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1
The quintessence of the animate and inanimate: A discourse on the Holy Dharma. KDK Publications, 1985.
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2
Grgic, Ana. Early Cinema, Modernity and Visual Culture. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463728300.
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At the end of the nineteenth century, the Balkans were animated by cultural movements and socio-political turmoil with the onset of the collapse of the empires. Around the same period, the proliferation of print media and the arrival of moving images gradually transformed urban life, and played an important role in the creation of national and regional cultures. Based on archival research that explores previously overlooked footage and early press materials, Early Cinema, Modernity and Visual Culture: The Imaginary of the Balkans is the first study on early cinema in the region from a transnational and cross-cultural perspective. This book investigates how the unique geopolitical positioning of the Balkan space and the multicultural identity of its communities influenced and shaped visual culture and the development of early cinema until World War I. It highlights how early moving images and foreign film productions contributed to the construction of Balkanist and semi-colonial discourses. Building on approaches such as ‘new cinema history’, ‘vernacular modernity’ and ‘polycentric multiculturalism’ to counter Eurocentric modernity paradigms and to reframe hierarchical relations between centres and peripheries, this monograph adopts an alternative methodology for interstitial spaces. Using the notion of the haptic, it examines the relationship between the new medium and regional visual culture. By doing so, it establishes new connections between moving image artefacts and print media, early film practitioners and intellectuals, the socio-cultural context and cultural responses to the new visual medium in the Balkan region.
3
Hadfield, Andrew. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198789468.003.0001.
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There were few subjects that animated people in early modern Europe more than lying. The subject is endlessly represented and discussed in literature; treatises on rhetoric and courtiership; theology, philosophy, and jurisprudence; travel writing; pamphlets and news books; science and empirical observation; popular culture, especially books about strange, unexplained phenomena; and, of course, legal discourse. For many, lying could be controlled and limited even if not eradicated; for others, lying was a necessary element of a casuistical tradition, liars balancing complicated issues and short-term pragmatic considerations in the expectation of solving more problems than they caused through their deceit....
4
Rohman, Carrie. Strange Prosthetics: Rachel Rosenthal’s Rats and Rings. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190604400.003.0005.
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Rosenthal’s book, Tatti Wattles: A Love Story, reveals her aesthetic practice itself to be animated by the discourse of species. The drawings in this text, especially, suggest that Rosenthal’s self-identification as an artist is mediated by animality. The images also efface the human yet “en-face” the rat, de-emphasizing human power and privilege. These images are also marked by Rosenthal’s “auto-graphy” as a mover or dancer, by an alimentary tropology highlighting the body, by the concept of mediation, and by the taming of human exceptionalism. The argument follows that all of these elements in Rosenthal’s view of her artistic practice, self, and process are mediated by animality, and they challenge our received notions of art as a centrally human practice.
5
Holliday, Christopher. The Computer-Animated Film. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427883.001.0001.
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The Computer-Animated Film: Industry, Style and Genre is the first academic work to examine the genre identity of the computer-animated film, a global phenomenon of popular cinema that first emerged in the mid-1990s at the intersection of feature-length animated cinema and Computer-Generated Imagery (CGI). Widely credited for the revival of feature-length animated filmmaking within contemporary Hollywood, computer-animated films are today produced within a variety of national contexts and traditions. Covering thirty years of computer-animated film history, and analysing over 200 different examples, The Computer-Animated Film: Industry, Style and Genre argues that this international body of work constitutes a unique genre of mainstream cinema. It applies, for the very first time, genre theory to the landscape of contemporary digital animation, and identifies how computer-animated films can be distinguished in generic terms. This book therefore asks fundamental questions about the evolution of film genre theory within both animation and new media contexts. Informed by wider technological discourses and the status of animation as an industrial art form, The Computer-Animated Film: Industry, Style and Genre not only theorises computer-animated films through their formal properties, but connects elements of film style to animation practice and the computer-animated film’s unique production contexts.
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Rogers, Holly, and Jeremy Barham, eds. The Music and Sound of Experimental Film. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.001.0001.
