|
Showing 1 - 10 of
10 matches in All Departments
Before the eighteenth century, the ocean was regarded as a
repulsive and chaotic deep. Despite reinvention as a zone of wonder
and pleasure, it continued to be viewed in the West and elsewhere
as 'uninhabited', empty space. This collection, spanning the
eighteenth century to the present, recasts the ocean as 'social
space', with particular reference to visual representations. Part I
focuses on mappings and crossings, showing how the ocean may
function as a liminal space between places and cultures but also
connects and imbricates them. Part II considers ships as
microcosmic societies, shaped for example by the purpose of the
voyage, the mores of shipboard life, and cross-cultural encounters.
Part III analyses narratives accreted to wrecks and rafts, what has
sunk or floats perilously, and discusses attempts to recuperate
plastic flotsam. Part IV plumbs ocean depths to consider how
underwater creatures have been depicted in relation to emergent
disciplines of natural history and museology, how mermaids have
been reimagined as a metaphor of feminist transformation, and how
the symbolism of coral is deployed by contemporary artists. This
engaging and erudite volume will interest a range of scholars in
humanities and social sciences, including art and cultural
historians, cultural geographers, and historians of empire, travel,
and tourism.
Before the eighteenth century, the ocean was regarded as a
repulsive and chaotic deep. Despite reinvention as a zone of wonder
and pleasure, it continued to be viewed in the West and elsewhere
as 'uninhabited', empty space. This collection, spanning the
eighteenth century to the present, recasts the ocean as 'social
space', with particular reference to visual representations. Part I
focuses on mappings and crossings, showing how the ocean may
function as a liminal space between places and cultures but also
connects and imbricates them. Part II considers ships as
microcosmic societies, shaped for example by the purpose of the
voyage, the mores of shipboard life, and cross-cultural encounters.
Part III analyses narratives accreted to wrecks and rafts, what has
sunk or floats perilously, and discusses attempts to recuperate
plastic flotsam. Part IV plumbs ocean depths to consider how
underwater creatures have been depicted in relation to emergent
disciplines of natural history and museology, how mermaids have
been reimagined as a metaphor of feminist transformation, and how
the symbolism of coral is deployed by contemporary artists. This
engaging and erudite volume will interest a range of scholars in
humanities and social sciences, including art and cultural
historians, cultural geographers, and historians of empire, travel,
and tourism.
The water's edge, whether shore or riverbank, is a marginal
territory that becomes invested with layers of meaning. The essays
in this collection present intriguing perspectives on how the
water's edge has been imagined and represented in different places
at various times and how this process contributed to the formation
of social identities. Art and Identity at the Water's Edge focuses
upon national coastlines and maritime heritage; on rivers and
seashore as regions of liminality and sites of conflicting
identities; and on the edge as a tourist setting. Such themes are
related to diverse forms of art, including painting, architecture,
maps, photography, and film. Topics range from the South African
seaside resort of Durban to the French Riviera. The essays explore
successive ideological mappings of the Jordan River, and how Czech
cubist architecture and painting shaped a new nationalist reading
of the Vltava riverbanks. They examine post-Hurricane Katrina New
Orleans as a filmic spectacle that questions assumptions about
American identity, and the coast depicted as a site of patriotism
in nineteenth-century British painting. The collection demonstrates
how waterside structures such as maritime museums and lighthouses,
and visual images of the water's edge, have contributed to the
construction of cultural and national identities.
This title was first published in 2003. The essay collection
explores the conjunctions of nation, gender, and visual
representation in a number of countries-including Ireland,
Scotland, Britain, Canada, Finland, Russia and Germany-during the
nineteenth and twentieth centuries. The contributors show visual
imagery to be a particularly productive focus for analysing the
intersections of nation and gender, since the nation and
nationalism, as abstract concepts, have to be "embodied" in ways
that make them imaginable, especially through the means of art.
They explore how allegorical female figures personify the nation
across a wide range of visual media, from sculpture to political
cartoons and how national architectures may also be gendered. They
show how through such representations, art reveals the
ethno-cultural bases of nationalisms. Through the study of such
images, the essays in this volume cast new light on the
significance of gender in the construction of nationalist ideology
and the constitution of the nation-state. In tackling the
conjunctions of nation, gender and visual representation, the case
studies presented in this publication can be seen to provide
exciting new perspectives on the study of nations, of gender and
the history of art. The range of countries chosen and the variety
of images scrutinised create a broad arena for further debate.
