＜p＞Light pervades the world, and when it is not light, darkness emerges and is combated by electric illumination. Despite this globally shared human experience in which spaces appear radically different depending on time, season, and weather, social science investigation on the subject is meager. ＜em＞From Light to Dark＜/em＞ fills this gap, focusing on our interaction with daylight, illumination, and darkness.＜/p＞ ＜p＞Tim Edensor begins by examining the effects of daylight on our perception of landscape, drawing on artworks, particular landscapes, and architectural practice. He then considers the ways in which illumination is often contested and can be used to express power, looking at how capitalist, class, ethnic, military, and state power use lighting to reinforce their authority over space. Edensor also considers light artists such as Olafur Eliasson and festivals of illumination before turning a critical eye to the supposedly dangerous, sinister associations of darkness. In examining the modern city as a space of fantasy through electric illumination, he studies how we are seekingーand should seekーnew forms of darkness in reaction to the perpetual glow of urban lighting.＜/p＞ ＜p＞Highly original and absorbingly written, ＜em＞From Light to Dark＜/em＞ analyzes a vast array of artistic interventions, diverse spaces, and lighting technologies to explore these most basic human experiences.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞How representations of the preparation, sale, and consumption of leftovers in nineteenth-century urban France link socioeconomic and aesthetic history＜/strong＞＜/p＞ ＜p＞The concept of the “harlequin” refers to the practice of reassembling dinner scraps cleared from the plates of the wealthy to sell, replated, to the poor in nineteenth-century Paris. In ＜em＞The Harlequin Eaters,＜/em＞ Janet Beizer investigates how the alimentary harlequin evolved in the nineteenth and early twentieth centuries from the earlier, similarly patchworked Commedia dell’arte Harlequin character and can be used to rethink the entangled place of class, race, and food in the longer history of modernism.＜/p＞ ＜p＞By superimposing figurations of the edible harlequin taken from a broad array of popular and canonical novels, newspaper articles, postcard photographs, and lithographs, Beizer shows that what is at stake in nineteenth-century discourses surrounding this mixed meal are representations not only of food but also of the marginalized peopleーthe “harlequin eaters”ーwho consume it at this time when a global society is emerging. She reveals the imbrication of kitchen narratives and intellectual?aesthetic practices of thought and art, presenting a way to integrate socioeconomic history with the history of literature and the visual arts. ＜em＞The Harlequin Eaters＜/em＞ also offers fascinating background to today’s problems of food inequity as it unpacks stories of the for-profit recycling of excess food across class and race divisions.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Film and philosophy have much in common, and books have been written on film and philosophy. But can films be, or do, philosophy? Can they “think”? ＜em＞Film as Philosophy＜/em＞ is the first book to explore this fascinating question historically, thematically, and methodically.＜/p＞ ＜p＞Bringing together leading scholars from universities across the globe, ＜em＞Film as Philosophy＜/em＞ presents major new research that leads film studies and philosophy into a productive dialogue. It provides a uniquely sweeping, historical overview of the confluence of film and philosophy for more than a century, considering films from Jean Renoir, Lars von Trier, J?rgen Leth, David Lynch, Michael Haneke, and others; the written works of filmmakers who also theorized on the medium, including Sergei Eisenstein and Jean Epstein; and others who have written on cinema, including Hugo M?nsterberg, B?la Bal?zs, Andr? Bazin, Henri Bergson, Gilles Deleuze, Stanley Cavell, Alain Badiou, Jacques Ranci?re, and many more.＜/p＞ ＜p＞Representing a major step toward establishing a media philosophy that puts the status, role, and function of film into a new perspective, ＜em＞Film as Philosophy＜/em＞ removes representational techniques from the center of inquiry, replacing these with the medium’s ability to “think.” Hence it accords film with “agency,” and the dialogue between it and philosophy (and even neuroscience) is negotiated anew.＜/p＞ ＜p＞Contributors: Nicole Brenez, U of Paris 3?Sorbonne; Elisabeth Bronfen, U of Zurich; No?l Carroll, CUNY; Tom Conley, Harvard U; Angela Dalle Vacche, Georgia Institute of Technology; Gregory Flaxman, U of North Carolina, Chapel Hill; Alex Ling, Western Sydney U; Adrian Martin, Monash U; John ? Maoilearca, Kingston U, London; Robert Sinnerbrink, Macquarie U, Sydney; Murray Smith, U of Kent, Canterbury; Julia Vassilieva, Monash U, Melbourne; Christophe Wall-Romana, U of Minnesota; and Thomas E. Wartenberg, Mount Holyoke College.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Italian filmmaker Dario Argento’s horror films have been described as a blend of Alfred Hitchcock and George Romeroーpsychologically rich, colorful, and at times garish, excelling at taking the best elements of the splatter and exploitation genres and laying them over a dark undercurrent of human emotions and psyches. ＜em＞Broken Mirrors/Broken Minds＜/em＞, which dissects such Argento cult films as ＜em＞Two Evil Eyes＜/em＞, ＜em＞The Bird with the Crystal Plumage＜/em＞, ＜em＞Suspiria＜/em＞, and ＜em＞Deep Red＜/em＞, includes a new introduction discussing Argento’s most recent films, from ＜em＞The Stendahl Syndrome＜/em＞ to ＜em＞Mother of Tears＜/em＞; an updated filmography; and an interview with Argento.