Books: 'Narrative objects'

1

Brooks, Peter. Body work: Objects of desire in modern narrative. Cambridge, Mass: Harvard University Press, 1993.

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2

Medieval narrative and modern narratology: Subjects and objects of desire. New York: New York University Press, 1989.

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3

Haouet, Mohamed Kameleddine. Les objets dans l'œuvre narrative d'Albert Camus. Tunis: Faculté des sciences humaines et sociales, Tunis, 1994.

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4

Post-object fandom: Television, identity and self-narrative. New York: Bloomsbury Academic, An imprint of Bloomsbury Publishing, Inc., 2015.

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5

Dallos, Rudi. Attachment narrative therapy: Integrating systemic, narrative, and attachment approaches. Maidenhead, Berkshire, England: Open University Press, 2006.

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6

Mono, kao, han monogatari: Modanizumu saikō = Objects, faces and anti-narratives : rethinking modernism. Tōkyō: Tōkyō-to Bunka Shinkōkai, 1995.

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7

M, Pearce Susan, ed. Narrating objects, collecting stories: Essays in honour of professor Susan M. Pearce. Milton Park, Abingdon: Routledge, 2012.

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8

Exercise of conscience: A WW II objector remembers. Buffalo, N.Y: Prometheus Books, 1990.

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9

Dick, Tommy. Objectif: Survivre. [Toronto]: Azrieli Foundation, 2009.

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10

Madar, Heather, ed. Prints as Agents of Global Exchange. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789462987906.

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The significance of the media and communications revolution occasioned by printmaking was profound. Less a part of the standard narrative of printmaking’s significance is recognition of the frequency with which the widespread dissemination of printed works also occurred beyond the borders of Europe and consideration of the impact of this broader movement of printed objects. Within a decade of the invention of the printing press, European prints began to move globally. Over the course of the fifteenth to the eighteenth centuries, numerous prints produced in Europe traveled to areas as varied as Turkey, India, Persia, Ethiopia, China, Japan and the Americas, where they were taken by missionaries, artists, travelers, merchants and diplomats. This collection of essays explores the transmission of knowledge, both written and visual, between Europe and the rest of the world by means of prints in the early modern period.

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11

African women's literature, orature, and intertextuality: Igbo oral narratives as Nigerian women writers' models and objects of writing back. Bayreuth: Bayreuth University, 1998.

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12

Arlene, Vetere, ed. Systemic therapy and attachment narratives: Applications in a range of clinical setings. Hove, East Sussex: Routledge, 2009.

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13

Bentley, Tamara H., ed. Picturing Commerce in and from the East Asian Maritime Circuits, 1550-1800. NL Amsterdam: Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789462984677.

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Combining strikingly new scholarship by art historians, historians, and ethnomusicologists, this interdisciplinary volume illuminates trade ties within East Asia, and from East Asia outwards, in the years 1550 to 1800. While not encyclopedic, the selected topics greatly advance our sense of this trade picture. Throughout the book, multi-part trade structures are excavated; the presence of European powers within the Asian trade nexus features as part of this narrative. Visual goods are highlighted, including lacquerwares, paintings, prints, musical instruments, textiles, ivory sculptures, unfired ceramic portrait figurines, and Chinese, Japanese, Korean, and Southeast Asian ceramic vessels. These essays underscore the significance of Asian industries producing multiples, and the rhetorical charge of these goods, shifting in meaning as they move. Everyday commodities are treated as well; for example, the trans-Pacific trade in contraband mercury, used in silver refinement, is spelled out in detail. Building reverberations between merchant networks, trade goods, and the look of the objects themselves, this richly-illustrated book brings to light the Asian trade engine powering the early modern visual cultures of East and Southeast Asia, the American colonies, and Europe.

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14

The message given to me by extra-terrestrials: They took me to their planet. Tokyo, Japan: AOM Corp., 1986.

