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1
Enerstvedt, R. T. Theodor lexicon of impairments with emphasis on hearing, visual and multi-sensory impairments. Oslo: Skådalen Resource Centre for Special Education of the Hearing Impaired and the Deaf-blind, 1999.
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2
Enerstvedt, R. T. Theodor lexicon of impairments with emphasis on hearing, visual and multi-sensory impairments. Oslo: Skådalen Resource Centre for Special Education of the Hearing Impaired and the Deaf-blind, 1999.
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3
Enerstvedt, R. T. Theodor lexicon of impairments with emphasis on hearing, visual and multi-sensory impairments. Oslo: Skådalen Resource Centre for Special Education of the Hearing Impaired and the Deaf-blind, 1999.
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4
Fleissner, Günther. Efferent control of visual sensitivity in arthropod eyes: With emphasis on circadian rhythms. Stuttgart: G. Fischer Verlag, 1988.
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5
Enerstvedt, R. T. Theodor lexicon of impairments with emphasis on hearing, visual and multi-sensory impairments. Oslo: Skådalen Resource Centre for Special Education of the Hearing Impaired and the Deaf-blind, 1999.
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6
Enerstvedt, R. T. Theodor lexicon of impairments with emphasis on hearing, visual and multi-sensory impairments. Oslo: Skådalen Resource Centre for Special Education of the Hearing Impaired and the Deaf-blind, 1999.
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7
Skelton, Kimberley, ed. Early Modern Spaces in Motion. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463725811.
Повний текст джерелаАнотація:
Stretching back to antiquity, motion had been a key means of designing and describing the physical environment. But during the sixteenth through eighteenth centuries, individuals across Europe increasingly designed, experienced, and described a new world of motion: one characterized by continuous, rather than segmented, movement. New spaces that included vistas along house interiors and uninterrupted library reading rooms offered open expanses for shaping sequences of social behaviour, scientists observed how the Earth rotated around the sun, and philosophers attributed emotions to neural vibrations in the human brain. Early Modern Spaces in Motion examines this increased emphasis on motion with eight essays encompassing a geographical span of Portugal to German-speaking lands and a disciplinary range from architectural history to English. It consequently merges longstanding strands of analysis considering people in motion and buildings in motion to explore the cultural historical attitudes underpinning the varied impacts of motion in early modern Europe.
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Efferent Control of Visual Sensitivity in Arthropod Eyes: With Emphasis on Circadian Rhythms (Information Processing in Animals, Vol 5). Vch Pub, 1988.
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9
Armatage, Kay. Barbara Willis Sweete. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0019.
Повний текст джерелаАнотація:
This chapter investigates the complexity of Barbara Willis Sweete's creative orchestration of multiple personnel and technical operations in HD transmissions of live opera, with particular emphasis on how the input of composer, stage director, and performers are re-mediated through her technical expertise and cohering cinematic aesthetic. Sweete, one of the two principal directors of the Metropolitan Opera Live in high-definition (HD) live transmissions, has a varied media background. She brings to her HD transmissions a carefully calibrated practice that attends not only to music, staging, and performance but also to visual narrativity and what she calls visual architecture. This chapter explores how that practice engages with the intermedial nature of the live HD broadcast of opera. It argues that Sweete's visual practice places her at the center of this new cultural form—an intermedial hybrid—which can be viewed as currently in its “transitional” period, much as cinema “transitioned” in the 1910s.
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Koenderink, Jan. Visual Illusions? Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199794607.003.0008.
Повний текст джерелаАнотація:
The very definition of “illusion” is elusive. Various distinct ontologies are considered. The concept is tightly bound to the understanding of reality, awareness, “God’s eye,” objectivity, subjectivity, emphatic relations, and several others. Here the distinctions between “illusion,” “ambiguity, “delusion,” and “deception,” are clarified. The very notion of illusion is closely tied to conceptual approaches to mind. Especially the dichotomy between a top-down “controlled hallucination” and a bottom-up “inverse physics” approach accounts for much confusion in the literature. It is suggested that a thoroughly biological approach might be preferable. In such an approach, experimental psychobiology would be a special sub-branch—devoted to the genus homo—of ethology. Does this help to impose a formal structure, such as a partial order, on the zoo of illusions as we know them? Unfortunately, not really. At this moment in history, we are still far from such a reasoned inventory.
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Ali, Nadia, and Mattia Guidetti. Umayyad Palace Iconography. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190498931.003.0007.
Повний текст джерелаАнотація:
The traditional focus on early Islamic art has often obscured the specific contexts of the production of particular artworks. The famous wall paintings at the bath and audience hall of Qusayr ʿAmra and the floor mosaics at Khirbat al-Mafjar provide an opportunity for reconsidering how early Islam responded to encounters with visual and intellectual cultures of Late Antiquity. This essay attempts to explain the making of Umayyad iconography from the craftsmen’s perspectives. By placing the emphasis on the craftsmen and their practices as a repository of techniques, traditions, and cultural memory, we will explore issues of transmission, continuity, and discontinuity in art, through the lens of this segment of society. Ultimately, the goal is to move beyond the interpretation of early Islamic image as a closed symbol, thereby shifting the focus from iconography and style to a practice-centered discourse developed according to the makers’ visual economy.