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞An intricate and provocative journey through nineteenth-century depictions of food and the often uncomfortable feelings they evoke＜/strong＞＜/p＞ ＜p＞At a time when chefs are celebrities and beautifully illustrated cookbooks, blogs, and Instagram posts make our mouths water, scholar Marni Reva Kessler trains her inquisitive eye on the depictions of food in nineteenth-century French art. Arguing that disjointed senses of anxiety, nostalgia, and melancholy underlie the superficial abundance in works by Manet, Degas, and others, Kessler shows how, in their images, food presented a spectrum of pleasure and unease associated with modern life.＜/p＞ ＜p＞Utilizing close analysis and deep archival research, Kessler discovers the complex narratives behind such beloved works as Manet’s ＜em＞Fish (Still Life)＜/em＞ and Antoine Vollon’s Internet-famous ＜em＞Mound of Butter＜/em＞. Kessler brings to these works an expansive historical review, creating interpretations rich in nuance and theoretical implications. She also transforms the traditional paradigm for study of images of edible subjects, showing that simple categorization as still life is not sufficient.＜/p＞ ＜p＞＜em＞Discomfort Food＜/em＞ marks an important contribution to conversations about a fundamental theme that unites us as humans: food. Suggestive and accessible, it reveals the very personal, often uncomfortable feelings hiding within the relationship between ourselves and the representations of what we eat.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞A collection of scholarship on monsters and their meaningーacross genres, disciplines, methodologies, and timeーfrom foundational texts to the most recent contributions＜/strong＞＜/p＞ ＜p＞Zombies and vampires, banshees and basilisks, demons and wendigos, goblins, gorgons, golems, and ghosts. From the mythical monstrous races of the ancient world to the murderous cyborgs of our day, monsters have haunted the human imagination, giving shape to the fears and desires of their time. And as long as there have been monsters, there have been attempts to make sense of them, to explain where they come from and what they mean. This book collects the best of what contemporary scholars have to say on the subject, in the process creating a map of the monstrous across the vast and complex terrain of the human psyche.＜/p＞ ＜p＞Editor Jeffrey Andrew Weinstock prepares the way with a genealogy of monster theory, traveling from the earliest explanations of monsters through psychoanalysis, poststructuralism, and cultural studies, to the development of monster theory per seーand including Jeffrey Jerome Cohen’s foundational essay “Monster Theory (Seven Theses),” reproduced here in its entirety. There follow sections devoted to the terminology and concepts used in talking about monstrosity; the relevance of race, religion, gender, class, sexuality, and physical appearance; the application of monster theory to contemporary cultural concerns such as ecology, religion, and terrorism; and finally the possibilities monsters present for envisioning a different future.＜/p＞ ＜p＞Including the most interesting and important proponents of monster theory and its progenitors, from Sigmund Freud to Julia Kristeva to J. Halberstam, Donna Haraway, Barbara Creed, and Stephen T. Asmaーas well as harder-to-find contributions such as Robin Wood’s and Masahiro Mori’sーthis is the most extensive and comprehensive collection of scholarship on monsters and monstrosity across disciplines and methods ever to be assembled and will serve as an invaluable resource for students of the uncanny in all its guises.＜/p＞ ＜p＞Contributors: Stephen T. Asma, Columbia College Chicago; Timothy K. Beal, Case Western Reserve U; Harry Benshoff, U of North Texas; Bettina Bildhauer, U of St. Andrews; Noel Carroll, The Graduate Center, CUNY; Jeffrey Jerome Cohen, Arizona State U; Barbara Creed, U of Melbourne; Michael Dylan Foster, UC Davis; Sigmund Freud; Elizabeth Grosz, Duke U; J. Halberstam, Columbia U; Donna Haraway, UC Santa Cruz; Julia Kristeva, Paris Diderot U; Anthony Lioi, The Julliard School; Patricia MacCormack, Anglia Ruskin U; Masahiro Mori; Annalee Newitz; Jasbir K. Puar, Rutgers U; Amit A. Rai, Queen Mary U of London; Margrit Shildrick, Stockholm U; Jon Stratton, U of South Australia; Erin Suzuki, UC San Diego; Robin Wood, York U; Alexa Wright, U of Westminster.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Novelist, memoirist, diarist, and gay pioneer Christopher Isherwood left a wealth of writings. Known for his crisp style and his camera-like precision with detail, Isherwood gained fame for his ＜em＞Berlin Stories＜/em＞, which served as source material for the hit stage musical and Academy Award?winning film ＜em＞Cabaret＜/em＞. More recently, his experiences and career in the United States have received increased attention. His novel ＜em＞A Single Man＜/em＞ was adapted into an Oscar-nominated film; his long relationship with the artist Don Bachardy, with whom he shared an openly gay lifestyle, was the subject of an award-winning documentary, C＜em＞hris & Don: A Love Story＜/em＞; and his memoir, ＜em＞Christopher and His Kind＜/em＞, was adapted for the BBC.＜/p＞ ＜p＞Isherwood’s colorful journeys took him from post?World War I England to Weimar Germany to European exile to Golden Age Hollywood to Los Angeles in the full flower of gay liberation. After the publication of his diaries, which run to more than one million words and span nearly a half century, it is possible to fully assess his influence. This collection of essays considers Isherwood’s diaries, his vast personal archive, and his published works and offers a multifaceted appreciation of a writer who spent more than half of his life in southern California. James J. Berg and Chris Freeman have brought together the most informative scholarship of the twenty-first century to illuminate the craft of one of the singular figures of the twentieth century. Isherwood, the American, emerges from the shadow of his English reputation to stake his claim as a significant force in late twentieth-century American culture whose legacy continues in the twenty-first century.