Sartre Sartre Sartre double Schopenauer, par D. Shakespeare par Jean Soljenitsyne Sophocle, par G. Lauger Tchekhov Teillhard de Chardin par V. Nathan Verlaine Vigny Virgil e par J. Perret Voltaire, par E. Pomeau Voltaire, par E. Bernard Zola, par M. Ecrivains d'hier et Dickens, par S. Monod 7 Dickens, par S. Monod 7 Gongora, par P. Cochois 12 Bouddha, par M. Schmidt 12 Cankara, par P. Varillon 12 George Fox, par H. Lassier 12 Isaie, par L. Rondeleux 12 Lao Tseu, par M. Casalis 12 Mahomet, par E. Decret 12 Moise, par A. Sauvage 12 St Augustin, par H. Nesmy 12 St Bernard, par J.
Leclerc 12 St Bonaventure, par J. Musiciens Beethoven, par J. Witold 8 Beethoven, par J. Witold 8 Berlioz, par S. Robert - 8 Brahms, par B. Delvalle 8 Chabrier par Fr. Robert 8 Chausson par J. Gallois 8 Debussy par A. Golea 8 Dvorak 8 Falla par A. Gauthier 8 Haydn, par M. Vignal - 8 Ibert, par G. Michel 8 Landowski par Antoine 8 Liszt, par A. Leroy 8 Massenet, par A.
Coquis 8 Menotti, par R. Tricoire 8 Messiaen, par P. Mari 8 Milhaud par J. Roy 8 Poulenc par J. Roy 8 Puccini, par S. Amy 8 Ravel, par G. Leon 8 Rossini, par J. Caussou 8 Roussel par Dom A. Bril 8 Schultz, par R. Tellart 8 Schuman, par E. Mariz 8 Vivaldi, par M. Marnat 8 Webern, par C. Rostand 8 Wolf, par Cl. Neuf Muses L'art classique, par F. L'art espagnol, par J. L'art gothique, par F. L'art roman, par R. Kremer 11 Bachelard, par P.
Quillet 11 Bachelard, par P. Quillet 11 Bayle, par E. Labrousse 11 Berdiaeff, par A. Klimov 11 Bergson, par A. Robinet 11 Berkeley, par J. Pucelle 11 Bouddha, par A. Bareau 11 Bruno, par E. Namer 11 Bultmann, par A. Malet 11 Dante, par M. Moreau 11 Erasme, par P. Mesnard 11 Gabriel Marcel, par J. Perottino 11 Geulincx 11 Goldmann, par S. Brun 11 Husserl, par D. Christoff 11 Ibn Khaldun, par M. Le Senne, par A.
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Devaux Lenine, par H. Zac Marcuse, par A. Nicolas Montaigne, par M. Borne Nabert, par P. Levert Ortega y Gasset, par A. Rodis Plotin, par C. Salomon Reich, par A. Nicolas Ricoeur, par M.
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Philibert Rousseau, par C. Audry Saussure par G. Mounin Seneque, par Simone Weil, par F. Guy Wittgenstein, par G. Peyre 10 Segu Coll. Perche 10 Desnos, par P. Berger 10 Fouchet, par J. Queval 10 Jammes, par R. Mallet 10 Jammes, par R. Mallet 10 Julles Romains,par A. Lombard 10 Kosovel, par M. Guibert 10 Maeterlinck, par R.
Alyn 10 Michaux, par R. Soupault 10 Neruda, par J. Marcenac 10 Nerval, par J. Richier 10 Octavio Paz, par C. Walzer 10 Peguy, par L.
Perche 10 Rilke, par P. Desgraupes 10 Rimbaud, par C. Boyer 10 Saint-John Perse, par A. Guibert 10 Supervielle, par l.
- Ética a Eudemo II (Spanish Edition);
- Abe Kobo Abelard Aberdam H. Abish Walter About Edmond Abrams ....
- de la l' et les des le d' en du un une est que dans quiclavicom;
- The Harlem Hellfighters: When Pride Met Courage.
Charpier 10 Verlaine, par J. Richer 10 Vian, par J. Clouzet 10 Vigny, par M. Savants Aristote, par P. Grenet Descartes, par G. Lot Einstein, par H. Cuny Les Curie, par E. Cotton Louis de Broglie, par A. Marcel Bach par L. Marcel Bartok par P. Citron Beethoven par A. Page 11 Berg par D. Jameux 9 Berlioz par Cl. Bruyr 9 Couperin par P. Nectoux 9 Franck par J. Gallois 9 Haendel par J.
Gallois 9 Haydn par P. Barbaud 9 Honegger par M.
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Francis 9 Le groupe des Six nlle 9 Mahler par M. VIgnal 9 Mendelssohn, par R. Perier 9 Monteverdi par M. Roche 9 Moussorgsky par M. Hocquard 9 Offenbach par R. Machart 9 Prokofiev par Cl. Samuel 9 Puccini par A. Gauthier 9 Rameau par J. Malignon 9 Ravel par V. Rey 9 Schoenberg par R. Scheider 9 Schumann, par A. Jameux 9 Stravinsky par Cl. Vivier 9 Verdi 9 Vivaldi par R. Sarocchi 41 Diderot, par R. Pomeau 41 Hume, par A. Vergez 41 Kant, par E. Vancourt 41 Kierkegaard, par P.
Peyre 41 Rousseau, par M. Launay 41 Saint-Simon, par P. Grimal 41 Tolstoi, par N. Kerjan 10 Anouilh, par P. Ginestier 10 Beckett, par P. Melese 10 Ben Jonson, par M. Alter 10 Feydeau, par A. Shenkan 10 Ionesco, par S. Frank 10 Lorca, par M. Lafranque 10 Miller, par E. Hayman 10 Montherlant, par P.