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Boutin, Aimée. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039218.003.0001.
Повний текст джерелаАнотація:
This introductory chapter provides an overview of the book's main themes. This book adopts a sensory approach to understanding the city as a sonic space that orchestrates different, often conflicting sound culture. It shows how city noise heightens the significance of selective listening in the modern urban condition and argues for an aural rather than visual conception of modernity. In nineteenth-century Paris, urban renewal did not mark the beginning of a period of diminution of sound, but rather it was a time of increasing awareness of, and emphasis on, noise. By reconsidering the myth of Paris as the city of spectacle, where the flâneur's scopophilia reigns supreme, this book attends to what has been silenced by the visual paradigm that still prevails in nineteenth-century French cultural studies. It explores perceptions of street noise in nineteenth-century Paris by selecting specific sounds from the 1830s to the 1890s—peddling sounds—that were distinctive.
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Fearn, David. Conclusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198746379.003.0006.
Повний текст джерелаАнотація:
The conclusion rounds out this study, summing up the importance of the approaches taken in relation to previous more historicizing models of Pindaric scholarship. Particular emphasis is placed on aesthetics and the importance of contextualizability: how Pindar’s poetry consistently draws attention to its own aesthetic status and makes an issue of its relation to contexts, through gesturing towards material culture and visual experience; how the interstices between lyric voices and contexts matter for a considered appreciation of epinician lyric’s cultural value. Potential future avenues for research are considered, both within the Pindaric corpus and beyond it, including further work on fifth-century prose (Herodotus and sophistic rhetoric in particular).
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Arnold, Dana. Art History: A Very Short Introduction. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780198831808.001.0001.
Повний текст джерелаАнотація:
Art history encompasses the study of the history and development of painting, sculpture, and the other visual arts. Art History: A Very Short Introduction considers the issues, debates, and artefacts that make up art history. It explores the emergence of social histories of art and, using a wide range of images, it discusses key aspects of the discipline including how we write about, present, read, and look at art, and the impact this has on our understanding of art history. This second edition includes a new chapter on global art histories, considering how the traditional emphasis on periods and styles in art originated in Western art and can obscure other critical approaches and artwork from non-Western cultures.
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Scheufele, Dietram A., and Shanto Iyengar. The State of Framing Research. Edited by Kate Kenski and Kathleen Hall Jamieson. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199793471.013.47.
Повний текст джерелаАнотація:
This chapter provides an assessment of the state of research on framing, and examines how the concept of framing has been used across different disciplines. Using this overview, the authors explore two of the most common conceptual misunderstandings related to framing and their implications for political communication research. This includes an overview of the different approaches to framing in political communication research, more specifically, and of the relationship between framing and related effects models, such as priming and agenda setting. The authors conclude with a recommendation that framing research be redirected away from confounded “emphasis frames” toward “equivalence frames” in the original tradition by expanding the sample of potential frames to include nonverbal visual cues.
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Parry-Giles, Shawn J. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038211.003.0001.
Повний текст джерелаАнотація:
This introductory chapter discusses the major themes that have informed the news coverage of Hillary Clinton since the start of her public life. In particular, emphasis is placed on news media and its preoccupation with “authenticity”—an issue that has often permeated media coverage of Clinton. This chapter briefly sets out the evolutionary news narratives and visual framing devices used to cover one very public political woman over the span of sixteen years. Furthermore, it considers the historical and gendered spaces of the American nation-state, wherein this coverage is situated. As the chapter shows, scholarship on nationalism and its connection to theories of character and authenticity, gendered politics, and news function as the primary critical lenses used to examine the television news coverage of Hillary Clinton.
17
Smith, Jad. Comics, Radio, and the Return to SF. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040634.003.0004.
Повний текст джерелаАнотація:
During the 1940s, Bester scripted comics, radio mysteries, and teleplays, and developed a fast-paced, highly visual style that, along with an emphasis on psychological depth and language play, would later define his approach to SF. He also adopted writing practices (such as allowing ideas to gestate and recombine over time in a “gimmick” book) that fueled his explosive return to SF at the end of the decade. This chapter examines Bester’s growth into a seasoned writer and the circumstances of his return to SF. Particular attention is given to his parting of ways with John W. Campbell, to his budding relationship with Fantasy and Science Fiction editors Tony Boucher and J. Francis McComas, and to the stories “Oddy and Id” and “Of Time and Third Avenue.”
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Henry, Frances, and Dwaine Plaza, eds. Carnival Is Woman. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496825445.001.0001.
Повний текст джерелаАнотація:
What is most intriguing in the Carnivals today is the substantial increase in the number of women who play mas’ with some figures estimating as much as 70% of all players. This volume, probably the first of its kind to concentrate solely on women in Carnival, normalizes the contemporary Carnival especially as it is playedin Trinidad and Tobago by demonstrating not only their numerical strength but the kind of mas’that is featured. The bikini and beads or bikini and feathers or 'pretty mas' is the dominant mas’ in today’s Carnival. The players of today, mainly women, are signifying or symbolizing by this form of mas’, their own newly found empowerment as females and their resistance to the older cultural norms of male oppression. Several chapters discuss in detail the commoditisation of Carnival in which sex is used to enhance tourism and provide striking visual images for magazines and websites. Several put the emphasis on the unveiling of the female body and the hip rolling sexual movements called “winin” or sometimes just “it” as in “use your it.” What most of these chapters have in common however is the emphasis on the performance of scantily clad female bodies and their movements and gyrations. This volume provides a feminist perspective to the understanding of Carnival today.
