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This selection of women's writings on photography proposes a new
and different history, demonstrating the ways in which women's
perspectives have advanced photographic criticism over 150 years,
focusing it more deeply and, with the advent of feminist
approaches, increasingly challenging its orthodoxies. Included in
the book are Rosalind Krauss, Ingrid Sischy, Vicki Goldberg and
Carol Squiers.
It is frequently said that we are living through the end of
politics, the end of social upheavals, the end of utopian folly.
Consensual realism is the order of the day. But political realists,
remarks Jacques Ranciere, are always several steps behind reality,
and the only thing which may come to an end with their dominance is
democracy. In these subtle and perceptive essays, Ranciere argues
that since Plato and Aristotle politics has always constructed
itself as the art of ending politics, that realism is itself
utopian, and that what has succeeded the polemical forms of class
struggle is not the wisdom of a new millennium but the return of
old fears, criminality and chaos. Whether he is discussing the
confrontation between Mitterrand and Chirac, French working-class
discourse after the 1830 revolution, or the ideology of recent
student mobilizations, his aim is to restore philosophy to politics
and give politics back its original and necessary meaning: the
organization of dissent.
Didier Daeninckx's chilling novel created uproar when it was first
published in France in 1984. It is set against the backdrop of a
demonstration in Paris in 1961, which resulted in the deaths of
hundreds of Algerians at the hands of the police. In Daeninckx's
story, Roger Thiraud, a young history teacher, is also mysteriously
killed during this demonstration. Twenty years later, Bernard, his
son, is murdered in Toulouse while on holiday with his girlfriend.
To find the connection between the murders, Daeninckx's hero
Inspector Cadin must delve into the secret history and devastating
compromises of wartime politics. Murder in Memoriam is a tense and
unsettling indictment of France's hidden past.
This selection of women's writings on photography proposes a new
and different history, demonstrating the ways in which women's
perspectives have advanced photographic criticism over 150 years,
focusing it more deeply and, with the advent of feminist
approaches, increasingly challenging its orthodoxies. Included in
the book are Rosalind Krauss, Ingrid Sischy, Vicki Goldberg and
Carol Squiers.
This fierce memoir is both an elegy and an indictment. Marcel
Liebman's account of his childhood in Brussels under the Nazi
occupation explores the emergence of his class consciousness
against a background of resistance and collaboration. He documents
the internal class war that has long been hidden from history: how
the Nazi persecution exploited class distinctions within the Jewish
community, and how certain Jewish notables collaborated in a
systematic programme of denunciation and deportation against
immigrant Jews who lacked the privileges of wealth and citizenship.
Including a number of short essays by Bataille and Leiris on
aspects of the other's work as well as excerpts on Bataille from
Leiris' diaries, this collection of correspondence throws new light
on two of Surrealism's most radical dissidents. Â In the
autumn of 1924, just before André Breton published the Manifeste
du surréalisme, two young men met in Paris for the first
time. Georges Bataille, 27, starting work at the
Bibliothèque Nationale; Michel Leiris, 23, beginning his studies
in ethnology. Within a few months, they were both members of
the Surrealist group, although their adherence to Surrealism
(unlike their affinities with it) would not last long: in 1930 they
were among the signatories of "Un cadavre," the famous tract
against Breton, the "Machiavelli of Montmartre," as Leiris put
it. But their friendship would endure for more than 30
years, and their correspondence, assembled here for the first time
in English, would continue until the death of Bataille in 1962.
Secrets of Life and Death is the first book to focus on women whose
lives are entangled in the workings of the mafia. Drawing on
courtroom testimonies, interviews, contemporary journalism and
recent research, Siebert cuts through the mafia's myth of honouring
women to expose the harsh realities for women living with, and
fighting against, the mafia. With careful attention to the
socio-economic realities of southern Italy, she looks at what it
actually means to live in the mafia's shadow. She explores the
gains and costs of being a mafia wife in New York or Palermo,
probing the emotions underlying women's mafia loyalties and the
sexual lure of the mafioso. In vivid and often harrowing detail,
Siebert examines women's growing resistance to a culture of death
and dangerously intensified masculinity. Alongside the public
stories of the wives of murdered judges, policemen and politicians,
she places the extraordinary accounts of women who have taken a
stand against their own mafia upbringing or have spoken out as
witnesses, at enormous personal cost. It is women's courageous
initiatives, Siebert shows, which have led to the development of
local anti-mafia organizations and recent mass protests in the face
of violent intimidation. Poignant and incisive, Secrets of Life and
Death breaks the code of silence to tell a story that is both
haunting and inspiring.
