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Artigos de revistas sobre o tema "Photographic criticism"

Autor: Grafiati

Publicado: 4 de junho de 2021

Última modificação: 30 de julho de 2024

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1

Humm, Maggie. "Virginia Woolf and photography." Comunicação e Sociedade 32 (December 29, 2017): 387–96. http://dx.doi.org/10.17231/comsoc.32(2017).2768.

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From 2000, criticism on Woolf and the visual has quadrupled in volume. The research work about a photographic Woolf – which include other photographers’ interaction with Woolf such as Gisèle Freund or my own analysis of Woolf and Bell’s personal photo albums – shows how these newer issues of Woolf and photography are now absolutely central in any consideration of Virginia Woolf studies, gaining a noticeable importance when we consider the interdisciplinary issue of photography and gender.

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Yurchuk, Olena. "PHOTOGRAPHY AS A FORM OF STATEMENT AND MEANS OF FIXING PRESENCE IN A. PEREZ REVERTE’S BATALIST." CONTEMPORARY LITERARY STUDIES, no. 19 (March 15, 2023): 63–68. http://dx.doi.org/10.32589/2411-3883.19.2022.274082.

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Modern literary criticism pays much attention to the theme of photography in fiction. R. Barth and his followers emphasize the active interpenetration of the two arts, which results in a play with imprint, blur, and image. Photography turns out to be a point of reference for reconstructing the past. The photographic image claims to be an archival document necessary for reconstructing the past, and the photograph claims to be completely objective, though limited by a subjective position. In the plot of A Perez Revert’s novel «The Battler» the camera, as well as photography itself, occupies a sp

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Foa, Michelle. "Textual Inhibitions: Photographic Criticism in Late Victorian Britain." History of Photography 36, no. 1 (February 2012): 33–43. http://dx.doi.org/10.1080/03087298.2011.606724.

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4

Van der Vlies, Andrew. "Constellated in a flash: on the dialectics of seeing (beyond stasis) in Zoë Wicomb’s work." English in Africa 49, no. 2 (November 4, 2022): 7–25. http://dx.doi.org/10.4314/eia.v49i2.1.

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This essay considers the photograph as representation and metaphor in select work by Zoë Wicomb (b. 1948). It asks how the photograph functions in her prose fiction and criticism in service of a recuperation of late- and postapartheid stasis in potentially affirmative vein. Many of Wicomb’s most illuminating essays and many of her fictions – from her debut, You Can’t Get Lost in Cape Town (1987), to the most recent, Still Life (2020) – engage with photographs, drawing in highly suggestive ways on vivid descriptions of acts of seeing that are indebted to photographic theory. What, I ask, is con

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Widi Nugroho, Yulius. "Still-life Photography as Visual Poetry Media for Social Criticism of Lumpur Lapindo." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 5, no. 2 (October 28, 2022): 93–111. http://dx.doi.org/10.31091/lekesan.v5i2.2083.

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Visual media photography is prioritized to present actual and factual information as news media and art media, and Visual Poetry is a work of art that combines two visual and verbal media as one work. The purpose of this research is to make still life photography works and the meaning of photo works as a medium for Visual Poetry. The object of the photo is about the condition of the Lapindo Mud on Porong Sidoarjo Indonesia, which has been neglected for years without serious handling. This creation method uses a photographic method of photographing natural objects. Methods of collecting data by

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Graziano, Maítha Elena Tosta, and Maria Leandra Bizello. "Os documentos fotográficos na perspectiva Teórico-metodológica da Diplomática um estudo da Fundação Fernando Henrique Cardoso." Páginas a&b Arquivos & Bibliotecas 17 (2022): 116–30. http://dx.doi.org/10.21747/21836671/pag17a7.

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Observing the statusused for photographs in archives today, since the recognition of their character as an archival document, their differencesin organization, packaging and availability for access, it is evident the need to deepen the discussions about these documents in the archival scope. For this reason, it is proposed to discuss photography and its nuances, envisioning its documentary and, consequently, archival nature, from its production context and the theoretical-methodological perspective that diplomatic analysis offers as a valid tool to understand it while result of an action regis

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Geurts, Merlijn. "The Atrocity of Representing Atrocity - Watching Kevin Carter's 'Struggling Girl'." Aesthetic Investigations 1, no. 1 (July 16, 2015): 1–13. http://dx.doi.org/10.58519/aesthinv.v1i1.12001.

