Bücher: „Image du mort“

1

Debray, Régis. Vie et mort de l'image: Une histoire du regard en Occident. [Paris]: Gallimard, 1992.

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2

Hubmann, Verena. L' image de la mort: Über die mort civile und ihre Abschaffung im französischen Recht und ihre Nachbildungen in den Kantonen Waadt und Wallis. Zürich: Schulthess, 1990.

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3

Bertman, Sandra L. Facing death: Images, insights, and interventions : a handbook for educators, healthcare professionals, and counselors. New York: Hemisphere, 1991.

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4

Smith, George Edmond. More than sex: Reinventing the black male image. New York: Kensington Books, 2000.

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5

McDowell, Josh. His image, my image: Seeing yourself as God sees you - no more, no less. San Bernardino, Calif: Here's Life, 1989.

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6

McDowell, Josh. His image, my image: Seeing yourself as God sees you - no more, no less. San Bernardino, Calif: Here's Life, 1989.

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7

1947-, Nelson Robert S., Collins Kristen M und J. Paul Getty Museum, Hrsg. Holy image, hallowed ground: Icons from Sinai. Los Angeles: J. Paul Getty Museum, 2006.

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8

Cappai, Chiara De Filippis. Imago mortis: L'uomo romano e la morte. Napoli: Loffredo, 1997.

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9

Druet, François-Xavier. Langage, images et visages de la mort chez Jean Chrysostome. Namur: Société des études classiques, 1990.

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10

Great Britain. Audit Commission for Local Authorities and the National Health Service in England and Wales. Improving your image: How to manage radiology services more effectively. London: H.M.S.O., 1995.

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11

Biali, Susan. Live a life you love: 7 steps to a healthier, happier, more passionate you. New York: Beaufort Books, 2010.

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12

Biali, Susan. Live a life you love: Seven steps to a healthier, happier, more passionate you. New York: Beaufort Books, 2010.

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13

Coulombe, Maxime. Imaginer le posthumain: Sociologie de l'art et arche ologie d'un vertige. Que bec [Que.]: Presses de l'Universite Laval, 2009.

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14

Lara, Miguel A. Moreta. La imagen del moro y otros ensayos marruecos. Málaga: Editorial Aljaima, 2005.

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15

Perry, Beth. More moments in time: Images of exemplary nursing. Edmonton, AB: AU Press, 2009.

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16

Kenny, Michael F. More slides: Planning, producing, and presenting digital images. Rochester, N.Y: Eastman Kodak Co., 1993.

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17

Bourdois, Cyril. Art de la mort et mort de l'art: Portraits de groupes, images du sacré, de la mort, de femmes et de diverses choses. Paris: L'Harmattan, 2013.

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18

Tokio, Marnelle. More than you can chew. Plattsburgh, N.Y: Tundra Books, 2003.

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19

Findley, Paul. Silent no more: Confronting America's false images of Islam. Beltsville, MD: Amana Pub., 2002.

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20

Findley, Paul. Silent no more: Confronting America's false images of Islam. Beltsville, MD: Amana Publications, 2001.

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21

1941-, Young Allen, und Brender à Brandis G, Hrsg. More than sand and sea: Images of Cape Cod. Athol, Mass: Millers River Pub. Co., 1985.

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22

Levi, Pavle. Jolted Images. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462983618.

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Jolted Images brings together a large cast of mainstream and avant-garde cineastes, artists, photographers, comics creators, poets, and more, to reflect on a wide range of phenomena from the realms of cinema and visual culture in the Yugoslav region, broader Europe, and North America. Far from a staid monograph, the book takes a cue from filmmaker Du¿an Makavejev, who once wrote that there are times when it is necessary "to jolt art, no matter what the outcome"; to that end, the book infuses its analysis with playful, creative transfiguration of the material at hand.

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23

Ferrari, Jérôme, und Alison Anderson. In His Own Image. Europa Editions, Incorporated, 2022.

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24

Machuca Hernández, Carl Alex. La mort de Dieu dans Les Chants de Maldoror (principes de négation et rénovation d'úne image tombée). Universidad Pedagógica Nacional, 2018. http://dx.doi.org/10.17227/ll.2018.6505.

