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1
Mediated images of the South: The portrayal of Dixie in popular culture. Lanham, Md: Lexington Books, 2011.
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2
Dibazar, Pedram, and Judith Naeff, eds. Visualizing the Street. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462984356.
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From user-generated images of streets to professional architectural renderings, and from digital maps and drone footages to representations of invisible digital ecologies, this collection of essays analyses the emergent practices of visualizing the street. Today, advancements in digital technologies of the image have given rise to the production and dissemination of imagery of streets and urban realities in multiple forms. The ubiquitous presence of digital visualizations has in turn created new forms of urban practice and modes of spatial encounter. Everyone who carries a smartphone not only plays an increasingly significant role in the production, editing and circulation of images of the street, but also relies on those images to experience urban worlds and to navigate in them. Such entangled forms of image-making and image-sharing have constructed new imaginaries of the street and have had a significant impact on the ways in which contemporary and future streets are understood, imagined, documented, navigated, mediated and visualized. Visualizing the Street investigates the social and cultural significance of these new developments at the intersection of visual culture and urban space. The interdisciplinary essays provide new concepts, theories and research methods that combine close analyses of street images and imaginaries with the study of the practices of their production and circulation. The book covers a wide range of visible and invisible geographies — From Hong Kong’s streets to Rio’s favelas, from Sydney’s suburbs to London’s street markets, and from Damascus’ war-torn streets to Istanbul’s sidewalks — and engages with multiple ways in which visualizations of the street function to document street protests and urban change, to build imaginaries of urban communities and alternate worlds, and to help navigate streetscapes.
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Mediated memories in the digital age. Stanford, Calif: Stanford University Press, 2007.
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Alloa, Emmanuel. Das durchscheinende Bild: Konturen einer medialen Phänomenologie. Zürich: Diaphanes, 2011.
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Ferrin, Nino. Selbstkultur und mediale Körper: Zur Pädagogik und Anthropologie neuer Medienpraxen. Bielefeld: Transcript, 2013.
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La pampa y el chat: Aphrodisia, imagen e identidad entre hombres de Buenos Aires que se buscan y encuentran mediante internet. Buenos Aires: EA, 2011.
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8
Narro, PH.D, Amber J, Forts Franklin E. Jr, Alison F. Slade, and Dedria Givens-Carroll. Mediated Images of the South: The Portrayal of Dixie in Popular Culture. Lexington Books/Fortress Academic, 2012.
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9
Slade, Alison, Wendy Atkins-Sayre, Amber J. Narro, Burton P. Buchanan, and Dedria Givens-Carroll. Mediated Images of the South: The Portrayal of Dixie in Popular Culture. Lexington Books/Fortress Academic, 2013.
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10
Cultural Politics, Transfer, and Propaganda: Mediated Narratives and Images in Austrian-American Relations. Austrian Academy of Sciences Press, 2021.
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Zacharasiewicz, Waldemar, and Siegfried Beer, eds. Cultural Politics, Transfer, and Propaganda. Mediated Narratives and Images in Austrian-American Relations. Verlag der Österreichischen Akademie der Wissenschaften, 2021. http://dx.doi.org/10.1553/978oeaw88742.
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The interdisciplinary collection contains 16 essays by scholars from literary and cultural studies, by sociologists, historians, musicologists, art historians and media experts. Following the introduction to the key issues in cultural politics and propaganda and a synopsis of the essays, an article surveys the reciprocal perception of Austria and the USA from the 18th century onwards. The following essays analyze various historical phases in the complex relationship between Austria (and Central Europe) and the USA. Several essays survey the strategies used to promote Austrian tourism and contrast them with advertisements for American sights, and document the implementation of aid programs for the impoverished societies in Austria in the aftermath of World War One. There follow articles that discuss the role of exiled Austrians in the dissemination of a positive image of Austria and a favorable view of the USA, while two contributions are devoted to the misrepresentation of significant individuals active in Austria in the interwar years. Special attention is then paid to the role of the Marshall Plan in economic reconstruction in Austria and Western Europe, and to the promotion of liberal democracy in the media during the Cold War. The impact of transatlantic exchange programs for scholars and scientists in the countries of Europe under Soviet influence is also considered. The wide range of essays concludes with critical perspectives on political phenomena, such as the apparently exaggerated role of Austrian resistance fighters in the liberation of the country from the Nazi tyranny in 1945, and on the controversy over Dr. Kurt Waldheim as reflected in popular music in the 1980s. The transfer of new concepts of contemporary art in museums and of contrasted cinematic genres resulting in a merger is illustrated in the final two essays.