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Taking Kevin Carter's famous photograph of a Sudanese 'Struggling Girl' as an example, this article shows by criticizing the work of photography scholar Ariella Azoulay who argues for an ethic, reparative spectatorship that focuses on the social encounters behind the photograph, how discussions about atrocity photography often result in moral debates: discussions that center around the social relations behind photography and blame the photographer, but do not take into account and criticize the photographic representation of the atrocity. By giving an overview of the afterlife of Carter's phot

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Novianti, Erlina, Silviana Amanda Tahalea, and Asih Retno Dewanti. "Kajian Estetika Fotografi Urban “#JakartaBelumHabis” Karya Chris Tuarisa." Rekam 19, no. 1 (April 26, 2023): 47–58. http://dx.doi.org/10.24821/rekam.v19i1.7582.

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ABSTRAKFotografi urban adalah fotografi yang dilakukan dengan pendekatan urban life. Fotografi urban mengacu pada kehidupan dalam lingkup perkotaan. Salah satu fotografer yang menghasilkan karya fotografi urban adalah Chris Tuarisa. Karya-karya yang dihasilkan merupakan visualisasi masyarakat urban, tetapi juga memperlihatkan kawasan perkotaan dari sisi masyarakat menengah kebawah yang tidak dapat dipungkiri juga merupakan bagian dari masyarakat urban. Fotografer dapat menceritakan sisi lain dari isu perkotaan yang belum pernah dilihat oleh sebagian masyarakat Jakarta sendiri, karya foto Chris

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Kovach, Jodi. "Architectural Ruins and Urban Imaginaries: Carlos Garaicoa’s Images of Havana." Contemporaneity: Historical Presence in Visual Culture 5 (November 30, 2016): 72–84. http://dx.doi.org/10.5195/contemp.2016.130.

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Contemporary Cuban artist Carlos Garaicoa juxtaposes photographic images of Havana’s architectural ruins with timidly articulated drawings that trace the outlines of the dilapidated buildings in empty urbanscapes. Each of these fragile drawings, often composed of delicate threads adhered to a photograph of a site after demolition, serves as a vestige of the sagging structure that the artist photographed prior to destruction. The dialogue that emerges from these photograph/drawing diptychs implies the unmooring of the radical utopian underpinnings of revolutionary ideology that persisted in the

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Cocker, Alan. "Photographers Hart, Campbell and Company: The role of photography in exploration, tourism and national promotion in nineteenth century New Zealand." Back Story Journal of New Zealand Art, Media & Design History, no. 2 (July 1, 2017): 93–103. http://dx.doi.org/10.24135/backstory.vi2.24.

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It has been argued that “the history of New Zealand is unique because the period of pioneer colonization closely coincided with the invention and development of photography”1. However, as the first successfully recorded photograph in the country was not made until the late 1840s, the widespread use of photography came after the initial European settlement and its influence coincided more closely with the development of early tourism and with the exploration and later promotion of the country’s wild and remote places. The photographic partnership of William Hart and Charles Campbell followed th

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Clayton, Owen. "London Eyes: William Dean Howells and the Shift to Instant Photography." Nineteenth-Century Literature 65, no. 3 (December 1, 2010): 374–94. http://dx.doi.org/10.1525/ncl.2010.65.3.374.

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Owen Clayton, "London Eyes: William Dean Howells and the Shift to Instant Photography"(pp. 374––394) Toward the end of the nineteenth century, one of William Dean Howells's many avid readers, finally meeting him in the flesh, expressed surprise that the famed writer was not dead. Although he had not actually departed from the world, it was true that by this time the venerable "Dean"was at a low ebb. While younger authors were taking the novel in directions about which he was, at the least, ambivalent, Howells was aware that his own best work was behind him. Yet, throughout his career, he maint

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Josiah Mosely, Michael. "Another Look at Heideggerian Cinema: Cinematic Excess, Antonioni's Dead Time and the Film-Photographic Image as Copy." Film-Philosophy 22, no. 3 (October 2018): 364–83. http://dx.doi.org/10.3366/film.2018.0085.

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Within the loose group of studies that are sometimes labelled Heideggerian cinema – studies in which scholars consider film in conjunction with Heidegger's philosophy – little attention has been paid to Heidegger's actual view of cinema. This omission is not only odd (Heidegger's view of film would seem essential for a Heideggerian cinema) but it is also problematic. In the off-hand comments Heidegger directs towards film throughout his collected works he criticises the medium for its covering over of Being, a fact that makes engaging with film through Heidegger's thinking a questionable proje

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Szerszeń, Tomasz. "Konstruowanie atlasu. Surrealizm - fotografia - Reprodukcja." Artium Quaestiones, no. 33 (December 30, 2022): 163–81. http://dx.doi.org/10.14746/aq.2022.33.7.