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15

Wilding, Percy G. C. A C.O's war: The life of one English conscientious objector during the 1939-1945 war. London: P.G.C.Wilding, 1996.

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16

Men of peace: World War II conscientious objectors. Caye Caulker, Belize: Producciones de la Hamaca, 2010.

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17

The strength not to fight: An oral history of conscientious objectors of the Vietnam War. Boston: Little, Brown, 1993.

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18

Simons, Donald L. I refuse: Memories of a Vietnam war objector. Trenton, N.J: Broken Rifle Press, 1991.

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19

Gioglio, Gerald R. Days of decision: An oral history of conscientious objectors in the military during the Vietnam war. Trenton, N.J: Broken Rifle Press, 1989.

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20

Wilson, Adrian. Two against the tide: A conscientious objector in World War II : selected letters, 1941-1948. Austin: W. Thomas Taylor, 1990.

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21

Medic!: The story of a conscientious objector in the Vietnam War. New York: Writers Club Press, 2002.

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22

Partridge, Frances. A pacifist's war. London: Phoenix, 1996.

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23

Dear Dods: Letters from a conscientious objector in WWII. Bloomington, Ind: AuthorHouse, 2009.

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24

Ivanic, Suzanna, Mary Laven, and Andrew Morrall, eds. Religious Materiality in the Early Modern World. NL Amsterdam: Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789462984653.

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This collection of essays offers a comparative perspective on religious materiality across the early modern world. Setting out from the premise that artefacts can provide material evidence of the nature of early modern religious practices and beliefs, the volume tests and challenges conventional narratives of change based on textual sources. Religious Materiality in the Early Modern World brings together scholars of Catholic, Protestant, Jewish, Islamic and Buddhist practices from a range of fields, including history, art history, museum curatorship and social anthropology. The result is an unprecedented account of the wealth and diversity of devotional objects and environments, with a strong emphasis on cultural encounters, connections and exchanges.

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25

Brock, Peter. The black flower: One man's memory of prison sixty years after. York, England: William Sessions, 2001.

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26

Stafford, William. Every war has two losers: William Stafford on peace and war. Minneapolis, MN: Milkweed Editions, 2004.

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27

Robert, Stafford Kim, ed. Every war has two losers: William Stafford on peace and war. Minneapolis, Minn: Milkweed Editions, 2003.

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28

Brooks, Peter. Body Work: Objects of Desire in Modern Narrative. Harvard University Press, 2009.

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29

Simon, Julia. Objects, Fragments, Scenes, and the Construction of Narrative. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190666552.003.0005.

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This chapter interrogates the construction of narrative out of lyrical and musical fragments and scenes. Tracing displacements and condensations in the blues reveals a metonymic structure underpinning narrative articulations. Close examination of the contexts of reception—including the minstrel show, the juke joint, and most especially the print advertising of race record labels—unearths a system that guides listeners to construct narrative cohesion out of fragments and pieces. Analyzing Charley Patton’s “High Water Everywhere,” Blind Lemon Jefferson’s “Competition Bed Blues,” and Robert Johnson’s “Hellhound on my Trail” uncovers an unstable oscillation between synchronic and diachronic understandings of time that is foregrounded by the blues’ fundamentally fragmentary structure.

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30

Bailey, Douglass, and Lesley McFadyen. Built Objects. Edited by Dan Hicks and Mary C. Beaudry. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199218714.013.0025.

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This article presents two bodies of work, both of which take an interdisciplinary approach to the study of buildings from Neolithic Europe. The first connects archaeology to theories in architectural history, while the second creates links between archaeology and art. This article works through four ideas about architecture which the article offers as disconnected propositions. There is no easy narrative for this article, just as there is none for the living built environment of the past or the present. This article proposes that archaeologists step away from accepted and comfortable knowledge of architectural form and interpretation. The aim of this article is to work through four case studies from our work on prehistoric European architecture. The case studies illuminate four propositions, which are offered as provocations for further work on architecture by archaeologists but also by anthropologists and other social scientists and humanities scholars whose work engages architecture concludes this article.