Hayman 10 Salacrou, par A. Derry The making of industrial J. While the album was catered to connoisseurs of Old Master prints, the choices Marks and Shishkin made in producing the portfolio suggest a calculated cultivation of a new audience; and the paper will explore the strategies—from a reliance on the Russian landscape as a subject, to the layout and presentation of the album—taken by the publisher and artist to ensure a triumphant realisation of the publication.
Using "60 Etchings by Shishkin" as a case study, the paper will delve into the unique complexities of printmaking in Russia, from production and censorship, to marketing and distribution. Celebrated as the leading Russian printmaker and a renowned landscape painter, Shishkin and his album shed light on the transformation in the public regard of Russian printmaking from a reproductive medium to one with creative possibilities in the late nineteenth century.
These new reproductive methods not only made possible printed images that more closely replicated original paintings, but also permitted illustrated publications in much larger editions. This paper will examine three illustrated catalogues for the annual French Salon that emerged in Paris in and and will explore how publishers mobilized the new reproductive technologies to reframe the annual exhibition for particular audiences.
This paper argues that these catalogues constituted a new genre, introduced at a watershed moment in the evolution of the Parisian field of artistic production. Their variations in text and image give insight into the transition from the academic system in which the Salon originated to the dealer-critic system, which would prevail in the following century, and illuminate the place of the Salon within the developing leisure and entertainment industry of Belle Epoque Paris. Furthermore, users were encouraged to add local and national documents to the exhibition.
In their formative years, the museums of applied arts sought to acquire—often encyclopedic—collections of objects which could serve as models both for the study of techniques and of formal solutions. Strongly connected to the industrialisation and mechanisation of everyday life, the museums consequently adapted and transferred industrial technology to their purposes: In times of limited mobility and burgeoning nationalism, interregional and international presentations of art apparently constituted antonyms to the early national exhibitions.
My paper aims at highlighting the huge potential for the democratisation of art inherent in this new concept; I propose to analyse the historical conditions that allowed the creation of circulating exhibitions, to take a closer look at the wide range of reproductions and their impact on the use of the collections and of individual objects within the museums, and to discuss the role of the circulating collections as "reproducible exhibitions". Quels liens les expositions reproductibles entretiennent-elles avec les expositions mobiles par train? Tracing the circulation of compositional framings across the Paris and London images, I address the ambiguity attendant on sourcing and repurposing this imagery.
High Art and English Pictorial Satire This paper is devoted to French caricature from the first decade of the nineteenth-century. It will demonstrate that pictorial satire under Napoleon is inscribed into existing traditions within caricature and high art and was trying to manipulate this visual discourse in order to discredit the British government and its allies. The paper focuses on printed images, which satirize the Prussian queen Louise as a nymphomaniac warmonger meddling in political and military affairs in a most unwomanly fashion.
These caricatures are examined from two points of view: They will be set against contemporary army bulletins in order to determine their function within Napoleonic propaganda, and they will be studied in relation to traditions of caricature. One print will receive closer attention. It will also be analysed as political criticism drawing on traditions of English pictorial satire.
Abe Kobo Abelard Aberdam H. Abish Walter About Edmond Abrams ...
In these years, Salon caricature generated a new model of graphic reproduction: Rather than opposing original and copy, or following the academic ideal of the copy as translation, this model collapsed the hand of painter and caricaturist into a comic hybrid. I argue that Salon caricature developed this comic hybrid not as generalized art- parody i. Precisely this comic pastiche of medium did not occur in British caricature of Royal Academy paintings, which primarily made social and political allegory of paintings' narrative content.
By the dawn of the Second Empire , captions no longer coached readers into seeing such a combination of qualities. Interdiscourses re integrate and combine specialised discourses from different social spheres such as economic, scientific and religious ones into a generative or, indeed, a reproductive system. Literature here used in its broadest sense largely draws on such generative systems.
Intertextuality essentially comprises a system of circulating discourses, which form chains of literary texts and other media. Yet this closed system needs discursive input from other social spheres in order to facilitate discursive circulation in the first place. The process of discursive re integration, typical of interdiscursivity, is therefore pivotal in feeding the intertextual system. The intertextual system can, in its turn, generate new discursive formations that are fed back into society. In doing so, I will show how intertextual references in speeches such as those held by Thomas Mann or Kurt Hiller can be traced back to other fields of society and to other historical periods.
This will explain the interdiscursive character of these references. As a result, particular attention can be paid to the different genres and media that are interlinked in this process of discursive circulation. About censorship during performative reproduction processes The present paper deals with performative reproduction and transformation processes. In the aftermath of the murders of journalists and artists working for the satirical French weekly magazine Charlie Hebdo in , several organisers of carnivals thought about different ways of exploring this subject on carnival floats.
Before the production of the float, various drawings circulated amongst the broader carnival community and in the media.
Before the reproduction or transformation process of the chosen drawing into a float could start, the official committee of Cologne censored itself by cancelling the whole procedure. As the reaction in social media to the non-reproduction of the drawing was very violent, two new floats were created: Historical narratives can be performatively captured in, reproduced and contested through peculiar images and words, by different means — such as paper messages, murals, comics, paintings, theatre performances and songs.
They may be remembered through yearly events and demonstrations, explored in books and documentaries, and undergo censorship. As a case in point, it takes the death of Carlo Giuliani, a young Italian of 23 years, who was killed in the manifestations of the G8 summit in Genova, the 20th July The circumstances of his violent death were never clarified and after some years, investigations were dispensed. However, the image of his dead, covered-in-blood body in the middle of the Alimonda square were at the centre of national and international broadcasting news.