＜/p＞ ＜p＞Contributors: Joshua Adair, Murray State U; Jamie Carr, Niagara U; Robert L. Caserio, Pennsylvania State U; Niladri Chatterjee, U of Kalyani, India; Lisa Colletta, American U of Rome; Lois Cucullu, U of Minnesota; Mario Faraone; Peter Edgerly Firchow; Rebecca Gordon Stewart; William R. Handley, U of Southern California; Jaime Harker, U of Mississippi; Sara S. Hodson, Huntington Library; Carola M. Kaplan, California State U, Pomona; Benjamin Kohlmann, U of Freiburg, Germany; Victor Marsh, U of Queensland; Tina Mascara; Stephen McCauley; Paul M. McNeil, Columbia U; Guido Santi, College of the Canyons, California; Kyle Stevens, Brandeis U.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Joanna Brooks’s ancestors were among the earliest waves of emigrants to leave England for North America. They lived hardscrabble lives for generations, eking out subsistence in one place after another as they moved forever westward in search of a new life. Why, Brooks wondered, did her people and countless other poor English subjects abandon their homeland to settle for such unremitting hardship? The question leads her on a journey into a largely obscured dimension of American history.＜/p＞ ＜p＞With her family’s background as a point of departure, Brooks brings to light the harsh realities behind seventeenth- and eighteenth-century working-class English emigrationーand dismantles the long-cherished idea that these immigrants were drawn to America as a land of opportunity. American folk ballads provide a wealth of clues to the catastrophic contexts that propelled early English emigration to the Americas. Brooks follows these songs back across the Atlantic to find histories of economic displacement, environmental destruction, and social betrayal at the heart of the early Anglo-American migrant experience. The folk ballad “Edward,” for instance, reveals the role of deforestation in the dislocation and emigration of early Anglo-American peasant immigrants. “Two Sisters” discloses the profound social destabilization unleashed by the advent of luxury goods in England. “The Golden Vanity” shows how common men and women viewed their own disposable position in England’s imperial project. And “The House Carpenter’s Wife” offers insights into the impact of economic instability and the colonial enterprise on women.＜/p＞ ＜p＞From these ballads, tragic and heartrending, Brooks uncovers an archaeology of the worldviews of America’s earliest immigrants, presenting a new and haunting historical perspective on the ancestors we thought we knew.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞For students, fans, and scholars alike, this wide-ranging primer on anime employs a panoply of critical approaches＜/strong＞＜/p＞ ＜p＞Well-known through hit movies like ＜em＞Spirited Away＜/em＞, ＜em＞Akira＜/em＞, and ＜em＞Ghost in the Shell＜/em＞, anime has a long history spanning a wide range of directors, genres, and styles. Christopher Bolton’s ＜em＞Interpreting Anime＜/em＞ is a thoughtful, carefully organized introduction to Japanese animation for anyone eager to see why this genre has remained a vital, adaptable art form for decades.＜/p＞ ＜p＞＜em＞Interpreting Anime＜/em＞ is easily accessible and structured around individual films and a broad array of critical approaches. Each chapter centers on a different feature-length anime film, juxtaposing it with a particular mediumーlike literary fiction, classical Japanese theater, and contemporary stage dramaーto reveal what is unique about anime’s way of representing the world. This analysis is abetted by a suite of questions provoked by each film, along with Bolton’s incisive responses.＜/p＞ ＜p＞Throughout, ＜em＞Interpreting Anime＜/em＞ applies multiple frames, such as queer theory, psychoanalysis, and theories of postmodernism, giving readers a thorough understanding of both the cultural underpinnings and critical significance of each film. What emerges from the sweep of ＜em＞Interpreting Anime＜/em＞ is Bolton’s original, articulate case for what makes anime unique as a medium: how it at once engages profound social and political realities while also drawing attention to the very challenges of representing reality in animation’s imaginative and compelling visual forms.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞An illuminating volume of critical essays charting the diverse territory of digital humanities scholarship＜/strong＞＜/p＞ ＜p＞The digital humanities have traditionally been considered to be the domain of only a small number of prominent and well-funded institutions. However, through a diverse range of critical essays, this volume serves to challenge and enlarge existing notions of how digital humanities research is being undertaken while also serving as a kind of alternative guide for how it can thrive within a wide variety of institutional spaces.＜/p＞ ＜p＞Focusing on the complex infrastructure that undergirds the field of digital humanities, ＜em＞People, Practice, Power＜/em＞ examines the various economic, social, and political factors that shape such academic endeavors. The multitude of perspectives comprising this collection offers both a much-needed critique of the existing structures for digital scholarship and the means to generate broader representation within the field.＜/p＞ ＜p＞This collection provides a vital contribution to the realm of digital scholarly research and pedagogy in acknowledging the role that small liberal arts colleges, community colleges, historically black colleges and universities, and other underresourced institutions play in its advancement. Gathering together a range of voices both established and emergent, ＜em＞People, Practice, Power＜/em＞ offers practitioners a self-reflexive examination of the current conditions under which the digital humanities are evolving, while helping to open up new sustainable pathways for its future.