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31

Vitz, Evelyn B. Medieval Narratives and Modern Narratology: Subjects and Objects of Desire (Studies in French Culture & Civilization). New York University Press, 1992.

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32

Vitz, Evelyn B. Medieval Narratives and Modern Narratology: Subjects and Objects of Desire (New York University Studies in French Culture and Civilization). New York University Press, 1989.

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33

Canevaro, Lilah Grace. Women of Substance in Homeric Epic. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198826309.001.0001.

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Women in Greek epic are treated as objects, as commodities to be exchanged in marriage or as the spoils of warfare. However, women also use objects to negotiate their own agency, subverting the male viewpoint by using the very form they themselves are thought by men to embody. Female objects in Homer can be symbolically significant and powerfully characterizing. They can be tools of recognition and identification. They can pause narrative and be used agonistically. They can send messages and be vessels for memory. This book brings together Gender Theory and the burgeoning field of New Materialisms, combining an approach predicated on the idea of the woman as object with one which questions the very distinction between subject and object. This productive tension leads us to decentre the male subject—and to put centre stage not only the woman as object but also the agency of women and objects. Homeric women are shown to be not only objectified but also well-versed users of objects. This is something that Homer portrays clearly, that Odysseus understands—but that has often escaped many other men, from Odysseus’ alter ego Aethon in Odyssey 19 to modern experts on Homeric epic.

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34

Kronengold, Charles. Audiovisual Objects, Multisensory People, and the Intensified Ordinary in Hong Kong Action Films. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.0003.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter explores audiovisual intensification in post-1997 Hong Kong action films, focusing on the performance of everyday activities in Johnnie To’s 2004Breaking News (Dai si gin, 2004) This film’s heightened depictions of materiality, temporality, and the ordinary provide a means to register multisensory experience in a changing urban society. Sound and music work alongside the narrative and the mise-en-scène, creating a contrapuntal weave of lines through the film. Without relying on dialogue,Breaking Newsreveals the weight and dimensionality of the human in ways specific to both digital cinema and Hong Kong experience. Everyday objects, and the quotidian activities associated with them, are granted a strong audiovisual presence; this helps create an intensified ordinary that deepens and supplements the film’s status as action cinema.

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35

Binnie, Jennifer, Sandra H. Dudley, Julia Petrov, Amy Jane Barnes, and Jennifer Walklate. Narrating Objects, Collecting Stories. Taylor & Francis Group, 2017.

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36

Edelheim, Johan R. Tourist Attractions: From Object to Narrative. Channel View Publications, Limited, 2015.

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37

Tokyo Metropolitan Museum of Photography., ed. Objects, faces and anti-narratives -rethinking modernism. Tokyo: Metropolitan Museum of Photography, 1995.

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38

Berrios, German E. History and epistemology of psychopathology. Oxford University Press, 2015. http://dx.doi.org/10.1093/med/9780198725978.003.0005.

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Chapter 5 addresses how, whether as a general concept or as a feature of psychiatry, ‘change’ remains difficult to define because its meaning is parasitical upon metaphysical categories such as object, event, property, and time. It might be more practical to explore it in relation to specific ontological regions (e.g., physics, biology, and sociology). The biological and social sciences (both relevant to psychiatry) countenance change. The targets of change in psychiatry remain its epistemological structure and its objects. Change can be explored transepistemically by comparing historical narratives of madness or intraepistemically, by detecting variations within a given narrative (e.g., religious, social, or neurobiological). These studies can be value-neutral or value-laden (the latter can be redefined ‘change’ as ‘progress’). ‘Change’ can be accounted for by the Cambridge model of symptom formation. According to this, mental symptoms are events resulting from configuratory action undertaken by sufferers to make sense of (often) distressing information invading their awareness. This information can be biological signals (released by a distressed brain networks) or symbols (resulting from social interaction or personal reflection). Configurators (personal, sociocultural, dialogical, etc.) shape this inchoate information into effable experiences. Due to biological mutation or social change affecting the configurators, mental symptoms are liable to change in time. Hence, the objects of psychiatry are not eternal and will be replaced in the future.

