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Politically Red
Eduardo Cadava, Sara Nadal-Melsio
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R621
Discovery Miles 6 210
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Ships in 12 - 17 working days
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This book brings together a wide range of materials from history,
religion, philosophy, horticulture, and meteorology to argue that
Emerson articulates his conception of history through the language
of the weather.
Focusing on Emerson's persistent use of climatic and meteorological
metaphors, the book demonstrates that Emerson's reflections on the
weather are inseparable from his preoccupation with the central
historical and political issues of his day. The author suggests
that Emerson's writings may be read as both symptomatic and
critical of the governing rhetorics through which Americans of his
day thought about the most important contemporary issues, and that
what has often been seen as Emerson's retreat from the arena of
history into the domain of spirit is in fact an effort to re-treat
or rethink the nature of history in terms of questions of
representation.
What distinguishes this book from the work of other critics who are
reassessing Emerson's relation to history is its attempt to think
through the way in which the figures of Emerson's rhetoric--figures
(like frost, snow, the auroras, and nature in general) which often
seem to have nothing to do with either history or politics--are
themselves traversed by the conflictual histories of slavery, race,
destiny, revolution, and the meaning of America. It differs, that
is, in proposing a textual model for reading Emerson that measures
his engagement with changing historical and political relations in
terms of the way he works to revise the language he inherits. There
can be no reading of Emerson, the author suggests, that does not
trace the movement of his figures and tropes as they become
something else, as they open onto questions of history.
Using the theme of Currency to invite reflection on the
contemporary power of the photograph to relay and relate meaning
across distance, the Triennial of Photography Hamburg explores the
value of photography in the 21st century. The extension of this
economic term to art and visual culture allows for a sustained
engagement with photography and its relationship to value-making,
canon-making, access, circulation, and knowledge production. At a
time when the production, distribution, and consumption of
photographic images has become ubiquitous and we have learned to
structure our contemporary world through a lens, the digital image
has become the currency of exchange on social platforms. Fostering
interdisciplinary dialogue, the Critical Reader Lucid Knowledge:
The Currency of the Photographic Image gathers international
perspectives that reflect on how photography shapes today's
narratives, as well as our perception and experience of the world.
The first complete English translation of Nadar's intelligent and
witty memoir, a series of vignettes that capture his experiences in
the early days of photography. Celebrated nineteenth-century
photographer-and writer, actor, caricaturist, inventor, and
balloonist-Felix Nadar published this memoir of his photographic
life in 1900 at the age of eighty. Composed as a series of
vignettes (we might view them as a series of "written
photographs"), this intelligent and witty book offers stories of
Nadar's experiences in the early years of photography, memorable
character sketches, and meditations on history. It is a classic
work, cited by writers from Walter Benjamin to Rosalind Krauss.
This is its first and only complete English translation. In When I
Was a Photographer (Quand j'etais photographe), Nadar tells us
about his descent into the sewers and catacombs of Paris, where he
experimented with the use of artificial lighting, and his ascent
into the skies over Paris in a hot air balloon, from which he took
the first aerial photographs. He recounts his "postal photography"
during the 1870-1871 Siege of Paris-an amazing scheme involving
micrographic images and carrier pigeons. He describes technical
innovations and important figures in photography, and offers a
thoughtful consideration of society and culture; but he also writes
entertainingly about such matters as Balzac's terror of being
photographed, the impact of a photograph on a celebrated murder
case, and the difference between male and female clients. Nadar's
memoir captures, as surely as his photographs, traces of a vanished
era.
The interaction of politics and the visual in the activities of
nongovernmental activists. Political acts are encoded in medial
forms-punch holes on a card, images on a live stream, tweets about
events unfolding in real time-that have force, shaping people as
subjects and forming the contours of what is sensible, legible, and
visible. In doing so they define the terms of political possibility
and create terrain for political acts. Sensible Politics considers
the constitutive role played by aesthetic and performative
techniques in the staging of claims by nongovernmental activists.
Attending to political aesthetics means focusing not on a
disembodied image that travels under the concept of art or visual
culture, nor on a preformed domain of the political that seeks
subsequent expression in media form. Instead it requires bringing
the two realms together into the same analytic frame. A diverse
group of contributors, from art historians, anthropologists, and
political theorists to artists, filmmakers, and architects,
considers the interaction of politics and the visual in such topics
as the political consequences of a photograph taken by an Israeli
soldier in a Palestinian house in Ramallah; AIDS activism; images
of social suffering in Iran; the "forensic architecture" of claims
to truth; and the "Make Poverty History" campaign. Transcending
disciplines, they trace a broader image complex whereby politics is
brought to visibility through the mediation of specific cultural
forms that mix the legal and the visual, the hermeneutic and the
technical, the political and the aesthetic. Their contributions
offer critical insight into the practices of mediation whereby the
political becomes manifest.
This book brings together a wide range of materials from history,
religion, philosophy, horticulture, and meteorology to argue that
Emerson articulates his conception of history through the language
of the weather.
Focusing on Emerson's persistent use of climatic and meteorological
metaphors, the book demonstrates that Emerson's reflections on the
weather are inseparable from his preoccupation with the central
historical and political issues of his day. The author suggests
that Emerson's writings may be read as both symptomatic and
critical of the governing rhetorics through which Americans of his
day thought about the most important contemporary issues, and that
what has often been seen as Emerson's retreat from the arena of
history into the domain of spirit is in fact an effort to re-treat
or rethink the nature of history in terms of questions of
representation.