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This book explores music- and sound-image relationships in non-mainstream screen repertoire from the earliest examples of experimental audiovisuality to the most recent forms of expanded and digital technology. It challenges presumptions of visual primacy in experimental cinema and rethinks screen music discourse in light of the aesthetics of non-commercial imperatives. Several themes run through the book, connecting with and significantly enlarging upon current critical discourse surrounding realism and audibility in the fiction film, the role of music in mainstream cinema, and the audiovisual strategies of experimental film. The contributors investigate repertoires and artists from Europe and the United States through the critical lenses of synchronicity and animated sound, interrelations of experimentation in image and sound, audiovisual synchresis and dissonance, experimental soundscape traditions, found-footage film, remediation of pre-existent music and sound, popular and queer sound cultures, and a diversity of radical technological and aesthetic tropes in film media traversing the work of early pioneers such as Walter Ruttmann and Len Lye, through the mid-century innovations of Norman McLaren, Stan Brakhage, Lis Rhodes, Kenneth Anger, Andy Warhol, and studio collectives in Poland, to latter-day experimentalists John Smith and Bill Morrison, as well as the contemporary practices of VJing.
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Secunda, Shai. The Talmud's Red Fence. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198856825.001.0001.
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Rituals governing menstruation were an important aspect of Babylonian Jewish life, and they took shape within the context of Sasanian Mesopotamia, where neighboring religious communities were similarly animated by menstruation and its assumed impurity. The Talmud’s Red Fence: Menstruation and Difference in Babylonian Judaism and its Sasanian Context examines how the Talmudic rules of menstruation functioned within the dynamic space of Sasanian Mesopotamia. It argues that difference and differentiation between pure and impure, women and men, gentile and Jew, and the Babylonian and Palestinian Talmuds drove the development and observance of the Talmudic discourse of menstrual impurity, which influences Jewish life to this day. The Talmud’s Red Fence exemplifies Irano-Talmudic research—the effort to understand the Babylonian Talmud within its Sasanian Iranian context. To this end, it reads the Talmud alongside relevant Zoroastrian, Mandaic, and Syriac Christian texts to shed light on this previously overlooked aspect of late antique religious life. The book shows how the Talmudic menstrual rituals developed in conversation with other Sasanian religious communities, especially with Zoroastrians, who had a developed a similarly legalistic discourse of menstrual purity. And it considers the challenges of using an androcentric text to reconstruct a feature of late antique Jewish life that is intimately connected to the female experience.
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Sarit, Kattan Gribetz. Time and Difference in Rabbinic Judaism. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691192857.001.0001.
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The rabbinic corpus begins with a question — “when?” — and is brimming with discussions about time and the relationship between people, God, and the hour. This book explores the rhythms of time that animated the rabbinic world of late antiquity, revealing how rabbis conceptualized time as a way of constructing difference between themselves and imperial Rome, Jews and Christians, men and women, and human and divine. Each chapter explores a unique aspect of rabbinic discourse on time. The book shows how the ancient rabbinic texts artfully subvert Roman imperialism by offering “rabbinic time” as an alternative to “Roman time.” It examines rabbinic discourse about the Sabbath, demonstrating how the weekly day of rest marked “Jewish time” from “Christian time.” The book looks at gendered daily rituals, showing how rabbis created “men's time” and “women's time” by mandating certain rituals for men and others for women. The book delves into rabbinic writings that reflect on how God spends time and how God's use of time relates to human beings, merging “divine time” with “human time.” Finally, it traces the legacies of rabbinic constructions of time in the medieval and modern periods. In doing so, the book sheds new light on the central role that time played in the construction of Jewish identity, subjectivity, and theology during this transformative period in the history of Judaism.
9
Lodru and Venerable Larma Lodo. Quintessence of the Animate and Inanimate: A Discourse on the Holy Dharma. Kdk Pubns, 1985.