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25

Jane's Warships Image Library: More Than 4,000 Warship Images at Your Fingertips. Janes Information Group, 1999.

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26

Star", "Sheffield. More Images of Sheffield (More Images of). Breedon Books Publishing Co Ltd, 2004.

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27

Oliva, Aude, und Philippe G. Schyns. Hybrid Image Illusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199794607.003.0111.

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Artists, designers, photographers, and visual scientists are routinely looking for ways to create, out of a single image, the feeling that there is more to see than what meets the eye. Many well-known visual illusions are dual in nature, causing the viewer to experience two different interpretations of the same image. Hybrid images illustrate a double-image illusion, where different images are perceived depending on viewing distance, viewing duration, or image size: one that appears when the image is viewed up-close (displaying high spatial frequencies) and another that appears from afar (showing low spatial frequencies). This method can be used to create compelling dual images in which the observer experiences different percepts when interacting with the image.

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28

Star", "Sheffield. More Images of Sheffield (Images Of...). Breedon Books Publishing Co Ltd, 1994.

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29

Nail, Thomas. Theory of the Image. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190924034.001.0001.

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We live in the age of the mobile image. Our world is now saturated with moving images of all kinds, both analog and digital. This sea change in image production and circulation is nothing less than the Copernican revolution of our time. The centrality of the movement and mobility of the image has never been more dramatic. And just like the Copernican revolution, the aesthetic revolution of the image has consequences not only for the way we think about the contemporary image but also the way we think about all previous images. Theory of the Image offers a new and systematic philosophy of art and aesthetics from the perspective of movement—the first of its kind. Throughout history, the image has been understood in many ways, but rarely has it been understood to be, primarily and above all, in motion. Thus, Theory of the Image offers not only the first aesthetics of motion but also the first history of the mobility of the image in the Western art tradition, from prehistory to the present.

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30

Plone, Allen. More Than Song: Poems & Images. Independently Published, 2020.

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31

Morales García, Mº Dolores. Fiji Software User Manual. UAM Ediciones, 2022. http://dx.doi.org/10.15366/9788483448380.

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This user manual focuses on Fiji (Fiji Is Just ImageJ), a processing tool based on the ImageJ program but largest and with best-known distribution than ImageJ. Its main purpose is the dissemination of an ImageJ with Java, Java 3D, more plugins integrated and organized in a menu with a consistent structure to facilitate image processing in the scientific community, scripting languages and extensive tutorials and documentation. It is easier to install than ImageJ, because it organizes all required components into a self-contained package that will run on any computer platform and contains an automatic update function. In addition, it also allows the programming of macros.

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32

Dahlgren, Anna. Travelling Images. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526126641.001.0001.

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Travelling images critically examines the migrations and transformations of images as they travel between different image communities. It consists of four case studies covering the period 1870–2010 and includes photocollages, window displays, fashion imagery and contemporary art projects. Through these four close-ups it seeks to reveal the mechanisms, nature and character of these migration processes, and the agents behind them, as well as the sites where they have taken place. The overall aim of this book is thus to understand the mechanisms of interfacing events in the borderlands of the art world. Two key arguments are developed in the book, reflected by its title Travelling images. First, the notion of travel and focus on movements and transformations signal an emphasis on the similarities between cultural artefacts and living beings. The book considers ‘the social biography’ and ‘ecology’ of images, but also, on a more profound level, the biography and ecology of the notion of art. In doing so, it merges perspectives from art history and image studies with media studies. Consequently, it combines a focus on the individual case, typical for art history and material culture studies with a focus on processes and systems, on continuities and ruptures, and alternate histories inspired by media archaeology and cultural historical media studies. Second, the central concept of image is in this book used to designate both visual conventions, patterns or contents and tangible visual images. Thus it simultaneously consider of content and materiality.

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33

Efal-Lautenschläger, Adi. Aby Warburg. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423632.003.0023.