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Heal, Bridget. The Reformation Legacy. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198737575.003.0002.
Повний текст джерелаАнотація:
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.
20
Lee, Sherry D. Modernist Opera’s Stigmatized Subjects. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.12.
Повний текст джерелаАнотація:
While nineteenth-century opera saw its share of damaged and acutely afflicted bodies, and its music more frequently aestheticized suffering than it either objectified or sympathized with it, the early twentieth century saw a shift in emphasis with regard to the staged and musical representation of subjects stigmatized by congenital or permanent physical disabilities. This essay considers the ways in which the musicodramatic framework for interpretation, spectatorship, and identification in modernist opera (including depictions by Strauss, Schreker, and Zemlinsky of dwarves and hunchbacks) is subtly reconfigured according to shifting modernist aesthetic and sociocultural contexts, such that the visual and sonic signification of physical disability is conceptualized as a kind of metaphor for damaged subjectivity or personhood—a status not infrequently understood as encapsulating the broader fate of the modern self.
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Smith, Jos. Fugitive Allegiances. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198795155.003.0013.
Повний текст джерелаАнотація:
The literary journal Archipelago has offered one of the richest artistic visions of the British and Irish landscape this century, but it is one at an argumentative tilt to conventional orientations of the Isles. This chapter offers an account of the earlier work of the journal’s editor, Andrew McNeillie, before looking carefully at some of Archipelago’s regular contributors of poetry, prose, and visual art. What this reveals is, on the surface, a turn to the periphery which sees the literatures and cultures of the coastal edges speak back to the centre; but it goes on to unearth a more complex and decentred archipelagic space underneath this, one with an emphasis on artists working (quite literally at times) in the cosmopolitan spaces ‘between and among islands’ (Stratford et al.).
22
Mizoguchi, Koji. Anthropomorphic Clay Figurines of the Jomon Period of Japan. Edited by Timothy Insoll. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199675616.013.027.
Повний текст джерелаАнотація:
This chapter charts the trajectory of change of Jomon period clay anthropomorphic figurines in the Japanese archipelago. The earliest specimens embodied the perception of the body and female bodily experiences rather than accurately representing the body itself. Emphasis gradually shifted from the material embodiment of unmediated bodily perception and experiences to the visual representation of the body. Through this process, the subject of the representation expanded from the female body to the bodies of various categories of being, including animals and fantastic/supernatural beings, and the figurines came to embody the mutual transformability. These beings were networked to form an ‘animistic’ cosmology whose successful reproduction was metaphorically linked to that of human life and community. The decline of the symbolic role of the female reproductive faculty as the universal referent in the prayer for communal well-being led to the end of the Jomon clay anthropomorphic figurines.
23
Finseth, Ian. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190848347.003.0001.
Повний текст джерелаАнотація:
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.
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Murray, Terri. Studying Feminist Film Theory. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325802.001.0001.
Повний текст джерелаАнотація:
This book is aimed at helping media and film studies teachers introduce the basics of feminist film theory. No prior knowledge of feminist theory is required, the intended readers being university undergraduate teachers and students of film and media studies. Areas of emphasis include spectatorship, narrative, and ideology. Many illustrative case studies from popular cinema are used to offer students an opportunity to consider the connotations of visual and aural elements of film, narrative conflicts and oppositions, the implications of spectator 'positioning' and viewer identification, and an ideological critical approach to film. Explanations of key terminology are included, along with classroom exercises and practice questions. Each chapter begins with key definitions and explanations of the concepts to be studied, including some historical background where relevant. Case studies include film noir, Kathryn Bigelow's Strange Days and the work of directors Spike Lee, Claire Denis, and Paul Verhoeven.
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Dahlgren, Anna. Travelling Images. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526126641.001.0001.
Повний текст джерелаАнотація:
Travelling images critically examines the migrations and transformations of images as they travel between different image communities. It consists of four case studies covering the period 1870–2010 and includes photocollages, window displays, fashion imagery and contemporary art projects. Through these four close-ups it seeks to reveal the mechanisms, nature and character of these migration processes, and the agents behind them, as well as the sites where they have taken place. The overall aim of this book is thus to understand the mechanisms of interfacing events in the borderlands of the art world. Two key arguments are developed in the book, reflected by its title Travelling images. First, the notion of travel and focus on movements and transformations signal an emphasis on the similarities between cultural artefacts and living beings. The book considers ‘the social biography’ and ‘ecology’ of images, but also, on a more profound level, the biography and ecology of the notion of art. In doing so, it merges perspectives from art history and image studies with media studies. Consequently, it combines a focus on the individual case, typical for art history and material culture studies with a focus on processes and systems, on continuities and ruptures, and alternate histories inspired by media archaeology and cultural historical media studies. Second, the central concept of image is in this book used to designate both visual conventions, patterns or contents and tangible visual images. Thus it simultaneously consider of content and materiality.
