177 books match the query 'Themes, motives' and 6 start with h

cover of Haunting Without Ghosts: Spectral Realism in Colombian Literature, Film, and Art

Haunting Without Ghosts

Spectral Realism in Colombian Literature, Film, and Art

By Juliana Martínez

University of Texas Press, 2020

Winner, William M. LeoGrande Prize, Center for Latin American and Latino Studies at American University, 2022

For half a century, cultural production in Colombia has labored under the weight of magical realism—above all, the works of Gabriel García Márquez—where ghosts told stories about the country’s violent past and warned against a similarly gruesome future.

Decades later, the story of violence in Colombia is no less horrific, but the critical resources of magical realism are depleted. In their wake comes "spectral realism." Juliana Martínez argues that recent Colombian novelists, filmmakers, and artists—from Evelio Rosero and William Vega to Beatriz González and Erika Diettes—share a formal and thematic concern with the spectral but shift the focus from what the ghost is toward what the specter does. These works do not speak of ghosts. Instead, they use the specter to destabilize reality by challenging the authority of human vision and historical chronology.

By introducing the spectral into their work, these artists decommodify well-worn modes of representing violence and create a critical space from which to seek justice for the dead and disappeared. A Colombia-based study, Haunting without Ghosts brings powerful insight to the politics and ethics of spectral aesthetics, relevant for a variety of sociohistorical contexts.

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cover of Herndon Davis: Painting Colorado History, 1901–1962

Herndon Davis

Painting Colorado History, 1901–1962

Craig Leavitt

University Press of Colorado, 2016

Herndon Davis, an artist and journalist, dedicated his life to depicting the major landmarks and personalities of Colorado in watercolor, oil, and pen and pencil. Best known for the Face on the Barroom Floor, the portrait of an alluring woman on the floor of the Teller House Hotel barroom in Central City, Colorado, Davis was a prolific artist whose murals, sketches, and portraits can be found all over the state, from the Sage Room of the Oxford Hotel on Seventeenth Street to the Denver Press Club poker room. Despite his numerous contributions, his work was never showcased or exhibited in the traditional manner.

In this biography and first-ever collection featuring most of his life’s work, authors Craig Leavitt and Thomas J. Noel provide a detailed look into Davis’s life and career and include a catalog of almost 200 of his paintings and drawings from Colorado and around the country. They also put his work into the broader context of the time through comparison with such contemporary Colorado artists as Muriel Sibell Wolle, Allen Tupper True, Charles Waldo Love, and Juan Menchaca.

Published to coincide with the Denver Public Library’s 2016 exhibition—the only public display of Davis’s work to date—and bringing deserved attention to this overlooked figure, Herndon Davis: Painting Colorado History, 1901-1962 is an important contribution to Colorado’s cultural history.

This book and the accompanying exhibit are sponsored by the Western History/Genealogy Department at the Denver Public Library.

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cover of Hidden in Plain Sight: Concealing Enslavement in American Visual Culture

Hidden in Plain Sight

Concealing Enslavement in American Visual Culture

Rachel Stephens

University of Arkansas Press, 2023

In the decades leading up to the Civil War, abolitionists crafted a variety of visual messages about the plight of enslaved people, portraying the violence, familial separation, and dehumanization that they faced. In response, proslavery southerners attempted to counter these messages either through idealization or outright erasure of enslaved life.
 
In Hidden in Plain Sight: Concealing Enslavement in American Visual Culture, Rachel Stephens addresses an enormous body of material by tracing themes of concealment and silence through paintings, photographs, and ephemera, connecting long overlooked artworks with both the abolitionist materials to which they were responding and archival research across a range of southern historical narratives.
 
Stephens begins her fascinating study with an examination of the ways that slavery was visually idealized and defended in antebellum art. She then explores the tyranny—especially that depicted in art—enacted by supporters of enslavement, introduces a range of ways that artwork depicting slavery was tangibly concealed, considers photographs of enslaved female caretakers with the white children they reared, and investigates a printmaker’s confidential work in support of the Confederacy. Finally, she delves into an especially pernicious group of proslavery artists in Richmond, Virginia.
 
Reading visual culture as a key element of the antebellum battle over slavery, Hidden in Plain Sight complicates the existing narratives of American art and history.
 