He was reported to be a Spaniard, an anti-global protester, a black-block, a revolutionary. The context, time and dynamics of the incident made the death of Carlo Giuliani a highly disruptive event for an already fragile Italian society. His death, indeed, put into question the ideals of democracy, of development and of the state as a guarantor of the social order, and its monopoly of executive power. This paper examines diorama-inspired works by American photographer Hank Willis Thomas.
It argues that Thomas employs dioramic elements—namely, lighting effects, narrative association, and a self- conscious use of the stage—in order to present historical events along with the narratives that inform their reading, including the narrative of reproducibility.
The paper will focus on his The Evidence of Things Not Seen, an exhibition in which Thomas stages documentary photographs from the U. The Case of Digital Reproductions of Photographic Lantern Slides Already in their analogue form, lantern slides oscillate between the materiality of the slide as carrier of image-information the slide as object and the immaterial projected image on a screen the experience of the object through its intended use.
In this presentation, I propose to take two perspectives on lantern slides and their digital reproductions: Firstly, I will present different processes to digitize lantern slides with respect to their implicit understanding of the analogue object and its digital copy. Such knowledge, I state, is necessary background information for source critique; it becomes all the more relevant in times in which access to archival material increasingly comes digitally. On websites and in digital research environments, reproductions of historical media are displayed in rather uniform ways, namely as flat photographic images on computer screens.
Considering the materiality of the object and technology, I argue, will help us to better understand historical media practices connected to lantern slides and thus assess the historical meaning of the object and also question how specific representations of digital copies of historical media objects influence possible future research and thus the contemporary and potential future meaning of the object.
By combining hands-on experience from digitization with epistemological questions, I will problematize various aspects of materiality and immateriality in the production and online publication of digital reproductions of photographic lantern slides. Their respective imagery has connoted traces, erasures, shadows, and flashes of light, movement, or color. The photographic or animated still is often described as standing between temporal realities, absences, and presences. Developed in the dark room, drawn on a light box, photography and animation are entrenched in a philosophical oratory of life and death.
If not through an evolution by light, or through the fluctuations in its chemical stabilization, the photograph continuously reconstitutes itself through interpretive renewals. This perspective complicates traditional valuations that relate photography to the death of the image. The photograph is envisioned not as a decaying representational mode, but as a dynamic form in the midst of its ongoing evolution. The relationship established between photography and animation within the cinematic examples I will explore operates as an acknowledgment of this process of becoming.
Within these films, animation creates an additional lens through which to view the photographic image: The Case of Comics Nancy Pedri npedri mun. As it happens with the reading of a book, the proper materiality of an installation of this sort will allow particular ways of relating with the work. As the handling of the book confers meaning to its reading, the movement through an installation can also be a vehicle of meaning. In the particular case of SENS, the installation works somewhat as an extension of the page since it reflects on its own story and its connection with the reader what will once again happen with SENS VR.
In this sense, one could ask if the change of perspective from the book to the installation is more appealing to the reader. The Legacies of Limited Reproduction In recent decades, the materiality of print and the limits of reproduction have remerged as central creative questions in the world of art comics. To take two Swiss examples, B. This emphasis on the limitations and affordances of print can be seen as a reaction against the seeming immateriality of modern digital media.
However, it should not be regarded as a new phenomenon in comics, but rather as a re-emergence of creative practices that date to the earliest days of the medium, and the proto-comics of artists including Hogarth and Topffer. An emphasis on the materiality and tactile affordances of print; 2. Limited print runs as a central element of the meaning of the work; 3. The physical participation of readers in the construction or display of a printed object is used to personalise its meaning, render it unreproducible.
Exploring these similarities within their cultural and historical contexts can help illuminate how the recent crop of art comix relates to the ongoing legacy of reproducible images and texts, as well as the limits of that reproducibility. Iconographic Repetition in Comics My talk will address a growing trend in comics: These borrowed images exist not only in a relation of hybridity, but of intrusion and layering that multiplies voices, but also perspectives.
Trends and Paradoxes Nathalie Roelens nathalie. Tradition and Innovation in the Representation of the Sacred among the Otomies of the Eastern Highlands Mexico The Eastern Highlands Otomies are among those few ethnic groups who still use paper-cut figures to represent the extra-human entities they worship. These figurines—as well as all the paraphernalia involved in the ritual practice—testify a peculiar aesthetic ideology constantly developing on the basis of a dialectical tense between tradition and innovation.
According to this matter of fact, the aim of this paper will be to show how the representation and reproduction of the sacred might be interpreted as a way to re- produce cultural identity, underling how reproduction might serve as a mnemonic device and highlighting the aesthetic horizon implied in symbolic action. This encounter often casts the protagonist s into a thorough investigation of one's authenticity in view of the identical other.
In fiction, this inner conflict often has an external manifestation in terms of an open struggle between the two. The motives behind doing so range from exploring different life conditions to discovering better opportunities. The act of impersonation has a significant impact on both the figures involved in it and their surroundings. The paper will analyze stances of such literary and psychological reproduction which occur in literary works focusing on theme of the double—as exemplified, e. This brought to the fore the status of the creative gesture as marker of originality and singularity.
Significantly, illustrations of modern dance narratives have a meta-kinesthesic dimension. Not only do they represent gesture but they also encode the intentionality and energy of the creative gesture that brought them to life. The paintings depict Venus at her toilette and reflect the rivalry of Venus and Diana for the heart of Adonis. As Ovid tells it, Diana has already seen to the death of Adonis even as Venus prepares to visit him.