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Brine, Kelly Gordon. The Art of Cinematic Storytelling. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190054328.001.0001.
Повний текст джерелаАнотація:
The Art of Cinematic Storytelling: A Visual Guide to Planning Shots, Cuts, and Transitions is a practical introduction to the design of shots, cuts, and transitions for film, video, television, animation, and game design. The author-illustrator is a storyboard artist who has worked with and learned from over 200 professional directors and cinematographers. This book’s clear and concise explanations and vivid examples demystify the visual design choices that are fundamental to directing and editing. Hundreds of illustrations and diagrams support the text. The primary emphasis is on blocking actors and positioning the camera for mood, meaning, and continuity editing. This book delves deeply into controlling the audience’s understanding and perception of time and space; designing in-camera time transitions; compressing and expanding time; composing creative shots for cinematic storytelling; choosing between objective and subjective storytelling; motivating camera moves; choosing lenses; using screen geography and film grammar for clarity; planning shots with continuity editing in mind; knowing how and when to cut; beginning and ending scenes; and using storyboards for planning and communication. Several chapters are devoted to how to block and shoot action involving travel, pursuits, searches, dialogue, groups, and driving. While the approach is based largely on well-established techniques of cinematography and continuity editing, attention is also given to jump cuts, tableau shots, and unconventional framing. The topics are covered thoroughly and systematically, and this book serves both as an introductory text and as a reference work for more advanced students of film.
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Downes, Stephanie, Sally Holloway, and Sarah Randles, eds. Feeling Things. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198802648.001.0001.
Повний текст джерелаАнотація:
This volume investigates the various interactions of people, feelings, and things throughout pre-modern Europe. The subject of materiality has been gaining interest in recent historical inquiry, alongside growing emphasis on the relationships between objects, emotions, and affect in archaeological and sociological research. The historical intersections between materiality and emotions, however, have remained under-theorized, particularly with respect to objects which have continuing resonance over extended periods of time, or across cultural and geographical space. The book addresses this need to develop an appropriate cross-disciplinary theoretical framework for analysing the emotional meanings of objects in European history. It draws together an international group of historians, art historians, curators, and literary scholars working on a variety of cultural, literary, visual, and material sources. Objects considered include books, letters, prosthetics, religious relics, shoes, stone, and textiles, and individual chapters address the ways in which emotions such as despair, fear, grief, hope, love, and wonder become inscribed in and ascribed to these items, producing ‘emotional objects’ of significance and agency.
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Giles, Paul. The Planetary Clock. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198857723.001.0001.
Повний текст джерелаАнотація:
The theme of The Planetary Clock is the representation of time in postmodern culture and the way temporality as a global phenomenon manifests itself differently across an antipodean axis. To trace postmodernism in an expansive spatial and temporal arc, from its formal experimentation in the 1960s to environmental concerns in the twenty-first century, is to describe a richer and more complex version of this cultural phenomenon. Exploring different scales of time from a Southern Hemisphere perspective, with a special emphasis on issues of Indigeneity and the Anthropocene, The Planetary Clock offers a wide-ranging, revisionist account of postmodernism, reinterpreting literature, film, music, and visual art of the post-1960 period within a planetary framework. By bringing the culture of Australia and New Zealand into dialogue with other Western narratives, it suggests how an antipodean impulse, involving the transposition of the world into different spatial and temporal dimensions, has long been an integral (if generally occluded) aspect of postmodernism. Taking its title from a clock designed in 1510 to measure worldly time alongside the rotation of the planets, The Planetary Clock ranges across well-known American postmodernists (John Barth, Toni Morrison) to more recent science fiction writers (Octavia Butler, Richard Powers), while bringing the US tradition into dialogue with both its English (Philip Larkin, Ian McEwan) and Australian (Les Murray, Alexis Wright) counterparts. By aligning cultural postmodernism with music (Messiaen, Ligeti, Birtwistle), the visual arts (Hockney, Blackman, Fiona Hall) and cinema (Rohmer, Haneke, Tarantino), The Planetary Clock enlarges our understanding of global postmodernism for the twenty-first century.
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Mason, Peggy. Seeing the World. Oxford University Press, 2017. http://dx.doi.org/10.1093/med/9780190237493.003.0015.
Повний текст джерелаАнотація:
Modern life is highly dependent on high-acuity vision, and this chapter emphasizes the mechanisms and pathways that support high-acuity or form vision. Because the most common visual impairment is refractive error, the refractive power of the cornea and lens is described at some length. The processes of emmetropization, accommodation, and far viewing are considered. The participation of the outer retina in phototransduction and the visual cycle are detailed, and relevant diseases, including retinitis pigmentosa and age-related macular degeneration, are introduced. The neural processes that transform different wavelengths of light into color perception and common forms of color blindness are explained. Visual processing within cortex, including processing through the dorsal and visual streams, are presented. The process through which babies learn to interpret the firing in their brains as representing visual objects and the importance of the initial years of life to this process are described.
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Radner, Hilary, and Alistair Fox. An Elegy for Cinema1. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422888.003.0005.