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Werner, Ann. Digitally Mediated Identity in the Cases of Two Sámi Artists. Edited by Fabian Holt and Antti-Ville Kärjä. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190603908.013.21.
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This chapter explores identity issues in commercial streaming services, which have grown steadily in the 2010s to become the dominant form of music consumption in the Nordic countries, with about 60% of all Internet users in 2015. The chapter offers an alternative to the dominant trend in music industry studies by focusing not on the industry’s interests but instead on broader cultural issues. The chapter presents case studies of two female Sámi artists and their representations on Spotify, YouTube, MySpace, and artists’ websites, taking various aspects of the services into account, including the interface and the algorithm-based recommendations. Informed by feminist cultural studies, the argument is that the industry continues a history of reinforcing stereotypes of ethnicity, indigeneity, and femininity. Thus, commercial streaming is not only making music available to global audiences, it is also selling images of Otherness within an unequal capitalist global media system.
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Oh, Youjeong. Pop City. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501755538.001.0001.
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This book examines the use of Korean television dramas and K-pop music to promote urban and rural places in South Korea. Building on the phenomenon of Korean pop culture, the book argues that pop culture-featured place selling mediates two separate domains: political decentralization and the globalization of Korean popular culture. By analyzing the process of culture-featured place marketing, the book shows that urban spaces are produced and sold just like TV dramas and pop idols by promoting spectacular images rather than substantial physical and cultural qualities. The book demonstrates how the speculative, image-based, and consumer-exploitive nature of popular culture shapes the commodification of urban space and ultimately argues that pop-culture-mediated place promotion entails the domination of urban space by capital in more sophisticated and fetishized ways.
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Rohman, Carrie. Strange Prosthetics: Rachel Rosenthal’s Rats and Rings. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190604400.003.0005.
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Rosenthal’s book, Tatti Wattles: A Love Story, reveals her aesthetic practice itself to be animated by the discourse of species. The drawings in this text, especially, suggest that Rosenthal’s self-identification as an artist is mediated by animality. The images also efface the human yet “en-face” the rat, de-emphasizing human power and privilege. These images are also marked by Rosenthal’s “auto-graphy” as a mover or dancer, by an alimentary tropology highlighting the body, by the concept of mediation, and by the taming of human exceptionalism. The argument follows that all of these elements in Rosenthal’s view of her artistic practice, self, and process are mediated by animality, and they challenge our received notions of art as a centrally human practice.
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Morgan, David. Icon and Aura. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190272111.003.0006.
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The icon is not just a certain kind of religious image developed during the early Byzantine empire and still used today in Orthodox Christianity. The chapter defines a broader category of the cultural icon as a key feature of modern visual culture and a powerful instance of enchantment in a secular context. With examples from popular culture and history, the text shows the enduring quality of an icon. Indeed, icons are powerful devices that operate in terms of an extended apparatus of iterations that shuttle aura across space and time in traffic with what matters. The icon enchants by pledging action at a distance, mediated by unseen chains of images reiterated in it.
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Heal, Bridget. The Reformation Legacy. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198737575.003.0002.