＜/p＞ ＜p＞Contributors: Matthew Applegate, Molloy College; Taylor Arnold, U of Richmond; Eduard Arriaga, U of Indianapolis; Lydia Bello, Seattle U; Kathi Inman Berens, Portland State U; Christina Boyles, Michigan State U; Laura R. Braunstein, Dartmouth College; Abby R. Broughton; Maria Sachiko Cecire, Bard College; Brennan Collins, Georgia State U; Kelsey Corlett-Rivera, U of Maryland; Brittany de Gail, U of Maryland; Madelynn Dickerson, UC Irvine Libraries; Nathan H. Dize, Vanderbilt U; Quinn Dombrowski, Stanford U; Ashley Sanders Garcia, UCLA; Laura Gerlitz; Erin Rose Glass; Kaitlyn Grant; Margaret Hogarth, Claremont Colleges; Maryse Ndilu Kiese, U of Alberta; Pamella R. Lach, San Diego State U; James Malazita, Rensselaer Polytechnic Institute; Susan Merriam, Bard College; Chelsea Miya, U of Alberta; Jamila Moore Pewu, California State U, Fullerton; Urszula Pawlicka-Deger, Aalto U, Finland; Jessica Pressman, San Diego State U; Jana Remy, Chapman U; Roopika Risam, Salem State U; Elizabeth Rodrigues, Grinnell College; Dylan Ruediger, American Historical Association; Rachel Schnepper, Wesleyan U; Anelise Hanson Shrout, Bates College; Margaret Simon, North Carolina State U; Mengchi Sun, U of Alberta; Lauren Tilton, U of Richmond; Michelle R. Warren, Dartmouth College.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞A revelatory reclaiming of five iconic Chinese artists and their place in art history＜/strong＞＜/p＞ ＜p＞During the 1980s and 1990s, a group of Chinese artists (Zhang Xiaogang, Wang Guangyi, Sui Jianguo, Zhang Peili, and Lin Tianmiao) ascended to new heights of international renown. Even as their fame increased, they came to be circumscribed by simplistic Western interpretations of their artworks as social and political critiques, a perspective that privileged stories of dissidence over deep engagement with the art itself. Through in-depth case studies of these five artists, Peggy Wang offers a corrective to previous appraisals, demonstrating how their works address fundamental questions about the forms, meanings, and possibilities of art.＜/p＞ ＜p＞By the end of the 1980s, Chinese artists were scrutinizing earlier waves of Western influence and turning instead to their own heritage and culture to forge their own future histories. As the national trauma of the 1989 Tiananmen Square massacre converged with the mounting expansion of the global art world, these artists turned to art as a profoundly generative site for grappling with their place in the world. Wang demonstrates how they consciously and energetically sought to make their own ideas about art and art history visible in contemporary art. Wang’s argument is informed by extensive primary research, including close examination of the artworks, analysis of Chinese language documents and archives, and deeply personal interviews with the artists. Their words uncover layers of meaning previously obscured by the popular and often recycled assessments that many of these works have received until now.＜/p＞ ＜p＞Beyond Wang’s reinterpretation of these individual artists, she contributes to an urgent conversation on the future direction of art history: how do we map engagements between art from different parts of the world that are embedded within different art histories? What does it mean for histories of contemporary artーand art history more generallyーto be inclusive? The new understandings offered in this book can and should be engaged when considering current hierarchies in histories of Chinese art, the global art world, and the intersections between them.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜em＞Architecture’s Historical Turn＜/em＞ traces the hidden history of architectural phenomenology, a movement that reflected a key turning point in the early phases of postmodernism and a legitimating source for those architects who first dared to confront history as an intellectual problem and not merely as a stylistic question.＜/p＞ ＜p＞Jorge Otero-Pailos shows how architectural phenomenology radically transformed how architects engaged, theorized, and produced history. In the first critical intellectual account of the movement, Otero-Pailos discusses the contributions of leading members, including Jean Labatut, Charles Moore, Christian Norberg-Schulz, and Kenneth Frampton. For architects maturing after World War II, Otero-Pailos contends, architectural history was a problem rather than a given. Paradoxically, their awareness of modernism’s historicity led some of them to search for an ahistorical experiential constant that might underpin all architectural expression. They drew from phenomenology, exploring the work of Bachelard, Merleau-Ponty, Heidegger, and Ricoeur, which they translated for architectural audiences. Initially, the concept that experience could be a timeless architectural language provided a unifying intellectual basis for the stylistic pluralism that characterized postmodernism. It helped give theoryーespecially the theory of architectural historyーa new importance over practice. However, as Otero-Pailos makes clear, architectural phenomenologists could not accept the idea of theory as an end in itself. In the mid-1980s they were caught in the contradictory and untenable position of having to formulate their own demotion of theory.＜/p＞ ＜p＞Otero-Pailos reveals how, ultimately, the rise of architectural phenomenology played a crucial double role in the rise of postmodernism, creating the antimodern specter of a historical consciousness and offering the modern notion of essential experience as the means to defeat it.