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Books on the topic 'Images fragmentées'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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1

Zechner, Ingo. Bild und Ereignis: Fragmente einer Ästhetik. Wien: Turia + Kant, 1999.

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2

Barton, Brigid S. Fragments: Images in the art of the contemporary print. Edited by Pailhe Jeannine, Wright Rachel, and De Saisset Museum. Santa Clara: De Saisset Museum, 1994.

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3

Aitken, Doug. Sleepwalkers: Fragments, markings and images from the making of Sleepwalkers. New York: Princeton Architectural Press, 2010.

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4

Orban, Clara Elizabeth. The culture of fragments: Word and images in futurism and surrealism. Amsterdam: Rodopi, 1997.

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5

Barton, Brigid S. Fragments: Images in the art of the contemporary print : May 7-July 31, 1994. Edited by Pailhe Jeannine, Wright Rachel, and De Saisset Museum. Santa Clara, Calif: de Saisset Museum, Santa Clara University, 1994.

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6

Fragmented urban images: The American city in modern fiction from Stephen Crane to Thomas Pynchon. Frankfurt am Main: P. Lang, 1991.

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7

Vasconcellos, Mirna. MIS - um museu campineiro brasileiro: Sentidos e fragmentos da cidade e do Museu da Imagem e do Som de Campinas. Campinas, SP: Pontes Editores, 2012.

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8

Roland, Ritter, and Haus der Architektur (Graz, Austria), eds. Scattered images: Fragmente von Realitäten = fragments of realities. Graz: Haus der Architektur, 1999.

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9

Vivian, Bradford. Authenticity. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190611088.003.0003.

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Chapter 2 investigates a case in which large segments of the public praised a deeply suspect act of witnessing without critical scrutiny. Questions of historical authenticity (as well as authorship and authority) attend the rhetorically inventive nature of witnessing in Binjamin Wilkomirski’s fraudulent Holocaust memoir, titled Fragments. The author’s alleged childhood memories during his fictional imprisonment at Auschwitz were hailed as an instant classic in the genre for its apparent historical authenticity, and subsequently lauded with international literary awards, but historians and journalists who eventually questioned its historical accuracy proved, in the end, that the book was fake. The chapter examines why even actual Holocaust survivors celebrated Fragments as an authentic work of testimony insofar as Wilkomirski borrowed and recycled numerous tropes and images characteristic of postwar survivor memoirs, including the ethos of the survivor, fragmented memories, and recollections focused on trauma. Wilkomirski’s book illustrates potential dangers that attend the extensive public receptiveness for commonplace, and oftentimes unquestioned, tropes of authenticity in witnessing.

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10

Pouillaude, Frédéric. The Supporting Trace: Images and Scores. Translated by Anna Pakes. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199314645.003.0012.

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This chapter explores the modalities of work survival dependent on material traces. These traces linger in the form of fragments of pottery, inscriptions, photos, films, and also scores. The function of museums and libraries is to preserve these trace-objects and make them accessible. There is significant research to do analyzing the role of such institutions within the choreographic field and explaining the likely specificity of the dance archive. Here the chapter mentions only the significance of the project begun by Rolf de Maré during the 1930s. This project was called the “Archives Internationales de la Danse.” The chapter puts aside the general question of the dance archive and its institutional management to focus solely on the different types of restaging, revival, and reconstruction that it makes possible.

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11

Johnston, Nessa. Sounding Decay in the Digital Age. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0012.

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Bill Morrison’s Decasia (2012) and Peter Delpeut’s Lyrical Nitrate (1991) are collage works made up of decayed silent-era film fragments. The films approach sound in contrasting ways: Lyrical Nitrate uses old 78 rpm recordings of operatic music as musical accompaniment to its decayed images, whereas Decasia uses a specially commissioned score and exists not only in DVD format but also as an elaborately staged performance piece. This chapter is an investigation of the role of the soundtrack within both films’ repurposing strategy, comparing and contrasting their sonic approaches, using a Chion-esque idea of “audio-vision” in an effort to understand their aesthetic workings. Despite the material heterogeneity of film sound and film image, the spectator takes in the experience as a synthesis. Yet beyond representational strategies the materiality of sounds and images in the pre- and postdigital ages is arguably the subject of exploration unifying this comparative analysis.

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12

1964-, Hafez Kai, ed. Islam and the West in the mass media: Fragmented images in a globalizing world. Cresskill, NJ: Hampton Press, 2000.

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13

Noam, Vered. The Image of the Hasmoneans: A New Perspective. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198811381.003.0008.