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Chapter 1 focuses on the first half of the sixteenth century. It analyzes Martin Luther’s teachings on images: the link he drew between iconoclasm and radicalism; his emphasis on Christian freedom; the relationship he described between inner (spiritual) and outer (physical) images; and his willingness to use the latter for instruction and commemoration. It then investigates images’ role in proclaiming the Gospel during this period, focusing on the illustrated Bibles and catechisms produced in Wittenberg and beyond. The Lutheran layperson’s encounter with the Word of God was, it shows, frequently mediated by images. The Reformation’s legacy compromised, therefore, not only a series of pastoral and doctrinal justifications for the use of images but also an experience of religious education and worship that was defined by the visual as well as the verbal.
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Cameron, Allan. Visceral Screens. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474419192.001.0001.
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Horror cinema grants bodies and images a precarious hold on sense and order: from the zombie’s gory disintegration to the vampire’s absent reflection and from the shaky camerawork of ‘found footage’ horror to the spectacle of shattering glass in the Italian giallo. Addressing classic horror movies alongside popular and innovative contemporary works, Visceral Screens shows how they have rendered the human form as a type of ‘image-body’, mediated by optical effects, chromatic shifts, glitches and audiovisual fragmentation. The question of signification is central to this metaphorical exchange, since horror frequently pushes both bodies and media to the limits of their expressive capacity. Conducting their own anatomies of the screen, cutting across bodies and media alike, horror films revel in the breakdown of frames, patterns and figures, exposing the seams between matter and meaning.
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Farriss, Nancy. Signs and Gestures. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190884109.003.0002.
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Early contact between native peoples and Spanish explorers, conquistadors, and missionaries was mediated by signs and gestures with mixed success. Visual symbols by themselves often conveyed the wrong message or none at all. Religious iconography would occupy a central place in the devotional life of the Mexican church. But from the first encounters with Caribbean islanders through the use of images of the Virgin Mary to Christianize pagan space, to the experiments with pictorial catechisms and sermons illustrated by scenes of heaven and hell, the Spanish learned that visual codes needed to be combined with verbal communication to reveal their meanings.
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White, Miles. Epilogue. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036620.003.0007.
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This concluding chapter examines how, in the post-MTV world of video culture and the post-hardcore rap world of commodity thugs, mediated images of the black male body remain a fantasy of masculine desire that encapsulates extreme alternatives of heroism and villainy for white and other youth who often have few other references for black American culture. It reiterates on the conclusions drawn from the previous chapters; and furthermore examines the implications of Barack Obama's 2008 electoral victory, his engagement and association with hip-hop culture, his triumph over American power expressed through whiteness, and his overall role as what the author here terms as “the first hip-hop president.”
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Shome, Raka. White Femininity and Transnational Masculinit(ies). University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038730.003.0005.
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This chapter explores the relationship between white (national) femininity and transnational masculinities, particularly Muslim men, in the context of the Diana phenomenon. More specifically, it considers how mediated images of Muslim masculinity are often secured in relation to images of white women. Before discussing the Muslim men–white women dialectic, the chapter provides an overview of the British national context of the 1990s with regard to Muslims. It then examines how sexuality, sexual relations, and mental perversity function as optics through which the Muslim male is depicted in relation to white women in the Diana phenomenon and popular culture at large, paying attention to the dichotomy of the “good Muslim/bad Muslim.” Given white femininity's role in guarding and preserving racialized borders of the nation, the chapter also analyzes how the nation manages the racialized and nationalized anxieties caused by threats to that role. It shows that contemporary visual structures in the West often give meaning to Muslim men through the structure of white femininity.
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Secular Magic and the Moving Image: Mediated Forms and Modes of Reception. Bloomsbury Publishing Plc, 2017.
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Sexton, Max. Secular Magic and the Moving Image: Mediated Forms and Modes of Reception. Bloomsbury Publishing Plc, 2019.
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23
Hawkins, Stan. Aesthetics and Hyperembodiment in Pop Videos. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.002.
