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Libros sobre el tema "Visual vernacular"

Autor: Grafiati
Publicado: 25 de mayo de 2024

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1

Couto, Nasbahry. Budaya visual seni tradisi Minangkabau. Padang: Universitas Negeri Padang Press, 2008.

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2

Couto, Nasbahry. Budaya visual seni tradisi Minangkabau. Padang: Universitas Negeri Padang Press, 2008.

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3

Alzate, Adriana Gómez. Expresión visual en las ciudades del bahareque. Manizales, Colombia: Universidad de Caldas, 1994.

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4

University of California, Berkeley. Center for Environmental Design Research, ed. Theoretical models for visual and textual representation. Berkeley, CA: Center for Environmental Design Research, University of California at Berkeley, 1991.

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5

A visual dictionary of Chinese architecture. Mulgrave, Vic: Images, 2002.

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6

Pangarsa, Galih Widjil. Arsitektur untuk kemanusiaan: Teropong visual culture atas karya-karya Eko Prawoto. Surabaya: Wastu Lanas Grafika, 2008.

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7

Vanakyurā modanizumu to shite no eizō bunka: Vernacular modernism in visual cultures / Hase Masato. Tōkyō: Tōkyō Daigaku Shuppankai, 2017.

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8

Guo, Qinghua. [Zhongguo jian zhu Ying Han shuang jie ci dian] =: A visual dictionary of Chinese architecture. Mulgrave, Vic., Australia: Images Pub., 2002.

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9

Sajin ŭro p'urŏbon Han-Il chŏnt'ong kŏnch'uk: Architectural visual comparison between Korea and Japan. Sŏul-si: Koryŏ, 2009.

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10

Powell, M. C. The re-use of vernacular farm buildings with reference to visual character and the rural economy. Oxford: Oxford Brookes University, 1997.

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11

The Visual Language of Vernacular Manuscript Illumination: John Gower's Confessio Amantis (Pierpont Morgan MS M.126). [New York, N.Y.?]: [publisher not identified], 2011.

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12

Sajin ŭro p'urŏ pon Han Il chŏnt'ong kŏnch'uk: Chŭngbo kaejŏngp'an = Architectural visual comparison between Korea and Japan. Sŏul-si: Koryŏ, 2012.

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13

Grgic, Ana. Early Cinema, Modernity and Visual Culture. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463728300.

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At the end of the nineteenth century, the Balkans were animated by cultural movements and socio-political turmoil with the onset of the collapse of the empires. Around the same period, the proliferation of print media and the arrival of moving images gradually transformed urban life, and played an important role in the creation of national and regional cultures. Based on archival research that explores previously overlooked footage and early press materials, Early Cinema, Modernity and Visual Culture: The Imaginary of the Balkans is the first study on early cinema in the region from a transnational and cross-cultural perspective. This book investigates how the unique geopolitical positioning of the Balkan space and the multicultural identity of its communities influenced and shaped visual culture and the development of early cinema until World War I. It highlights how early moving images and foreign film productions contributed to the construction of Balkanist and semi-colonial discourses. Building on approaches such as ‘new cinema history’, ‘vernacular modernity’ and ‘polycentric multiculturalism’ to counter Eurocentric modernity paradigms and to reframe hierarchical relations between centres and peripheries, this monograph adopts an alternative methodology for interstitial spaces. Using the notion of the haptic, it examines the relationship between the new medium and regional visual culture. By doing so, it establishes new connections between moving image artefacts and print media, early film practitioners and intellectuals, the socio-cultural context and cultural responses to the new visual medium in the Balkan region.
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14

Bolzoni, Lina. The web of images: Vernacular preaching from its origins to St Bernardino da Siena. Aldershot: Ashgate, 2003.

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15

The web of images: Vernacular preaching from its origins to Saint Bernardino of Siena. Aldershot, Hants, England: Ashgate, 2004.

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16

Mickūnaitė, Giedrė. Maniera Greca in Europe’s Catholic East. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789462982666.

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How and why does vernacular art become foreign? What does ‘Greek manner’ mean in regions far beyond the Mediterranean? What stories do images need? How do narratives shape pictures? The study addresses these questions in Byzantine paintings from the former Grand Duchy of Lithuania, contextualized with evidence from Poland, Serbia, Russia, and Italy. The research follows developments in artistic practices and the reception of these images, as well as distinguishing between the Greek manner – based on visual qualities – and the style favoured by the devout, sustained by cults and altered through stories. Following the reception of Byzantine and pseudo-Byzantine art in Lithuania and Poland from the late fourteenth through the early eighteenth centuries, Maniera Greca in Europe’s Catholic East argues that tradition is repetitive order achieved through reduction and oblivion, and concludes that the sole persistent understanding of the Greek image has been stereotyped as the icon of the Mother of God.
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17

Ayers, Drew. Spectacular Posthumanism: The Digital Vernacular of Visual Effects. Bloomsbury Publishing Plc, 2020.