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“The history of art is [...] the history of what is photographable,” wrote André Malraux. Surrealism and related interwar visual phenomena add an interesting context to this observation. If we look at surrealism through the prism of the numerous magazines that accompanied it, we can see the special role of photographic reproduction. It seems that it plays a slightly different role there than in other practices of the interwar avant-garde: it tends to be a visual form of thinking, establishing photography as a crucial medium. The case of the journal “Documents” (1929–1930), existing on the frin

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Lund, Katrín Anna. "Co-Creating Nature: Tourist Photography as a Creative Performance." Humanities 12, no. 6 (November 29, 2023): 141. http://dx.doi.org/10.3390/h12060141.

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This article examines tourism nature photography as a creative and sensual activity. Based on a collection of photographs gathered from tourists in the Strandir region in northwest Iceland, I demonstrate how photographing nature is a more-than-human practice in which nature has full agency. Much has been written about tourist photography since John Urry theorised about the tourist gaze in the early 1990s; this view has been criticised, especially in the light of the performance turn in tourism studies.It has, for example, been noted that tourist photography is not just about the gazing tourist

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Luo, Peijia. "Resistance or Compromise: A Comparison of Western Mainstream Painting Language Before and after the Invention of Photographic Technology." Communications in Humanities Research 31, no. 1 (May 17, 2024): 1–5. http://dx.doi.org/10.54254/2753-7064/31/20231772.

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This paper focuses on the developmental changes in the language of drawing brought about by the invention of the camera. Therefore, this paper takes the time of camera invention as the node. First, we will analyze the common features of the painting language of the famous painting schools before this point in time and the common features of the painting language of the famous painting schools after this point in time. Then we will compare and analyze them to explore the development and evolution of the painting language. Current research on painting before and after the invention of the camera

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Ellenbogen, Josh. "“WORDS NOT SPENT TODAY BUY SMALLER IMAGES TOMORROW”: READING PHOTOGRAPHS AND THE EMERGENCE OF POSTWAR PHOTOGRAPHIC CRITICISM IN THE USA." photographies 16, no. 3 (August 9, 2023): 337–58. http://dx.doi.org/10.1080/17540763.2023.2233524.

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Gierszewska, Barbara Lena. "Ukraiński ruch filmowy we Lwowie w latach 30. XX wieku." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 34, no. 43 (October 20, 2023): 157–72. http://dx.doi.org/10.14746/i.2023.34.43.10.

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   Title of the article: The Ukrainian film movement in 1930s Lviv The Ukrainian film movement in the 1930s was not developed on a wider scale. Due to the cost of the equipment and the film, few people could make films. Those who did included the members of the Ukrainian Photographic Society, who had completed specialist film courses. Their achievements included short feature films and documentary films, some of which were of true artistic merit. From the circle of Ukrainian cinematographers, J. Dorosz, S. Kułykiwna, W. Humecki and J. Bochenski deserve mention special. Moreov

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Kalekin, V. V., L. G. Kapustin, and D. I. Petin. "Supreme Ruler A.V. Kolchak on His Trip to the Tobolsk Front: Revisiting the Analysis of an Unknown Photo Document (1919)." Herald of an archivist, no. 2 (2021): 390–404. http://dx.doi.org/10.28995/2073-0101-2021-2-390-404.

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The article is to analyze an unknown and previously unintroduced into scientific use photographic document concerning front-line activities of Admiral A. V. Kolchak during the Civil War. The relevance of the work springs from the fact that scholars quite rarely provide source analysis of film and photo documents as independent sources on the history of the Civil War in Russia within the framework of interdisciplinary practices. At the same time, there is a significant interest of national scientific community in this historical figure and it has been causing sharp polemical discussions for a c

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Salas Klocker, Luis Alberto. "Salones darianos: fotografía, arte y literatura en la crónica modernista." (an)ecdótica 5, no. 1 (January 29, 2021): 84–100. http://dx.doi.org/10.19130/iifl.anec.2021.5.1.19785.