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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter uses textual analysis of the music video “Umbrella,” featuring Rihanna, to demonstrate the intricacies of sound and image synchronization. It argues that music highlights subject positions according to the viewer’s expectations, assessment, and understanding of the displayed subject. Rihanna’s erotic imagery forms a critical point for contemplating the pop artist’s physical responses to music. One central ingredient of most video performances is disclosed by the suggestive positioning of the gendered body, which extends far beyond everyday experience. Such notions are theorized through aspects of hyperembodiment and hypersexuality, wherein the technological constructedness of the body constitutes a prime part of video production. The aesthetics of performance are predicated on the reassemblance of the body audiovisually. Editing, production, and technology shape the images, which are stimulated by musical sound, and ultimately the audiovisual flow in pop videos mediates a range of conventions that say much about our ever-evolving cultural domains.
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Lippert, Amy K. DeFalco. From the Cradle to the Grave: Visualizing the Life Cycle. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190268978.003.0005.
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Images were so bound up with the concept of mortality, and such potent reminders of the unceasing and irreversible onslaught of time, that they soon came to play a critical role as markers along the key junctures of both individual and family lifespans in nineteenth-century America. They commemorated births, deaths, and everything in between. The residents of a far-flung city like San Francisco were all the more reliant on two-dimensional substitutes for their absent kin. Painted portraits and miniatures had previously served similar functions as documentation of significant events or achievements, but only as mediated by an artist’s hand, with a limited replication and distribution capacity, and primarily for a small upper echelon of the population. It was fitting that photography, the most democratic of all media, should preserve memories of loved ones after their demise—death being among the most democratic of life experiences.
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Mays, J. C. C. Contemplation in Coleridge’s Poetry. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198799511.003.0002.
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Chapter 1 follows the ascent from the technical understanding of a poem and its processes toward a sense of ‘spiritual contemplation’. Slow-reading a short Coleridge poem, ‘First Advent of Love’, representing lifelong concerns, Mays describes the meditation involved in both reading and writing the poem. He contrasts such meditation with the different, analytical process involved in Coleridge’s prose writing. He reveals how in ‘First Advent’ feelings adjust through a web of sounds, images, and allusions (to neo-Platonic ideas about love mediated through Renaissance and contemporary German authors). Inquiry into what is most important in the poem involves the matter of how the poem works: a matter of ‘Understanding’. Mays then looks to higher, numinous qualities in the poem that go beyond the understanding, and are properly imaginative in terms of Coleridge’s diagram of the ‘Order of the Mental Powers’, mediating between ‘Understanding’ and ‘Reason’ in terms of enérgeia.
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Nye, David E. Seven Sublimes. The MIT Press, 2022. http://dx.doi.org/10.7551/mitpress/13830.001.0001.
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A reconception of the sublime to include experiences of disaster, war, outer space, virtual reality, and the Anthropocene. We experience the sublime—overwhelming amazement and exhilaration—in at least seven different forms. Gazing from the top of a mountain at a majestic vista is not the same thing as looking at a city from the observation deck of a skyscraper; looking at images constructed from Hubble Space Telescope data is not the same as living through a powerful earthquake. The varieties of sublime experience have increased during the last two centuries, and we need an expanded terminology to distinguish between them. In this book, David Nye delineates seven forms of the sublime: natural, technological, disastrous, martial, intangible, digital, and environmental, which express seven different relationships to space, time, and identity. These forms of the sublime can be experienced at historic sites, ruins, cities, and national parks, or on the computer screen. We find them in beautiful landscapes and gigantic dams, in battle and on battlefields, in images of black holes and microscopic particles. The older forms are tangible, when we are physically present and our senses are fully engaged; increasingly, others are intangible, mediated through technology. Nye examines each of the seven sublimes, framed by philosophy but focused on historical examples.
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Grespi, Barbara, Andrea Pinotti, and Ada Ackerman. Mediatic Handology. Shaping Images, Interacting, Magicking: VOL. XX, No. 35, FALL 2020. Mimesis Edizioni, 2021.