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18

Spectacular Posthumanism: The Digital Vernacular of Visual Effects. Bloomsbury Publishing Plc, 2018.

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19

Saxena, Akshya. Vernacular English. Princeton University Press, 2022. http://dx.doi.org/10.23943/princeton/9780691219981.001.0001.

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Against a groundswell of critiques of global English, this book argues that literary studies are yet to confront the true political import of the English language in the world today. A comparative study of three centuries of English literature and media in India, the book tells the story of English in India as a tale not of imperial coercion, but of a people's language in a postcolonial democracy. Focusing on experiences of hearing, touching, remembering, speaking, and seeing English, the book delves into a previously unexplored body of texts from English and Hindi literature, law, film, visual art, and public protests. It reveals little-known debates and practices that have shaped the meanings of English in India and the Anglophone world, including the overlooked history of the legislation of English in India. It also calls attention to how low castes and minority ethnic groups have routinely used this elite language to protest the Indian state. Challenging prevailing conceptions of English as a vernacular and global lingua franca, the book does nothing less than reimagine what a language is and the categories used to analyze it.
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20

Guo, Qinghua. The Visual Dictionary of Chinese Architecture. Images Publishing Dist A/C, 2006.

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21

Mercer, Kobena. Pop Art and Vernacular Cultures (Annotating Art's Histories: Cross-Cultural Perspectives in the Visual Arts). The MIT Press, 2007.

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22

Erik Kessels and Thomas Sauvin: Talk Soon. Atelier Editions, 2021.

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23

Bolzoni, Lina. The Web of Images: Vernacular Preaching from Its Origins to Saint Bernardino Da Siena (Histories of Vision). Ashgate Publishing, 2004.

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24

Tittler, Robert. Art and Architecture in Provincial England. Editado por Malcolm Smuts. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199660841.013.37.

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This chapter considers the contrasting visual and architectural elements which Shakespeare will have experienced both in his native Stratford and in his frequent travels elsewhere throughout the realm. Two important corrections must be made to the canonical and time-honoured assumption that Shakeapeare’s London was the centre for artistic and architectural production, the hub from which ideas about visual culture entered England and then radiated outwards to the rest of the realm. First, our notions of English ‘art’ and ‘architecture’ must be adjusted in this era to accommodate the role of vernacular painting and building carried out throughout the realm by native-English craftsmen working in traditional modes of design and production. And second, we must acknowledge that, far from being the arid cultural wastelands, provincial towns and cities throughout the realm served as active centres of both painting and building.
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25

Lombardi, Elena. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198818960.003.0002.

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This chapter explores a more concrete and historicized figure of the woman reader. It explores the forces that make her appear and disappear, and surveys the state of knowledge on medieval female literacy, and the documentary evidence on women readers. It investigates typically female modes of reading (such as the educational, the devotional, and the courtly) and the visual models that were available to vernacular authors to forge their imagined textual interlocutor. It shows how the protagonist of this book is the product of two cultural events within the history of reading and the material culture of the book: the raise of literacy among the laity and women in the years under consideration, and a changed scenario insofar as theories and practices of reading are concerned.
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26

Goldring, Elizabeth. Art Collecting and Patronage in Shakespeare’s England. Editado por Malcolm Smuts. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199660841.013.39.

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This chapter poses the question: ‘What did it mean to be a patron or collector of art in Shakespeare’s England?’ To that end, it seeks, first, to shed light on some of the challenges inherent in any attempt to reconstruct—at a remove of nearly 500 years—patterns of early modern art collecting and patronage; and second, to trace some of the principal shifts in the aesthetic and cultural landscape of England fromc.1564 toc.1616. As this essay demonstrates, Shakespeare’s England was a world in flux, in which native, vernacular objects, ideas, and vocabulary sat cheek by jowl with foreign, imported artefacts, attitudes, and terminology. Moreover, Shakespeare’s writings, and those of some of his contemporaries, both reflect and help to illuminate the complex interaction between the traditional and the novel characteristic of Elizabethan and early Jacobean visual culture—enabling us, like Hamlet, to hold a ‘mirror up to nature’ (3.2.22).
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27

Smith, Christopher J. Akimbo Culture. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037764.003.0006.

