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The Visual Poetics of Power by Athanasios Christou Papalexandrou Pdf
In The Visual Poetics of Power, Nassos Papalexandrou illuminates the early history of the tripod cauldron, the most sacred symbol of the Greeks. He also explores the performative dimensions of the figurative arts in the preliterate contexts of early Greek sanctuaries.
The Visual Poetics of Raymond Carver by Ayala Amir Pdf
"Readers have been aware of Raymond Carver's preoccupation with voyeurism and the visual for decades. Ayala Amir expands our knowledge of these issues by examining the links between the visual in fiction and related fields such as photography and cinema, opening up a whole new, interdisciplinary dimension to Carver's work. The Visual Poetics of Raymond Carver is a very welcome contribution to our understanding of Carver's stories."-Sandra Lee Kleppe, International Raymond Carver Society --
Aristotle's Poetics is best known for its definition and analysis of tragedy and comedy, but it also applies to truth and beauty as they are manifested in the other arts. In our age, when the natural and social sciences have dominated the quest for truth, it is helpful to consider why Aristotle claimed: "poetry is more philosophical and more significant than history." Like so many other works by Aristotle, the Poetics has dominated the way we have thought about all forms of dramatic performance in Europe and America ever since. The essence of poetry lies in its ability to transcend the particulars of everyday experience and articulate universals, not merely what has happened but what might happen and what ought to happen. Perhaps the greatest tribute to Aristotle comes from St. Thomas Aquinas who, in the 13th century, simply referred to him as "the Philosopher" and called him the master of those who know. Born in northeastern Greece, Aristotle went to Athens as a young man to study in Plato’s Academy where he remained for more than 20 years. When Plato died, he left the Academy, and four years later he returned to Macedonia to tutor the king’s son who quickly became Alexander the Great, the ruler of most of the civilized world. Like Plato, Aristotle’s writings extend far beyond what we currently call philosophy, including the natural sciences, the social sciences, and the humanities.
Images of Power by Jens Andermann,William Rowe Pdf
In Latin America, where even today writing has remained a restricted form of expression, the task of generating consent and imposing the emergent nation-state as the exclusive form of the political, was largely conferred to the image. Furthermore, at the moment of its historical demise, the new, 'postmodern' forms of sovereignty appear to rely even more heavily on visual discourses of power. However, a critique of the iconography of the modern state-form has been missing. This volume is the first concerted attempt by cultural, historical and visual scholars to address the political dimension of visual culture in Latin America, in a comparative perspective spanning various regions and historical stages. The case studies are divided into four sections, analysing the formation of a public sphere, the visual politics of avant-garde art, the impact of mass society on political iconography, and the consolidation and crisis of territory as a key icon of the state. Jens Andermann is a Lecturer in Latin American Studies at Birkbeck College, London, and co-editor of the Journal of Latin American Cultural Studies. Among his publications are Mapas de poder: una arqueología literaria del espacio argentino (Rosario, 2000) and articles for major journals in Argentina, Brazil, Europe and the US. William Rowe is Anniversary Professor of Poetics at Birkbeck College, London. His book Memory and Modernity: Popular Culture in Latin America (London, 1991) has been translated into several languages. His most recent works, apart from translations of a wide range of Latin American poetry, are Poets of Contemporary Latin America: History and the Inner Life (Oxford, 2000) and Ensayos vallejianos (Berkeley and Lima, 2006).
Iconographies of Power by Ulla Haselstein,Berndt Ostendorf,Peter Schneck Pdf
Today the question of iconography has taken on a new and more general urgency. As a dominant cultural practice, iconography embraces the politics as well as the poetics of visual representation within their specific historical and cultural conditions. In its contemporary significance the question of iconography moreover reaches beyond disciplinary boundaries of conventional definitions and interpretations of the relation between words and images in a demand to critically compare and contrast their different iconographies as cultural practices of power. In their distinct arguments and from different perspectives, the essays collected in this volume are all similarly concerned with the iconographical power and poetics of the image, including a broad range of visual representations: prints and illustrations, painting, sculpture and concept art, documentary and art photography, film comedy and digital imagery. In all these instances, the image is looked at not as an exclusive and isolated phenomenon but, rather emphatically, as a visual and contextual event; as both the source and target of the collision and the collusion of word and image; as instances and symptoms of contemporary iconographic practice alike. With contributions by Winfried Fluck, Mario Klarer, Mick Gidley, Douglas Tallack, Heinz Ickstadt, Peter Schneck, Maren Stange, Hanne Loreck, Zsofia Ban, Susanne v. Falkenhausen, Deniz Gokturk, Wendy Steiner, Hanjo Berressem, Kaja Silverman, Michael Wetzel.