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Based on what it has been called the salones darianos, that is, the chronicles that Darío wrote about several art exhibitions that he visited, this work aims to reflect on the role that the image played in the cultural project of modernismo. At the turn of the century, the image’s technological reproducibility broke into both the press and art salons. This was perceived by Darío, who explored the relationship of the photographic image with the incipient cultural industries. Less known than Mundial and Elegancias magazines, the first of Darío’s projects that included a strong presence of images

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Fraser, Benjamin R. "Problems of Photographic Criticism and the Question of a Truly Revolutionary Image: The Photographs of Mario Algaze, Juan Rulfo, and Manuel Álvarez Bravo." Chasqui 33, no. 2 (2004): 104. http://dx.doi.org/10.2307/29741885.

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Strafella, Giorgio, and Daria Berg. "Yang Zhichao’s performance art at the margins: Within the Fourth Ring Road (1999) and the Chinese contemporary." Journal of Contemporary Chinese Art 10, no. 1 (August 1, 2023): 205–25. http://dx.doi.org/10.1386/jcca_00082_1.

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This article explores the theme of marginality in the art of Yang Zhichao, a critically and socially engaged experimental artist who has been active in China since the mid-1980s. Yang’s oeuvre – which includes performance artworks, drawings and installations – revolves around the issue of sociocultural marginality in reform-era society, from the condition of migrant workers, beggars and psychiatric patients to the borderlands of Chinese civilization and the condition of the avant-garde artist. Drawing also on Chinese art criticism and two interviews with the artist, this study examines in part

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Quagliati, Noemi. "Beyond the Whiteness." Sophia Journal 7, no. 1 (December 15, 2022): 25. http://dx.doi.org/10.24840/2183-8976_2022-0007_0001_4.

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Saverio Salvioni, Cava di Ravaccione, 1810–1813 (Source: Archivio di Stato Massa e Pontremoli) Marble extraction in the Italian Apuan Alps has been known since Roman times, and its historical importance is symbolized by masterpieces of Western art history. However, the Carrara marble industry has recently received harsh criticism for operating in the protected area of the Apuan Alps Regional Park, recognized by UNESCO since 2015. Environmental and social concerns about mining have arisen from the extreme acceleration of all the productive phases of the extractive industry. From the mid-twentie

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Vielma-Cabruja, José Ignacio, Iván González-Viso, and Felipe Corvalán-Tapia. "Arquitecturas inusuales: Experiencias «otras» en la Arquitectura y el Urbanismo, Santiago de Chile (1950-2020)." Arquitecturas del Sur 41, no. 64 (July 31, 2023): 68–91. http://dx.doi.org/10.22320/07196466.2023.41.064.05.

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Understanding the contemporary city as an unfathomable experience, as a set of complex experiences, prone to the indeterminate, this research acknowledges and collects fragments of a larger complex to search for and highlight objects, situations, artifacts, and experiences far from the canonical discourses. These "other" experiences are defined as unusual architectures, that is, located on the margins of what is normally discussed and valued in the traditional spaces of architectural practice, criticism, and teaching. Such recognition is constructed from otherness and comprises a provisional a

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Gal, Nissim. "The Language of the Poor: Bible Stories as a Critical Narrative of the Present." IMAGES 4, no. 1 (2010): 82–108. http://dx.doi.org/10.1163/187180010x547657.

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AbstractThe series of photographs called Bible Stories (2003-2006), made by the photographer Adi Nes, offers a visual interpretation of the biblical narrative as a source for a critical reflection on contemporary culture. The Bible Stories series uncovers the aesthetic, ethical and social codes of the current visual culture. Nes processes the biblical text and rereads it via photography. The renewed appearance of the bible stories connects contemporary photorealism with the tradition of biblical illustration. The contemporary appearance and interpretative recomposition of the biblical episodes

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Lukaszewicz, Marta. "Reception of Religious Themes in Nikolai Leskov's Works at the Turn of the 20th Century." Vestnik Tomskogo gosudarstvennogo universiteta, no. 468 (2021): 34–43. http://dx.doi.org/10.17223/15617793/468/4.

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The article aims to consider tendencies predominating in literary criticism at the turn of the 20th century in its reception of religious issues in Nikolai Leskov's works, to identify the peculiarities of their understanding by representatives of diverse groups and trends, to examine their influence on changes in Leskov's literary reputation. The role of the spiritual atmosphere of the Silver Age in changing attitudes towards Leskov's legacy is mentioned, as well as the consequences of the duality of his reception formed at that time. The research materials consists of various works of literar

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Tahalea, Silviana. "KRITIK FOTOGRAFI: MENDESKRIPSIKAN SEBUAH FOTO DARI SISI SUBJEK, BENTUK, MEDIA DAN GAYA." Jurnal Dimensi Seni Rupa dan Desain 16, no. 1 (September 1, 2019): 85. http://dx.doi.org/10.25105/dim.v16i1.6165.

