the most visible manifestations of the postwar divide, Portraits from Checkpoint Charlie presents a key location in twentieth-century history through the eyes of those on the scene.
"Art and architecture are mirrors of a society. They reflect the state of its values, especially in times of crisis or transition." Upon this premise Paul Zanker builds an interpretation of Augustan art as a visual language that both expressed and furthered the transformation of Roman society during the rule of Augustus Caesar. The Power of Images in the Age of Augustus illustrates how the establishment of monarchy under Augustus Caesar led to the creation of a new system of visual imagery that reflects the consciousness of this transitional age.
"This learned and heavy volume should be placed on the shelves of every art historical library."—E. H. Gombrich, New York Review of Books
"This is an engaged and passionate work by a writer with powerful convictions about art, images, aesthetics, the art establishment, and especially the discipline of art history. It is animated by an extraordinary erudition."—Arthur C. Danto, The Art Bulletin
"Freedberg's ethnographic and historical range is simply stunning. . . . The Power of Images is an extraordinary critical achievement, exhilarating in its polemic against aesthetic orthodoxy, endlessly fascinating in its details. . . . This is a powerful, disturbing book."—T. J. Jackson Lears, Wilson Quarterly
"Freedberg helps us to see that one cannot do justice to the images of art unless one recognizes in them the entire range of human responses, from the lowly impulses prevailing in popular imagery to their refinement in the great visions of the ages."—Rudolf Arnheim, Times Literary Supplement
Chronicling one of the greatest and most popular national cinemas, Republic of Images traces the evolution of French filmmaking from 1895—the year of the debut of the Cinematographe in Paris—to the present day. Alan Williams offers a unique synthesis of history, biography, aesthetics and film theory. He brings to life all of the major directors, setting before us the cultures from which they emerged, and sheds new light on the landmark films they created. He distills what is historically and artistically unique in each of their careers and reveals what each artist has in common with the forebears and heirs of the craft.
Within the larger story of French cinema, Williams examines the treasury of personal expression, social commentary, and aesthetic exploration that France has produced so consistently and exported so well. It is the tale of an industry rife with crises, and Williams offers a superb narrative of the economic, political, and social forces that have shaped its century-long history. He provides biographical sketches of filmmakers from the early pioneers of the silent era such as Louis Lumière and Alice Guy to modern directors such as Louis Malle, Claude Chabrol, and François Truffaut. Some of their careers, he shows, exemplify the significant contributions individuals made to the development of French fllmmaking; others yield illuminating evidence of the problems and opportunities of a whole generation of filmmakers. Throughout, he presents critical analyses of significant films, from The Assassination of the Duc de Guise (1908) to works by the post–nouvelle vague directors.
Williams captures the formal and stylistic developments of film in France over nearly one hundred years. Free of cant and jargon, Republic of Images is the best general account available of the rich interplay of film, filmmaker, and society. It will delight both general reader and student, as well as the viewer en route to the video store.
A rigorous and imaginative inquiry into rhythm’s vital importance for film and the moving image
Focusing attention on a concept much neglected in the study of film, The Rhythm of Images opens new possibilities for thinking about expanded perception and idiosyncratic modes of being. Author Domietta Torlasco engages with both philosophy and cinema to elaborate a notion of rhythm in its pre-Socratic sense as a “manner of flowing”—a fugitive mode that privileges contingency and calls up the forgotten fluidity of forms. In asking what it would mean to take this rhythm as an ontological force in its own right, she creatively draws on thinkers such as Giorgio Agamben, Roland Barthes, Gilles Deleuze, and Luce Irigaray. Rhythm emerges here as a form that eludes measure, a key to redefining the relation between the aesthetic and the political, and thus a pivotal means of resistance to power.
Working with constellations of films and videos by international artists—from Michelangelo Antonioni, Jean-Luc Godard, and David Lynch to Harun Farocki and Victor Burgin, among others—Torlasco brings to bear on them her distinctive concept of rhythm with respect to four interrelated domains: life, labor, memory, and medium. With innovative readings of artworks and critical texts alike, The Rhythm of Images fashions a vibrant, provocative theory of rhythm as the excess or potential of perception.
Ultimately, the book reconceives the relation between rhythm and the world-making power of images. The result is a vision of cinema as a hybrid medium endowed with the capacity not only to reinvent corporeal boundaries but also to find new ways of living together.
