Bibliografie tematiche / Silverman, kaja

Letteratura scientifica selezionata sul tema "Silverman, kaja"

Autore: Grafiati
Pubblicato: 26 luglio 2024
Ultima modifica: 27 luglio 2024

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Articoli di riviste sul tema "Silverman, kaja"

1

Lawrence, Amy. ": The Acoustic Mirror . Kaja Silverman." Film Quarterly 42, n. 3 (aprile 1989): 50–52. http://dx.doi.org/10.1525/fq.1989.42.3.04a00120.

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Shaughnessy, Brenda. "Nachträglichkeit—after Kaja Silverman". WSQ: Women's Studies Quarterly 39, n. 3-4 (2011): 29–30. http://dx.doi.org/10.1353/wsq.2011.0056.

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Lawrence, Amy. "Review: The Acoustic Mirror by Kaja Silverman". Film Quarterly 42, n. 3 (1989): 50–52. http://dx.doi.org/10.2307/1212606.

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Lehman, Peter. ": Male Subjectivity at the Margins . Kaja Silverman." Film Quarterly 47, n. 1 (ottobre 1993): 55–56. http://dx.doi.org/10.1525/fq.1993.47.1.04a00180.

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Lehman, Peter. "Review: Male Subjectivity at the Margins by Kaja Silverman". Film Quarterly 47, n. 1 (1993): 55–56. http://dx.doi.org/10.2307/1213120.

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Watson, J. "Poetics of the Flesh: An Interview with Kaja Silverman". Minnesota review 2011, n. 76 (1 giugno 2011): 65–79. http://dx.doi.org/10.1215/00265667-1222056.

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7

Fletcher, J. "Kaja Silverman, Male Subjectivity at the Margins: Masculinity and its discontents". Screen 36, n. 1 (1 marzo 1995): 65–74. http://dx.doi.org/10.1093/screen/36.1.65.

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Pérusse, Denise. "Le spectacle du « manque féminin » au cinéma : un leurre qui en cache un autre". Cinémas 8, n. 1-2 (26 ottobre 2007): 67–91. http://dx.doi.org/10.7202/024743ar.

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RÉSUMÉ À partir d'une anthologie de textes féministes fondateurs en études cinématographiques, l'auteure fait ressortir tout un paradigme de négativités autour de l'image de la femme dans le cinéma classique et de l'identité de la spectatrice. Elle montre aussi comment une théoricienne comme Kaja Silverman ouvre une brèche dans les théories du genre en montrant comment les femmes dans le cinéma classique sont contraintes d'exhiber le manque afin d'absorber les pertes qui affectent le sujet masculin.
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Kalmár, György. "Halloween and the Limits of Cinematic Meaning". Acta Universitatis Sapientiae, Film and Media Studies 6, n. 1 (1 agosto 2013): 149–63. http://dx.doi.org/10.2478/ausfm-2014-0009.

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Abstract The article reads John Carpenter’s Halloween (1978) from the perspective of the (im)possibilities of cinematic meaning. The horror film seems to be an especially fruitful field for such studies, since its aestheticpsychological mechanism usually aims at destroying the kind of spectatorial position necessary, at least according to semiotic and postsemiotic theory, for the generation and reading of meaningful signs. Placing the film in the theoretical context of such scholars as Roland Barthes, Jacques Lacan, Kaja Silverman, Steven Shaviro and Todd McGowan, I attempt to analyse the ways the film disables the production of semiotic meaning and rewrites some of the well-established concepts of film theory. I call into play Barthes’s concept of the punctum, McGowan’s cinema of intersection, Lacan’s later theory of the sinthome, Silverman’s post-Lacanian ideas about the cinematic gaze and the spaces of spectatorship, and Shaviro’s provocative insights about affective cinema so as to indicate how a film may prove its quality precisely at the points where it does not make sense
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Larsen, Peter. "Kaja Silverman: The Miracle of Analogy, or, The History of Photography, Part 1." Ekfrase 6, n. 02 (7 giugno 2016): 127–31. http://dx.doi.org/10.18261/issn1891-5760-2015-02-06.