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<p><strong>Abstract</strong></p><p><strong></strong><br />In the formal education of bachelor photography, the knowledge and ability to criticize a photo is fundamental, this is what distinguishes bachelor photography from photography courses, the ability to criticize a photo with the aim of defining photos, interpreting photographs, explanations aesthetic or aesthetic argumentation. Referring to Terry Barrett’s writing about photo criticism, there are several stages to criticizing<br />or interpreting a photo, namely: Describing photos, in

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Denysenko, Iryna, Olena Skalatska, and Oleg Parkhitko. "Misinformation in the Information Space of Ukrainian Society during the Covid-19 Pandemic." Postmodern Openings 12, no. 3 (August 10, 2021): 230–44. http://dx.doi.org/10.18662/po/12.3/337.

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The specificity of misinformation about Covid-19 which was outspread in the media landscape of Ukrainian society was demonstrated in the article. The authors relying on the basics of postmodern theory within interdisciplinary discourse trace the means of forming misinformation and its influence on changing worldview landmarks of humanity. The authors underline that information in the postmodern conception of Jean Baudrillard is also capable to destroy its own content, communication and social ground. Misinformation about Covid-19 is «a stage setting of communication» since it only creates insi

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Purnomo, Aji Susanto Anom. "Fotografi Di Era Media Sosial : Studi “Toko Memorabilia” Karya Agan Harahap." Jurnal Bahasa Rupa 1, no. 2 (April 21, 2018): 81–88. http://dx.doi.org/10.31598/bahasarupa.v1i2.200.

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The development of photography technology in the era of social media currently contribute various problems that need to be studied and reflected. One of them is about the essence or meaning of the presence of "photography" itself. This paper reflect the essence or meaning of photography in the social media based on the theory of reading photographs "cynical phenomenology" by Roland Barthes through a case study study of "Toko Memorabilia" which is one of the social criticisms by the artist Agan Harahap. Memories Commodification and visual carnivals are two instruments of meaning that the author

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Mayer-García, Eric. "Theorizing Performance Archives through the Critic's Labor." Theatre Survey 64, no. 3 (September 2023): 247–70. http://dx.doi.org/10.1017/s0040557423000261.

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In 2015, I traveled to Havana with the support of an ASTR Targeted Areas Research Grant to work on processing the physical materials of the Photographic Archive of Tablas-Alarcos Press (hereinafter the Tablas-Alarcos archive or collection). The Tablas-Alarcos archive is a unique collection because it exists not in a traditional research institution, but in the offices of a state-run press dedicated to the performing arts. Also, it consists of materials that have been saved after critics, researchers, and editors have completed the process of publishing their work. Much more than photographs, t

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Fackler, Katharina. "Of Stereoscopes and Instagram: Materiality, Affect, and the Senses from Analog to Digital Photography." Open Cultural Studies 3, no. 1 (January 1, 2019): 519–30. http://dx.doi.org/10.1515/culture-2019-0045.

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Abstract This article addresses popular claims that photography has been “dematerialized” in the digital era. It engages a wide range of critical writings about photography from the early 19th to the 21st century to demonstrate that different versions of these claims have always formed an important part of photography criticism. However, rather than doing justice to photographs’ materiality or their complex entanglements with what has been considered material and immaterial, human and nonhuman, they have tended to somewhat limit our understanding of the medium’s material, sensory, and affectiv

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GUL, Sinan. "Dinçer Sümer'in Eski Fotoğraflar Adlı Oyunu Üzerinden Kimlik Krizi ve Türk Tiyatro Eleştiri Anlayışının Analizi." Türkiye Araştırmaları Literatür Dergisi 20, no. 39 (July 7, 2022): 0. http://dx.doi.org/10.55842/talid.980637.