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One preliminary point which must be stated regarding Agamben’s relation to the art historian Abraham (‘Aby’) Moritz Warburg (1866–1929) is that this line of questioning is not reducible to problems regarding imagery or ‘visual’ art. Agamben says explicitly that ‘only the myopia of a psychologizing history of Art could have defined [Warburg’s art history] as a “science of the image”’ (ME 53). Although most scholarship on Warburg has indeed viewed the latter’s work as laying the foundations for image and visual studies, in Agamben’s account Warburg ushers the humanities towards another kind of inquiry, one having more to do with the concept of time than with any sort of imagery or visual phenomena. In this, Agamben’s reading of Warburg differs substantially from those of major art historians influenced by Warburg, such as Horst Bredekamp (Bildakt)1 or Georges Didi-Huberman (images malgré tout).2 In fact, Agamben’s reading of Warburg’s art historical inquiries can be elaborated as a fruitful critique of the recent ‘imagist’ turn in the history of art, viewing visual artworks as being primary and essentially ‘images’.

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34

Bonsib, Sandy. Quilting More Memories: Creating Projects With Image Transfers. Martingale and Company, 2001.

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35

Bailey, Eric J. Black America, Body Beautiful. Greenwood Publishing Group, Inc., 2008. http://dx.doi.org/10.5040/9798400619410.

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Despite all the medical and media attention focused on the rate of overweight and obesity in the African American population, African American images and body types are greatly influencing changes in the fashion, fitness, advertising, television and movie industries. This is because overweight, like beauty, can be in the eye of the beholder. Most research studies investigating attitudes about body image and body type among African Americans have shown they are more satisfied with their bodies than are their white counterparts and that there appears to be a wider range of acceptable body shapes and weights, and a more flexible standard of attractiveness, among black Americans as compared to whites. That fact is not being lost on leaders of industries that might profit from understanding this wider range of beauty, as well as playing to it. In this book, medical anthropologist Eric Bailey introduces and explains the self–acceptance and body image satisfaction of African Americans, and traces how that has spurred changes in industry. His book fills the void of scientific evidence to enhance the understanding of African Americans’ perceptions related to body image and beauty—and is the first to document these issues from the perspective of an African American male. Despite all the medical and media attention focused on the rate of overweight and obesity in the African American population, African American images and body types are greatly influencing changes in the fashion, fitness, advertising, television, and movie industries. This is because overweight, like beauty, can be in the eye of the beholder. Most research studies investigating attitudes about body image and body type among African Americans have shown they are more satisfied with their bodies than are their white counterparts. Most black women, for example, are of course concerned with how they look, but do not judge themselves in terms of their weight and do not believe they are valued mostly on the basis of their bodies. Black teen girls most often say being thick and curvaceous with large hips and ample thighs is seen as the most desirable body shape. Thus, there appears to be a wider range of acceptable body shapes and weights, and a more flexible standard of attractiveness, among black Americans as compared to whites. That fact is not lost on leaders of industries that might profit from understanding this wider range of beauty, as well as playing to it. Voluptuous supermodel Tyra Banks is just one African American who’s broken the mold in that industry. The effects have been seen right down to department and local clothes stores, where lines of larger and plus–size fashions are expanding, becoming more colorful and more ornate. In the fitness industry, health gurus Madonna Grimes and Billy Blanks have been revolutionizing how people get fit and how fitness needs to be redeveloped for the African American population. Advertising has taken a similar turn, not the least manifestation of which were the major campaigns Dove and Nike ran in 2005 with plus–sized actresses (who continue to appear in promotions for both companies). In movies and on television shows, the African American beautiful body image has followed suit. In this book, medical anthropologist Eric Bailey introduces and explains the self–acceptance and body image satisfaction of African Americans, and traces how that has spurred changes in industry. His book fills the void of scientific evidence to enhance the understanding of African Americans’ perceptions related to body image and beauty—and is the first to document these issues from the perspective of an African American male.

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36

Lyon, Angela Treat. The Etsy Image Guide, Resources, Checklists and Q&As: How to Make the Right Images the Right Way to Make More Sales & More Money. CreateSpace Independent Publishing Platform, 2018.

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37

Fox, Nicole M. Digital Visual Literacy. ABC-CLIO, 2022. http://dx.doi.org/10.5040/9798400640667.