In six interdisciplinary and wide-ranging essays, Ludmilla Jordanova analyzes scientific and medical representations of gender in advertising, paintings, film, literature, sculpture, wax anatomical models, and professional and popular writing about the biological and medical sciences during the eighteenth and nineteenth centuries. She demonstrates that gender as metaphor has had an exceptionally vigorous life in the history of natural knowledge.
For many baseball fans, a major league game is a flickering image on a television screen or a story in a newspaper. Real baseball is played in their hometown, in a ballpark that seats 5,000 fans, not 50,000. The players wear uniforms like the ones seen on television, but their names are not household words—unless it happens to be summer and you are living in Bluefield, West Virginia, or Cedar Rapids, Iowa, or Batavia, New York.
In 1993, ex-New Yorker Hank Davis put a successful career in psychology and music journalism on hold and went off on a loving odyssey through twenty-eight host towns in search of minor league baseball. Writing with beguiling charm and a firm knowledge of the game, he traveled the back roads of small-town Canada and America and found more than he bargained for: a wondrous cast of characters on the field, in the stands, and on the way to the ballpark. Davis recorded them with his splendid, incisive prose and his remarkable photographs. Along the way he encountered not only the baseball stars of the future, like Derek Jeter, Terrell Wade, and Tim Crabtree, but also a host of fascinating unknowns and longshots. They, too, have stories to tell that will not appear on the stat sheets.
With infectious energy, Davis also looked beyond the players. There are coaches, men in their forties and beyond, making arduous bus trips with players half their age. There are assistant general managers happy to scrub toilets and paint dugouts just to be close to the game. Kids sell Cracker Jacks in Bluefield, and grown-ups operate the mechanical bull at Durham Athletic Park.
Davis finds the small-town setting a universe unto itself. Within it, minor league baseball is lost in a time warp. Unabashedly unsophisticated, it has all the quirky charm of a traveling carnival—full of hawkers and gawkers and the unaffected simplicity of a concert in the park on a hot July night. Davis' full account of his baseball journey is rich with detail inside and outside the ballpark.
Studies in American Culture was first published in 1960. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
The last decade has seen a revolutionary interest at colleges and universities both in this country and abroad in the field known variously as American Studies, American Civilization, or American Culture. Now the time is ripe for a critical look at the field, to assess its intellectual and cultural problems, and to anticipate its future. This is what the contributors to this volume do, through thoughtful discussions and interesting examples of studies in American ideas and images.
There are sixteen contributors, members of the faculties of a number of colleges and universities, and representatives of various specialties such as literary history and criticism; social, intellectual, and aesthetic history; political, economic, and social theory.
In the introductory chapter, Henry Nash Smith discusses the problems of method which confront scholars in American Studies. The chapters which follow contain outstanding examples of scholarship in American Studies. The authors are Reuel Denney, John W. Ward, Mulford Q. Sibley, David R. Weimer, William Van O'Connor, Bernard Bowron, Leo Marx, Arnold Rose, Allen Tate, David W. Noble, J. C. Levenson, Joseph J. Kwiat, Theodore C. Blegen, and Charles H. Foster. In the final chapter, Robert E. Spiller looks at the past, present, and future of American Studies.
All the contributors as well as the editors are now or have been associated with the American Studies program at the University of Minnesota and with the late Tremaine McDowell, chairman of the program for thirteen years and a pioneer in the development of the discipline.
The book will be useful to anyone interested in American thought, culture, and society, to those conducting American Studies programs, and to their students.
In the Middle Ages everyone, it seems, entered into some form of marriage. Nuns -- and even some monks -- married the bridegroom Christ. Bishops married their sees. The popes, as vicars of Christ, married the universal Church. And lay people, high and low, married each other. What united these marriages was their common reference to the union of Christ and Church. Christ™'s marriage to the Church was the paradigmatic symbol in which all the other forms of union participated, in superior or inferior ways. This book grapples with questions of the impact of marriage symbolism on both ideas and practice in the early Christian and medieval period. In what ways did marriage symbolism -- with its embedded concepts of gender, reproduction, household, and hierarchy -- shape people™'s thought about other things, such as celibacy, ecclesial and political relations, and devotional relations? How did symbolic cognition shape marriage itself? And how, if at all, were these two directions of thinking symbolically about marriage related?