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10
Stavrakakis, Yannis. Populism and Hegemony. Edited by Cristóbal Rovira Kaltwasser, Paul Taggart, Paulina Ochoa Espejo, and Pierre Ostiguy. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780198803560.013.26.
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How can theories of hegemony advance our understanding of populism? Against the background of Gramsci’s work, this chapter draws on Laclau, Mouffe, and other theoretical resources in order to illuminate what shapes and animates populist discourse, what overdetermines its hegemonic potential. We focus on populist articulatory practices as political interventions operating within a broader socio-symbolic as well as psycho-social terrain that both facilitates their formation and—at the same time—limits their scope. The chapter highlights thus the need to take into account the broader terrain of populism/anti-populism antagonisms in order to effectively identify and inquire into the political performance and hegemonic effects of populist movements. Finally, a series of empirical examples are used to illustrate the argument.
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Ramalho, Felipe de Castro. A representação do diverso no cinema de animação. Brazil Publishing, 2020. http://dx.doi.org/10.31012/978-65-5861-217-9.
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This book is the result of a doctoral research that sought to analyze the characters of the industrial animation cinema that present characterizations, mannerism, behavior and sexual stereotypes, which create an unknown idea about their sexualities. Animated films, often considered an exclusive product for children, do not directly address sexualities that differ from heteronormativity. For this reason, we call “diverse” those possible characters that are different from the norms of standard heterosexuality, in order to map, analyze, quantify and qualify the purpose of these representations. In the first moment, the concepts of the theoretical Stuart Hall on representational practices capable of producing ideologies, discourses and signs are applied in animation cinema and associated with anthropomorphism, which we believe to be a camouflaged way of representing such characters. Then, we characterize the “diverse” and the reasons for choosing the term, so that we can propose a debate about cinema as an instance capable of inscribing gender norms and how animation cinema acts as a media capable of proposing a cultural specific pedagogy. Then, based on the principle of similarity and difference, we mapped the “diverse” characters present in the history of animation cinema at the main North American studios: Disney, Pixar and DreamWorks. After this process, we analyze and qualify the intention of the representations of the “diverse” in the characters of animated films. Therefore, do not be alarmed when faced with classic characters such as Ursula, Genius, Scar, Timon, Pumbaa, Edna Mode, King Julien and many others who present different facets of sexuality.
12
Miller, Giulia. Studying Waltz with Bashir. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325154.001.0001.
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On its release in 2008, Ari Folman's animated documentary Waltz with Bashir was heralded as a brilliant and original exploration of trauma, and trauma's impact on memory and the recording of history. But it is surprising that although the film is seen through the eyes of one particular soldier, a viewpoint portrayed using highly experimental forms of animation, this has not prevented Waltz with Bashir from being regarded as both an “autobiographical” and “honest” account of the director's own experiences in the 1982 Lebanon War. In fact, the film won several documentary awards, and even those critics focusing on the representation of trauma suggest that this trauma must be authentic. In this sense, it is the documentary form rather than the animation that has had the most influence upon critics. As this book shows, it is the tension between the two forms that makes the film so complex and interesting, allowing for multiple themes and discourses to coexist, including Israel's role during the Lebanon War and the impact of trauma upon narrative, but also the representation of Holocaust memory and its role in the formation of Israeli identity. In addition to these themes that coexist by virtue of the film's unusual animated documentary format, Waltz with Bashir can also be discussed in relation to a broad range of contexts; for example, the representation of war in film, the history of Israeli Holocaust cinema, and recent trends in experimental animation, such as Richard Linklater's Waking Life (2001) and A Scanner Darkly (2006), as well as Folman's most recent live action/animation work The Congress (2013).
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Bingham, Adam. Autumn Afternoons. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190254971.003.0011.