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Reshapes the history of abstract animation and its importance to computer imagery and cinema＜/strong＞＜/p＞ ＜p＞Animation and technology are always changing with one another. From hand-drawn flipbooks to stop-motion and computer-generated imagery (CGI), animation’s identity is in flux. But many of these moving image technologies, like CGI, emerged from the world of animation. Indeed, animation has made essential contributions to not only computer imagery but also cinema, helping shape them into the fields and media forms we know today.＜/p＞ ＜p＞In ＜em＞Pulses of Abstraction＜/em＞, Andrew R. Johnston presents both a revealing history of abstract animation and an investigation into the relationship between animation and cinema. Examining a rich array of techniquesーincluding etching directly onto the filmstrip, immersive colored-light spectacles, rapid montage sequences, and digital programmingー＜em＞Pulses of Abstraction＜/em＞ uncovers important epistemological shifts around film and related media. Just as animation’s images pulse in projection, so too does its history of indexing technological and epistemic changes through experiments with form, material, and aesthetics. Focusing on a period of rapid media change from the 1950s to the 1970s, this book combines close readings of experimental animations with in-depth technological studies, revealing how animation helped image culture come to terms with the rise of information technologies.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞A groundbreaking examination of how twentieth-century African American writers use queer characters to challenge and ultimately reject subjectivity＜/strong＞＜/p＞ ＜p＞＜em＞Black Queer Flesh＜/em＞ reinterprets key African American novels from the Harlem Renaissance to Black Modernism to contemporary literature, showing how authors have imagined a new model of black queer selfhood. African American authors blame liberal humanism’s model of subjectivity for double consciousness and find that liberal humanism’s celebration of individual autonomy and agency is a way of disciplining Black queer lives. These authors thus reject subjectivity in search of a new mode of the self that Alvin J. Henry names “black queer flesh”ーa model of selfhood that is collective, plural, fluctuating, and deeply connected to the black queer past.＜/p＞ ＜p＞Henry begins with early twentieth-century authors such as Jessie Redmon Fauset and James Weldon Johnson. These authors adapted the ＜em＞Bildungsroman＜/em＞, the novel of self-formation, to show African Americans gaining freedom and agency by becoming a liberal, autonomous subjects. These authors, however, discovered that the promise of liberal autonomy held out by the ＜em＞Bildungsroman＜/em＞ was yet another tool of antiblack racism. As a result, they tentatively experimented with repurposing the ＜em＞Bildungsroman＜/em＞ to throw off subjectivity and its attendant double consciousness. In contrast, Nella Larsen, Henry shows, was the first author to fully reject subjectivity. In ＜em＞Quicksand and Passing＜/em＞, Larsen invented a new genre showing her queer charactersーcharacters whose queerness already positioned them on the margins of subjectivityーescaping subjectivity altogether. Using Ralph Ellison’s archival drafts, Henry then powerfully rereads ＜em＞Invisible Man＜/em＞, revealing that the protagonist as a queer, disabled character taught by the novel’s many other queer, disabled characters to likewise seek a selfhood beyond subjectivity. Although Larsen and Ellison sketch glimpses of this selfhood beyond subjectivity, only Saidiya Hartman’s ＜em＞Wayward Lives, Beautiful Experiments＜/em＞ shows a protagonist fully inhabiting black queer fleshーa new mode of selfhood that is collective, plural, always evolving, and no longer alienated from the black past.＜/p＞ ＜p＞＜em＞Black Queer Flesh＜/em＞ is an original and necessary contribution to black literary studies, offering new ways to understand and appreciate the canonical texts and far more.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Simultaneously celebrated and denigrated, celebrities represent not only the embodiment of success, but also the ultimate construction of false value. ＜em＞Celebrity and Power＜/em＞ questions the impulse to become embroiled with the construction and collapse of the famous, exploring the concept of the ＜em＞new public intimacy＜/em＞: a product of social media in which celebrities from Lady Gaga to Barack Obama are expected to continuously campaign for audiences in new ways. In a new Introduction for this edition, P. David Marshall investigates the viewing public’s desire to associate with celebrity and addresses the explosion of instant access to celebrity culture, bringing famous people and their admirers closer than ever before.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Discover the epic life of Gerda Taro, the brave photographer who captured the Spanish Civil War. 'Gerda Taro, the Final Shot' will transport you to the trenches and fiery streets, where courage and determination intertwine with the power of a camera.＜br /＞ With captivating illustrations and a vibrant narrative, this graphic novel will immerse you in the harsh reality of war and the soul of an exceptional woman. Join Gerda Taro on her journey and be inspired by her courage and determination.＜br /＞ An enthralling story that honors the memory of Gerda Taro and invites us to reflect on the power of art in turbulent times. 'Gerda Taro, the Final Shot' will make you fall in love, cry, and above all, leave you with a profound sense of admiration for a woman who changed the way we see the world.