Edward Said's Orientalism (1978) has justly attracted great respect
and attention for its account of Western perceptions and
representations of the Orient, but the English-speaking world has
for too long been unaware of another classic in the same field
which appeared in France only a year later. Alain Grosrichard's The
Sultan's Court is a fascinating and careful deconstruction of
Western accounts of "Oriental despotism" in the seventeenth and
eighteenth centuries, focusing particularly on portrayals of the
Ottoman Empire and the supposedly enigmatic and opaque structure of
the despot's power and his court of viziers, janissaries, mutes,
dwarfs, eunuchs and countless wives. Drawing on the writings of
travelers and philosophers such as Montesquieu, Rousseau and
Voltaire, Grosrichard goes further than merely cataloguing their
intense fascination with the vortex of capriciousness, violence,
cruelty, lust, sexual perversion and slavery which they perceived
in the seraglio. Deftly and subtly using a Lacanian psychoanalytic
framework, he describes the process as one in which these leading
Enlightenment figures were constructing a fantasmatic Other to
counterpose to their project of a rationally based society. The
Sultan's Court seeks not to refute the misconceptions but rather to
expose the nature of the fantasy and what it can reveal about
modern political thought and power relations more generally.
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The Unseen (Paperback, 2nd edition)
Nanni Balestrini; Preface by Antonio Negri; Translated by Liz Heron
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R650
R565
Discovery Miles 5 650
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For a brief explosive period in the mid-1970s, the young and the
unemployed of Italy's cities joined the workers in an unexpectedly
militant movement known simply as Autonomy ("Autonomia"). Its
"politics of refusal" united its opponents behind draconian
measures more severe than any seen since the war.
Nanni Balestrini, the poet of youth rebellion, himself a victim of
that repression, has invented a remarkable fictional form to
express the hopes and conflicts of the movement. In spare but vivid
prose, The Unseen follows Autonomy's trajectory through the eyes of
a single working-class protagonist--from high-school rebellion,
squatting and attempts to set up a free radio station to arrest and
the brutalities of imprisonment. This is a powerful and gripping
novel: a rare evocation of the intensity of commitment, the passion
of politics.
The first anthology of its kind, Illuminations presents a
comprehensive selection of women's writings on photography. It
proposes a new and different history by demonstrating the ways in
which women's perspectives have advanced photographic criticism
over the last 150 years.
Extraordinarily wide-ranging in its scope, this collection
chronicles the role of women in photography as critics, historians,
and practitioners. Readers will find Julia Margaret Cameron's bold
description of her photographic method, Rosalind Krauss's
exploration of what the camera means for Surrealism, Margaret
Bourke-White and Carol Squiers with differing perspectives on Life
magazine, as well as essays by Eudora Welty, Susan Sontag, Lucy
Lippard, Berenice Abbott, Dorthea Lange, and many others.
Illuminations begins with a short piece on the daguerreotype by
Elizabeth Barrett Browning then moves through the avant-garde
influence of Dada, Bauhaus, and surrealism, to fashion and portrait
photography, continuing with documentary and reportage, the
emergence of feminist analysis, and postmodern and postcolonial
criticism. Encompassing many varied points of view, this volume
offers pieces on individual photographers such as Diane Arbus,
Ansel Adams, Barbara Kruger, Edward Weston, and Cindy Sherman along
with theoretical work by contemporary writers including Jane
Gallop, Coco Fusco, and Laura Mulvey.
An historic anthology, Illuminations shows that women have been
writing about photography from its beginnings and have intervened
in the key debates of the past century and a half. It will welcomed
by those interested in photography, gender studies, and women and
the arts.Contributors. Berenice Abbott, Dawn Ades, Susan H. Aiken,
Jan Avgikos, Elizabeth Barrett Browning, Margaret Bourke-White,
Deborah Bright, Susan Butler, Julia Margaret Cameron, Cynthia
Chris, Louise Dahl-Wolfe, Gen Doy, Olive Edis, Ute Eskildsen,
Andrea Fisher, Gisele Freund, Coco Fusco, Jane Gallop, Nan Goldin,
Jewelle Gomez, Jan Zita Grover, Judith Mara Gutman, Maria Morris
Hambourg, Liz Heron, Alice Hughes, Karen Knorr, Rosalind Krauss,
Annette Kuhn, Dorothea Lange, Therese Lichtenstein, Lucy Lippard,
Catherine Lord, Mary Warner Marien, Elizabeth McCausland, Roberta
McGrath, Lee Miller, Tina Modotti, Lucia Moholy, Laura Mulvey,
Carole Naggar, Nancy Newhall, Amy Rule, Lauren Sedofsky, Ingrid
Sischy, Abigail Solomon-Godeau, Susan Sontag, Jo Spence, Carol
Squiers, Varvara Stepanova, Anne Tucker, Eudora Welty, Dorothy
Wilding, Val Wiliams, Anne-Marie Willis, Madame Yevonde
How and why did experience and knowledge become separated? Is it
possible to talk of an infancy of experience, a "dumb" experience?