Повний текст джерелаАнотація:
This chapter describes how Raymond Bellour in the twenty-first century enters into the on-going debates about the end of cinema that commenced in France in the late 1980s. The chapter underlines how he focuses largely on the changing shape and nature of the dispositif (or viewing situation, including the assumptions that a spectator brings to the viewing experience) in response to new technologies, with an emphasis on moving-image installation art shown in the museum or gallery. Whereas some scholars, such as Francesco Casetti, among others, have claimed that digital technologies and the proliferation of diverse viewing platforms mark a further development, a continuation of what was once cinema (and perhaps even the nineteenth century novel, the photo-roman, the comic book. etc.), Bellour sees these changes as constituting a fundamental break, an ontological shift in the nature of the medium. For Bellour, the dispositif – the apparatus, or physical setting and its technological and psychic potentiality for interaction, as well as the codes that inform this interaction, within which the viewer confronts and makes meaning out of a narrative, visual or otherwise – is fundamental to the experience of cinema and the ideas that it generates. This section offers an exploration Bellour’s understanding of these crucial changes, the implications of which animate discussions about contemporary media across the disciplines.
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Everson, Jane E., Andrew Hiscock, and Stefano Jossa, eds. Ariosto, the Orlando Furioso and English Culture. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266502.001.0001.
Повний текст джерелаАнотація:
The volume assesses the changing impact on English culture over 500 years of Ariosto’s poem, the Orlando Furioso, first published in Italy in 1516, and subsequently in an expanded version in 1532. Individual chapters address the recurring presence of Ariosto’s poem in English literature, but also the multimedial nature of the transmission of the Furioso into English culture: through the visual arts, theatre, music and spectacle to video games and the internet, as well as through often heated critical debates. The introduction provides an overview of the history of criticism and interpretation of the Furioso in England. Within the four main sections – entitled: Before reading – the image; From the Elizabethans to the Enlightenment; Gothic and Romantic Ariosto; Text and translation in the modern era – individual studies explore key moments in the reception of the poem into English culture: the adaptation and translation of the poem among the Elizabethans; Milton’s detailed appreciation of the work; and the ambivalent attitudes of eighteenth-century writers and critics; the influence of illustrations to the poem; and its transformation into opera for the English stage. Emphasis is also placed on: the dynamic responses of Romantic writers to Ariosto; the crucial work of editors and translators in the nineteenth and twentieth centuries; and the stimulating adaptations and rewritings by modern authors. The volume concludes with a comprehensive bibliography.
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Behrendt, Stephen C. The Ineffable. Edited by David Duff. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199660896.013.36.
Повний текст джерелаАнотація:
This chapter examines three figurative modes Romantic authors used to represent the ineffable: allegory, symbol, and myth. In literary studies, these terms identify verbal structures which are usually evaluated in linguistic or semantic terms, although visual expression also has a ‘language’. The chapter emphasizes the linguistic context while also exploring analogies with visual art, explaining how allegory, symbol, and myth provide familiar reference systems both for the verbal and visual artists who employed them and for the audiences who perceived them. All three modes offered ways of encoding, communicating, and interpreting human experience through semantically organized data whose complex referentiality seeks both to reconcile the differences and to reveal the continuities characteristic of a culture of shared experience during the Romantic era.
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Auslander, Philip. Sound and Vision. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.025.
Повний текст джерелаАнотація:
This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Referring to the relationship between visual and audible dimensions of music performance as an “economy” suggests that they may not work hand-in-hand. There can be competition for the audience’s attention and to influence its understanding of the performance. Relationships between sight and sound can be normative or traditional, or challenge norms. The “traditionalist” view emphasizes visible causality: what the audience sees should provide information about how the sound is being produced and perhaps about the musician’s affective state. Visual information that does not contribute to this is interference. The relative value of sound and visual information varies by genre. But even performers operating within traditionalist values sometimes challenge them by manipulating the relationship between the auditory and visual aspects in ways that go against the grain. An example is the use of light shows in both psychedelic rock and classical music concerts in the late 1960s and early 1970s.
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O’Collins, SJ, Gerald. Inspiration. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198824183.001.0001.
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This book anchors its study of inspiration firmly in the Scriptures themselves, and examines both the inspired nature of the Bible and its inspiring impact. It begins by evaluating classical views of biblical inspiration expounded by Karl Barth and Raymond Collins. It then takes up the inspired origin of the Old Testament, where earlier books helped to inspire later books, before moving to the New Testament, which throughout shows the inspiring impact of the inherited Scriptures—both in direct quotations and in many echoes. The work then moves to the Bible’s inspiring influence on Christian worship, preaching, teaching, the visual arts, literature, and life. After a chapter that clarifies the interrelationship between divine revelation, tradition, and inspiration, two chapters expound ten characteristics of biblical inspiration, with special emphasis on the inspiring quality of the Bible. The book explains a major consequence of inspiration, biblical truth, and the grounds on which Christians ‘canonized’ the Scriptures. After spelling out three approaches to biblical interpretation (the authorial intention, the role of readers, and the primacy of the text itself), the work ends by setting out ten principles for engaging theologically with the Scriptures. An epilogue highlights two achievements of the book. By carefully distinguishing (but not separating) inspiration from divine revelation and biblical truth, it can deliver readers from false problems. The book also underlines the inspiring effects of the Scriptures as part of the Holy Spirit’s work of inspiration.
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Kulezic-Wilson, Danijela. Sound Design is the New Score. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190855314.001.0001.