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Günther, Christoph, and Simone Pfeifer, eds. Jihadi Audiovisuality and its Entanglements. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474467513.001.0001.
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This volume situates jihadi audio-visual media within a global communicative web, and provides perspectives that relate the production and dissemination of jihadi images and sound to various forms of engagement and appropriation. Through 12 case studies, this book examines the different ways in which Jihadi groups and their supporters use visualisation, sound production and aesthetic means to articulate their cause in online as well as offline contexts and how different actors relate to these media. Divided into four thematic sections, the chapters probe Jihadi appropriation of traditional and popular cultural expressions and show how, in turn, political activists appropriate extremist media to oppose and resist the propaganda. By conceptualising militant Islamist audio-visual productions as part of global media aesthetics and practices, the authors shed light on how religious actors, artists, civil society activists, global youth, political forces, security agencies and researchers engage with mediated manifestations of Jihadi ideology to deconstruct, reinforce, defy or oppose the messages.
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Chaudhari, Pia Sophia. Dynamis of Healing. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823284658.001.0001.
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This work is an exploration of possible experiential traces of Orthodox Christian ontology and soteriology in the healing of the psyche as known and experienced through depth psychology. It explores a possible relationship between theology and depth psychology as mediated through a lens of the sacramentality of creation. Using a variety of patristic soteriological images, all of which converge around the central theme of “that which is not assumed is not healed,” it then goes on to offer a possible psychological exegesis of that key patristic maxim, seeking to understand how this might be experienced psychologically. This is done through the lens of the assumption of being qua being as explored through insights into the natural healing impetus of the psyche qua psyche. The exploration then turns to the ontological energies of eros, desire, and will and looks for traces of the assumption of eros in psychological healing, as seen primarily through the lens of object-relations theory.
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Lawrence, Jennifer A. The roles of image and anticipation of future interaction in computer-mediated impression development. 1995.
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Blake, Christopher. Wie Mediale Körperdarstellungen Die Körperzufriedenheit Beeinflussen: Eine Theoretische Rekonstruktion der Wirkungsursachen. Springer Vieweg. in Springer Fachmedien Wiesbaden GmbH, 2014.
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Blake, Christopher. Wie mediale Körperdarstellungen die Körperzufriedenheit beeinflussen: Eine theoretische Rekonstruktion der Wirkungsursachen. Springer VS, 2014.
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Martin, Jeffrey J. Body Image. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190638054.003.0037.
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It has often been wrongly assumed that people with disabilities have poor body image. The purpose of this chapter is to review the body image research involving individuals with impairments and investigating if they are dissatisfied with their appearance. People with disabilities such as cerebral palsy, blindness, and amputations are all very different, and their impairments are likely to differ in many other respects that can play a role in body image self-perceptions. The lack of unanimity across the research reviewed here suggests that disability type, disability severity, visibility, duration, congenital versus acquired factors, age, gender, ethnicity, social support, and self-efficacy are all important considerations that can moderate and mediate the link between disability and body image. Researchers are urged to use theory to guide their research and to consider nontraditional approaches to the study of body image. For instance, researchers studying positive body image understand that this does not comprise simply the absence of negative body image cognitions and have examined the role of body appreciation and body acceptance.
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Esses, Victoria Melanie. Mood as a mediator of the effects of feedback on self-image. 1987.
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Belén, Paola Sabrina, and Sofía Delle Donne, eds. La dimensión epistémica de la imagen. Editorial de la Universidad Nacional de La Plata (EDULP), 2021. http://dx.doi.org/10.35537/10915/125276.
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Este libro busca realizar un análisis de la dimensión epistémica de la imagen, a partir de las categorías de producción y recepción y mediante un recorte temático de casos, que posibilitan indagar en imágenes de diferentes espacios y momentos históricos, las cuales no son estudiadas cronológicamente sino a través de un enfoque procesual, relacional y situacional del arte, articulador además de los aportes de diversas disciplinas (Epistemología del arte, Historia de las artes, Estudios visuales, Estética y Teoría del arte).