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Più fonti

Tesi sul tema "Silverman, kaja"

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Linde, Jannetje Levina. "Eudaimoniese perspektiewe op vriendskap in Die Sneeuslaper van Marlene van Niekerk / Jannetje Levina Linde". Thesis, 2014. http://hdl.handle.net/10394/11822.

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Abstract (sommario):
The Eudaimonic turn: Well-being in Literary Studies (2013), a study by Pawelski et al, sheds light on a recent turn in literary studies. The eudaimonic approach entails that texts are examined with the help of a hermeneutic of affirmation rather than the sceptical, suspicious methods of the deconstruction and post-structuralism. Pawelski et al’s text is drawn upon in this study because it corresponds to the way in which Marlene van Niekerk utilises themes such as relationships, friendship and loss in Die sneeuslaper (2009). The eudaimonic turn focusses on the way in which complex interpersonal connections are able to add to an individual’s well-being through positive as well as negative processes. Die sneeuslaper is mainly a reflection on what it means to be an author. However, it also raises important questions about the nature of being. The four short stories provide different perspectives on friendship, on how friendship can sometimes be problematic and even a nuisance, but also how relations with others repeatedly prove to be beneficial to a person’s well-being. In my study, the relational theme of friendship in Die sneeuslaper is studied from a eudaimonic point of view. Kaja Silverman’s text, Flesh of my Flesh (2009), is referred to in order to shed light on the term relationality. The relational themes of finitude (or mortality) and interpersonal connection are clearly present in Van Niekerk’s text. Although the death of a beloved friend causes trauma in Die sneeuslaper, the trauma proves to have positive effects in the form of posttraumatic growth, comfort and acceptance as time goes by. Comfort is also construed through the creation and appreciation of a work of art like Die sneeuslaper. Cognitive narratology is referenced to show how Marlene van Niekerk overthrows and plays with fixed ideas regarding relationality and friendship, causing the reader to converse with the text. Views on friendship held by thinkers such as Aristotle, Montaigne, Lacan, Kierkegaard and Derrida are referenced to give Van Niekerk’s use of the theme in Die sneeuslaper a certain context. This context represents the fixed frames of thinking generally applicable with regard to friendship. When a reader is willing to critically interpret these as well as personal frames of reference, it provides him or her the opportunity to contemplate reality from new perspectives. In Die sneeuslaper the reader is continually challenged to question existing frames of reference by means of never ending methods (resembling a Möbius-strip) and strange notions. This study concludes with the notion that it is necessary for artists (like the writers in Die sneeuslaper) to reflect differently on reality, so that readers may be inspired to also view reality in a different light. This will result in a broader view of reality, which in turn will have a more defining influence on personal well-being.
MA (Afrikaans and Dutch), North-West University, Potchefstroom Campus, 2014
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Libri sul tema "Silverman, kaja"

1

Chaudhuri, Shohini. Feminist film theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed. London: Routledge, 2006.

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Chaudhuri, Shohini. Feminist Film Theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed. Taylor & Francis Group, 2006.

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Chaudhuri, Shohini. Feminist Film Theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed. Taylor & Francis Group, 2006.

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Chaudhuri, Shohini. Feminist Film Theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed. Taylor & Francis Group, 2006.

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Chaudhuri, Shohini. Feminist Film Theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed. Taylor & Francis Group, 2006.

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Feminist film theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis, Barbara Creed. London: Routledge, 2006.

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Feminist Film Theorists. Routledge, 2006.

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Ceruti, Claire, a cura di. Labour Organising under Authoritarian Regimes. Nomos Verlagsgesellschaft mbH & Co. KG, 2022. http://dx.doi.org/10.5771/9783957104090.