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Designed to introduce visual literacy to instructional librarians, this book shows librarians how to make visual literacy relevant and engaging by framing it as a digital skill. Millions of images are uploaded to social media every day, and students are increasingly being asked to participate in such image-rich research projects as websites and blogs. Image manipulation and photo editing are commonplace, but the visual literacy skills needed to detect that kind of misinformation aren’t. Students need help learning how to find, evaluate, and use images in an ethical and effective manner. Digital Visual Literacy is designed to introduce visual literacy to instructional librarians. This concise introduction teaches visual literacy as a digital skill, complete with digital humanities-based workshops and assignments to make instruction informative and engaging. It covers all aspects of visual literacy, from copyright to image evaluation. Each chapter clearly explains visual literacy standards and proficiencies and offers practical instructional assignments, in-class demonstrations, and more through the use of digital humanities tools. • Helps clarify visual literacy, explains its importance, and teaches how to get students thinking about it • Demonstrates how to integrate digital humanities tools into instruction more effectively • Features demonstrations and assignments that can be used in any class by a wide variety of librarians

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38

Mriel, Olivier. Mont-Saint-Michel: Immensity (Imago Mundi). 5 Continents Editions, 2007.

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39

Plone, Allen. More Than Song: Images and Poems. Independently Published, 2019.

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40

Thorsteinsson, Runar M. Conclusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198815228.003.0006.

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While there are some passages in the Gospel of Mark that seem to counter the image of the philosopher—namely, the passages that describe Jesus’ emotions—the character of Jesus is often portrayed in terms that are analogous to Graeco-Roman descriptions of the ideal philosophical sage, especially Stoic ones. Similarly, Matthew’s Jesus is frequently characterized in a manner resembling the image of the philosophical sage. More so than in the Gospel of Mark, this applies even to Matthew’s description of Jesus’ emotions, some aspects of which do not correspond to typical images of the philosophical wise man. Also, in Luke the character of Jesus is consistently portrayed in a way that resembles Graeco-Roman descriptions of the ideal philosophical sage. This includes the description of Jesus’ feelings. Of the three Gospels, Mark, Matthew, and Luke, Jesus is most clearly characterized as a philosophical sage in the Gospel of Luke.

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41

Radner, Hilary, und Alistair Fox. The Digital Challenge: From the Theater to the Gallery. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422888.003.0003.

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This chapter demonstrates how Bellour’s work on video art (or what was later termed moving-image installation art), while a product of his own preoccupations, is situated firmly within more general speculations about spectatorship. Confronting this new medium, or media, as it turned out, Bellour introduced the notion of “le spectateur pensif,” the pensive spectator, or the spectator engaged in thought – who is not an entirely rational spectator, nor one who is completely sutured into the narrative as some scholars felt was the case with the spectator of classical cinema. He also sees the emergence of new relations between images which he calls “l’entre-images,” the between-images, complicating his initial ideas about the “défilement,” a concept, at least initially, referred to the movement of the celluloid print through the projector’s mechanism and the filing past of the cinema images in front of the spectator. In this same period, Bellour, along with film critics such as Serge Daney and filmmakers like Jean-Luc Godard, began to speculate about the death of cinema due to the changing situations (or dispositifs) in which the spectator encounters the moving image. An important influence on his thinking as this time was the film theorist turned video artist Thierry Kuntzel.

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42

Dollar, Creflo A. The Image of Righteousness: You're More Than You Know. Harrison House, 2002.

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43

Marie, Robertson Eleanor. Play It Again: Once More with Feeling, Dual Image. Brilliance Audio, 2014.

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44

Hughes, Jim. Introduction to Intra-Operative and Surgical Radiography. Oxford University Press, 2018. http://dx.doi.org/10.1093/med/9780198813170.001.0001.

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This book is designed to be both a quick guide and a reference text for radiographers and other staff who perform imaging during surgical procedures. Over 40 of the most common procedures are covered in detail, from initial setup to sending final images, with sections on patient positioning, C-arm approach, anatomy, surgical hardware, and alternative techniques. These include cases related to orthopaedics, urology, paediatrics, neurology, and other branches of medicine. Each chapter covers both surgical and imaging techniques, to give the radiographer a better idea of what is required in terms of imaging and technique, along with comprehensive positioning graphics and accompanying high-quality radiograph images. The techniques and methods demonstrated are fully explained, and will allow staff to confidently perform imaging for procedures not covered in the text. Also included are sections on the practical skills required for working in theatres (such as team work and safe practice), infection control, radiation protection, exposures, and image quality, as well as discussions about the function, systems, and usage of intraoperative imaging equipment. This includes both image intensifier (II) systems and the newer flat-panel detector systems. Image artefacts and the effects of under- and overexposure are also covered, with examples of radiograph images and details on how to remedy them. Each chapter is separated by specialty and body region for quick reference and ease of navigation, while key points and imaging considerations are highlighted in each procedure for emphasis.

