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Books on the topic 'Image of the dead'

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Author: Grafiati
Published: 22 June 2024

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1

Lock, Joan. Dead image. Leicester: Ulverscroft, 2001.

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2

Lock, Joan. Dead Image. S.l: Hale Limited, 2002.

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3

Lock, Joan. Dead image: A Detective Sergeant Best mystery. Stroud [U.K.]: Mystery, 2012.

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4

Berman, Joshua. Drop dead diva. Culver City, Calif: Sony Pictures Home Entertainment, 2013.

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5

Margos, J. F. Shattered Image. Toronto, Ontario: Steeple Hill, 2010.

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6

Schell, Sarah. Image and the Office of the Dead in Late Medieval Europe. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463722117.

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Image and the Office of the Dead in Late Medieval Europe explores the Office of the Dead as a site of interaction between text, image, and experience in the culture of commemoration that thrived in the fourteenth and fifteenth centuries. The Office of the Dead was a familiar liturgical ritual, and its perceived importance and utility are evident in its regular inclusion in devotional compilations, which crossed the boundaries between lay and religious readers. The Office was present in all medieval deaths: as a focus for private contemplation, a site of public performance, a reassuring ritual, and a voice for the bereaved. Examining the images at the Office of the Dead and related written, visual, and material evidence, this book explores the relationship of these images to the text in which they are embedded and to the broader experiences of and aspirations for death.
7

Orlow, Uriel. Re: the archive, the image, and the very dead sheep. London: School of Advanced Study and National Archives, 2004.

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8

Margos, J. F. Shattered image: [a Toni Sullivan mystery]. New York: Steeple Hill Books, 2004.

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9

Hadley, Michael L. Count not the dead: The popular image of the German submarine. Montreal: MCGill-Queen's University Press, 1995.

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10

Hadley, Michael L. Count not the dead: The popular image of the German submarine. Annapolis, Md: Naval Institute Press, 1995.

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11

Phillips, Mike. An image to die for. New York: St. Martin's Press, 1997.

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12

Elizabeth, Klaver, ed. Images of the corpse: From the Renaissance to cyberspace. Madison, Wis: University of Wisconsin Press, 2004.

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13

Elizabeth, Klaver, ed. Images of the corpse: From the Renaissance to cyberspace. Madison, Wis: University of Wisconsin Press, 2004.

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14

Olson, Susan. Images of the Dead in Grief Dreams. Second edition. | Abingdon, Oxon ; New York, NY : Routledge, 2021. | First edition published by Spring Journal Books, 2010.: Routledge, 2020. http://dx.doi.org/10.4324/9781003007630.

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15

Gough, Paul. Dead ground: Images of conflict 1992-1998. [Bristol?]: Vortex! Productions, 1999.

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16

Phillips, Mike. An image to die for. London: HarperCollins, 1995.

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17

Egan, Ronald C. Word, image, and deed in the life of Su Shi. Cambridge (Mass.): Council on East Asian Studies, Harvard University, 1994.

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18

Natanson, Nicholas. The Black image in the New Deal: The politics of FSA photography. Knoxville: University of Tennessee Press, 1992.

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19

London College of Printing and Distributive Trades. MA photography and advertising dissertation 1991: The photographers is dead,long live th image manager : changing factors in the profession of the advertising photographer in Britain 1990. London: LCPDT, 1991.

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20

Meyer, Yves. Oscillating patterns in image processing and nonlinear evolution equations: The fifteenth Dean Jacqueline B. Lewis memorial lectures. Providence, R.I: American Mathematical Society, 2001.

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21

Pete, Daniel, ed. Official images: New Deal photography. Washington, D.C: Smithsonian Institution Press, 1987.

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22

Corker, Mairian. Deaf transitions: Images and origins of deaf families, deaf communities, and deaf identities. London: J. Kingsley Publishers, 1996.

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23

Daniel, McClean, and Schubert Karsten, eds. Dear images: Art, copyright and culture. London: Ridinghouse, 2002.

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24

University of Mississippi. University Museums., Lauren Rogers Museum of Art (Laurel, Miss.), and Mississippi Museum of Art, eds. New Deal art: Images of Mississippi. University, Miss: University Museums, University of Mississippi, 1994.

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25

Robin, Jean-François. Image par image. [Castelnau-le-Lez?]: Climats, 1996.

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26

Lander, Daniel. Image par image. Paris: Cherche midi, 1989.

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27

Calder, Richard. Dead girls: Dead boys ; Dead things. New York: St. Martin's Griffin, 1998.

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28

Charlesworth, James H. How Barisat bellowed: Folklore, humor, and iconography in the Jewish apocalypses and the Apocalypse of John. North Richland Hills, Tex: Bibal Press, 1998.

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29

Quartararo, Anne T. Deaf identity and social images in nineteenth-century France. Washington, DC: Gallaudet University Press, 2008.

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30

Lock, Joan. Dead Image. Soundings, 2001.

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31

Lock, Joan. Dead Image. Robert Hale Ltd, 2000.

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32

Lock, Joan. Dead Image. History Press Limited, The, 2012.

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33

Lock, Joan. Dead Image. History Press Limited, The, 2012.

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34

Curry, Edna. Dead Man's Image. Independently Published, 2001.

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35

Curry, Edna. Dead Man's Image. Lulu Press, Inc., 2013.

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36

Dead Man's Image. Albany: DiskUs Publishing, 2003.

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37

Margos, J. F. Shattered Image. Harlequin Mills & Boon, Limited, 2014.

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38

Crowley, Patrick R. Phantom Image: Seeing the Dead in Ancient Rome. University of Chicago Press, 2019.

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39

Hadley, Michael L. Count Not the Dead: The Popular Image of the German Submarine. McGill-Queen's University Press, 1995.