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In attempting to characterize Second Temple legends of the Hasmoneans, the concluding chapter identifies several distinct genres: fragments from Aramaic chronicles, priestly temple legends, Pharisaic legends, and theodicean legends explaining the fall of the Hasmonean dynasty. The chapter then examines, by generation, how Josephus on the one hand, and the rabbis on the other, reworked these embedded stories. The Josephan treatment aimed to reduce the hostility of the early traditions toward the Hasmoneans by imposing a contrasting accusatory framework that blames the Pharisees and justifies the Hasmonean ruler. The rabbinic treatment of the last three generations exemplifies the processes of rabbinization and the creation of archetypal figures. With respect to the first generation, the deliberate erasure of Judas Maccabeus’s name from the tradition of Nicanor’s defeat indicates that they chose to celebrate the Hasmonean victory but concealed its protagonists, the Maccabees, simply because no way was found to bring them into the rabbinic camp.

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14

Hafez, Kai. Islam and the West in Mass Media: Fragmented Images in a Globalizing World (Hampton Press Communication Series. Political Communication). Hampton Press, 2000.

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15

Hafez, Kai. Islam and the West in the Mass Media: Fragmented Images in a Globalizing World (Hampton Press Communication Series. Political Communication). Hampton Pr, 2000.

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16

Fisk, Anna. Stood Weeping Outside the Tomb. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198722618.003.0009.

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This chapter concerns the task of mourning and re-membering in feminist scholarship, imaged through the Gospel narratives of Mary Magdalene weeping at the empty tomb of Jesus. It reads biblical scholar Jane Schaberg’s efforts at feminist historical reconstruction of Mary Magdalene’s witness to the resurrection, along with novelist Michèle Roberts’s reflections on the impossibility of feminist revisioning. Alongside this scholarly mourning, I tell my own Easter story, of my friend’s death in our early twenties. Fragments from feminist biblical scholarship and literature, placed alongside bits of autobiography are pieced together to produce a collage that maintains the necessity of mourning and the inevitable failure of feminist revisioning.

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17

Hornby, Louise. The Instant and the Series. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190661229.003.0004.

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This chapter argues that Muybridge’s photographs of human and animal locomotion underwrite a pace for modernism that negotiates the iterative terms of the instant and the series, constructing an account of time that pivots on the accumulation of separated fragments. The chapter brings the form of instantaneous photography to bear on James Joyce’s exploration of sequentiality and pace in Ulysses. The many walks in Joyce’s novel are photographic (what he calls a “discrete succession of images”), and their singular strides point to Charlie Chaplin, the modernist paragon of the jerky walk. Chaplin’s walk is both a cinematic signature and an insistence on photography—more specifically, an insistence on imitating Muybridge’s studies of motion. By making static awkwardness a condition of time and of walking, Joyce’s novel and Chaplin’s mechanized body each read as a product of film yet hold continuity and the cinema at bay by their stilled paces.

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18

Adrych, Philippa, Robert Bracey, Dominic Dalglish, Stefanie Lenk, and Rachel Wood. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198792536.003.0001.

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This chapter focuses on two marble tauroctony statue groups that are now in the British Museum’s collection. Both are thought to be originally from Rome and date roughly to between the end of the first and the second century AD. In this opening chapter, we look at several of the many interpretations that have been offered for the tauroctony and discuss the image’s development in the Roman world. At the heart of all such interpretations lies the problem of how to reconstruct an ancient reality based on scant remains. These carefully constructed compositions, painstakingly restored in the seventeenth and eighteenth centuries, simultaneously present us with the characteristic representation of Mithras in the Roman Empire, yet also show the difficulties in reconstructing ancient religion from a fragmented material record.

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19

Knox, Daisy. Mediterranean—Cyprus. Edited by Timothy Insoll. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199675616.013.037.

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Prehistoric Cyprus was home to a surprisingly rich and varied corpus of three-dimensional figurative imagery, including anthropomorphic and zoomorphic figurines and figurative vessels, as well as models of inanimate objects in stone, clay, and copper. Beginning with the rare fragments discovered in Pre-Pottery Neolithic A contexts, Cyprus’ figurine record developed over several millennia into the diverse, island-wide, representative phenomena of the Bronze Age. This chapter explores the most pervasive and ongoing debates concerning the function and significance of these figurines—their use in ritual activities, their relevance to the gender discourse, and their use in the expression of identities. This will be conducted in light of recent theoretical developments in archaeology and, as ever on Cyprus, in the shadow of Aphrodite.

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20

Root, Margaret Cool. A Response. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190614812.003.0009.