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cover of History and Legend: Ideas and Images in the Ming Historical Novels

History and Legend

Ideas and Images in the Ming Historical Novels

Shelley Hsueh-lun Chang

University of Michigan Press, 1990

History, according to the Confucian tradition, was a “comprehensive mirror” for aid in government: it was part of the great Way (ta-tao), the tradition of the governing elite. Fiction, which was originally referred to as “the talk of the streets,” belonged to the small Way (hsia-tao), the tradition of the governed masses. In History and Legend: Ideas and Images in the Ming Historical Novels, Shelly Hsueh-Iun Chang maintains that the historical novels blended legends with historical fact, making them a medium of interplay between the elite and popular traditions.
 
This combination of influences in the historical novels was especially significant during the Ming dynasty because of the rise of both urban culture of great refinement and diversity and a popularizing vernacular designed to promote learning among all people. These two exuberant movements came together in the historical novel to propagate the difficult and complex Official Histories of the governing elite, as well as to adapt unofficial histories and fictitious narratives, thus opening the way to the influence of the common people in literature.
 
This book is the first study of the novels from a historical standpoint. Combining traditional historical research with new source material of the historical novels and with analytical strategies, Chang creates a three-dimensional picture of the “historical world” of the Ming people. Chang compares issues of the dynastic cycle and political legitimacy of a regime, human ambitions and immortality, ethics in the relations between historical personages and legendary heroes, ideals of government and grandiose imperial institutions, and supernatural power and the justice of history that emerged from the historical novels with those in the Official Histories and Confucian canon.
 
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cover of Hitchcock's People, Places, and Things

Hitchcock's People, Places, and Things

John Bruns

Northwestern University Press, 2019

Hitchcock’s People, Places, and Things argues that Alfred Hitchcock was as much a filmmaker of things and places as he was of people. Drawing on the thought of Bruno Latour, John Bruns traces the complex relations of human and nonhuman agents in Hitchcock’s films with the aim of mapping the Hitchcock landscape cognitively, affectively, and politically. Yet this book does not promise that such a map can or will cohere, for Hitchcock was just as adept at misdirection as he was at direction. Bearing this in mind and true to the Hitchcock spirit, Hitchcock’s People, Places, and Things anticipates that people will stumble into the wrong places at the wrong time, places will be made uncanny by things, and things exchanged between people will act as (not-so) secret agents that make up the perilous landscape of Hitchcock’s work.

This book offers new readings of well-known Hitchcock films, including The Lodger, Shadow of a Doubt, Psycho, The Birds, and Marnie, as well as insights into lesser-discussed films such as I Confess and Family Plot. Additional close readings of the original theatrical trailer for Psycho and a Hitchcock-directed episode of Alfred Hitchcock Presents expand the Hitchcock landscape beyond conventional critical borders. In tracing the network of relations in Hitchcock’s work, Bruns brings new Hitchcockian tropes to light. For students, scholars, and serious fans, the author promises a thrilling critical navigation of the Hitchcock landscape, with frequent “mental shake-ups” that Hitchcock promised his audience.
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cover of Hold It Against Me: Difficulty and Emotion in Contemporary Art

Hold It Against Me

Difficulty and Emotion in Contemporary Art

Jennifer Doyle

Duke University Press, 2013

In Hold It Against Me, Jennifer Doyle explores the relationship between difficulty and emotion in contemporary art, treating emotion as an artist's medium. She encourages readers to examine the ways in which works of art challenge how we experience not only the artist's feelings, but our own. Discussing performance art, painting, and photography, Doyle provides new perspectives on artists including Ron Athey, Aliza Shvarts, Thomas Eakins, James Luna, Carrie Mae Weems, and David Wojnarowicz. Confronting the challenge of writing about difficult works of art, she shows how these artists work with feelings as a means to question our assumptions about identity, intimacy, and expression. They deploy the complexity of emotion to measure the weight of history, and to deepen our sense of where and how politics happens in contemporary art.

Doyle explores ideologies of emotion and how emotion circulates in and around art. Throughout, she gives readers welcoming points of entry into artworks that they may at first find off-putting or confrontational. Doyle offers new insight into how the discourse of controversy serves to shut down discussion about this side of contemporary art practice, and counters with a critical language that allows the reader to accept emotional intensity in order to learn from it.

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