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Since the 1927 release of Fritz Lang’s pioneer film ＜em＞Metropolis＜/em＞, science fiction cinema has largely been regarded a Western genre. In ＜em＞Simultaneous Worlds＜/em＞, Jennifer L. Feeley and Sarah Ann Wells showcase authors who challenge this notion by focusing on cinemas and cultures, from Cuba to North Korea, not traditionally associated with science fiction. This collection introduces films about a metal-eating monster who helps peasants overthrow an exploitative court, an inflatable sex doll who comes to life, a desert planet where matchsticks are more valuable than money, and more.＜/p＞ ＜p＞＜em＞Simultaneous Worlds＜/em＞ is the first volume to bring a transnational, interdisciplinary lens to science fiction cinema. Encountering some of the best emerging and established voices in the field, readers will become immersed in discussions of well-known works such as the ＜em＞Ghost in the Shell＜/em＞ franchise and Neill Blomkamp’s ＜em＞District 9＜/em＞ alongside lesser-known but equally fascinating works by African, Asian, European, and South American filmmakers. Divided into five parts that cover theoretical concerns such as new media economies, translation, the Global South, cyborgs, and socialist and postsocialist cinema, these essays trace cinema’s role in imagining global communities and power struggles.＜/p＞ ＜p＞Considering both individual films and the broader networks of production, distribution, and exhibition, ＜em＞Simultaneous Worlds＜/em＞ illustrates how film industries across the globe take part in visualizing the perils of globalization and technological modernity. Ultimately, this book opens new ways of thinking about world cinema and our understanding of the world at large.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞A new critical approach to cinema and media based on Buddhism as a philosophical discourse＜/strong＞＜/p＞ ＜p＞How can a philosophical discourse generated in Asia help us reframe and renew cinema and media theory? ＜em＞Cinema Illuminating Reality＜/em＞ provides a possible way to do this by using Buddhist ideas to examine the intricate relationship between technicity and consciousness in the cinema. The resulting dialogue between Buddhism and Euro-American philosophy is the first of its kind in film and media studies.＜/p＞ ＜p＞Victor Fan examines cinema’s ontology and ontogenetic formation and how such a formational process produces knowledge, political agency, and in-aesthetics. Buddhism allows Fan to deconstruct binary thinking and reimagine media as an ecology, rethinking cinema in relational terms between the human and the machine. Along the way, Fan considers a wide variety of case studies from around the globe, while paying special attention to how contemporary Tibeto-Sinophone filmmakers have adopted relational thinking to detail ways of rebuilding a world that appears to be beyond repair.＜/p＞ ＜p＞From Chinese queer cinema to a reexamination of Japanese master Ozu’s work and its historical reception to Christian Petzold’s 2018 existential thriller ＜em＞Transit＜/em＞, ＜em＞Cinema**Illuminating Reality＜/em＞ forges a remarkable path between Buddhist studies and cinema studies, casting vital new light on both of these important subjects.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Since the 1890s, American artists have employed the arts of the freak show to envision radically different ways of being. The result is a rich avant-garde tradition that critiques and challenges capitalism from within.＜/p＞ ＜p＞＜em＞The Freak-garde＜/em＞ traces the arts of the freak show from P. T. Barnum to Matthew Barney and demonstrates how a form of mass culture entertainment became the basis for a distinctly American avant-garde tradition. Exploring a wide range of writers, filmmakers, photographers, and artists who have appropriated the arts of the freak show, Robin Blyn exposes the disturbing power of human curiosities and the desires they unleash. Through a series of incisive and often startling readings, Blyn reveals how such figures as Mark Twain, Djuna Barnes, Tod Browning, Lon Chaney, Nathanael West, and Diane Arbus use these desires to propose alternatives to the autonomous and repressed subject of liberal capitalism. Blyn explains how, rather than grounding revolutionary subjectivities in imaginary realms innocent of capitalism, freak-garde works manufacture new subjectivities by exploiting potentials inherent to capitalism.＜/p＞ ＜p＞Defying conventional wisdom, ＜em＞The Freak-garde＜/em＞ ultimately argues that postmodernism is not the death of the avant-garde but the inheritor of a vital and generative legacy. In doing so, the book establishes innovative approaches to American avant-garde practices and embodiment and lays the foundation for a more nuanced understanding of the disruptive potential of art under capitalism.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Amanda Johnston provides a comprehensive resource offering a modern approach to lyric diction and a thorough analysis of German and English.＜/p＞ ＜p＞The third edition expands the discussion of many crucial concepts, such as stylistic diction choices for musical theatre, the varied treatment of “R” across genres, healthy glottal onsets, and the correct formation of the elusive ＜em＞epsilon＜/em＞, the curly-tail “J,” and the extended ＜em＞epsilon＜/em＞. Unique features include the deconstruction of the ＜em＞schwa＜/em＞ and the illustration of the rhythmic timing and release of consonants within musical examples.＜/p＞ ＜p＞The book includes extensive oral drills, musical examples, as well as a multimedia package of chapter-by-chapter video clips and an e-workbook on IPA character transcription. It is designed for the study of both English and German lyric diction, either consecutively or simultaneously, and is a valuable resource for singers, vocal coaches, voice teachers, and collaborative pianists alike.