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Dinçer Sümer’s play Old Photographs is often dismissed by scholars as the story of a prostitute although it contains lingual and social elements about the politics of identity that pursues the dilemmas and conflicts Turkey experienced in the 1970s. First part of this article highlights how the fractures and unification of narratives in Old Photographs manifest an opposition to conventional structure of characters and plot, and refuse the fixity and formula of traditional drama. Thus, characters in the play are unique as they defy categorization and resist conceptualization. By disturbing grand

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Michalowska, Marianna. "Photography’s Narrative Spaces – Stories About Man-Altered Landscape." Athens Journal of Humanities & Arts 9, no. 4 (September 27, 2022): 275–90. http://dx.doi.org/10.30958/ajha.9-4-1.

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In the seminal text from 1982, Rosalind Krauss wrote about the discursive spaces of photography. She stated that varied interpretations of landscape photography depend on the image circulation. The "new topography" in photography provides in artistic language data on the situation of the natural environment. Therefore, it is not just a matter of changing fields of discourses but narratives through which discourses are created. In the paper I discuss the narrative contexts of photography, in regard to Krauss's concept of discourse and narratology by Mieke Bal. Examples are modern landscape phot

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Kamnev, Vladimir M., and Lolita S. Kamneva. "Mikhail Lifshits, György Lukács and theory of aesthetic reflection." Vestnik of Saint Petersburg University. Philosophy and Conflict Studies 36, no. 4 (2020): 721–30. http://dx.doi.org/10.21638/spbu17.2020.410.

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Mikhail Lifshits and György Lukács are known as authors of an absolutely original concept of the cognitive force power of art. The theory of reflection which had a reputation of as one of the most inert rigid and dogmatic aspects of the philosophy of Marxism in general was the cornerstone of this concept. Quite often such a negative reputation of the theory of reflection affects also the general negative relation to an attitude towards the aesthetics of Lifshits and Lukács. However, actually this theory was uniquely interpreted by received from Lifshits and Lukács very original interpretation.

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Little, David I., and Bernard Fichaut. "VISUAL COMPARISONS OF SELECTED SHORES AFFECTED BY THE Prestige OIL SPILL, NORTHERN SPAIN 2002–2004." International Oil Spill Conference Proceedings 2005, no. 1 (May 1, 2005): 685–88. http://dx.doi.org/10.7901/2169-3358-2005-1-685.

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ABSTRACT Walkover and photographic surveys were conducted on four occasions up to February 2004 on shorelines of Galicia, Asturias and Vizcaya that were severely affected by Heavy Fuel Oil (HFO) from the November 2002 Prestige incident. The geomorphology and ecology impacts resulting from both the oil and cleanup actions were observed by experienced scientists. Some cleanup methods worked well, and environmental disturbance was minimized. However, inefficient or over-zealous treatments also occurred, particularly early in the incident response. The study showed that rocky headlands are now oft

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Sandbye, Mette. "Fotografiet som dokument." Periskop – Forum for kunsthistorisk debat, no. 31 (June 13, 2024): 32–47. http://dx.doi.org/10.7146/periskop.v2024i31.146565.

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Departing from John Roberts’ notion of “the social ontology of photography”, I discuss how recent research and theories about photography in an expanded field have interacted with contemporary art’s use of photography in recent years, especially in an intersection between documentary and art, and especially among artists working with more or less political topics such as migration and the postcolonial. It is photography beyond “the politics of representation” in the sense that it is not about problematizing photography’s relationship to reality, but rather about actively using the medium as a

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Da Silva, Guilherme Ghisoni. "What does a presentist see when she looks at photographs of dead relatives?" Laocoonte. Revista de Estética y Teoría de las Artes, no. 5 (December 13, 2018): 97. http://dx.doi.org/10.7203/laocoonte.0.5.12330.

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The objective of this paper is to bring to the foreground some metaphysical commitments present in the debate about the relation between photography and the past. I will try to answer the question: what does a presentist see when she looks at photographs of dead relatives? According to presentism, if a particular object does not exist in the present, it does not exist simpliciter. For this reason, in Priorian presentism, there can be no de re (singular) propositions about past particulars. Part of the requirement for singularity would be played by reality, which suffers metaphysical restrictio

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Trijić, Vesna. "Literary Criticism and the Media." Transcultural Studies 11, no. 1 (December 23, 2015): 72–84. http://dx.doi.org/10.1163/23751606-01101008.

