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Books on the topic 'Imagerie en direct'
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1
Provvidenza, Christine Frances. The impact of a self-directed imagery package on the imagery ability and imagery use of figure skaters. Ottawa: National Library of Canada, 2002.
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2
Wren, Jesse. The effects of directed and non-directed imagery on locus of control and subsequent performance. Sudbury, Ont: Laurentian University, 2005.
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3
Luciani, Joseph J. Healing your habits: Introducing directed imagination, a successful technique for overcoming addictive problems. San Diego, Calf: LuraMedia, 1990.
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4
Introduction To 3d Game Programming With Directx 11. Mercury Learning & Information, 2012.
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5
Satellite estimates of the direct radiative forcing of biomass burning aerosols over South America and Africa. [Washington, DC: National Aeronautics and Space Administration, 1997.
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6
Zeman, Sonja. Ut Pictura Poesis? The Poetics of Verbal Imagery. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190457747.003.0011.
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How can verbal-cued poetry be “visual,” “pictorial,” and “vivid”? This chapter aims at looking behind such notions by isolating the basic semiotic mechanisms of vision, picture-viewing, and mental imagery and provides a descriptive model to investigate (1) the semiotic dimension of verbal imagery with respect to its visual and pictorial character and (2) its relationship to the reader’s experience of mental imagery. Through exemplary analyses of visual poetry, onomatopoeia, figurative language, the historical present, and ekphrastic descriptions, it is shown that the literary core concepts of “visuality,” “pictoriality,” and “vividness” refer to surface phenomena that are not directly linked to the phenomenal experience of visual perception and image likeness. The results are discussed against the background of recent neurocognitive studies, leading to the conclusion that such notions should be given up in favor of a general model of representation in terms of poetic iconicity.
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Parfitt-Brown, Clare. An Australian in Paris. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.005.
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Reviewers of Baz Luhrmann’sMoulin Rouge!(2001) often claimed to be bombarded, overloaded, or pathologically infected by the film’s rapid-fire imagery and eclectic cultural references. This chapter explores these visceral experiences of spectatorship, focusing on the film’s dance sequences. It argues that in these sequences, choreography and digital technology (including computer-generated imagery and editing) combine to allow spectators to physically experience on-screen bodies that are historically and culturally complex, distant, and “other.” Alison Landsberg’s notion of “prosthetic memory” (2004) suggests that films can physically connect spectators with pasts and memories they have not directly experienced. This chapter argues thatMoulin Rouge!achieves this physical connection by tapping into, and updating, a bohemian tradition of cross-cultural and transhistorical self-performance.
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Elkins, Nathan T. The Image of Political Power in the Reign of Nerva, AD 96-98. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190648039.001.0001.
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Nerva ruled from September AD 96 to January 98. His short reign provided little public building and monumental art, and study of Nerva has been the province of the historian, who often relies on textual sources written after his death. History has judged Nerva as an emperor who lacked the respect of the Praetorians and armed forces, and who was vulnerable to coercion. The most complete record of state-sanctioned art from Nerva’s reign is his imperial coinage, frequently studied with historical hindsight and thus characterized as “hopeful,” “apologetic,” or otherwise relating the anxiety of the period. But art operated independently of later and biased historical texts, always presenting the living emperor in a positive light. This book reexamines Nerva’s imperial coinage in positivistic terms and relates imagery to contemporary poetry and panegyric, which praised the emperor. While the audiences at which images were directed included the emperor, attention to hoards and finds also indicates what visual messages were most important in Nerva’s reign and at what other groups in the Roman Empire they were directed. The relationship between the imagery and the rhetoric used by Frontinus, Martial, Tacitus, and Pliny to characterize Nerva and his reign allows reinvestigation of debate about the agency behind the creation of images on imperial coinage. Those in charge of the mint were close to the emperor’s inner circle and thus walked alongside prominent senatorial politicians and equestrians who wrote praise directed at the emperor; those men were in a position to visualize that praise.
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Ohnuma, Reiko. Billboard for the Buddha. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190637545.003.0007.
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The last of three chapters examining animal characters within the life-story of the Buddha, this chapter focuses on the fierce elephant Nāḷāgiri, sent forth on a rampage in order to kill the Buddha (by the Buddha’s evil cousin Devadatta), yet instantaneously tamed and made docile by the enormous power of his presence. The chapter argues that Nāḷāgiri serves as a billboard for the Buddha’s power and charisma, yet the relationship between them is complex. On the one hand, the encounter between the Buddha and Nāḷāgiri is a direct confrontation between Man and Beast, but on the other hand, it is also depicted as a contest between two “elephants.” The episode is further illuminated by comparison to Garry Marvin’s classic analysis of the Spanish bullfight. In addition, the Buddhist imagery surrounding elephants, lions, and jackals is also addressed.
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James, Elaine T. The Agrarian Landscape. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190619015.003.0002.
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One of the most pervasive landscapes of the Song of Songs is the farm, which appears repeatedly throughout the poetry. This chapter emphasizes the material grounding of the Song’s lyricism, which connects it directly to a context of ancient food production. It offers readings of several short segments of the Song, highlighting the imagery of vineyard and shepherding, and then describes how these material evocations blend into metaphors for the lovers themselves. It dialogues with the work of Wendell Berry to show how such a mode of thought is distinctly agrarian. It concludes with a close reading of Song 7:11–14.
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Pipolo, Tony. The Melancholy Lens. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197551165.001.0001.