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This chapter explores the intertextual place and presence of Ozu Yasujiro in the 2004 comedy drama Dogs and Cats by the first-time female director Iguchi Nami. It considers how Ozu as well as the genre, the shomingeki (middle-class home drama) has frequently figured as a marker or signpost of a particular era of cinema, a sociopolitical juncture and/or an attitude to gender in Japan. Taking this intertextuality as a point of departure, the chapter explores how such a presence animates meaning in Iguchi’s film; it analyzes style and structure as a means of elucidating how this young filmmaker distinguishes both herself and the world of her characters through implicit comparison with Ozu. Moreover, it examines how its narrative—about two young women living together under fractious conditions—contributes to discourse on Japanese models of feminisuto filmmaking, the country’s specific sociocultural model of feminism.
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Herring, Ronald J. How is Food Political? Market, State, and Knowledge. Edited by Ronald J. Herring. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195397772.013.35.
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A political economy of food is, somewhat ironically, especially dependent on politics of ideas. Food as commodity certainly exhibits familiar forces of contention in political economy—the relative weights of interests contesting boundaries between state and market—but generates a distinctive politics for interrelated reasons. First, the urgency of food provisioning reflects biological necessity, not mere preference. Consequently, production and distribution animate a politics of security, rights, and social justice, and thereby special potential for collective action and contentious politics. Second, food engages deeply held cultural norms and ethical standards that transcend the politics of interest characteristic of less charged commodities. Finally, a looming sense of crisis and uncertainty in sustainability of global food production has made technical discourses dependent on expertise and science more indispensable but simultaneously more contentious—and transnational in scope. Expertise looms ever larger but has not depoliticized the production, consumption, and distribution of food.
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Mendelman, Lisa. Modern Sentimentalism. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198849872.001.0001.
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Modern Sentimentalism examines how American female novelists reinvented sentimentalism in the modernist period. Just as the birth of the modern woman has long been imagined as the death of sentimental feeling, modernist literary innovation has been understood to reject sentimental aesthetics. Modern Sentimentalism reframes these perceptions of cultural evolution. Taking up icons such as the New Woman, the flapper, the free lover, the New Negro woman, and the divorcée, this book argues that these figures embody aspects of a traditional sentimentality while also recognizing sentiment as incompatible with ideals of modern selfhood. These double binds equally beleaguer the protagonists and shape the styles of writers like Willa Cather, Edith Wharton, Anita Loos, and Jessie Fauset. ‘Modern sentimentalism’ thus translates nineteenth-century conventions of sincerity and emotional fulfillment into the skeptical, self-conscious modes of interwar cultural production. Reading canonical and underexamined novels in concert with legal briefs, scientific treatises, and other transatlantic period discourse, and combining traditional and quantitative methods of archival research, Modern Sentimentalism demonstrates that feminine feeling, far from being peripheral to twentieth-century modernism, animates its central principles and preoccupations.
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Frederiksen, Martin Demant, and Ida Harboe Knudsen, eds. Modern Folk Devils: Contemporary Constructions of Evil. Helsinki University Press, 2021. http://dx.doi.org/10.33134/hup-13.
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The devilish has long been integral to myths, legends, and folklore, firmly located in the relationships between good and evil, and selves and others. But how are ideas of evil constructed in current times and framed by contemporary social discourses? Modern Folk Devils builds on and works with Stanley Cohen’s theory on folk devils and moral panics to discuss the constructions of evil. The authors present an array of case-studies that illustrate how the notion of folk devils nowadays comes into play and animates ideas of otherness and evil throughout the world.Examining current fears and perceived threats, this volume investigates and analyzes how and why these devils are constructed. The chapters discuss how the devilish may take on many different forms: sometimes they exist only as a potential threat, other times they are a single individual or phenomenon or a visible group, such as refugees, technocrats, Roma, hipsters, LGBT groups, and rightwing politicians. Folk devils themselves are also given a voice to offer an essential complementary perspective on how panics become exaggerated, facts distorted, and problems acutely angled. Bringing together researchers from anthropology, sociology, political studies, ethnology, and criminology, the contributions examine cases from across the world spanning from Europe to Asia and Oceania.
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Hall, Dewey W., and Jillmarie Murphy, eds. Gendered Ecologies. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979046.001.0001.