For Walter Benjamin, the "poverty of experience" was a
characteristic of modernity, originating in the catastrophe of the
First World War. For Giorgio Agamben, the Italian editor of
Benjamin's complete works, the destruction of experience no longer
needs catastrophes: daily life in any modern city will suffice.
Agamben's profound and radical exploration of language, infancy,
and everyday life traces concepts of experience through Kant,
Hegel, Husserl and Benveniste. In doing so he elaborates a theory
of infancy that throws new light on a number of major themes in
contemporary thought: the anthropological opposition between nature
and culture; the linguistic opposition between speech and language;
the birth of the subject and the appearance of the unconscious.
Agamben goes on to consider time and history; the Marxist notion of
base and superstructure (via a careful reading of the famous
Adorno-Benjamin correspondence on Baudelaire's Paris); and the
difference between rituals and games. Beautifully written, erudite
and provocative, these essays will be of great interest to students
of philosophy, linguistics, anthropology and politics.
The first anthology of its kind, "Illuminations" presents a
comprehensive selection of women's writings on photography. It
proposes a new and different history by demonstrating the ways in
which women's perspectives have advanced photographic criticism
over the last 150 years.
Extraordinarily wide-ranging in its scope, this collection
chronicles the role of women in photography as critics, historians,
and practitioners. Readers will find Julia Margaret Cameron's bold
description of her photographic method, Rosalind Krauss's
exploration of what the camera means for Surrealism, Margaret
Bourke-White and Carol Squiers with differing perspectives on "Life
"magazine, as well as essays by Eudora Welty, Susan Sontag, Lucy
Lippard, Berenice Abbott, Dorthea Lange, and many others.
"Illuminations" begins with a short piece on the daguerreotype by
Elizabeth Barrett Browning then moves through the avant-garde
influence of Dada, Bauhaus, and surrealism, to fashion and portrait
photography, continuing with documentary and reportage, the
emergence of feminist analysis, and postmodern and postcolonial
criticism. Encompassing many varied points of view, this volume
offers pieces on individual photographers such as Diane Arbus,
Ansel Adams, Barbara Kruger, Edward Weston, and Cindy Sherman along
with theoretical work by contemporary writers including Jane
Gallop, Coco Fusco, and Laura Mulvey.
An historic anthology, "Illuminations" shows that women have been
writing about photography from its beginnings and have intervened
in the key debates of the past century and a half. It will welcomed
by those interested in photography, gender studies, and women and
the arts.
"Contributors," BereniceAbbott, Dawn Ades, Susan H. Aiken, Jan
Avgikos, Elizabeth Barrett Browning, Margaret Bourke-White, Deborah
Bright, Susan Butler, Julia Margaret Cameron, Cynthia Chris, Louise
Dahl-Wolfe, Gen Doy, Olive Edis, Ute Eskildsen, Andrea Fisher,
Gisele Freund, Coco Fusco, Jane Gallop, Nan Goldin, Jewelle Gomez,
Jan Zita Grover, Judith Mara Gutman, Maria Morris Hambourg, Liz
Heron, Alice Hughes, Karen Knorr, Rosalind Krauss, Annette Kuhn,
Dorothea Lange, Therese Lichtenstein, Lucy Lippard, Catherine Lord,
Mary Warner Marien, Elizabeth McCausland, Roberta McGrath, Lee
Miller, Tina Modotti, Lucia Moholy, Laura Mulvey, Carole Naggar,
Nancy Newhall, Amy Rule, Lauren Sedofsky, Ingrid Sischy, Abigail
Solomon-Godeau, Susan Sontag, Jo Spence, Carol Squiers, Varvara
Stepanova, Anne Tucker, Eudora Welty, Dorothy Wilding, Val Wiliams,
Anne-Marie Willis, Madame Yevonde
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