During the Renaissance, artists and illustrators developed the representation of truthful three-dimensional forms into a highly skilled art. As reliable illustrations of three-dimensional subjects became more prevalent, they also influenced the ways in which disciplines developed: architecture could be communicated much more clearly, mathematical concepts and astronomical observations could be quickly relayed, and observations of the natural world moved towards a more realistic method of depiction.
Through essays on some of the world’s greatest artists and thinkers—such as Leonardo da Vinci, Luca Pacioli, Andreas Vesalius, Johann Kepler, Galileo Galilei, William Hunter, and many more—this book tells the story of how of we learned to communicate three-dimensional forms on the two-dimensional page. It features some of Leonardo da Vinci’s ground-breaking drawings now in the Royal Collections and British Library as well as extraordinary anatomical illustrations, early paper engineering such as volvelles and flaps, beautiful architectural plans, and even views of the moon. With in-depth analysis of more than forty manuscripts and books, Thinking 3D also reveals the impact that developing techniques had on artists and draftsmen throughout time and across space, culminating in the latest innovations in computer software and 3D printing.
Images play a key role in political communication and the ways we come to understand the power structures that shape society. Nowhere is this more evident than in the process of empire building, in which visual language has long been a highly effective means of overpowering another culture with one’s own values and beliefs.
With Visualizing Portuguese Power, Urte Krass and a group of contributors examine the visual arts within the Portuguese empire between the sixteenth and eighteenth centuries. With a focus on the political appropriation of Portuguese-Christian art within the colonies, the book looks at how these and other objects could be staged to generate new layers of meaning. Beyond religious images, the book shows that the appropriation of the visual arts to reinforce important political concepts also took place in the outside the religious sphere, including adaptations of local artistic customs to reinforce Portuguese power.
War Culture and the Contest of Images analyzes the relationships among contemporary war, documentary practices, and democratic ideals. Dora Apel examines a wide variety of images and cultural representations of war in the United States and the Middle East, including photography, performance art, video games, reenactment, and social media images. Simultaneously, she explores the merging of photojournalism and artistic practices, the effects of visual framing, and the construction of both sanctioned and counter-hegemonic narratives in a global contest of images.
As a result of the global visual culture in which anyone may produce as well as consume public imagery, the wide variety of visual and documentary practices present realities that would otherwise be invisible or officially off-limits. In our digital era, the prohibition and control of images has become nearly impossible to maintain. Using carefully chosen case studies—such as Krzysztof Wodiczko’s video projections and public works in response to 9/11 and the wars in Iraq and Afghanistan, the performance works of Coco Fusco and Regina Galindo, and the practices of Israeli and Palestinian artists—Apel posits that contemporary war images serve as mediating agents in social relations and as a source of protection or refuge for those robbed of formal or state-sanctioned citizenship.
While never suggesting that documentary practices are objective translations of reality, Apel shows that they are powerful polemical tools both for legitimizing war and for making its devastating effects visible. In modern warfare and in the accompanying culture of war that capitalism produces as a permanent feature of modern society, she asserts that the contest of images is as critical as the war on the ground.
War has always been close to the centre of British culture, but never more so than in the period since 1850. Warrior Nation explores the way in which images of battle, both literary and visual, have been constructed in British fiction and popular culture since this time. The rise of war reporting has helped to shape a society fascinated by conflict, and the development of mass communications has aided in the creation of mass-produced martial heroes and the relation of epic adventures for political ends. To achieve national goals, the notion of war has been promoted as an activity of high adventure and chivalrous enterprise and as a rite of passage to manhood. Using a wide range of media, Michael Paris focuses on how war has been "sold" to boys and young men and examines the "warrior" as a masculine ideal.
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
In recent decades, contemporary art has displayed an ever increasing and complicated fascination with the cinema—or, perhaps more accurately, as D. N. Rodowick shows, a certain memory of cinema. Contemporary works of film, video, and moving image installation mine a vast and virtual archive of cultural experience through elliptical and discontinuous fragments of remembered images, even as the lived experience of film and photography recedes into the past, supplanted by the digital.
Rodowick here explores work by artists such as Ken Jacobs, Ernie Gehr, Victor Burgin, Harun Farocki, and others—artists who are creating forms that express a new historical consciousness of images. These forms acknowledge a complex relationship to the disappearing past even as they point toward new media that will challenge viewers’ confidence in what the images they see are or are becoming. What philosophy wants from images, Rodowick shows, is to renew itself conceptually through deep engagement with new forms of aesthetic experience.