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Ferrin, Nino. Selbstkultur und Mediale Körper: Zur Pädagogik und Anthropologie Neuer Medienpraxen. Transcript Verlag, 2014.
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Cantero, Fernando Moreno. Estudio Mediante Análisis de Imagen de Los Huesos Largos en Relación con la Edad. Universidad Complutense de Madrid, Servicio de Publicaciones, 2006.
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Lippert, Amy DeFalco. Consuming Identities. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190268978.001.0001.
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Along with the rapid expansion of the market economy and industrial production methods, innovations including photography, lithography, and steam printing created a pictorial revolution in the nineteenth century. Consuming Identities: Visual Culture in Nineteenth-Century San Francisco explores the significance of that revolution in one of its vanguard cities: San Francisco, the revolving door of the gold rush and the hub of Pacific migration and trade. The proliferation of visual prints, ephemera, spectacles, and technologies transformed public values and perceptions, and its legacy was as significant as the print revolution that preceded it. In their correspondence, diaries, portraits, and reminiscences, thousands of migrants to the city by the Bay demonstrated that visual media constituted a central means by which to navigate the bewildering host of changes taking hold around them in the second half of the nineteenth century. Images themselves were inextricably associated with these world-changing forces; they were commodities, but they also possessed special cultural qualities that gave them new meaning and significance. Visual media transcended traditional boundaries of language and culture that had divided groups within the same urban space. From the 1848 conquest of California and the gold discovery to the disastrous earthquake and fire of 1906, San Francisco anticipated broader national transformations in the commodification, implementation, and popularity of images. For the city’s inhabitants and visitors, an array of imagery came to mediate, intersect with, and even constitute social interaction in a world where virtual reality was becoming normative.
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Neal, Lynn S. Religion in Vogue. NYU Press, 2019. http://dx.doi.org/10.18574/nyu/9781479892709.001.0001.
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Religion in Vogue provides readers with a unique approach to the study of popular culture and American religion. Through its analysis of numerous primary sources ranging from fashion magazines to runway shows, the book traces how Christian symbols and imagery became an increasingly prominent part of the fashion industry and designer apparel. Examining this trajectory illuminates the longstanding and evolving relationship between Christianity and fashion. To capture this complexity, each chapter focuses on a specific element of fashion that mediates Christian ideas and images, including print articles, advertisements, jewelry, and fashion designs. Religion in Vogue examines in-depth religious elements in fashion advertisements, the popularity of cross jewelry, Catholic inspirations in designer collections, and, of course, the appearance of the divine on designer garments. Chronicling this trajectory highlights how the fashion industry constructs a vibrant textual, visual, and material discourse on Christianity that exists alongside and intersects with more dominant and familiar religious narratives. This fashionable religion, an aestheticized Christianity, offers spiritual seekers a way to be simultaneously stylish and religious. In doing so, the world of fashion both shapes and reflects trends toward religious individualism and religious eclecticism that have dominated the religious landscape of the United States in the latter half of the twentieth century and the first quarter of the twenty-first. Religion in Vogue helps us better understand the changing American religious landscape in a novel and fascinating way.
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Pauls, Brian Scott. Body dissatisfaction, drive for thinness, and bulimic behaviours in adolescent women: Testing a mediated model of general and specific risk factors. 2005.
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Kastler, Bruno, and Adrian Kastler. Lumbar Sympathetic Block and Neurolysis: Computed Tomography. Oxford University Press, 2016. http://dx.doi.org/10.1093/med/9780199908004.003.0031.
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Lumbar sympathetic block and neurolysis are accepted treatment procedures in patients with sympathetic mediated lower limb pain and patients with advanced peripheral arterial disease. The use of imaging guidance is highly recommended in order to achieve best possible results and to avoid complications. The high image resolution (as opposed to fluoroscopy) and high availability (as opposed to MRI) offered by CT makes it the imaging guidance technique preferred. This chapter reviews the indications of lumbar sympathetic chain blockade and neurolysis and the basic anatomical background. Then it demonstrates how CT guidance allows a step-by-step control of positioning the needle tip at the target for either lumbar blockade or alcohol neurolysis and the advantages and disadvantages of each technique are summarized.