Poussin and the Poetics of Painting by Jonathan Unglaub Pdf
This book examines how Poussin cultivated a poetics of painting from the literary culture of his own time, and especially through his response to the work of Torquato Tasso. Tasso's poetic discourses were the most important source for Poussin's theory of painting. Poussin does not merely illustrate Tasso's verse, but cultivates pictorial means to refashion the poet's metaphors of desire. Offering new interpretations of these works, this book also investigates Poussin's larger literary culture and how this context illuminates the artist's response to contemporary poetic texts, especially in his mythological paintings.
Latinx Poetics: Essays on the Art of Poetry collects personal and academic writing from Latino, Latin American, Latinx, and Luso poets about the nature of poetry and its practice. At the heart of this anthology lies the intersection of history, language, and the human experience. The collection explores the ways in which a people’s history and language are vital to the development of a poet’s imagination and insists that the meaning and value of poetry are necessary to understand the history and future of a people. The Latinx community is not a monolith, and accordingly the poets assembled here vary in style, language, and nationality. The pieces selected expose the depth of existing verse and scholarship by poets and scholars including Brenda Cárdenas, Daniel Borzutzky, Orlando Menes, and over a dozen more. The essays not only expand the poetic landscape but extend Latinx and Latin American linguistic and geographical boundaries. Writers, educators, and students will find awareness, purpose, and inspiration in this one-of-a-kind anthology.
Signs of Power in Habsburg Spain and the New World by Jason McCloskey,Ignacio López Alemany Pdf
Signs of Power in Habsburg Spain and the New World explores the representation of political, economic, military, religious, and juridical power in texts and artifacts from early modern Spain and her American viceroyalties. In addition to analyzing the dynamics of power in written texts, chapters also examine pieces of material culture including coats of arms, coins, paintings and engravings. As the essays demonstrate, many of these objects work to transform the amorphous concept of power into a material reality with considerable symbolic dimensions subject to, and dependent on, interpretation. With its broad approach to the discourses of power, Signs of Power brings together studies of both canonical literary works as well as more obscure texts and objects. The position of the works studied with respect to the official center of power also varies. Whereas certain essays focus on the ways in which portrayals of power champion the aspirations of the Spanish Crown, other essays attend to voices of dissent that effectively call into question that authority.
Author : James A. W. Heffernan Publisher : University of Chicago Press Page : 261 pages File Size : 44,7 Mb Release : 2004-04 Category : Literary Criticism ISBN : 9780226323145
Ekphrasis is the art of describing works of art, the verbal representation of visual representation. Profoundly ambivalent, ekphrastic poetry celebrates the power of the silent image even as it tries to circumscribe that power with the authority of the word. Over the ages its practitioners have created a museum of words about real and imaginary paintings and sculptures. In the first book ever to explore this museum, James Heffernan argues that ekphrasis stages a battle for mastery between the image and the word. Moving from the epics of Homer, Virgil, and Dante to contemporary American poetry, this book treats the history of struggle between rival systems of representation. Readable and well illustrated, this study of how poets have represented painting and sculpture is a major contribution to our understanding of the relation between the arts.