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45

Shields, Kenneth. The Little Bighorn: Tiospaye (MT) (Images of America). Arcadia Publishing, 2000.

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46

Cooper, Sarah. Film and the Imagined Image. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474452786.001.0001.

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Film and the Imagined Image explores the extraordinary ways in which film can stimulate and direct the image-making capacity of the imagination. From documentary to art house cinema, and from an abundance of onscreen images to their complete absence, films that experiment variously with narration, voice-over, and soundscapes do not only engage the thoughts and senses of spectators in a perceptually rich experience. They also make an appeal to visualise more than is visible on screen and they provide instruction on how to do so as spectators think and feel, listen and view. Bringing together philosophy, film theory, literary scholarship, and cognitive psychology with an international range of films from beyond the mainstream, Sarah Cooper charts the key processes that serve the imagining of images in the light of the mind. Through its navigation of a labile and vivid mental terrain, this innovative work makes a profound contribution to the study of spectatorship.

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47

Metcalf, Michael, John Reid und Malcolm Cohen. Fortran 2018 coarray enhancements. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198811893.003.0020.

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Teams allow separate sets of images to execute independently. An important design objective is that, given code that has been developed and tested on all images, it should be possible to run the code on a team without making changes. This requires that if a team has n images, the image indices within the team run from 1 to n. Teams are formed by partitioning an existing team into parts, starting with the team of all the images. New teams are executed within change team constructs. Most execution will be within the team, but direct access to data in ancestor and sibling teams is allowed. The number of images may be huge, making the probability of one failing significant. Facilities are therefore provided to allow the programmer to recover the computation after a failure. All these features are explained, together with events and new collective and atomic intrinsic procedures.

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48

Made for more: An invitation to live in God's image. Chicago, USA: Moody Publishers, 2014.

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49

Saxton, Libby. No Power Without an Image. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474463157.001.0001.

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No Power Without an Image is the first detailed study of what filmic images can tell us about iconic photographs. Previous scholarship on iconic images, including the proliferation of recent writings on the subject, has typically centred on, or at least paid special attention to, the medium of photography. Yet the publications that helped create some of the most familiar such icons were deeply influenced by cinema, privileging dynamic photographs and layouts and juxtaposing photojournalism with film stills and film frames. Photojournalistic icons, moreover, often coexist as film or video sequences and have played a surprisingly important but unexamined role in film criticism and theory. The book reveals multifaceted connections between seven celebrated photographs that symbolise aspects of wars and political struggles in the mid-twentieth century, when camera images began to acquire iconic distinction, and cinema in all its forms: from the ‘paper cinema’ of magazines and film star portraiture, via newsreels, to documentary, fiction and experimental films. These case studies call into question the conventional opposition between the photograph that sears into memory and the quickly forgotten filmic image. Drawing on original archival research and accounts of religious and secular icons from eclectic fields including philosophy, art history, photography and film studies and star theory, the book explores a new way of thinking about the confluence of still and moving images.

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50

Goodall, Alex. A Mirror Image. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038037.003.0010.

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This chapter explains how as a chaotic product of political realignment, the mirrored antifascist countersubversion that emerged in the 1930s strengthened the New Deal reform project and forced right-wingers to reexamine their relationships with each other. At the same time, though, it strengthened support for the idea that individuals and groups should be challenged for their political loyalties, thus helping to restrict the boundaries of legitimate dissent. During Roosevelt's second term, pro- and antigovernment forces battled over who could challenge the other side's loyalty more effectively and which group was best placed to defend traditional liberties. Reformers attacked conservatives for fascism; conservatives responded by accusing the New Deal of being infiltrated by Communists.

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Bücher zum Thema „Image du mort“

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