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Sound Design Is the New Score explores film soundtrack practice that blurs the boundary between scoring and sound design, subverting long-established hierarchical relationships between dialogue, music, and sound effects. The new methods associated with this practice rely on the language and techniques of contemporary popular and art music rather than traditional Hollywood scoring and mixing practices, producing soundtracks in which it is difficult to tell the difference between score and ambient sound, where pieces of pre-existing musique concrète or electroacoustic music are merged with diegetic sound, sound effects are absorbed into the score or treated as music, and diegetic sound is treated as musique concrète. The book argues that the underlying principle that binds together all the different manifestations of this practice is a musical approach to soundtrack conceived as an integrated whole. The aesthetic concerns of this practice, demonstrated in a resistance to the familiar tropes of classical narrative and scoring, are illuminated through the concept of the aesthetics of reticence, which encourages an intellectual, affective, and sensuous engagement with film. The sensuous aspect of this practice is theorized using the concept of the erotics of art, arguing that the sensuousness of film form—its sonic and visual textures, composition, rhythm, movement, and flow—is much more complex and sophisticated than simply being an emphasis on excessive sensory stimulation facilitated by the use of digital technology or the aesthetics inspired by it.
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Harney, Kristin. Integrating Music Across the Elementary Curriculum. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190085582.001.0001.
Повний текст джерелаАнотація:
This book is designed to support K–5 classroom teachers as they integrate music throughout the elementary curriculum. It contains detailed, practical ideas and examples, including full lesson plans and over a hundred teaching ideas and strategies for integrating music with visual art, language arts, social studies, science, and mathematics. Following an overview of the interdisciplinary approach, the remaining chapters explore connections between music and other areas of the elementary curriculum. Each chapter also includes a section addressing national standards with tables showing the specific standards that are included in each lesson and activity. This text utilizes the most recent National Core Arts Standards (2015) as well as the most recent standards in language arts, social studies, science, and mathematics. All the lessons in this book are designed to be fully taught by classroom teachers; the content is accessible to those who lack formal music training, yet is solidly rooted in research and best practices. While classroom teachers can teach these lessons on their own, this book may facilitate partnerships and collaboration between classroom teachers and music specialists. All the lessons and activities included in this text have been reviewed by practicing teachers, and most have been field-tested in elementary classrooms. Throughout the book, there is an emphasis on interdisciplinary lessons that demonstrate valid connections between disciplines while maintaining the integrity of each discipline involved. The text also includes a model that allows teachers to successfully create their own interdisciplinary lessons.
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Simmons, Caleb. Devotional Sovereignty. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190088897.001.0001.
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This book investigates the shifting articulations of kingship in a wide variety of literary (Sanskrit and Kannada), visual, and material courtly productions in the South Indian kingdom of Mysore during the reigns of Tipu Sultan (r. 1782–1799) and Krishnaraja Wodeyar III (r. 1799–1868). Tipu Sultan was a Muslim king famous for resisting British dominance until his death, and Krishnaraja III was a Hindu king who succumbed to British political and administrative control. Both of their courts dealt with the changing political landscape of the period by turning to the religious and mythical past to construct a royal identity for their kings. With their use of religious narrative to articulate their kingship, the changing conceptions of sovereignty that accompanied burgeoning British colonial hegemony did not result in languishing. The religious past, instead, provided an idiom through which the Mysore courts could articulate their kings’ unique claims to kingship in the region, as they attributed their rule to divine election and increasingly employed religious vocabularies in a variety of courtly genres and media. What emerges within this material is an increasing reliance on devotion to frame Mysore kingship in relation to the kings’ changing role in regional politics. The emphasis on devotion for the constitution of Indian sovereignty in this period had lasting effects on Indian national politics as it provided an ideological basis for united Indian sovereignty that could simultaneously integrate and transcend premodern forms of regional kingship and its association with local deities.
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Chattopadhyay, Budhaditya. The Auditory Setting. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474474382.001.0001.
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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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McDaniel, Justin Thomas. Conclusions and Comparisons. University of Hawai'i Press, 2017. http://dx.doi.org/10.21313/hawaii/9780824865986.003.0005.
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Starting off with the unique story of the Buddha and leisure park designed in rural Louisiana, the conclusion argues that despite many problems with large comparative projects Buddhist Studies, the amusement parks, memorials, museums, and gardens described in the book as a whole share many qualities. They generally lack formal, formidable, ritual, ecclesiastical, or sectarian boundaries. They make little sustained effort to be “authentic.” These sites emphasize display, performance, and juxtaposition and anachronistic mixing (not systematic reconstruction) of various Buddhist cultures, teachings, languages, objects, and symbols. This is important, because it provides us with a completely different image of contemporary Buddhism that emphasizes innovation and ecumenism instead of purity and authenticity. These sites present different Buddhist traditions, images, and aesthetic expressions as united but not uniform, collected but not concise—a gathering not a movement. By eschewing the local and authentic in favor of the timeless, ecumenical, and universal, they become difficult to categorize. They make visual statements for sure, even if they don’t attempt to create single messages or provide coherent teachings.
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Adrych, Philippa, Robert Bracey, Dominic Dalglish, Stefanie Lenk, and Rachel Wood. Images of Mithra. Edited by Jas Elsner. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198792536.001.0001.