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Abstract (sommario):
This collection provides the history and background necessary to understand authoritarianism in countries ranging from Russia to eSwatini and from Brazil to the Philippines, as well as conceptual lenses for understanding authoritarianism and resistance to it, specific practical experiences of establishing international solidarity and debates emerging from that imperative. Its chapters cover the convergence of politics with the organisation of labour under authoritarianism, the use of labour laws and institutions to suppress labour, alternatives to conventional trade unions where unions are co-opted or banned, and the treatment of refugees in unequal labour markets. This book will appeal to labour activists, scholars and workers everywhere. With contributions by Cecilia Brighi, Ramon Certeza, Claire Ceruti, Dr. Frank Hoffer, Elaine Sio-ieng Hui, Can Kaya, Başak Kocadost, Svetlana Kolganova, Kaye Liang, Lizaveta Merliak, Christopher Mung, Moreblessing Nyambara, Yury Ravavoi, Melisa Serrano, Fundizwi Sikhondze, Jana K. Silverman, Verna Dinah Viajar and Khaing Zar Aung.
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Capitoli di libri sul tema "Silverman, kaja"

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Zwarg, Christina. "Interlude". In The Archive of Fear, 49–64. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198866299.003.0003.

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“Interlude” aligns Mesmer’s “crisis state” with Freud’s 1909 discussion of the interrupted lecture. Intended to explain psychoanalysis to an America audience, Freud’s analogy also informs the psychological insights Douglass engages when describing the many interruptions he experienced. Two examples—an encounter in Five Points and at a political convention in Philadelphia—show his traumatic theory in action. The public account of such exchanges generates a form of immediacy that Douglass strives to recreate in his telescoping autobiographical narratives. With an assist from Kaja Silverman and Sara Ahmed, “Interlude” follows two analogies in the Douglass archive where he compares people to things (a speeding train, Paganini’s violin) in a vibrant new way. Thinking of his final work as an experiment in new media thickens their archival value and reveals the intersection of media and memory that Douglass enlists to transform the impossible demands of freedom into a “willful ecology” of support.
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Modigliani, Leah. "Jeff Wall’s Picture for Women (1979) and The Destroyed Room (1978): colonizing the space of gendered discourse". In Engendering an avant-garde. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526101198.003.0002.

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This analysis of two of Jeff Wall's most important early photographic transparencies highlights the fact that his subject matter can be understood as a male artist's control of what is imagined as female-gendered physical and theoretical space. The initiation and subsequent extension of this operation in European and American critical discourse about his work is discussed in relationship to anthropological research on settler colonial societies’ territorial conflicts; specifically settlers’ need to develop cultural narratives that rationalize their control over other populations within a given geographic area. Such an approach contrasts with the prevailing commentaries by other critics, some of which are discussed at length (Donald Kuspit, Arielle Pélenc, Kaja Silverman and Michael Fried). These critics’ analyses of Wall’s work downplay or ignore the feminist subject matter in the work in favour of discussing the images' relationship to the avant-garde potential of technical reproduction or to the history of modern painting.
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Wilson, Emma. "Reading Albertine’s Sexuality; or, ‘Why not Think of Marcel Simply as a Lesbian?’". In Sexuality and the Reading Encounter, 60–94. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198158851.003.0003.

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Abstract I began the previous chapter by alluding at some length to the model of reading differently offered by Proust in Le Temps retrouvé. In the chapter that follows I will question how far Proust may be seen to engage his own reader in a reading practice which becomes necessarily a performance of destabilized desire. If, in dramatizing the narrator’s deluded quest for knowledge of Albertine, Proust may be seen both to form and reflect the experience of his external reader, what effect may this be said to have on our own construction of desire? What, indeed, are the effects of the proximity posited by Proust between reading and desire? And what is the possible effect of a desiring reader on the text? In a recent study of sexuality in Proust’s A la recherche du temps perdu^ Kaja Silverman asks the leading question: ‘Why not think of Marcel simply as a lesbian?’ This seems effectively a new turn in analyses of desire in Proust. Albertine, the character whose name appears most frequently in Proust’s novel, has long been the focus of intense critical debate where Proust’s analysts seek to answer questions which Proust’s own narrator appears to find insoluble.
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Duffy, Helena. "Queering the Trenches: Homoerotic Overtones in Frantz". In ReFocus: The Films of François Ozon, 52–71. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474479912.003.0004.