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞A cultural history of S?pmi and the Nordic countries as told through objects and artifacts＜/strong＞＜/p＞ ＜p＞Material objectsーthings made, used, and treasuredーtell the story of a people and place. So it is for the Indigenous S?mi living in Norway, Sweden, Finland, and Russia, whose story unfolds across borders and centuries, in museums and private collections. The objects created by the S?mi for daily and ceremonial use were purchased and taken by Scandinavians and foreign travelers in Lapland from the seventeenth century to the present, and the collections described in From Lapland to S?pmi map a complex history that is gradually shifting to a renaissance of S?mi culture and craft, along with the return of many historical objects to S?pmi, the S?mi homeland.＜/p＞ ＜p＞The S?mi objects first collected in Lapland by non-Indigenous people were drums and other sacred artifacts, but later came to include handmade knives, decorated spoons, clothing, and other domestic items owned by S?mi reindeer herders and fishers, as well as artisanal crafts created for sale. Barbara Sjoholm describes how these objects made their way via clergy, merchants, and early scientists into curiosity cabinets and eventually to museums in Copenhagen, Stockholm, Oslo, and abroad. Musicians, writers, and tourists also collected S?mi culture for research and enjoyment. Displays of S?mi material culture in Scandinavia and England, Germany, and other countries in museums, exhibition halls, and even zoos often became part of racist and colonial discourse as examples of primitive culture, and soon figured in the debates of ethnographers and curators over representations of national folk traditions and “exotic” peoples. Sjoholm follows these objects and collections from the Age of Enlightenment through the twentieth century, when artisanship took on new forms in commerce and museology and the S?mi began to organize politically and culturally. Today, several collections of S?mi objects are in the process of repatriation, while a new generation of artists, activists, and artisans finds inspiration in traditional heritage and languages.＜/p＞ ＜p＞Deftly written and amply illustrated, with contextual notes on language and Nordic history, ＜em＞From Lapland to S?pmi＜/em＞ brings to light the history of collecting, displaying, and returning S?mi material culture, as well as the story of S?mi creativity and individual and collective agency.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞The legal texts and aspirational ideals of human rights are usually understood and applied in a global context with little bearing on the legal discourse, domestic political struggles, or social justice concerns within the United States. In ＜em＞Writing Human Rights＜/em＞, Crystal Parikh uses the international human rights regime to read works by contemporary American writers of colorーToni Morrison, Chang-rae Lee, Ana Castillo, Aimee Phan, and othersーto explore the conditions under which new norms, more capacious formulations of rights, and alternative kinds of political communities emerge.＜/p＞ ＜p＞Parikh contends that unlike humanitarianism, which views its objects as victims, human rights provide avenues for the creation of political subjects. Pairing the ethical deliberations in such works as ＜em＞Beloved＜/em＞ and ＜em＞A Gesture Life＜/em＞ with human rights texts like the United Nations Convention Against Torture, she considers why principles articulated as rights in international conventions and treatiesーsuch as the right to self-determination or the right to familyーare too often disregarded at home. Human rights concepts instead provide writers of color with a deeply meaningful method for political and moral imagining in their literature.＜/p＞ ＜p＞Affiliating transnational works of American literature with decolonization, socialist, and other political struggles in the global south, this book illuminates a human rights critique of idealized American rights and freedoms that have been globalized in the twenty-first century. In the absence of domestic human rights enforcement, these literatures provide a considerable repository for those ways of life and subjects of rights made otherwise impossible in the present antidemocratic moment.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Modeling a disability culture perspective on performance practice toward socially just futures＜/strong＞＜/p＞ ＜p＞In ＜em＞Eco Soma＜/em＞, Petra Kuppers asks readers to be alert to their own embodied responses to art practice and to pay attention to themselves as active participants in a shared sociocultural world. Reading contemporary performance encounters and artful engagements, this book models a disability culture sensitivity to living in a shared world, oriented toward more socially just futures.＜/p＞ ＜p＞Eco soma methods mix and merge realities on the edges of lived experience and site-specific performance. Kuppers invites us to become moths, sprout gills, listen to our heart’s drum, and take starships into crip time. And fantasy is central to these engagements: feeling/sensing monsters, catastrophes, golden lines, heartbeats, injured sharks, dotted salamanders, kissing mammoths, and more. Kuppers illuminates ecopoetic disability culture perspectives, contending that disabled people and their co-conspirators make art to live in a changing world, in contact with feminist, queer, trans, racialized, and Indigenous art projects. By offering new ways to think, frame, and feel “environments,” Kuppers focuses on art-based methods of envisioning change and argues that disability can offer imaginative ways toward living well and with agency in change, unrest, and challenge.＜/p＞ ＜p＞Traditional somatics teach us how to fine-tune our introspective senses and to open up the world of our own bodies, while eco soma methods extend that attention toward the creative possibilities of the reach between self, others, and the land. ＜em＞Eco Soma＜/em＞ proposes an art/life method of sensory tuning to the inside and the outside simultaneously, a method that allows for a wider opening toward ethical cohabitation with human and more-than-human others.