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The Melancholy Lens is an original study of the films and videos of five major figures of American avant-garde cinema: Maya Deren, Stan Brakhage, Gregory Markopoulos, Robert Beavers, and Ernie Gehr. Unlike other books on these artists, the approach of The Melancholy Lens is to examine the filmic form, imagery, and structures of the selected works in terms of how they reflect, directly or indirectly, consciously or unconsciously, important aspects of the personal and psychological dimensions of each artist, including how each grappled with significant losses in their lives. The author, a film scholar and practicing psychoanalyst, is in a unique position to consider these filmmakers and their work from such a perspective.
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Elkins, Nathan T. Conclusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190648039.003.0005.
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The strong correspondence between laudatory rhetoric in poetry and panegyric and the images that appear on Nerva’s coins allows a reinvestigation of the age-old debate regarding the agency behind the creation of Roman imperial coin iconography. The evidence available, at least in Nerva’s reign, suggests that the emperor was not the agent; instead, a prominent individual in charge of the mint was responsible for the selection of the imagery. By attending to Trajanic records, it appears that such individuals were very close to the emperor and known to him. This suggests that prominent equestrians in charge of the mint thus were part of the emperor’s inner circle and walked in the same social circles as the people who inked praise directed at the emperor: Martial, Frontinus, Tacitus, and Pliny. These prominent equestrians were thus in a position to visualize the rhetoric used to praise the emperor.
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Bodroghkozy, Aniko. Is This What You Mean by Color TV? University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036682.003.0008.
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This chapter examines how entertainment television addressed color-blind equality through an analysis of NBC's Julia, considered the most significant entertainment show of the civil rights years. Created by writer-director Hal Kanter and starring Diahann Carroll, Julia presented viewers with whites only as supporting characters. However, the image Julia provided could only clash uncomfortably with dominant news imagery of exploding ghettos, Black Panthers and other non-nonviolent militants, as well as the generalized chaos and upheaval characterizing the period. This chapter argues that Julia was a fictional vision of the “black and white together” utopia promised in the networks' March on Washington coverage. It also considers how black and white audiences as well as mainstream press critics all made sense of the show in notably different and, at times, contradictory ways. Finally, it discusses the concerns of black viewers and some white critics about Julia, including its depiction of the black family.
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Langland-Hassan, Peter. Explaining Imagination. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198815068.001.0001.
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Imagination will remain a mystery—we will not be able to explain imagination—until we can break it into simpler parts that are more easily understood. Explaining Imagination is a guidebook for doing just that, where the simpler parts are other familiar mental states like beliefs, desires, judgments, decisions, and intentions. In different combinations and contexts, these states constitute cases of imagining. This reductive approach to imagination is at direct odds with the current orthodoxy, which sees imagination as an irreducible, sui generis mental state or process—one that influences our judgments, beliefs, desires, and so on, without being constituted by them. Explaining Imagination looks closely at the main contexts where imagination is thought to be at work and argues that, in each case, the capacity is best explained by appeal to a person’s beliefs, judgments, desires, intentions, or decisions. The proper conclusion is not that there are no imaginings after all, but that these other states simply constitute the relevant cases of imagining. Contexts explored in depth include: hypothetical and counterfactual reasoning, engaging in pretense, appreciating fictions, and generating creative works. The special role of mental imagery within states like beliefs, desires, and judgments is explained in a way that is compatible with reducing imagination to more basic folk psychological states. A significant upshot is that, in order to create an artificial mind with an imagination, we need only give it these more ordinary mental states.
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Schmeink, Lars. 9/11 and the Wasted Lives of Posthuman Zombies. Liverpool University Press, 2017. http://dx.doi.org/10.5949/liverpool/9781781383766.003.0007.
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Chapter 7 returns to the changed social and political realities of the new millennium and the post-9/11 world, connecting global terror with the success of zombie films in mainstream culture. The renaissance of the zombie films can be directly linked to its allegorical depiction of viral, off-scene terror and the dystopian future of a post-apocalyptic world. In analyzing post-9/11 zombie films, especially the Resident Evil-film series and the 28 Days-franchise, the chapter reveals liquid modern anxieties as connected with terrorism and globalization. The films reimagine the zombie in terms of biological disaster – as viral, infectious and unseen – in order to acknowledge the new form of terror emergent in 9/11. In appropriating this biopunk context, contemporary zombie films make available a cultural negotiation of the liquid modern logic of necropolitics (as an extension of biopolitics) and the negation of human and non-human others through technoscientific means. By casting humanity as homines sacri, biopunk zombie films allow for a witnessing of a radical change of the social order. Zombies, in these films, present a possible future that imagines posthuman subjectivity in drastic and extremely jarring imagery, providing contemporary society with biopunk dystopias.
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Marandiuc, Natalia. The Goodness of Home. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190674502.001.0001.
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The question of what home means and how it relates to subjectivity has fresh urgency in light of pervasive contemporary migration, which ruptures the human self, and painful relational poverty, which characterizes much of modern life. Yet the Augustinian heritage that situates true home and right attachment outside this world has clouded theological conceptualizations of earthly belonging. This book engages this neglected topic and argues for the goodness of home, which it construes relationally rather than spatially. In dialogue with research in the neuroscience of attachment theory and contemporary constructions of the self, the book advances a theological argument for the function of love attachments as sources of subjectivity and enablers of human freedom. The book shows that paradoxically the depth of human belonging—thus, dependence—is directly proportional to the strength of human agency—hence, independence. Building on Søren Kierkegaard’s imagery alongside other sources, the book depicts human love as interwoven with the infinite streams of divine love, forming a sacramental site for God’s presence, and playing a constitutive role in the making of the self. The book portrays the self both as gifted from God in inchoate form and as engaged in continuous, albeit nonlinear becoming via experiences of human love. The Holy Spirit indwells the attachment space between human beings as a middle term preventing its implosion or dissolution and conferring a stability that befits the concept of home. The interstitial space between loving human persons subsists both anthropologically and pneumatologically and generates the self’s home.