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39

Rascaroli, Laura. Framing. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190238247.003.0008.

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Essay films performatively display the process of thinking; hence, issues of textual and contextual framing are at the center of their practice. To frame is to detach an object from its background and, thus, to carve a gap between object and world. The chapter starts from a discussion of Irina Botea’s Picturesque (2012): an argument centered on the tourist image is predicated on a dual recourse to the frame—first intended as the literal operation of mise en cadre and then as narrative, ideological, and cultural framing. It goes on to show that the specificity of the essay film is to be sought not in its production of objects, but in their arrangement and that this arrangement reflects a fundamental structure of gap. The method of framing as visible search for an object is further explored via two archival essays, Mohammadreza Farzad’s Gom o gour (Into Thin Air, 2010) and Peter Thompson’s Universal Diptych (1982).

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40

Edenheiser, Iris, Elisabeth Tietmeyer, and Susanne Boersma, eds. What’s Missing? Dietrich Reimer Verlag, 2020. http://dx.doi.org/10.5771/9783496030430.

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In many museums in Europe that exhibit objects of everyday culture, transformation processes are taking place. Which objects, narratives, methods and actors have been neglected in previous reflections on European ways of life? How can the museum collections find new relevance with regard to contemporary issues and new socio-political contexts? The authors, coming from theory and practice, discuss the change in collection and exhibition policies, combining overview articles and object portraits. Thus, the book encourages to deal with the blind spots in museum work.

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41

Elsner, Jaś, ed. Figurines. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198861096.001.0001.

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This book concerns figurines from cultures that have no direct links with each other. It explores the category of the figurine as a key material concept in the art history of antiquity through comparative juxtaposition of papers drawn from Chinese, pre-Columbian, and Greco-Roman culture. It extends the study of figurines beyond prehistory into ancient art-historical contexts. At stake are issues of figuration and anthropomorphism, miniaturization and portability, one-off production and replication, substitution and scale. Crucially, figurines are objects of handling by their users as well as their makers—so that, as touchable objects, they engage the viewer in different ways from flat art. Unlike the voyeuristic relationship of viewing a neatly framed pictorial narrative, as if from the outside, the viewer as handler is always potentially and without protection within the narrative of figurines. This is why they have had potential for a potent, even animated, agency in relation to those who use them.

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42

Auyoung, Elaine. Organizing Things in Dickens. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190845476.003.0004.

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This chapter demonstrates how the organization of narrative information can shape a reader’s impression of what is represented. It focuses on two ways in which concrete objects are arranged in Charles Dickens’s Bleak House: as specific members of general categories and as part of causally connected narrative structures. Dickens relies on these representational strategies to capture a scale of reality no longer suited to the individual human body. In doing so, he also reveals that the realist novel’s conventional commitment to individual experience at the scale of concrete particulars reflects constraints on the comprehension process.

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43

Dallos, Rudi. Attachment Narrative Therapy. Open University Press, 2006.

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44

Attachment Narrative Therapy. Open University Press, 2006.

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45

(Editor), David Raizman, and Carma Gorman (Editor), eds. Objects, Audiences, and Literatures: Alternative Narratives in the History of Design. Cambridge Scholars Publishing, 2007.

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46

Seth, Raizman David, and Gorman Carma, eds. Objects, audiences and literatures: Alternative narratives in the history of design. Newcastle: Cambridge Scholars, 2007.

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47

Pappas-Kelley, Jared. Solvent Form. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526129246.001.0001.