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40

Margos, J. F. Shattered Image (Toni Sullivan Trilogy #1). Steeple Hill Women's Fiction, 2004.

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41

Moeller, Susan, Joanna Nurmis, and Saranaz Barforoush. Images of Our Dead Enemies. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038860.003.0007.

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This chapter provides a comparative analysis of visual representations surrounding the killing of Osama bin Laden. In the minutes and hours after the news of bin Laden's killing broke across social media and then through President Barack Obama's brief May 1 speech to the nation, news outlets across the world scrambled to cover the story of the decade. With no immediately forthcoming photos of bin Laden's corpse, mainstream news outlets were excused from the ethical as well as moral binary decision about whether to show or not show images of bin Laden's corpse. Instead, news outlets the world over had a set of decisions to make about what kind of image to select to accompany the announcement of bin Laden's death. The choice of which visual would lead the news became a complex, even political decision. Some news outlets chose to run archival photos of bin Laden; others used iconic images of al Qaeda's attack on the World Trade Center towers on 9/11. In essence, through their choices, news outlets decided how to visually “frame” the death of Osama bin Laden, the world's most wanted man.
42

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.
43

The Wives of the Dead: (From: "The Snow Image and Other Twice-Told Tales"). Project Gutenberg, 2005.

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44

Bolt, Neville. The Violent Image. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197511671.001.0001.

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Fast-moving, self- propelled 'violent images' have radically changed the nature of insurgency in the modern world. Global media have revolutionized the way ideas, messages and images are disseminated, and the speed with which they travel. First satellite TV, then laptops and the Internet, and now mobile phones and social media have transformed the way we communicate, collapsing time and distance. Rebels who hope to overthrow states or to build transnational, ideological communities, have adopted these dynamic technologies. But they have also learned the key lesson: in a visual world, the power of the image has supplanted that of the written world. Neville Bolt investigates how today's revolutionaries have rejuvenated the nineteenth century 'Propaganda of the Deed' so that terrorism no longer simply goads states into overreacting, thereby losing legitimacy. The deed has become a tool to highlight the underlying grievances of communities. Pictures of 9/11, 7/1, and Abu Ghraib are today's weapon of choice. The Violent Image explores what happens in the 'moment of shock'; how emotive pictures attach to messages, causing populations to rise up in anger. From the Fenians to the Taliban to the Arab Spring we learn how insurgents have adapted the way they use violence to tell stories and effect social change. In the 'war of ideas', the new revolutionaries aim to set in motion surges of support that spread virally through global networks at such speed that states can no longer defend their own strategic narratives. Have we now reached the point where insurgents and populations are driving images and ideas so fast, that a new era of revolutionary politics is already upon us?
45

Tarasenko, Mykola. Studies on the Vignettes from Chapter 17 of the Book of the Dead : I: The Image of Mś. w Bdst in Ancient Egyptian Mythology. Archaeopress, 2016.

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46

Tarasenko, Mykola. Studies on the Vignettes from Chapter 17 of the Book of the Dead : I: The Image of Mś. w Bdst in Ancient Egyptian Mythology. Archaeopress, 2016.

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47

Huggins, Barry. Photoshop Elements Drop Dead Lighting Techniques (A Lark Photography Book). Lark Books, 2006.

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48

Klaver, Elizabeth. Images of the Corpse: From the Renaissance to Cyberspace (Ray and Pat Browne Book). Popular Press 2, 2004.

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49

Klaver, Elizabeth. Images of the Corpse: From the Renaissance to Cyberspace (Ray and Pat Browne Book). Popular Press 2, 2004.

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50

Hess, Mickey. Is Hip Hop Dead? Praeger, 2007. http://dx.doi.org/10.5040/9798400672828.

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Hip hop is remarkably self-critical as a genre. In lyrics, rappers continue to debate the definition of hip hop and question where the line between underground artist and mainstream crossover is drawn, who owns the culture and who runs the industry, and most importantly, how to remain true to the culture's roots while also seeking fame and fortune. The tension between the desires to preserve hip hop's original culture and to create commercially successful music promotes a lyrical war of words between mainstream and underground artists that keeps hip hop very much alive today. In response to criticisms that hip hop has suffered or died in its transition to the mainstream, this book seeks to highlight and examine the ongoing dialogue among rap artists whose work describes their own careers. Proclamations of hip hop's death have flooded the airwaves. The issue may have reached its boiling point in Nas's 2006 albumHip Hop is Dead. Nas's album is driven by nostalgia for a mythically pure moment in hip hop's history, when the music was motivated by artistic passion, instead of base commercialism. In the course of this same album, however, Nas himself brags about making money for his particular record label. These and similar contradictions are emblematic of the complex forces underlying the dialogue that keeps hip hop a vital element of our culture.Is Hip Hop Dead?seeks to illuminate the origins of hip hop nostalgia and examine how artists maintain control of their music and culture in the face of corporate record companies, government censorship, and the standardization of the rap image. Many hip hop artists, both mainstream and underground, use their lyrics to engage in a complex dialogue about rhyme skills versus record sales, and commercialism versus culture. This ongoing dialogue invigorates hip hop and provides a common ground upon which we can reconsider many of the developments in the industry over the past 20 years. Building from black traditions that value knowledge gained from personal experience, rappers emphasize the importance of street knowledge and its role in forging a career in the music business. Lyrics adopt models of the self-made man narrative, yet reject the trajectories of white Americans like Benjamin Franklin who espoused values of prudence, diligence, and delayed gratification. Hip hop's narratives instead promote a more immediately viable gratification through crime and extend this criminal mentality to their work in the music business. Through the lens of hip hop, and the threats to hip hop culture, author Mickey Hess is able to confront a range of important issues, including race, class, criminality, authenticity, the media, and personal identity.
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