John Blow presented an opera called "Venus and Adonis" at the court of James II where the graces dance a gavotte around the goddess. In a recent monograph I've traced the iconography back to the chaste Uranian goddess of Pausanius and forward to Alexander Pope's "Rape of the Lock. Is Pope's poem a lament for a lost ideal of linear beauty? A group of Chinese sheet prints produced by thousands of inexpensive editions between 19th and early 20th centuries presents itself to a European eye as a prototype of modern comic strips. Both in their visual form of image boxes or tableaus, each containing a separate part of a narrative and supplemented by supporting text, and in their wide dissemination among the population, they are strikingly reminiscent of their Western counterparts.
In late imperial China and even during the early years of the Chinese Republic real or fictional criminal narratives were eagerly appropriated into the cultural matrix, as literary storylines, theatrical plots, popular imagery and into oral storytelling, supported by pictorials. The source of this particular narrative was a novel, which, in its turn, was based on a real incident that occurred between in Tongzhou.
A discussion of the inherent iconographic conventions of such prints and the fluid essence of their source narratives strives to re -consider their nature as reproduced narrative illustrations or as visual renditions of related theatrical performances. Cixi regarded her painted and photographic portraits as important vehicles to promote the Qing Dynasty, and to fashion a new image of herself as a capable ruler.
This couple of photographs were staged in order to present Qixi as living embodiment of Buddhist divinities, and therefore required a detailed masquerade, framed by written characters stating her identity, or standing as auspicious symbols. This type of writing is so reproduced thanks to this double character which could connect by contacting, as an index, the handwritten with the artificial, the ephemeral with the permanent, the spontaneous with the automatic.
Thus, when does the poetic operation come to an end? In particular I intend to focus my attention on the relationship between photographer and writer in the publication of Italian photo- books: In fact it is well known the interest that some important figures of Italian literature give to photographic themes in their literary works, still not entirely clear is the contribution they have made to the development of the authorial photo-book.
So, as final case-study, I want to examine a number of photo-books realized by the photographer Giuseppe Leone, born in Ragusa in , with three Sicilian writers Leonardo Sciascia, Gesualdo Bufalino and Vincenzo Consolo to draw some conclusion about the relationship between photography and literature in the singularity editorial of photo-book.
Sex and the Corpo-Real: I will argue that Ernaux exploits the oscillation between photographic and textual representations of sex and the body to incorporate multiple facets of sexual experience, blur temporal spaces and problematize the photo-text binary itself. Ultimately, neither takes precedence. On the contrary, they are involved in a mutual value exchange. Aperture, , through a selection of historical and contemporary case studies. The case studies include: The selection of this work was no doubt due to the fact that it is one of the earliest efforts to combine photographs with text, a topic I addressed in a article in History of Photography.
The emphasis in that article was on situating Bellevue within the context of early efforts to encourage the creation of a photographic printing establishment in France. For this paper I want to shift from viewing Bellevue as an explicit demonstration of the potential of combining photographs with text to their implicit relationship. Unlike William Henry Fox Talbot's The Pencil of Nature , in which the tipped-in photographs are referred to as "Plates" and presented as both "Contents" and "Illustrations", Martin inserts his photographs between the lines of the poem to which they correspond.
This arrangement tethers the images to the text to a certain extent, but they do not act as mere illustrations. What then is their relationship to Martin's narrative? How do they contribute to the meanings of the work? Picture Postcards and the Meaning of Photography Images from the Dutch East Indies present-day Indonesia have been legitimizing Dutch colonial activity since the seventeenth century.
Especially nineteenth century-photography was used to repress indigenous populations and to demonstrate Dutch authority on the archipelago. Nevertheless, it was not photography but the reproduction of photographic images that made the colony a place to be seen. Throughout the nineteenth century only few local studios took pictures of the Dutch East Indies and even fewer photo albums travelled back to the Netherlands in the luggage of retired colonial staff to stay in the private space of the family. It was not until the introduction of mass-reproduced images around that the visibility of the colony drastically increased.
This paper examines topographical picture postcards from colonial Java. As famous colonial representations, picture postcards shaped the image of the Indies as well as the image of early photography itself. Furthermore, they are proof of transpacific networks in terms of reception and production circulating between photographers, printers and viewers as objects and representations at the same time. Most likely he had purchased some as curios appropriate to the games and puzzles with which his rooms were furnished. The girls would have had to look at the tiny photographs through the microscope, thus encountering the same process of miniaturization and expansion that Alice experiences.
Nineteenth century microphotography was a kind of parlor game in which shrinking the world and then subsequently unshrinking it was the main interest, but imaginations were frequently sparked by its future possible uses. It will then make the more subtle case that photomicrography, which effectively shrinks the viewer into a world of extraordinary detail, served similarly to affirm a perceptual instability that marked both British and American narrative of the late-nineteenth century. Armed with a small note of a title of the song, the exposed X-rays were no longer regarded as a medical document, no longer were they serving as a record of human physical identity.
An illegal and secret practice was the only way to distribute Western pop-music during the Cold War. Jazz, and Foxtrot were recorded on images of the interiors of the bodies of Soviet citizens. This paper sought to discover how this particular hybrid form of media marked a fatal displacement from X-ray routine to cultural and social phenomenon, which blurred the borders of personal and impersonal in contested and liminal spaces. Professor University of Delaware jehill udel. In their presentation of the visual reportage of Weegee and Ad Reinhardt, PM offered a willful editorial insertion of mediating noise into the ostensibly uncorrupted signal of journalistic communication.
Conceptualism and Dissemination Regine Ehleiter ehleiter hgb-leipzig. Print periodicals mirror this dichotomy, being at once physical and ideational, archival and ephemeral, publicly available yet personally experienced. In fact, as this study, which stems from my forthcoming book, will argue, mass media outlets provided artists of the nineteen sixties and seventies with an ideal platform to simultaneously embody and communicate their most conceptual aims. As evidence of this phenomenon, my paper will focus on three conceptual artists—Ray Johnson, Yoko Ono and Terry Fugate-Wilcox—and the print advertisements they created between and to publicize artworks, galleries and exhibitions that existed solely in their minds.