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This chapter is a reflection upon the theoretical explorations of the powers of miniature things and fragmented things that form the core of this volume. In response, the author offers an interpretive analysis of imbricated agencies of scales, spaces, representations, and objects in one particular social landscape of the ancient Near East: Persepolis. This was the heartland capital of the Achaemenid Persian Empire in southwest Iran, founded by Darius I “the Great.” In this chapter, the author explores how scale works at the site writ large, placing its majestic official buildings embellished with sculpture in dialogue with the tiny seals worn, held, used, and admired by people operating within these built spaces and out into the imperial environs of the capital’s ex-urbs and beyond. Discursive modes of seal application as revealed by sealing practices on the Persepolis Fortification tablets (PFT) add the complication of (re-) creative fragmentation to the static entity that is a seal image carved into stone.

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21

Bartley, Tim. A Substantive Theory of Transnational Governance. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198794332.003.0002.

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Social scientists have theorized the rise of transnational private authority, but knowledge about its consequences remains sparse and fragmented. This chapter builds from a critique of “empty spaces” imagery in several leading paradigms to a new theory of transnational governance. Rules and assurances are increasingly flowing through global production networks, but these flows are channeled and reconfigured by domestic governance in a variety of ways. Abstracting from the case studies in this book, a series of theoretical propositions specify the likely outcomes of private regulation, the influence of domestic governance, the special significance of territory and rights, and several ways in which the content of rules shapes their implementation. As such, this theory proposes an explanation for differences across places, fields, and issues, including the differential performance of labor and environmental standards.

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22

Bigelow, Allison Margaret. Mining Language. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469654386.001.0001.

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Mineral wealth from the Americas underwrote and undergirded European colonization of the New World; American gold and silver enriched Spain, funded the slave trade, and spurred Spain's northern European competitors to become Atlantic powers. Building upon works that have narrated this global history of American mining in economic and labor terms, Mining Language is the first book-length study of the technical and scientific vocabularies that miners developed in the sixteenth and seventeenth centuries as they engaged with metallic materials. This language-centric focus enables Allison Bigelow to document the crucial intellectual contributions Indigenous and African miners made to the very engine of European colonialism. By carefully parsing the writings of well-known figures such as Cristóbal Colón and Gonzalo Fernández de Oviedo y Valdés and lesser-known writers such Álvaro Alonso Barba, a Spanish priest who spent most of his life in the Andes, Bigelow uncovers the ways in which Indigenous and African metallurgists aided or resisted imperial mining endeavors, shaped critical scientific practices, and offered imaginative visions of metalwork. Her creative linguistic and visual analyses of archival fragments, images, and texts in languages as diverse as Spanish and Quechua also allow her to reconstruct the processes that led to the silencing of these voices in European print culture.

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23

Carter, Eli Lee. The New Brazilian Mediascape. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401834.001.0001.

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In this book, Eli Carter explores the ways in which the movement away from historically popular telenovelas toward new television and internet series is creating dramatic shifts in how Brazil imagines itself as a nation, especially within the context of an increasingly connected global mediascape. For more than half a century, South America’s largest over-the-air network, TV Globo, produced long-form melodramatic serials that cultivated the notion of the urban, upper-middle-class white Brazilian. Carter looks at how the expansion of internet access, the popularity of web series, the rise of independent production companies, and new legislation not only challenged TV Globo’s market domination but also began to change the face of Brazil’s growing audiovisual landscape. Combining sociohistorical, economic, and legal contextualization with close readings of audiovisual productions, Carter argues that a fragmented media has opened the door to new voices and narratives that represent a more diverse Brazilian identity.

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24

Albaugh, Ericka A., and Kathryn M. de Luna, eds. Tracing Language Movement in Africa. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190657543.001.0001.

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For both scholars and the informed layman, the great diversity of ethnicities and languages in Africa invites notions of Africa as a fragmented place. Our language maps perpetuate the image by drawing discrete language groups. In fact, most people can communicate with most others within and across their state boundaries. Many disciplines look carefully at language movement and change on the continent, but seldom do they engage with each other. This book gathers eighteen scholars to do just that, offering insights from history, archaeology, anthropology, linguistics, political science, and philosophy. The resulting volume illuminates commonalities and distinctions in our disciplines’ understanding of language change and movement in Africa. The book is organized to reflect differing conceptions of language that arise from its discipline-specific contributions: that is, tendencies to study changes that consolidate language or those that splinter it, viewing languages as a whole or in part. Each contribution includes a short explanation of a discipline’s theoretical and methodological approaches to language movement and change to ensure that the chapters are accessible to nonspecialists, followed by an illustrative empirical case study. The organization of the volume will inspire interdisciplinary conversations around the study of language change in Africa, opening new interdisciplinary dialogue and inspiring scholars to adapt the questions, data, and methods of other disciplines to the problems that animate their own field.

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