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Solvent form examines the destruction of art—through objects that have been destroyed (lost in fires, floods, vandalism, or similarly those artists that actively court or represent this destruction, such as Gustav Metzger), but also as a process within art that the object courts through form. In this manner, Solvent form looks to events such as the Momart warehouse fire in 2004 as well as the actions of art thief Stéphane Breitwieser in which the stolen work was destroyed. Against this overlay, a tendency is mapped whereby individuals attempt to conceptually gather these destroyed or lost objects, to somehow recoup in their absence. From this vantage, Solvent form—hinging on the dual meaning in the words solvent and solvency—proposes an idea of art as an attempt to secure and fix, which correspondingly undoes and destroys through its inception. It also weaves a narrative of art that intermingles with Jean Baudrillard’s ideas on disappearance, Georges Bataille and Paul Virilio’s negative or reverse miracle, Jean-Luc Nancy’s concept of the image (or imago as votive that keeps present the past, yet also burns), and Giorgio Agamben’s notion of art as an attempt to make the moment appear permeable. Likewise, it is through these destructions that one might distinguish a solvency within art and catch an operation in which something is made visible through these moments of destruction when art’s metaphorical undoing emerges as oddly literal.

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48

Wickerson, Erica. Space. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198793274.003.0002.

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Since space and time are the two fundamental modes of locating experience, the first chapter of the book considers their interaction. Specifically, the ways in which descriptions of space further the sense of the passing of time are explored. Space has been traditionally thought of as the opposite of time, and critics have suggested that spatial description in narrative actually stills time. In this chapter, it is suggested that the opposite is true; that, in fact, describing objects and settings contributes to the multilayered, multidirectional, complex view of temporality that narrative affords. The chapter includes analyses of Mann’s Tonio Kröger, Death in Venice, and The Magic Mountain, in comparison with Kafka’s short story Home-Coming.

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49

Gerritsen, Anne, and Giorgio Riello, eds. Writing Material Culture History. 2nd ed. Bloomsbury Publishing Plc, 2021. http://dx.doi.org/10.5040/9781350105256.

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Writing Material Culture History examines the methodologies currently used in the historical study of material culture. Touching on archaeology, anthropology, art history and literary studies, the book provides history students with a fundamental understanding of the relationship between artefacts and historical narratives. The role of museums, the impact of the digital age and the representations of objects in public history are just some of the issues addressed in a book that brings together distinguished scholars from around the world. This new edition includes: * A new wide-ranging introduction highlighting the role of material culture in the modern period and presenting recent contributions to the field. * A more balanced and easy-to-use structure, including 9 methodological chapters and 20 'object in focus' chapters consisting of case studies for classroom discussion. * 5 fresh 'object in focus' chapters showing greater engagement with 20th century material culture, non-European artefacts (particularly in relation to issues of power, indigenity and repatriation of objects), architecture (with pieces on industrial heritage in Europe and on heritage destruction in China) and the definitions and limits of material culture as a discipline. * Expanded online resources to help students navigate the museums/institutions holding key artefacts. * Historiographical updates and revisions throughout the text. Focusing on the global dimension of material culture and bridging the gap between the early modern and modern periods, Writing Material Culture History is an essential tool for helping students understand the potential of objects to re-cast established historical narratives in new and exciting ways.

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50

Tweedie, James. The Afterlife of Art and Objects. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190873875.003.0006.

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Like the tableau vivant, the cinematic still life experienced a stunning revival and reinvention in the late twentieth century. In contrast to the stereotypically postmodern overload of images, the still life in film initiates a moment of repose and contemplation within a medium more often defined by the forward rush of moving pictures. It also involves a profound meditation on the relationship between images and objects consistent with practices as diverse as the Spanish baroque still life and the Surrealist variation on the genre. With the work of Terence Davies and Alain Cavalier’s Thérèse (1986) as its primary touchstones, this chapter situates this renewed interest in the cinematic still life within the context of both the late twentieth-century cinema of painters and a socially oriented art cinema that focuses on marginal people and overlooked objects rather than the hegemonic historical narratives also undergoing a revival at the time.

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Books on the topic 'Narrative objects'

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