Poetry, Publishing, and Visual Culture from Late Modernism to the Twenty-First Century by Natalie Pollard Pdf
This is a book about contemporary literary and artistic entanglements: word and image, media and materiality, inscription and illustration. It proposes a vulnerable, fugitive mode of reading poetry, which defies disciplinary categorisations, embracing the open-endedness and provisionality of forms. This manifests itself interactively in the six case studies, which have been chosen for their distinctness and diversity across the long twentieth century: the book begins with the early twentieth-century work of writer and artist Djuna Barnes, exploring her re-animation of sculptural and dramatic sources. It then turns to the late modernist artist and poet David Jones considering his use of the graphic and plastic arts in The Anathemata, and next, to the underappreciated mid-century poet F.T. Prince, whose work uncannily re-activates Michelangelo's poetry and sculpture. The second half of the book explores the collaborations of the canonical poet Ted Hughes with the publisher and artist Leonard Baskin during the 1970s; the innovative late twentieth-century poetry of Denise Riley who uses page space and embodied sound as a form of address; and, finally, the contemporary poet Paul Muldoon who has collaborated with photographers and artists, as well as ventriloquising nonhuman phenomena. The resulting unique study offers contemporary writers and readers a new understanding of literary, artistic, and nonhuman practices and shows the cultural importance of engaging with their messy co-dependencies. The book challenges critical methodologies that make a sharp division between the textual work and the extra-literary, and raises urgent questions about the status and autonomy of art and its social role.
Mina Loy, Twentieth-Century Photography, and Contemporary Women Poets by Linda A. Kinnahan Pdf
Mina Loy, Twentieth-Century Photography, and Contemporary Women Poets- Front Cover -- Mina Loy, Twentieth-Century Photography, and Contemporary Women Poets -- Title Page -- Copyright Page -- Dedication -- Contents -- List of figures -- Acknowledgements -- Permissions -- Introduction -- Notes -- Chapter 1: Loy among the photographers: poetry, perception, and the camera -- Portraits and photographers -- Julien Levy and the modern photograph -- Islands in the Air and the figure of the photographer -- Vision and poetry -- Notes -- Chapter 2: Surrealism and the female body: economies of violence -- Surrealist contexts and contextualized Surrealism -- Surrealist cameras -- Loy and the female body of Surrealism -- The Surrealist mannequin -- Hans Bellmer, bodies, and war -- Notes -- Chapter 3: Portraits of the poor: the Bowery poems and the rise of documentary photography -- The 1930s and the rise of documentary -- Urban documentary and the visual rhetoric of poverty -- Portraits of the poor -- "Hot Cross Bum" and the tabloids: Sequence as portrait -- Notes -- Chapter 4: From patriotism to atrocity: the war poems and photojournalism -- Patriotism and the poetics of the mural photo-exhibit -- The rise of photojournalism -- The female gaze and the gendered body -- Atrocity and the female body -- Photographing the bomb -- Notes -- Chapter 5: Gendering the camera: Kathleen Fraser and Caroline Bergvall -- Kathleen Fraser and visual reassembly: "[T]he screen was carried inside her"--Caroline Bergvall's rearticulated bodies: Photography and the graphic page -- Coda: Looking back to Loy -- Notes -- Bibliography -- Index
Visual Power and Fame in René d'Anjou, Geoffrey Chaucer, and the Black Prince by S. Gertz Pdf
Reading semiotically against the backdrop of medieval mirrors of princes, Arthurian narratives, and chronicles, this study examines how René d Anjou (1409-1480), Geoffrey Chaucer s House of Fame (ca. 1375-1380), and Edward the Black Prince (1330-1376) explore fame s visual power. While very different in approach, all three individuals reject the classical suggestion that fame is bestowed and understand that particularly in positions of leadership, it is necessary to communicate effectively with audiences in order to secure fame. This sweeping study sheds light on fame s intoxicating but deceptively simple promise of elite glory.
Examining how Crane's corporeal aesthetic informs poems written across the span of his career, The Machine That Sings focuses on four texts in which Crane's preoccupation with the body reaches its apoge. Tapper treats Voyages, The Wine Merchant, and Possessions as a triptych of erotic poems in which Crane plays out alternative resolutions to the dialectic between purity and defilement, a conceptual dynamic which Tapper argues is central to both Crane's poetics of difficulty and his representations of homosexual desire. Tapper concentrates on the three sections of The Bridge, most concerned with recuperating animality: 'National Winter Garden,' 'The Dance,' and 'Cape Hatteras.'