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This chapter examines the physical and participatory implications of blackface dance, and the dance cultures more generally, depicted by William Sidney Mount. It also uses the evidence drawn from Mount's visual depictions to locate prototypical blackface dance vocabularies and rhythmic practices in vernacular art works of the earlier nineteenth century. The chapter first considers the resources for recovering the kinesics of minstrelsy, along with visible evidence of Afro-Caribbean influence on bodily kinesics, before turning to juba and the aesthetics of African movement. It then analyzes Mount's choreological evidence to illustrate the consistency with which he records and manipulates the cultural associations of body vocabulary, as well as his integration of the creole synthesis in his works. It argues that it was rhythm and dance that accounts for minstrelsy's remarkably immediate yet enduring popularity and influence. It shows that, in addition to the symbolic transgression of bourgeois grace implicit in Jim Crow's akimbo representation, the images' anatomical distortions also capture movement, not stasis. The chapter concludes by looking at the so-called “bending knee-bone” in blackface performance.
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28

Smuts, Malcolm, ed. The Oxford Handbook of the Age of Shakespeare. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199660841.001.0001.

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This handbook presents a broad sampling of current historical scholarship on Shakespeare’s period that it is hoped will prove useful to scholars of his poems and plays. Rather than attempting to summarize the historical ‘background’ to Shakespeare, individual chapters explore numerous topics and methodologies at the forefront of current historical research. An initial cluster shows how political history has expanded beyond a traditional focus on relations between Crown and Parliament to encompass attention to attempts by the government to manage opinion; military challenges; problems in subduing Ireland and mediating relations between the British kingdoms; and the interplay between national affairs and local factions and concerns. Additional chapters deal with relationships between intellectual culture and political imagination, with detailed attention to varieties of early modern historical thought and the emergence of a ‘public sphere’. Other contributors examine facets of religious and social history, including scriptural translation, concepts of the devil, cultural attitudes concerning honour, shame and emotion, and life in London. A final section deals with vernacular architecture, Renaissance gardens, visual culture and theatrical music.
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29

Schramm, Jan-Melissa. Censorship and the Representation of the Sacred in Nineteenth-Century England. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198826064.001.0001.

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In the early nineteenth century, the biblical sublime found expression in the visual arts, the novel, the oratorio, and poetry, but spoken drama remained secular by force of precedent and law. The maintenance of this ban on religious theatrical representation was underpinned by Protestant anxieties about impersonation, performance, and the power of the image that persisted long after the Reformation. But by mid-century, the turn towards medievalism in visual culture, antiquarianism in literary history, and the ‘popular’ in constitutional reform placed England’s pre-Reformation past at the centre of debates about the uses of the public stage and the functions of a truly national theatrical literature. In this changing climate, how was England’s rich heritage of vernacular sacred drama to be understood? This book probes the tensions inherent in the idea of ‘incarnational art’—whether, after the Reformation, ‘presence’ was only to be conjured up in the mind’s eye by the act of reading, or whether drama could rightfully reclaim all the implications of ‘incarnation’ understood in the Christian tradition as ‘the word made flesh’. Chapters 1, 2, and 3 describe the recovery of the medieval mystery plays and their subsequent impact on the national imagination. The second half of the book looks at the gradual relaxation of the ban on the performance of sacred drama and asks whether Christian theatre can ever be truly tragic, whether art perpetually reanimates or appropriates sacred ideas, and whether there is any place for sacramental thought in a post-Darwinian, industrial age.
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30

Villegas, Mark R. Manifest Technique. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043789.001.0001.

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Manifest Technique traces the ways in which Filipino American hip hop performances remember the racialized histories of the Filipino body. Mediated through what the book calls a Filipino American hip hop vernacular, Filipino Americans have been fashioning crucial forms of Filipino racial knowledge. Inspired by hip hop’s cultural resources that uplifts the dignity of African Americans, Filipino Americans’ immersion in hip hop has influenced ongoing Filipino racial self-construction, engaging a longer struggle of Filipino decolonization. Manifest Technique testifies to the labor required to bridge the gaps within the margins of official memory by outlining how Filipino Americans have been instrumental in contributing to the broader contours of hip hop and in providing a counter-memory to their historical erasure. In observing artists’ and participants’ narratives, music, embodiments, and visual expressions, this book is an impetus to understand race and ethnicity in the United States not simply in terms of liberal multiculturalism, which distributes power horizontally and ahistorically, but through the critical lens of structural domination, which recognizes power as vertically applied and historically rooted. In short, this book observes the intersections of memory and empire by focusing on hip hop cultural practices embedded within the ongoing racial project of Filipino postcolonial emergence.
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31

Dickason, Kathryn. Ringleaders of Redemption. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197527276.001.0001.