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This chapter provides an extensive analysis of the 2016 drama and one of Ozon’s most recent and successful films. An unusual film within his oeuvre, given its setting outside of France, for the most part, and the use of black-and-white, Frantz, this chapter argues, interrogates hegemonic masculinity – with the help of Kaja Silverman’s conceptualisation of historical trauma and overall work on marginal masculinities – and the notion that it should be crystallised by war. In doing so, the director unsettles heteronormative conventions. Further, this analysis pays particular attention to Édouard Manet’s Le Suicidé to identify connections between homosexuality and the death drive (established by the painting).
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Lie, Sulgi. "On the Acousmatics of Enunciation: Back to the Suture". In Towards a Political Aesthetics of Cinema. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462983632_ch04.

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With Kaja Silverman’s works, a reversal within Lacanian theory becomes abundantly clear that turns away from the old identification paradigm of imaginary misjudgement in the mirror stage. Following Lacan’s reformulation of the gaze as an “objet petit a,” the gaze is thought of as divided from the subject and placed on the side of the object. In the synthesis of Copjec’s/Žižek’s work with Michel Chion’s theories of voice and sound, my aim is to conceive of a fundamental acousmatics of film: not only the voice, but also the gaze in film is structurally acousmatic. In Lacan’s understanding, gaze and voice are strictly equivalent objects. As such, it is my intention to conceive of a political aesthetics from a psychoanalytic acousmatics of film. In the point-of-view paradoxes and transsubjective gazes in Rossellini’s and Antonioni’s post-neorealist films, I analyze the political and social dimension of this acousmatics.
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Atti di convegni sul tema "Silverman, kaja"

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Ramljak Purgar, Mirela. "MOĆ POGLEDA. KONSTRUIRANJE PROMATRAČKOG SUBJEKTA U SUVREMENOJ UMJETNOSTI". In Europski realiteti. Academy of Arts and Culture of the J. J. Strossmayer University in Osijek, 2023. http://dx.doi.org/10.59014/xmvc1113.

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U ovom članku istražujemo neke od načina kojima suvremena umjetnost upućuje na sadržaje koji izmiču pogledu. Jedno od polazišta je dio istraživanja koje je već izvedeno 2019. god. pod nazivom „Raz/otkrivanje“; tada je nekoliko suvremenih hrvatskih umjetnika izvelo urbane intervencije kojima su, stvarajući radove koje je teško izdvojiti od okolnog prostora, uputili i na tešku vidljivost ideoloških fenomena kakvi su nasilje i manipulacija. Ovdje predstavljeno istraživanje temelji se, s jedne strane, na tumačenju tekstova Terryja Eagletona iz perspektive instrumentalizacije ideologije, odnosno Slavoja Žižeka iz pozicije definiranja nasilja. S druge strane, kontekstualizirat ćemo fenomenološki pristup percepciji slika Lamberta Wiesinga u kojem on pozornost prenosi s objekta na promatrača preispitujući poziciju subjekta. Time želimo na drugačiji način interpretirati odabrane radove suvremenih umjetnika, Vlaste Žanić, Kate Mijatović i Ivana Faktora, a čija djela upućuju na problem prikrivanja, odnosno razotkrivanja pozicije moći i manipulacije. U članku se referiramo i na psihoanalitičku teoriju, onaj njezin dio koji se bavi pozicijom moći pogleda u odnosu na tijelo, kako to interpretira Kaja Silverman, te na teoriju imerzivnosti, kako je definira Oliver Grau. Ovdje nastojimo sagledati ranije teorijske pozicije kroz još kompleksniji odnos tijela i pogleda promatrača. Rezultat istraživanja prepoznaje se u novim, složenim odnosima između umjetničkog djela s jedne i pozicije moći s druge strane. Zaključujemo da postoji subjekt opažanja ovdje i subjekt kao objekt tamo, ali i ono između koje znači poveznicu ovih dviju krajnosti. One se odnose spram pojma granice, a navedene oprečne pozicije upućuju na moć pogleda spram granice, odnosno, na granici. U članku izvodimo tipologiju pogleda prema poziciji promatrača u tako definiranom odnosu.
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