The water's edge, whether shore or riverbank, is a marginal
territory that becomes invested with layers of meaning. The essays
in this collection present intriguing perspectives on how the
water's edge has been imagined and represented in different places
at various times and how this process contributed to the formation
of social identities. Art and Identity at the Water's Edge focuses
upon national coastlines and maritime heritage; on rivers and
seashore as regions of liminality and sites of conflicting
identities; and on the edge as a tourist setting. Such themes are
related to diverse forms of art, including painting, architecture,
maps, photography, and film. Topics range from the South African
seaside resort of Durban to the French Riviera. The essays explore
successive ideological mappings of the Jordan River, and how Czech
cubist architecture and painting shaped a new nationalist reading
of the Vltava riverbanks. They examine post-Hurricane Katrina New
Orleans as a filmic spectacle that questions assumptions about
American identity, and the coast depicted as a site of patriotism
in nineteenth-century British painting. The collection demonstrates
how waterside structures such as maritime museums and lighthouses,
and visual images of the water's edge, have contributed to the
construction of cultural and national identities.
This title was first published in 2003. The essay collection
explores the conjunctions of nation, gender, and visual
representation in a number of countries-including Ireland,
Scotland, Britain, Canada, Finland, Russia and Germany-during the
nineteenth and twentieth centuries. The contributors show visual
imagery to be a particularly productive focus for analysing the
intersections of nation and gender, since the nation and
nationalism, as abstract concepts, have to be "embodied" in ways
that make them imaginable, especially through the means of art.
They explore how allegorical female figures personify the nation
across a wide range of visual media, from sculpture to political
cartoons and how national architectures may also be gendered. They
show how through such representations, art reveals the
ethno-cultural bases of nationalisms. Through the study of such
images, the essays in this volume cast new light on the
significance of gender in the construction of nationalist ideology
and the constitution of the nation-state. In tackling the
conjunctions of nation, gender and visual representation, the case
studies presented in this publication can be seen to provide
exciting new perspectives on the study of nations, of gender and
the history of art. The range of countries chosen and the variety
of images scrutinised create a broad arena for further debate.
Painted riverscapes such as Claude Monet's impressions of the
Seine, Isaak Levitan's Volga views, or Thomas Cole's Hudson scenery
became iconic not least because they embodied nationalist ideas
about place and about culture. At a time when nationalism was
taking root across Europe and the United States, the riverscape
played an important role in transforming the abstract idea of the
nation into a potent visual image. It not only offered a picture of
the nation's physical character, but through aspects such as style,
the figures portrayed, and the nature of the implied spectator, it
presented a cultural ideal. In this highly original book, Tricia
Cusak explores significance of painted riverscapes to the creation
of national identities in nineteenth and early twentieth century
Europe and America. Focusing on five rivers, the Hudson, the Volga,
the Seine, the Thames, and the Shannon, the author outlines the
history of the development of national landscapes, elaborating on
the distinctive nature of riverscapes. Drawing on the symbolic
potential of rivers to represent life and time, the riverscape
provided a metaphor for the mythic stream of national history
flowing unimpeded out of the past and into the future.
Painted riverscapes such as Claude Monet's impressions of the
Seine, Isaak Levitan's Volga views, and Thomas Cole's Hudson
scenery became iconic not least because they embodied nationalist
ideas about place and about culture. At a time when nationalism was
taking root across Europe and the United States, the riverscape
played an important role in transforming the abstract idea of the
nation into a potent visual image. It not only offered a picture of
a nation's physical character, but also, through aspects such as
style, the figures portrayed, and the nature of the implied
spectator, it presented a cultural ideal. In this highly original
book, Tricia Cusack explores the significance of painted
riverscapes for the creation of national identities in nineteenth-
and early twentieth-century Europe and America. Focusing on five
rivers - the Hudson, the Volga, the Seine, the Thames, and the
Shannon - the author shows how just as ancient river mythologies
served the ends of powerful religious and political groups, modern
riverscapes incorporated dominant, often religious conceptions of
the nation. Drawing on the symbolic potential of rivers to
represent life and time, the riverscape provided a metaphor for the
mythic stream of national history flowing unimpeded out of the past
and into the future.
|
You may like...
Al Wat Tel
Irma Venter
Paperback
R330
R229
Discovery Miles 2 290
Eruption
Michael Crichton, James Patterson
Paperback
R380
R270
Discovery Miles 2 700
Camino Ghosts
John Grisham
Paperback
R450
R299
Discovery Miles 2 990
A Quiet Man
Tom Wood
Paperback
R453
R374
Discovery Miles 3 740
Never
Ken Follett
Paperback
R375
R293
Discovery Miles 2 930
The Match
Harlan Coben
Paperback
R441
R365
Discovery Miles 3 650
|