What distinguishes this book from the work of other critics who are
reassessing Emerson's relation to history is its attempt to think
through the way in which the figures of Emerson's rhetoric--figures
(like frost, snow, the auroras, and nature in general) which often
seem to have nothing to do with either history or politics--are
themselves traversed by the conflictual histories of slavery, race,
destiny, revolution, and the meaning of America. It differs, that
is, in proposing a textual model for reading Emerson that measures
his engagement with changing historical and political relations in
terms of the way he works to revise the language he inherits. There
can be no reading of Emerson, the author suggests, that does not
trace the movement of his figures and tropes as they become
something else, as they open onto questions of history.
Here Eduardo Cadava demonstrates that Walter Benjamin
articulates his conception of history through the language of
photography. Focusing on Benjamin's discussions of the flashes and
images of history, he argues that the questions raised by this link
between photography and history touch on issues that belong to the
entire trajectory of his writings: the historical and political
consequences of technology, the relation between reproduction and
mimesis, images and history, remembering and forgetting, allegory
and mourning, and visual and linguistic representation. The book
establishes the photographic constellation of motifs and themes
around which Benjamin organizes his texts and thereby becomes a
lens through which we can begin to view his analysis of the
convergence between the new technological media and a revolutionary
concept of historical action and understanding.
Written in the form of theses--what Cadava calls "snapshots in
prose"--the book memorializes Benjamin's own thetic method of
writing. It enacts a mode of conceiving history that is neither
linear nor successive, but rather discontinuous--constructed from
what Benjamin calls "dialectical images." In this way, it not only
suggests the essential rapport between the fragmentary form of
Benjamin's writing and his effort to write a history of modernity
but it also skillfully clarifies the relation between Benjamin and
his contemporaries, the relation between fascism and aesthetic
ideology. It gives us the most complete picture to date of
Benjamin's reflections on history.
An essential guide to an essential book, this first anthology on
Camera Lucida offers critical perspectives on Barthes's influential
text. Roland Barthes's 1980 book Camera Lucida is perhaps the most
influential book ever published on photography. The terms studium
and punctum, coined by Barthes for two different ways of responding
to photographs, are part of the standard lexicon for discussions of
photography; Barthes's understanding of photographic time and the
relationship he forges between photography and death have been
invoked countless times in photographic discourse; and the current
interest in vernacular photographs and the ubiquity of subjective,
even novelistic, ways of writing about photography both owe
something to Barthes. Photography Degree Zero, the first anthology
of writings on Camera Lucida, goes beyond the usual critical
orthodoxies to offer a range of perspectives on Barthes's important
book. Photography Degree Zero (the title links Barthes's first
book, Writing Degree Zero, to his last, Camera Lucida) includes
essays written soon after Barthes's book appeared as well as more
recent rereadings of it, some previously unpublished. The
contributors' approaches range from psychoanalytical (in an essay
drawing on the work of Lacan) to Buddhist (in an essay that
compares the photographic flash to the mystic's light of
revelation); they include a history of Barthes's writings on
photography and an account of Camera Lucida and its reception; two
views of the book through the lens of race; and a provocative essay
by Michael Fried and two responses to it. The variety of
perspectives included in Photography Degree Zero, and the focus on
Camera Lucida in the context of photography rather than literature
or philosophy, serve to reopen a vital conversation on Barthes's
influential work.
Honorable Mention, Exhibition Catalogues - 2014 AAM Museum
Publications Design Competition While photographs have been
exchanged, appropriated, and mobilized in different contexts since
the 19th century, their movement is now occurring at an
unprecedented speed. The Itinerant Languages of Photography
examines photography's capacity to circulate across time and space
as well as across other media, such as art, literature, and cinema.
Taking its point of departure from Latin American and Spanish
photographic archives, the volume offers an alternative history of
photography by focusing on the transnational dimension of
technological traffic and image production at a time when
photography is at the center of current debates on the role of
representation, authorship, and reception in a global contemporary
culture. Featuring a wide-range of photographs-images that converse
across temporal, political, and cultural boundaries by artists such
as Lola and Manuel Alvarez Bravo, Henri Cartier-Bresson, Marcelo
Brodsky, Joan Colom, Marc Ferrez, and Joan Fontcuberta-the book
argues that the photographic image comes into being only as a
consequence of reproduction, displacement, and itinerancy.
Distributed for the Princeton University Art Museum Exhibition
Schedule: Princeton University Art Museum (09/07/13-01/19/14)
Questions of human rights are among the most pressing and
intractable matters at this historical moment. If claims to human
rights are by definition universal, the formulation, legislation,
and implementation of them tend to be significantly less than
universal. And Justice for All? a special issue of SAQ, examines
the idea and the reality of human rights and their attendant
discourses. The essays gathered here-from academics and activists
working in law, philosophy, political theory, literature, medicine,
and ngos-collectively interrogate these universal claims to human
rights and the political justice that may or may not follow from
them. Grappling with the philosophical and theoretical questions at
the heart of human rights, these essays take into consideration
current political configurations such as sovereignty, genocide,
humanitarian intervention, and the neglected domain of cultural
rights (the right to a cultural identity). Drawing on Enlightenment
thinking about human rights at the same time that they analyze the
central concepts at work there-including the "humanity of man" and
the nature of rights or of law-the contributors make a necessary
intervention in a world system that Enlightenment thinkers could
scarcely have envisioned. Contributors. Etienne Balibar, Rony
Brauman, Wendy Brown, Rebecca Comay, Jacques Derrida, Paul Downes,
Werner Hamacher, Thomas Keenan, Susan Maslan, Jacques Ranciere,
Bruce Robbins, Avital Ronell, Gayatri Chakravorty Spivak, Elsa
Stamatopoulou, Slavoj Zizek
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