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Gendered Ecologies: New Materialist Interpretations of Women Writers in the Long Nineteenth Century is comprised of a diverse collection of essays featuring analyses of literary women writers, ecofeminism, feminist ecocriticism, and the value of the interrelationships that exist among human, nonhuman, and nonliving entities as part of the environs. The book presents a case for the often-disregarded literary women writers of the long nineteenth century, who were active contributors to the discourse of natural history—the diachronic study of participants as part of a vibrant community interconnected by matter. While they were not natural philosophers as in the cases of Sir Isaac Newton, Robert Boyle, and Michael Faraday among others, these women writers did engage in acute observations of materiality in space (e.g., subjects, objects, and abjects), reasoned about their findings, and encoded their discoveries of nature in their literary and artistic productions. The collection includes discussions of the works of influential literary women from the long nineteenth century—Mary Wollstonecraft, Mary Shelley, Caroline Norton, Charlotte Brontë, George Eliot, Mary Elizabeth Braddon, Jane Johnston Schoolcraft, Margaret Fuller, Susan Fenimore Cooper, Celia Thaxter, Laura Ingalls Wilder, Francis Wright, and Lydia Maria Child—whose multi-directional observations of animate and inanimate objects in the natural domain are based on self-made discoveries while interacting with the environs.
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Lal, Vinay, ed. India and Civilizational Futures. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199499069.001.0001.
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India and Civilizational Futures is the second volume to emerge from the deliberations of the Backwaters Collective on Metaphysics and Politics, a group comprised largely of Indian scholars, writers, and intellectuals that was formed in late 2010 with the intent of considering how the intellectual and cultural resources of Indic civilization, and more broadly the Global South, might be deployed to introduce incommensurability and greater plurality into the world of modern knowledge systems. The members and friends of the Collective are animated by various passions: though some are interested in the decolonization of the university and in exploring other sites of learning, and others wish to put into serious question the most familiar categories that have informed humanistic inquiry and social science research, they are united both in their quest to engender an ecological plurality of knowledges and reinitiate metaphysics into the discourses of politics. The contributors to this volume offer perspectives on India’s past and intellectual traditions that suggest how we might liberate ourselves from the straightjackets of history, development, normal politics, the nation-state, and what globally passes for ‘common sense’ in various spheres of life and thought. While some papers engage with a few figures who have been critical in shaping India’s intellectual life, such as Kabir, Narayana Guru, Ambedkar, Tagore, and Gandhi, others bring into the limelight equally compelling if somewhat neglected figures such as Rahul Sankrityayan, M.G. Ranade, and T.R.V. Murti. Conceptual chapters on intercommunality, South Asian ideas of hospitality, and mnemocultural modes of learning complete the volume.
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Corran, Emily. Lying and Perjury in Medieval Practical Thought. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198828884.001.0001.
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Thought about lying and perjury became increasingly practical from the end of the twelfth century in Western Europe. At this time, a distinctive way of thinking about deception and false oaths appeared, which dealt with moral dilemmas and the application of moral rules in exceptional cases. It first emerged in the schools of Paris and Bologna, most notably in the Summa de Sacramentis et Animae Consiliis of Peter the Chanter. The tradition continued in pastoral writings of the thirteenth century, the practical moral questions addressed by theologians in universities in the second half of the thirteenth century, and in the Summae de Casibus Conscientiae of the late Middle Ages. This book argues that medieval practical ethics of this sort can usefully be described as casuistry—a term for the discipline of moral theology that became famous during the Counter-Reformation. This can be seen in the medieval origins of the concept of equivocation, an idea that was explored in medieval literature with varying degrees of moral ambiguity. From the turn of the thirteenth century, the concept was adopted by canon lawyers and theologians, as a means of exploring questions about exceptional situations in ethics. It has been assumed in the past that equivocation and the casuistry of lying was an academic discourse invented in the sixteenth century in order to evade moral obligations. This study reveals that casuistry in the Middle Ages was developed in ecclesiastical thought as part of an effort to explain how to follow moral rules in ambiguous and perplexing cases.