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This article deals with literary reviews published in newspapers and their subordination to modern media which tend to give priority to non-verbal forms of communication, such as photography and the graphic shape of titles, which may control or overshadow the meaning of a text. In order to survive in such a context, book reviewers usually accept the language of journalism which imposes an ideological and commercialized dimension on them, forcing them to abandon their original discourse based on literary criticism. The paper poses the question whether there is any place left for literary critic

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O’Toole, Sean William. "Uncommon criticism: Reading Ivan Vladislavić’s collected work as art criticism." Journal of Commonwealth Literature 52, no. 1 (March 2017): 11–26. http://dx.doi.org/10.1177/0021989416676865.

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Johannesburg author, essayist, and editor Ivan Vladislavić has a longstanding interest in art, an interest richly recorded in his literary corpus. Since publishing his debut work of fiction, Missing Persons (1989), Vladislavić has repeatedly dwelled on artworks in his fiction and non-fiction writing. His literary corpus is studded with descriptions of paintings, sculptures, photographs, ceremonial statues, murals, and other, more obscure pieces of urban flotsam given their own artistic agency in his fecund imagination. This article discusses his interest and entanglement in art from a threefol

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Prabha, Ashwini. "'Just the gun is scary'." Pacific Journalism Review : Te Koakoa 8, no. 1 (June 1, 2002): 169–74. http://dx.doi.org/10.24135/pjr.v8i1.741.

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Paul, John. "A Festival of Kinship, Defiance, and Ethnic Survival." Journal of Festive Studies 1, no. 1 (May 13, 2019): 78–105. http://dx.doi.org/10.33823/jfs.2019.1.1.29.

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In the fall of 2016, I traveled to North Dakota as an invited guest of the Standing Rock Sioux Tribe to document the emergent encampment of American Indians and their allies who had gathered to protest the construction of the Dakota Access Pipeline. This work explores some of these lived protests and the festival-like realities (as well as the strengths and criticisms of the "festival” notion) that were produced in such protestive actions. Ultimately, this article has three goals. First, it seeks to document, via photographs and text, some of the mobilization efforts of protesters against a se

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Husselbee, L. Paul, and Amy Ann Adams. "Seeking Instructional Value: Publication of Disturbing Images in Small Community Newspapers." Newspaper Research Journal 17, no. 3-4 (June 1996): 39–52. http://dx.doi.org/10.1177/073953299601700304.

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MÖLLER, FRANK. "The looking/not looking dilemma." Review of International Studies 35, no. 4 (October 2009): 781–94. http://dx.doi.org/10.1017/s0260210509990180.

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AbstractWhen confronted with images of war and other forms of human suffering, not looking is not an option, not only because we are permanently exposed to images but also because it would not seem to be a morally tenable position. However, looking at images of human suffering is often said to prolong this very suffering and to fix human subjects as victims. Especially when acts of violence have been committed in order to produce images of these very acts the relationship between viewing the images and participating in the acts of violence qua viewer appears to be uncomfortably close indeed. T

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Smith, Philippa K., and Helen Sissons. "Social media and a case of mistaken identity: A newspaper’s response to journalistic error." Journalism 20, no. 3 (December 15, 2016): 467–82. http://dx.doi.org/10.1177/1464884916683551.

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Journalists can obtain information faster than ever before and interact with a variety of sources across multiple platforms from Facebook to Twitter without leaving their desk. The pressure to get stories online as soon as possible is not without its drawbacks, however. Incorrect information and photographs can be published even when not properly verified and, although these mistakes can be rectified quickly once identified, the credibility of a news organisation is at risk. Our research was prompted by the chance capture of a photograph published in a daily newspaper that mistakenly identifie

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Pramasepta, Wipti Aga, Christina Rochayanti, and Kartika Ayu Ardhanariswari. "CONTENT ANALYSIS OF SOCIAL CRITICAL IN ANTITANK-PROJECT INSTAGRAM ACCOUNT." Indonesian Journal of Communication Studies 13, no. 1 (June 1, 2020): 12. http://dx.doi.org/10.31315/ijcs.v13i1.3849.

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Criticism is one element that can keep the existing system in its tracks and not get out of the way the system should be. Anti-tank has initially been one of the artists and activists who expressed their criticism using posters in Yogyakarta. This study aims to determine the content of criticism in the Antitank Project and the tendency of criticism. The method is content analysis. The theory used is the spiral silence theory and Habermas' critical theory. The study population amounted to 192 images in the period of January 2016 - December 2018. The study sample was taken 46 pictures to be exam

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ZAHAR, IWAN, KURNIA SETIAWAN, and TENGKU FAUZAN TENGKU ANUAR. "TAXONOMY OF PHOTO CATEGORIES." International Journal of Creative Future and Heritage (TENIAT) 9, no. 2 (September 29, 2021): 109–27. http://dx.doi.org/10.47252/teniat.v9i2.744.