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Ramiro, Guillermo Jesús Pradies. Estudio Experimental con Analizador de Imagen, Del Ajustes de Espigas Coladas Realizadas Mediante Técnica Directa e Indirecta de Confección de Patrones. Universidad Complutense de Madrid, Servicio de Publicaciones, 2005.
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Sng, Zachary. Middling Romanticism. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823288410.001.0001.
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The book examines the “middling” work performed by writers of the Romantic period such as Lessing, Kleist, P. B. Shelley, and Hölderlin. It traces their attempts to re-imagine the middle as a constitutive principle, which begin with dislodging terms such as medium, moderation, and mediation from their conventional roles as self-evident, self-effacing tools that conduct from one pole to another or provide a compromise between two extremes. What they offer instead is a dwelling in and with the middle: an attention to intervals, interstices, and gaps that recognize their centrality to the concept of relation. This produces a profound medial ambivalence that underpins romanticism’s re-writing of conceptual pairs such as origin and destination, speaker and addressee, deficit and surplus, self and other. In this light, we might also ask what it means for us to recognize our mediated relationship to romanticism. To address this question, the readings consider romantic writing in the context of a double juxtaposition: alongside the legacy of romantic middling in the twentieth century but the classical sources about the middle that romanticism draw on. The challenge is to see romanticism as neither ancient nor modern, but as the historical hinge upon which such distinctions turn, the mirror in which our own image is mediated and cast back to us.
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Booth, Marilyn. Disruptions of the Local, Eruptions of the Feminine: Local Reportage and National Anxieties in Egypt’s 1890s. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474430616.003.0003.
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This chapter demonstrates that inscriptions of female images in Cairo’s late nineteenth-century nationalist press were part of a discursive economy shaping debates on how gender roles and gendered expectations should shift as Egyptians struggled for independence. The chapter investigates content and placement of ‘news from the street’ in al-Mu’ayyad in the 1890s, examining how these terse local reports – equivalent to faits divers in the French press – contributed to the construction of an ideal national political trajectory with representations of women serving as the primary example in shaping a politics of newspaper intervention on the national scene. In this, an emerging advocacy role of newspaper correspondents makes the newspaper a mediator in the construction of activist reader-citizens.
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Jiménez Vaca, Alejandro. Las Acequias de la Ciudad de México. Editorial Grupo Lacería, 2020. http://dx.doi.org/10.37806/egl.2020.002.
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Conocida por sus canales o por su designación novohispana de acequias, la imagen de ciudad acuática de la Ciudad de México fue ampliamente difundida en el mundo. Tal pareciera que aquellas referencias románticas de la ciudad, hubieran quedado sólo en las líneas escritas por los cronistas. Sin embargo, al analizar planos arquitectónicos y catastrales actuales, se pueden vislumbrar vestigios de este pasado lacustre. A través de esta investigación se realiza, mediante el análisis de planos del siglo XVIII, una identificación de las acequias existentes en la Ciudad de México durante este período, así como su trayectoria en un plano actual, y realizando, a la vez, un análisis de su influencia en la arquitectura habitacional, determinando las características particulares de las viviendas que se encuentran en el trayecto de las acequias, mediante una clasificación de casas con acequia, dependiendo el nivel de relación entre estos dos géneros constructivos.
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Stewart-Kroeker, Sarah. Pilgrimage as Moral and Aesthetic Formation in Augustine’s Thought. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198804994.001.0001.