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Images of Mithra begins with the seemingly simple question: what’s in a name? With a history of use extending back to Vedic texts of the second millennium BC, derivations of the name Mithra appear in the Roman Empire, across Sasanian Persia, and in the Kushan Empire of southern Afghanistan and northern India during the first millennium AD. Even today, this name has a place in Yazidi and Zoroastrian religion. But what connection have Mihr in Persia, Miiro in Kushan Bactria, and Mithras in the Roman Empire to one another? Over the course of the volume, specialists in the material culture of these diverse regions explore appearances of the name Mithra from six distinct locations in antiquity. In a subversion of the usual historical process, the authors begin not from an assessment of texts, but by placing images of Mithra at the heart of their analysis. Careful consideration of each example’s own context, situating it in the broader scheme of religious traditions and ongoing cultural interactions, is key to this discussion. Such an approach opens up a host of potential comparisons and interpretations that are often sidelined in historical accounts. What Images of Mithra offers is a fresh approach to figures that we identify as ‘gods’, and the ways in which they were labelled and depicted in the ancient world. Through an emphasis on material culture, a more nuanced understanding of the processes of religious formation is proposed in what is but the first part of the Visual Conversations series.
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Kim-Cohen, Seth. In the Blink of an Ear. Continuum International Publishing Group Ltd, 2009. http://dx.doi.org/10.5040/9781501382796.
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An ear-opening reassessment of sonic art from World War II to the present Marcel Duchamp famously championed a "non-retinal" visual art, rejecting judgments of taste and beauty. In the Blink of an Ear is the first book to ask why the sonic arts did not experience a parallel turn toward a non-cochlear sonic art, imagined as both a response and a complement to Duchamp's conceptualism. Rather than treat sound art as an artistic practice unto itself-or as the unwanted child of music-artist and theorist Seth Kim-Cohen relates the post-War sonic arts to contemporaneous movements in the gallery arts. Applying key ideas from poststructuralism, deconstruction, and art history, In the Blink of an Ear suggests that the sonic arts have been subject to the same cultural pressures that have shaped minimalism, conceptualism, appropriation, and relational aesthetics. Sonic practice and theory have downplayed - or, in many cases, completely rejected - the de-formalization of the artwork and its simultaneous animation in the conceptual realm. Starting in 1948, the simultaneous examples of John Cage and Pierre Schaeffer initiated a sonic theory-in-practice, fusing clement Greenberg's media-specificity with a phenomenological emphasis on perception. Subsequently, the "sound-in-itself" tendency has become the dominant paradigm for the production and reception of sound art. Engaged with critical texts by Jacques Derrida, Rosalind Krauss, Friedrich Kittler, Jean François Lyotard, and Jacques Attali, among others, Seth Kim-Cohen convincingly argues for a reassessment of the short history of sound art, rejecting sound-in-itself in favor of a reading of sound's expanded situation and its uncontainable textuality. At the same time, this important book establishes the principles for a nascent non-cochlear sonic practice, embracing the inevitable interaction of sound with the social, the linguistic, the philosophical, the political, and the technological.
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Baker, Courtney R., ed. A Litany for New Orleans, 2005. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039485.003.0006.
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This chapter examines the current state of the image of black suffering and death and whether the radical potential of humane insight continues by focusing on New Orleans's experience with Hurricane Katrina in 2005. It revisits the book's analysis and theorization of aspects of critical race spectatorship that are defined as visual encounters, in which the viewer is called upon to identify explicitly his or her relationship to race and to (anti-)racism. It also considers the political activation and mobilization of the notion of looking for antiracist ends. By discussing images of New Orleans residents in the immediate wake of Katrina, the chapter emphasizes how images of African Americans founded a rhetoric of black humanity and American justice. It argues that shifting the critical gaze from the body or from the image to the idea of humanity represents a subtle move with profoundly radical consequences for our understanding of the visual encounter.
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Cleaver, Laura. Charting History. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198802624.003.0005.
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The final chapter examines histories constructed around diagrams, focusing on genealogies. These works could show the relationships between contempor-aries and their descendants, and allowed for the construction of generational time, rather than histories ordered by year. The makers of these visually appealing diagrams often struggled to reconcile different histories. Particular individuals within genealogies were sometimes selected for emphasis, serving as orientation points for the viewer. Some histories identified Woden as the ancestor of the seven Anglo-Saxon kings of the heptarchy. Others placed emphasis on Alfred as the king who had united England under one rule. Some diagrams associated genealogy within larger conceptions of time, from creation to the Last Judgement. The idea that human lives existed in a world ordered by God raised the possibility that man might be able to predict the future, and the chapter concludes with some of the rare surviving imagery associated with prophecy.
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Schlabach, Elizabeth Schroeder. The South Side Community Art Center and South Side Writers Group. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037825.003.0002.
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This chapter focuses on the South Side Community Art Center and the South Side Writers' Group that predate the fame of Richard Wright and Gwendolyn Brooks. As pillars of the Bronzeville's community, these institutions of art and literature generated a unique aesthetic consciousness/political ideology for which Chicago Black Renaissance would garner much fame. The chapter emphasizes how the artists and authors of both institutions evidenced a strong commitment to and conditioning by the streets and people of Bronzeville. The aesthetic formula characterized by these visual arts and literary groups collided in ways that always articulated a vital political and modern consciousness that sustained the Renaissance movement into the 1940s.