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AbstractSelecting photographs for teaching photo criticism can be a difficult task. This research aims to construct the taxonomy of photo categories for teaching purposes and teaching guidelines. This research used a questionnaire and a semi-structured interview with 125 participants made up of 39 male and 86 female, 94 Malays, 12 Chinese, 16 Indians and 3 Ibans. All participants exposed to five different photographs: advertising photographs, journalistic photographs, landscapes, and two fine arts photographs. We used three questions as research instruments for 125 participants to judge each p

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Halegoua, Germaine R., and Ghiyong Patrick Moon. "Korean travel selfies as contested placemaking practices." Convergence: The International Journal of Research into New Media Technologies 27, no. 3 (June 2021): 649–63. http://dx.doi.org/10.1177/13548565211014457.

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Selfies allow us to exert control over how we are seen and to construct our identity through the people, places, and activities that we imbue with value. The composition of the image, situation, and location photographed indicate aesthetic and ontological choices that reveal cultural values, performances of identity and social position of the person taking the selfie. When read as digital placemaking practices, travel selfies become salient to producers and audiences as political and performative expressions of identity and one’s place in the world. This article examines the travel selfie with

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Gray, Timothy. "Hip Americana: The Cultural Criticism of Greil Marcus." Prospects 27 (October 2002): 611–39. http://dx.doi.org/10.1017/s0361233300001356.

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In the summer of 1976, as many in our nation were getting ready to celebrate the bicentennial and listening to AM radio shlock like “Afternoon Delight,” I persuaded my father to buy me an oversized red paperback I had been perusing at the local mall. The book was theRolling Stone Illustrated History of Rock & Roll, a landmark collaboration edited by Jim Miller. Throughout my teenage years, I would pour over its many photographs, memorize its discography sections, and take instruction and courage from its lively, opinionated writing. Looking back at theIllustrated Historya quarter of a cent

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Grigas, Algimantas. "Architectural Criticism in the Soviet Lithuania 1958-1988: Vision of the New Architecture in the Specialized Periodicals." Journal of Sustainable Architecture and Civil Engineering 33, no. 2 (October 31, 2023): 58–71. http://dx.doi.org/10.5755/j01.sace.33.2.33419.

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Architecture criticism of Soviet Lithuania has not been properly addressed in scientific research. The novelty of the work relates to the branch of architecture criticism as part of the history of arts, particularly in the context of the historiography of 20th- century modern architecture. This paper is to uncover the various forms of architectural criticism and its agents among the vocational and scientific publications aimed at other architects of the Lithuanian SSR. Using a systematic approach and qualitative research methods, a database of 100 critical articles is constructed. The phenomen

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Kennedy, Liam. "Precocious Archaeology: Susan Sontag and the Criticism of Culture." Journal of American Studies 24, no. 1 (April 1990): 23–39. http://dx.doi.org/10.1017/s0021875800028693.

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If Susan Sontag is not a writer behind whom a school or substantial following has gathered, this has much to do with the unsystematic nature of her work. Her studies of thought and culture are not the work of a systematic theorist; they are too much involved with personal taste and response, too free-ranging and open-ended to attract disciplined followers. Sontag's writings receive little direct critical attention at present, though she is often quoted on photography or film, or used to support various theses on post-modernism. Her writings reward more rigorous analysis, especially as the work

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Mattiolli, Isadora Buzo. "O corpo é a camuflagem: construções ficcionais de si na produção artística de mulheres nos anos 1970." Revista PHILIA | Filosofia, Literatura & Arte 2, no. 2 (November 10, 2020): 216–43. http://dx.doi.org/10.22456/2596-0911.104596.

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A crítica feminista elaborou a questão da representação na arte de diferentes maneiras. Nessa perspectiva crítica, um dos problemas são as imagens das mulheres feitas por um olhar masculino ao longo das narrativas tradicionais da história da arte. Respondendo a esse problema, algumas artistas realizaram ações para as câmeras de vídeo e fotografia. Nestas imagens, elas utilizaram o próprio corpo para demonstrar as construções ficcionais dos gêneros. Nesse artigo, analiso esses trabalhos pelas seguintes leituras: a crítica aos rituais de feminilidade, o feminino monstruoso e a identidade como ca

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