Thus, in analyzing the creation and dissemination of these important yet understudied advertisements-cum-conceptual artworks, this paper will contend that mass media periodicals proved vital to artists seeking to realize the full demediatized, propagative potential of their work at the height of the conceptual art movement. Their practice has been described as critique of commercial manipulations, female representations and mass produced illusions in mass media Alexander Alberro, But within this perspective it is dismissed, that their central concern is how bodies materialize.
Why does Costa use golden molds and relates to ancient cultures and rites? Why is Heinecken occupied with how to physically manipulate the found pornographic photographs and magazines? In McLuhans and Quentin Fiores Medium is the Massage information technologies are regarded as new utopia, but what will happen to the body in the wake of the extension of the human senses remains an open question. I will situate the artistic practices of Costa and Heinecken within this ambivalent situation. I will argue, that they are material explorations of the dematerializing of the body that is furthered in nineteen sixties visual culture.
This paper will explore the mutual influence between Avalanche and Land Art, by focusing foremost on the first issue of Avalanche Fall, , which shows the ways in which the Land artists were using the magazine as a conceptual site and not only as documentation. The tautology of the stripes that are supposed to be nothing but stripes neutralized the motive in order to use it as a tool to end painting and to eclipse the medial specifities of both fabrics and papers.
Buren has ever since been perpetuating a narrative of finding his end to painting that the critical reception of his work was largely happy to adopt. The stripes are de-mediatized and de-historicized through these claims of anonymity and neutrality. The mechanical reproduction of patterned papers that are cropped and fitted in accordance with a specific site has a history in wallpaper production, just as stripes were a dominant motive in pattern design.
This paper will consider the implications of the use of a self-conscious constraint, or general rule, utilised by Seth in making the graphic novel Clyde Fans Book One Seth uses a history of specific past forms of representation to self-consciously form his own. Peut-on observer un dialogue entre les deux organes de presse? Marta Caraion Sandra M. Assistant Professor University of Buenos Aires sandraszir23 gmail. This change showed illustrated periodicals as one of its major carriers as well as one of its main physical supports.
This paper aims to describe the emergence of the massive periodical illustrated press in Buenos Aires and considers its effects on the process of massification of visual culture of Argentina in the late nineteenth century and early twentieth century through the case of the weekly magazine Caras y Caretas. The intellectual, commercial and material strategies that Caras y Caretas implemented led the magazine to become the first periodical in Argentina deployed a material capacity through the adoption of new technologies and the establishment of relations of production, to make hundreds of thousands copies weekly and consecutively reach equal amount of readers they attract increasingly synchronized with its representation modes.
In this context, Caras y Caretas developed graphic and visual innovations that disseminated thousands of images among an urban middle and popular class audience. As part of an approach frame that includes the magazine as representation and as a physical device, we ask for the categories of analyses to observe the intermediality between written speech and visual features. Additionally, it is important to question the transculturality, the national and local particularities in a context of global circulation of information on the cultural significance that carry their images.
Candidate, Art History University of Delaware klnassif92 gmail. Undoubtedly a performance in its original form, The Visitors transforms when reproduced for institutional installation. Arranged systematically throughout the gallery, seven screens hang flush to the wall, surrounding a double-sided screen suspended in the centre. Each screen represents the separate rooms in the mansion occupied by the musicians, and is accompanied with a speaker above from which the specific sounds generated by the musician emanate.
This paper seeks to investigate The Visitors through the screen, upon which the reproduced performance now depends. The installation, I argue, allows the artist to present the screen as both a solid material entity and as an immaterial threshold onto another space and time. As the viewers perambulate throughout the installation, they can appreciate the screen for what it is: I suggest that the intersection of the material and immaterial in the reproduction of The Visitors dissolves the binary of the object and subject, generating a new kind of social space in which the very process of forming connections is brought back into consciousness.
Writing, Performance and Memory in Portuguese Experimental Poetry Art works in Portuguese Experimental Poetry have assumed complex relations between the medium, the artist and the viewer, with experiments that took the written word into the realm of performance and of three-dimensional space, therefore exploring its temporal and material dimensions, inside and outside the book.
With this paper we will explore the potentialities inherent to the written word, which acquired with this artistic movement a metamorphic quality that can be traced back to baroque practices. These examples by an artist, or a contemporary scribe, who merged practice with theory, can lead us to a formulation of art historical practices based on the memory of processes and on artistic gesture.
We hereby intend to contribute to the discussion of the relation between time and image Huberman, by bringing forward a fundamental third party—movement. Bearing witness to a "conscious will" to establish a matrilineage Mira Schor , the curators also commissioned five women artists to produce one or more video-based works in dialogue with an individual Dada woman. Taking as a spur the notion that the historical avant-garde was invigorated by new technologies Dietrich Scheunemann , this paper considers to what extent these works can be considered a continuation, or indeed extension of avant-garde preoccupations, not least by the possibilities of sound and motion.
The explicitly intertextual nature of these commissions makes them interesting case studies through which to consider in how far they deny the death of the avant- garde by offering renewals and re-emergences in time and across time. They were designed for pairs or duos and small groups and took place neither within museums nor in the artist's studio, but instead were primarily experienced within the private homes of the participants.
Produced to deliver the required information those booklets look like sheer instruction manuals at first sight, combining staged photographs and short texts. Looking at it in more detail, they reveal, however, a rather intricate and even ironic relation between image, text and options of performing. A special focus will be on the dichotomy of motion and stasis and the related notion of time. In which way can the participants experience the capturing of fleeting configurations, and how are ordinary activities repeated, slowed-down, and transformed into watchable, interpretable pictures or tableaux vivants?