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Reed, Ron. Color Plus Design. 3rd ed. Bloomsbury Publishing Inc, 2021. http://dx.doi.org/10.5040/9781501362668.
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Learn how to create unified and visually inviting spaces with the third edition of Color Plus Design. Author Ron Reed shows how color and design, when used together, can organize any space around a theme or focal point, provide harmony or contrast, and help designers avoid common color mistakes in a variety of residential and commercial interiors. Students will gain an appreciation of how different cultures around the world use color in their designs, and learn how to effectively use color in conjunction with key design principles such as balance, rhythm, emphasis, proportion, scale, unity, harmony, and variety.
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Beeston, Alix. In and Out of Sight. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190690168.001.0001.
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This book reappraises the connections between modernist writing and photography in the light of new work in visual culture studies that emphasizes the interplay between still and moving images. Arguing for the importance of photography to the work of four major modernist authors—Gertrude Stein, Jean Toomer, John Dos Passos, and F. Scott Fitzgerald—it proposes a new theory of composite literary form in the first half of the twentieth century. Segmented and reiterative, composite modernist writing is shaped by the figure of the woman-in-series, whose appearances and disappearances map its connective and disconnective structure. Understood in relation to the syntax of visual spacing in serial photography, the formal interstices that define modernist writing emerge as textual sites in which the dominant social and political order of modernity is negotiated and reshaped. These gaps signify both as marks of trauma, the wounds of representation according to typologies of race, gender, and class, and as a means for evading or defending against this trauma: a zone of withdrawal and recalcitrance for female characters. Moving in and out of sight, from presence to absence and back again, the woman-in-series in modernist writing destabilizes oppositions of power and vulnerability as they relate to the interactions of subjects and objects in the representational realm.
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Elsner, Jaś, ed. Landscape and Space. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192845955.001.0001.
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This volume addresses a subject central to both world archaeology and trans-cultural art history. Landscape has been a key theme in the last half-century at least in both disciplines, particularly in the study of painting in art history and in all questions of human intervention and the placement of monuments in the natural world, within archaeology. However, the representation of landscape has been rather less addressed in the scholarship of the archaeologically accessed visual cultures of the ancient world. The kinds of reliefs, objects, and paintings discussed have a significant purchase on matters concerned with landscape and space in the visual sphere but were discovered within archaeological contexts and by means of excavation. Through case studies focused on the invention of wilderness imagery in ancient China, the relation of monuments to landscape in ancient Greece, the place of landscape painting in Mesoamerican Maya art and the construction of sacred landscape across Eurasia between Stonehenge and the Silk Road via Pompeii, this book emphasizes the importance of thinking about models of landscape in ancient art and also the value of comparative approaches in underlining core aspects of the topic. Notably it focuses on questions of space, both actual and conceptual, including how space is configured through form and representation.
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Stoneham, Tom. Berkeley on Abstraction, Universals, and Universal Knowledge. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190608040.003.0012.
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This chapter includes three claims. The first is that while Berkeley treated the metaphysical problem of universals as unproblematically resolved in favor of nominalism (which he interpreted in an extreme form), he recognized the epistemic problem as a separate issue he needed to engage with and this is the primary positive contribution of his attack on abstraction. The second is that his solution to the epistemic problem is semiotic, but his semantics here is anthropocentric and pragmatic (in contrast to the semantics of visual language). The third is that this semantic theory, while it emphasizes the role of signs and thus has some affinities with formalism, has no special role for formal properties of signs and in fact makes formalism hard to achieve.
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Heal, Bridget. Conclusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198737575.003.0011.
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The conclusion highlights the extent to which the research presented in this book changes our understanding of Lutheran confessional culture. It reiterates the book’s main structure and themes: Luther’s own understanding of images and the legacy that his writings and the images commissioned for them left to his successors; the era of uncertainty following his death; the renewal and transformation of piety in the seventeenth century; the age of the baroque. It once again emphasizes the importance of the Empire’s territorial divisions in shaping Lutheran culture, and it considers whether there was a distinctly Lutheran iconography or aesthetic. Finally, it draws attention to the variety of historical actors who helped shape Lutheran visual culture, from eminent theologians to ordinary parish pastors, and from princes and nobles to townsfolk.
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Bogdanović, Jelena. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190465186.003.0001.
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The introduction outlines the broader archeological, visual, and literary evidence for canopies in the Byzantine ecclesiastical tradition and presents the importance of studies of canopies from archeological and architectural perspectives as a way to enhance our understanding of the idea of a Byzantine church. The discussion of canopies is focused on Byzantine tradition alone due to two major reasons. First is the need to present the empirical evidence on canopies, which would be difficult to illuminate if done across different cultures. Second highlights how the domed church, essentially an elaborated canopy, emerged as a recognizable building type in Byzantine architecture. By providing a short overview of the literature on canopies, the introduction emphasizes potentials of “soft” archeology and new methodologies in the studies of historical architecture that unveil Byzantine architecture beyond the building as a shelter for church services.