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In traditional thought and theology, Christianity tends to oppose dance. Conventional scholarship traces this controversy back to the Middle Ages. Throughout the medieval era, the Latin Church denounced and prohibited dancing in religious and secular realms, often aligning it with demonic intervention, lust, pride, and sacrilege. Historical sources, however, suggest that medieval dance was a complex and ambivalent phenomenon. During the High and Late Middle Ages, Western theologians, liturgists, and mystics not only tolerated dance, they transformed it into a dynamic component of religious thought and practice. This book investigates how dance became a legitimate form of devotion in Christian culture. Sacred dance functioned to gloss scripture, frame spiritual experience, and imagine the afterlife. Invoking numerous manuscript, primary, and visual sources (biblical commentaries, sermons, saints’ lives, ecclesiastical statutes, mystical treatises, vernacular literature, and iconography), this book highlights how medieval dance helped shape religious identity, social stratification, and human intention. Moreover, this book shows the political dimension of dance, which worked in the service of Christendom, conversion, and social cohesion. In sum, Ringleaders of Redemption reveals a long tradition of sacred dance in Christianity, one that the professionalization and secularization of Renaissance dance obscured, and one that the Reformation silenced and suppressed.
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32

Coroleu, Alejandro. Latin Political Propaganda in the War of the Spanish Succession and Its Aftermath, 1700–1740. Editado por William M. Barton, Jacqueline Glomski, Bobby Xinyue, Gesine Manuwald y Andrew Taylor. Bloomsbury Publishing Plc, 2023. http://dx.doi.org/10.5040/9781350214927.

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Latin Political Propaganda offers the first comprehensive study of the central role played by the Latin language to celebrate or undermine political power during the War of the Spanish Succession (1701–15). Waged as much on the printed page as on the battlefield, this worldwide conflict gave rise to an astonishing variety of Latin writing across the continent – in verse or in prose – on both the pro-Habsburg and pro-Bourbon sides. Ranging from official documents, epic, satirical and panegyric poetry to defamatory pamphlets, letters, historiographical and juridical tracts, medals and ephemeral architecture, this vast textual corpus has gone almost unnoticed. Alejandro Coroleu provides close examination of the literary devices of these texts and shows how imitation of models and figures from classical antiquity was at the heart of the authors’ highly refined verse and prose technique. He also pays attention to the historical and social context in which the texts emerged, and connects the Latin political writing produced at the time with more popular forms of propagandistic discourse (literary or visual) which found its expression in the vernacular. This book reveals how the learned language continued to function – even after the hostilities had come to an end in July 1715 – as an instrument of political discourse and propaganda on both sides of the dynastic feud up until the death of Emperor Charles VI in October 1740. This monograph offers the first comprehensive study of the central role played by the Latin language to celebrate or undermine political power during the War of the Spanish Succession (1702-1715). Waged as much on the printed page as on the battlefield, this worldwide conflict gave rise to an astonishing variety of Latin writing across the Continent —in print and in manuscript, in verse or in prose— on both the pro-Habsburg and pro-Bourbon sides. Ranging from official documents, epic, satirical and panegyric poetry to defamatory pamphlets, coronation and funeral verse and prose, letters, historiographical and juridical tracts, medals and ephemeral architecture, this vast textual corpus has gone almost unnoticed. The proposed book provides close examination of the literary devices of these texts and shows how imitation of models and figures from classical antiquity was at the heart of the authors’ highly refined verse and prose technique. This monograph also pays attention to the historical and social context in which the texts emerged, and connects the Latin political writing produced at the time with more popular forms of propagandistic discourse (literary or visual) which found its expression in the vernacular. Last, Latin and political propaganda in the War of the Spanish Succession and its Aftermath reveals how the learned language continued to function —even after the hostilities had come to an end in July 1715— as an instrument of political discourse and propaganda on both sides of the dynastic feud up until the death of emperor Charles VI in October 1740.
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33

Hahn, Thomas, ed. A Cultural History of Race in the Middle Ages. Bloomsbury Publishing Plc, 2022. http://dx.doi.org/10.5040/9781350067448.

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This volume presents a comprehensive and collaborative survey of how people, individually and within collective entities, thought about, experienced, and enacted racializing differences. Addressing events, texts, and images from the 5th to the 16th centuries, these essays by ten eminent scholars provide broad, multi-disciplinary analyses of materials whose origins range from the British Isles, Western Iberia, and North Africa across Western and Eastern Europe to the Middle East. These diverse communities possessed no single word equivalent to modern race, a term (raza) for genetic, religious, cultural, or territorial difference that emerges only at the end of the medieval period. Chapter by chapter, this volume nonetheless demonstrates the manifold beliefs, practices, institutions, and images that conveyed and enforced difference for the benefit of particular groups and to the detriment of others. Addressing the varying historiographical self-consciousness concerning race among medievalist scholars themselves, the separate analyses make use of paradigms drawn from social and political history, religious, environmental, literary, ethnic, and gender studies, the history of art and of science, and critical race theory. Chapters identify the eruption of racial discourses aroused by political or religious polemic, centered upon conversion within and among Jewish, Christian, and Islamic communions, and inspired by imagined or sustained contact with alien peoples. Authors draw their evidence from Hebrew, Latin, Arabic, and a profusion of European vernaculars, and provide searching examination of visual artifacts ranging from religious service books to maps, mosaics, and manuscript illuminations.
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