This paper argues that the history of erasurism deserves to be recounted in a positive mode and rescued from popular narratives of the decline and death of the avant-garde. Poised between effacement and defacement, erasurism pursues a logic which considers the artwork as an unfinished object that awaits future readings and negotiations to be provisionally refashioned, recycled and reconsumed.
As the source text becomes the model for the artists and the victim of their transgressions and violations, the boundaries between creator and creature, process and product, producer and consumer, are dimmed in a haze of colliding gestures and interpretations. Riga , Akte , Cobalt et enfin Ox depuis In the s and s, they forged particularly close relationships with scholar-poet-dealer Arturo Schwarz.
The revolutionary value of the readymade was precisely in dismantling the concept of the original. A study the art market history of the Duchamp and Man Ray replicas in relation to art historical commentary, re-appropriation by contemporary artists, and museum purchasing policies, beyond the scope of this essay, demonstrates how the reception of the replicas has evolved and how such changes reflect broad shifts in the values attached to originality within the art establishment.
Early criticism often deemed the illustrations to be irrelevant to the action of the play, because they departed too much from the text. The fact that Beardsley took some liberty with the style, cultural setting and action of the play thus sheds light on the creativity required by any act of translation. Although Beardsley illustrates scenes from the play, he deliberately re-interprets them visually in his unique style. Vous ne le trouverez pas en mes catalogues.
Richard Hobbs University of Bristol unil. The former built a novel around 50 vintage photographs he found at flea markets, the latter bought an envelope of color family photographs on eBay. Likewise, Monnin provided the family pictures with a story but soon felt compelled to fact-check it and led an inquiry featured in the third part of her book. Photographic Reclamations and Re-imaginings by Indigenous Australian Artists There is a fundamental tension between perceptions of photographs as objective documentary records inextricably connected with traces of time and place, and the capacity of photographs to be manipulated, reconstructed and re-imagined — and to take on new context-related meanings.
This paper examines the work of two Indigenous Australian contemporary artists who have employed this transferability of meaning to re-interpret or re-imagine colonial images of Aboriginal Australians to comment on aspects of history, race and identity—past and present. In his Fantasies of the Good series and subsequent works such as neither pride nor courage , Vernon Ah Kee has re- claimed ethnographic images of his family, originally photographed by colonial anthropologist Neil Tindale.
He further transforms the meaning of the original images by introducing portraits of current family members as a strident assertion of a continuing culture and people. In contrast, in series such as Civilisation , Michael Cook uses signifiers of time and place to construct open-ended images that re-imagine encounters between Indigenous Australians and European settlers from unexpected perspectives.
By examining the work of these artists, this paper considers how photographs and their visual codes and contexts can be transformed to generate powerful new meanings. As our example, we use J. It is this simultaneous dual role that the photographs undertake that is the focus of our paper as we consider the book and the printed photograph as sites of memory, imagination and re mediation. Argentina How to decipher landscape images that represent Argentina? Which elements or characteristics work as a map to understand and recognize them?
This presentation focuses on visual imaginaries of the Argentinean landscape representations since the celebrations commemorating the May Revolution Centennial in until The main issue in this period was the national identity reaffirmation, in a context of political and economical organization towards the constitution of a modern nation. Landscapes circulated and operated culturally not only individually, but by juxtaposition and accumulation in different means illustrated magazines, periodical press, calendars, postcards, albums, etc.
The hypothesis that guides this presentation lies in understanding modernity as the tension between space, time and frontiers both material and conceptual. Images are to be analyzed within a web of migrations in which objects, practices and discourses in transit are re-appropriated. This will allow us to decipher the elements of a particular visual vocabulary in landscape images that became fundamental for national identity imagery.
A map of relationships and connections will be traced, in order to study and contrast the models and counter-models from other Latin-American countries and against European landscape paradigms that circulated since the XVIII century. But how are we to deal however, with a peculiar type of portraiture, in which the represented subject is a country, rather than a person? More concretely, I propose to analyze the case of Portugal during the Estado Novo New State and the photographic portraits of the country which were outlined in several official initiatives, including art and tourism magazines, photographic books or public exhibitions.
These examples clearly demonstrate that, on the one hand, the photographic depictions of Portugal were meant to single out its unique and distinctive features. On the other hand however, repetition was a necessary resource to make these national portraits recognizable, familiar and effective. Focusing on the peculiarities of photography on the printed page and on the public wall, it will be argued that photographic portraits of countries can be understood as sites of intrinsic contradiction — where strict and authoritarian contents often live side by side with inventive and experimental forms, and where repetition and restraint may unexpectedly suggest hidden spaces of freedom.
Analyzing certain bodily manipulations notably the writing on the body that were practiced by members of that group, it offers some reflections on the significance that these practices could have assumed within particular Catholic religious communities in early modern Italy. From an emic perspective, I intend to examine the modalities and the characteristics of these practices, and the cultural meanings that the social actors who practiced them attributed to them, thereby elaborating codes and languages that were not only original but also to a large extent independent from those of the ecclesiastical institutions.
This analysis aims at calling attention especially to the agency of certain charismatic women who used the writing on their bodies as a means for the construction of their own individual identity, but also as a practice that was approved within their invisible community of men and women who shared the same forms of spirituality and of religious devotion. The identity of the group was thereby constructed around the writing on an individual body, a practice of physical manipulation that the group interpreted as a mark of spiritual leadership of the women in question, but also as a sign of the transmission of a shared religious message and of their own collective memory.