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Augustine’s dominant image for the human life is peregrinatio, which signifies at once a journey to the homeland—a pilgrimage—and the condition of exile from the homeland. For Augustine, all human beings are, in the earthly life, exiles from their true homeland: heaven. Only some become pilgrims seeking a way back to the heavenly homeland, a return mediated by the incarnate Christ. Becoming a pilgrim begins with attraction to beauty. The return journey therefore involves formation, both moral and aesthetic, in loving rightly. This image has occasioned a lot of angst in ethical thought in the last century or so. Augustine’s vision of Christian life as a pilgrimage, his critics allege, casts a pall of groaning and longing over this life in favor of happiness in the next. Augustine’s eschatological orientation robs the world of beauty and ethics of urgency. In this book, Stewart-Kroeker sets out to elaborate Augustine’s understanding of moral and aesthetic formation via the pilgrimage image, which she argues reflects a Christological continuity between the earthly journey and the eschatological home that unites love of God and neighbor. From the human desire for beauty to the embodied practice of Christian sacraments, Stewart-Kroeker reveals the integrity of Augustine’s vision of moral and aesthetic formation, which is essentially the ordering of love. Along the way, Stewart-Kroeker develops an Augustinian account of the relationship between beauty and morality.
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Chattopadhyay, Budhaditya. The Auditory Setting. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474474382.001.0001.
Full textAbstract:
The Auditory Setting introduces and investigates how narrative and a sense of place are constructed in film and media arts through the reproduction and mediation of site-specific environmental sounds, or ‘ambience’. Although this sonic backdrop acts as the acoustically mediated space where a story or event can take place, there has been little academic study of sound’s undervalued role in cinematic setting and its production. The aim of this book is to question classical assumptions about sound in film and media arts (e.g., image-based relationships) and shift the focus towards the site and its sonic environment, whose presence is often carefully constructed in a film or media artwork’s diegetic world as a vital narrative strategy. The emphasis on site in the book enables an informed investigation of an essentially anthropogenic process of the sonic environment’s mediation and (re)production. Sonic environments are inhabited, experienced, exploited and transformed every day, their corporeality augmented by human agency in mediated forms. The human agency of sonic environments is crucial to unwrap in order to understand cultural expectations from the audiovisual media; greater awareness is required of narration, depiction, communication and artistic production approaches and affordances harnessed through media technologies. Drawing on theories of narrative, diegesis, mimesis and presence, and following a varied number of relevant audio-visual works, this book is a ground-breaking exploration of human agency in mediating environmental sounds and the nature of the sonic experience in the Anthropocene.
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Lee, Hye-Kyung. Self-referring in Korean, with reference to Korean first-person markers. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198786658.003.0004.
Full textAbstract:
Lee’s chapter provides a corpus-based analysis of Korean first-person markers by examining the semantic and pragmatic features emerging from their dictionary definitions and their usages in discourse. Specifically, it is demonstrated that the use of the grammatical category of a pronoun does not quite fit the Korean data, because the exceptionally large number of the lexical items are highly specialized in their use. While the first-person markers have the primary function of referring to the speaker, self-referring via first-person markers in Korean is mediated by the speaker’s awareness of his perceived social role or public image, which is expected to conform to honorification norms. The author also argues that the situation with first-person reference in Korean supports the view that the indexical/non-indexical distinction standardly adopted in semantic theory ought to be reconsidered.
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Finseth, Ian. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190848347.003.0001.
Full textAbstract:
Contra conventional wisdom, this introductory chapter proposes that the Civil War dead were understood in relation to four epistemic predicaments that shaped not only an American but a broadly Western modernity in the late nineteenth century: (1) a growing sense of the eᶊentially mediated character of all experience and a loᶊ of faith in the coherence of the individual subject; (2) the increasing dominance of the image in political and social relations and in shaping how Americans knew the world; (3) an erosion of traditional and nationalist views regarding the meaning of historical change and of the present’s relationship to the past; and (4) a newly secular emphasis on complexity, contingency, and chance in the workings of the world. These social and intellectual dilemmas provide an organizational scheme for the book, which is structured around four cultural archives: eyewitneᶊ accounts, visual art, histories of the war, and narrative fiction.