We also have a variety of evidence of the spread of political tattoos within the Napoleonic armies, since the first researchers in legal medicine interested in tattoos questioned survivors in the eighteen sixties. From that time on, and in particular from the eighteen seventies to the early twentieth century, we observe an increasing attention to political tattoos in the hundreds of titles—books, chapters and articles on tattooing, many of them richly illustrated—published by medical examiners and criminologists, as well as in their working archives and personal collections, and sources from institutional identification procedures, police blotters, court records and the press.
At the same time, our study also aims to reveal the channels of political mediation and the cultural grammars of appropriation and reuse of major political visual repertoires in popular culture. The Cairo Tattoo Design Frames, an Islamic Figurative Art First Third of the Twentieth Century Cairo tattooers of the early twentieth century advertised their art by wooden frames containing a series of attractive glass pictures in glowing colours, each showing a set of figurative motifs. Five collections have been donated, in the early nineteen thirties, to Museums in Cairo and Paris.
This contribution will discuss their recontextualization. According to contemporary witnesses, tattooers erected their booths at numerous Cairo moulids, the Islamic Saints' anniversary festivals held around their mosques for one or two weeks, exhibiting their frames at the entrance for attracting customers. Who were the customers? As there are no direct sources, we must draw indirect conclusions from the ambiguous character of the venue of tattooing: Attracting multitudes of all social classes, the nightlong religious ceremonies were fervently attended by masses of the faithful.
Simultaneously, the great moulids were surrounded by a disguised lascivious entertainment and sex industry, frequented by the same public. The most interesting groups of motifs are: The Cairo tattooers' frames are of extraordinary interest, having to do with the intense spirituality of the nightly rituals, and the evenly intense obscenity of the entertainment and sex industry. Scribal Statues in New Kingdom Egypt BCE The depiction of the literate man, crossing his legs and unrolling a papyrus on his lap, was reproduced time and again throughout most of ancient Egyptian history. The reproduction of this form often called the scribal statue persisted through times of crisis and change, as princes, viziers, and other officials commissioned statues replicating its features.
The immutability of this form brought scholars to view its reproduction as an emulation of fossilized and outdated concepts.
This paper will reexamine the reproduction of the so-called scribal statues through two small yet significant changes in the iconography of the statue and its inscriptions through time. Along with these developments, new forms of texts begin to appear on the depicted papyrus referring to the textual activity itself and to the sphere to which it belongs: These changes, I argue, invite us to consider reproduction as an act of reinterpretation.
The later reproductions of the scribal statue occurred at a time that saw growing emphasis on writing and the exploration of new spheres of literacy. Placing scribal statues in temples throughout the land contributed to the dissemination of these new ideas and possibly to the reinterpretation of earlier reproductions of this form. Far from a copying fossilized forms, reproduction appears here as a creative process that negotiates, reinterprets, and disseminates new ideas through a much copied form.
These images are usually and almost naturally conceived as the ideological prerogative of city-states in conflict for territorial domination, or as signs of visual identity intended to reinforce the powers that be. However, the end of the Early Bronze Age is marked by the hegemony of the Akkadian dynasty and the iconographic changes that it has generated. Indeed, while strongly maintaining the military iconographic theme in its visual discourse, it will also break up with the motif of static parades of prisoners and introduce many details intended to clearly identify the protagonists, the enemies, the environment of the battles, etc.: This paper aims to investigate the phenomenon of repetition through the example of soldiers and prisoners on images: And how should the change of iconographic discourse at the Akkadian period be understood, especially when the power of the Akkadian dynasty mainly rests on its military victories?
Popular song triggered a critical encounter between the artistic and historical domains of high and low forms of art, the very terrain Manet explored as he grafted his contemporary subject matter onto images inspired by old master sources. This script will enable the medium of print to keep pace with the flood of images made possible by new technologies of reproduction, such as lithography and technology.
In his text, appropriated language from the surfaces of the modern city—street signs, posters, advertisements, house names—are sutured together with his reflections on various aspects of modernity, spatializing the otherwise temporal narrative structure of the book. The book thus on the one hand purports to reproduce faithfully the city street in language and on the other hand provides a subjective account of the city. This tension is reproduced in the dust jacket of the book, a photomontage designed by Sasha Stone.
Intermediality in Mesopotamian Ideological Discourse With the iconic or pictorial turn there has been an intense discussion about visual culture, visual literacy, image science, and iconology, as well as the relationship between text and image. Moreover, investigation in the role of the image and of perception has promoted the cooperation between the natural sciences—cognitive studies, neurology, and psychology, and the humanities. The pictorial power of the image lies in its capacity to show something that is otherwise not visible at all, and it is that phenomenon of deixis that provides agency to the image and might lead to a variety of effects, cognitive, practical, and affective Boehm.
Choosing various examples from royal ideological imagery throughout the millennia, this paper will explore the deictic power of the image and how it relates to text and, ultimately, to the conceptual. For example, idols were the standard means of divine- human mediation throughout the ANE, yet the biblical authors banned and ridiculed them as the devotional objects of fools and false faith.
After all, how could something of wood or stone, crafted by human hands, actually be someone divine? In reality, the Mesopotamians experienced the same logical difficulty with idols that the authors of the Bible express, but dealt with it in a different way. Newly accessible primary texts from ancient Mesopotamia provide the answer to the above question; they also present the Mesopotamian solution to the cognitive dissonance elicited by the notion that an idol, which can be reproduced, is in fact a deity.
My thesis is that the Mesopotamians elevate the discomfort elicited by the paradox of a hand-made god, and use materiality to drive the theological point that the gods are simultaneously part of this world and otherworldly. In order to accomplish this task, priests reproduced and performed a series of ritual and incantation texts. Applying these texts to the idol highlighted a paradox that is at the core of many theologies and philosophies — that the material and eternal can and do exist both separately and as one, and all simultaneously.
These texts and images are known collectively as the so-called Underworld Books, which were used as a guide for the king on his journey though the Underworld. Of the texts contained in this genre, the one that is of interest here is known by the name the Book of Caverns. This text only appears in whole in one Ramesside tomb and one cenotaph and in part in six Ramesside tombs. There are certain iconographic elements that allow alteration, while others do not. The continuity and variation that occurs in this text is of interest, as it helps to understand which portions of the text and image were considered to be of the greatest importance during this time.
Independent researcher drsjfinlayson gmail. Understanding Poorly Made or Nearly Identical Seals and Indistinct Seal Impressions in the Bronze Age Aegean Seals are used throughout the Aegean Bronze Age, for making statements of identity and status, as 'amulets', and administratively, being stamped on clay sealings. Script-based writing systems, incised on clay, come in and out of use, but seals are a kind of constant right up until the end of the period. Around 10, motifs survive from either seals or impressions, in an extraordinary range of styles, designs and materials; amongst this corpus though there are poorly made seals with crudely carved images, seals with identical or near-identical designs, and seal impressions that are partial or blurred beyond readability.
These scratches or matches or smudges problematise the act of reproducing the seal's motif on the sealing—it is unclear or unreadable in some way, and that vital link between seal and sealing for imbuing the sealing with whatever the seal identifies has been lost or muddled. In this paper, I examine these problematic seals and impressions to ask to what extent a clear and reproducible image was important or necessary to seal users, and how this should be incorporated into our understanding of sealing processes, particularly given our assumptions that a seal somehow symbolises a unique identity.
A Repetition In a recent interview Lev Gossman argued for an exigency of Pop, or a similar project, for literature: But for Goldsmith, I will argue, repetition is not simply a source of formal experimentation but a complete neo-neo-avant- garde project. These textual strategies mimic, translate and re produce not a curatorial discourse, production is comprehended as forms of life instead, a compound of social, political and cultural operations linked to their environment Virno, Guattari. Hence it becomes increasingly important how Les potentiels du temps transcribes the configuration that underpins it.
And to what effect? How and what do these acts communicate? They can be understood as acts of re semiotisation and appropriation but not only of objects, words and meaning; rather, of channels of communication. They reduce their own carrier and language by highjacking existing languages and develop new poetic and visual vocabularies by subverting codes, images and registers. Their re-mediation of words and images has social and political dimensions and advances new ways of imagining the world. It moreover constitutes a particular type of artistic gesture that seeks to reclaim public space: This genealogy of ideas can help redefine the critical and cognitive potential of artistic research and conceptual writing and of artistic-social practice in the contemporary global context.
In my paper, I examine how, in using textual reproduction as a primary method for the translation of language to an aesthetic and tangible object, simultaneously immaterial and material, contemporary conceptual writing enters the forum of historic and contemporary conceptualist visual arts by instantiating a hermeneutics traditionally reserved for artistic disciplines. Exploring, as a case study, the controversial hybrid praxis of artist Vanessa Place, I examine how poetics is transformed according to the mimetic, appropriative mode of direct copying, and how the material concerns of the immaterial, lapsed-copyright text are at once reified and reimagined in the geopolitical context of the long twenty first century.
I would like to look closer at two related phenomena within the broad topic, i. I intend to focus on two faces of nineteenth century popular reception of Napoleon Bonaparte through the images. The negative stereotype had been shaped from the very beginning of his career by British caricature and satire. The little irate man with a huge nose and an even more grandiose hat, who appeared as early as in anonymous caricatures, and was popularized by the prominent illustrators, dominates the popular image of Napoleon not only in his black legend, created by anti- Napoleonic press and satire during his lifetime, but also in the most popular reception nowadays.
On the other end of the scale is the iconic image of the man in the redingote grise and the bicorne— one of the most easily recognized figures in history—to a similar extent created by the popular image, reproduced in dozens of versions and reprints during the nineteenth century. The Conceptual Vernacular Photobook reinvented My paper focuses on the most recent project of contemporary Japanese photographer Rinko Kawauchi. It thrives between the conceptual and the vernacular tradition of photography. As I will argue, her project "The River embraced me" marks a re-turn to the community present in vernacular photography through conceptual terms.
My paper will examine this project looking back at her entire oeuvre, in particular, with hindsight to her exhibition and book "Cui Cui". Affect and memory are constitutive to the snapshot, with which "Cui- Cui" was in open conversation. The community of Kumamoto was called up to submit their stories and memories of a place in the region. Kawauchi set off to the places indicated to shoot pictures when something from a story resonated- An ekphrasis in reverse.
Yet none of this process is visible in the photographs. To grasp that "The River embraced me" is a conceptual, process-over- product work one must read the explanatory text that comes as separata with the photobook. The poet also wrote essays, letters, and manuscript notes about the viability of the book in the modern technological age envisioning books that were mechanized, highly flexible in form, and interactive.
For instance, in curator Sandra Phillips saw the work as anticipating postmodernism in its acts of appropriation and decontextualization. As argued in this paper, however, reading Evidence must begin with considering context. The only substantive text in Evidence is a list of the archives Mandel and Sultan accessed. This paper interprets Evidence from within these socio-economic conditions.
To start, we can understand the book as a network of images linking disparate institutional spaces. In their attention to the form and content of their photobook, Mandel and Sultan produced an enduring conceptual document of American post-industrialism. Heuristic Hypermediacy or Conncectivity Conundrum? Accordingly, the digital interface came to imply a deceptive mechanism of sorts, given that its algorithm remains bound to a rigidly circumscribed type of in- and output.