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞How new conceptions of human?environment interaction became central to design theories and practices in the 1970s＜/strong＞＜/p＞ ＜p＞At the end of the 1960s, new models of responsiveness between humans and their environments had a profound impact on theories and practices in architecture, design, art, technology, media, and the sciences. The resulting initiativesーdesign philosophies, art installations, architectural projects, exhibitions, publications, and symposiaーsought to bring together insights from biology, systems theory, psychology, and anthropology with modernist legacies of total design.＜/p＞ ＜p＞In ＜em＞The Responsive Environment＜/em＞, Larry D. Busbea takes up this concept of environment as an object and method of design at the height of its aesthetic, technical, and discursive elaboration. Exploring emerging paradigms of environmental perception, patterning, and control as developed by Gregory Bateson, Edward T. Hall, Wolf Hilbertz, Gy?rgy Kepes, Marshall McLuhan, Nicholas Negroponte, Paolo Soleri, and others, he shows how living space itself was reimagined as a domain capable of modification through input from its newly sensitized inhabitants.＜/p＞ ＜p＞＜em＞The Responsive Environment＜/em＞ intercuts the development of new ideas about environmental awareness with case studies of specific architecture and design projects for responsive environments. Throughout, Busbea connects these theories and practices to the contemporary obsession with “smart” things: responsive technologies, intelligent environments, biomimetic materials, and digital atmospherics.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞How computer animation technologies became vital visualization tools in the life sciences＜/strong＞＜/p＞ ＜p＞Who would have thought that computer animation technologies developed in the second half of the twentieth century would become essential visualization tools in today’s biosciences? This book is the first to examine this phenomenon. ＜em＞Molecular Capture＜/em＞ reveals how popular media consumption and biological knowledge production have converged in molecular animationsーcomputer simulations of molecular and cellular processes that immerse viewers in the temporal unfolding of molecular worldsーto produce new regimes of seeing and knowing.＜/p＞ ＜p＞Situating the development of this technology within an evolving field of historical, epistemological, and political negotiations, Adam Nocek argues that molecular animations not only represent a key transformation in the visual knowledge practices of life scientists but also bring into sharp focus fundamental mutations in power within neoliberal capitalism. In particular, he reveals how the convergence of the visual economies of science and entertainment in molecular animations extends neoliberal modes of governance to the perceptual practices of scientific subjects. Drawing on Alfred North Whitehead’s speculative metaphysics and Michel Foucault’s genealogy of governmentality, Nocek builds a media philosophy well equipped to examine the unique coordination of media cultures in this undertheorized form of scientific media. More specifically, he demonstrates how governmentality operates across visual practices in the biosciences and the popular mediasphere to shape a molecular animation apparatus that unites scientific knowledge and entertainment culture.＜/p＞ ＜p＞Ultimately, ＜em＞Molecular Capture＜/em＞ proposes that molecular animation is an achievement of governmental design. It weaves together speculative media philosophy, science and technology studies, and design theory to investigate how scientific knowledge practices are designed through media apparatuses.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞The year 2016 will mark the centennial of the birth of Albert Murray (1916?2013), who in thirteen books was by turns a lyrical novelist, a keen and iconoclastic social critic, and a formidable interpreter of jazz and blues. Not only did his prizewinning study ＜em＞Stomping the Blues＜/em＞ (1976) influence musicians far and wide, it was also a foundational text for Jazz at Lincoln Center, which he cofounded with Wynton Marsalis and others in 1987. ＜em＞Murray Talks Music＜/em＞ brings together, for the first time, many of Murray’s finest interviews and essays on musicーmost never before publishedーas well as rare liner notes and prefaces.＜/p＞ ＜p＞For those new to Murray, this book will be a perfect introduction, and those familiar with his workーeven scholarsーwill be surprised, dazzled, and delighted. Highlights include Dizzy Gillespie’s richly substantive 1985 conversation; an in-depth 1994 dialogue on jazz and culture between Murray and Wynton Marsalis; and a long 1989 discussion on Duke Ellington between Murray, Stanley Crouch, and Loren Schoenberg. Also interviewed by Murray are producer and impresario John Hammond and singer and bandleader Billy Eckstine. All of thse conversations were previously lost to history. A celebrated educator and raconteur, Murray engages with a variety of scholars and journalists while making insightful connections among music, literature, and other art formsーall with ample humor and from unforeseen angles.＜/p＞ ＜p＞Leading Murray scholar Paul Devlin contextualizes the essays and interviews in an extensive introduction, which doubles as a major commentary on Murray’s life and work. The volume also presents sixteen never-before-seen photographs of jazz greats taken by Murray.＜/p＞ ＜p＞No jazz collection will be complete without ＜em＞Murray Talks Music＜/em＞, which includes a foreword by Gary Giddins and an afterword by Greg Thomas.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞In ＜em＞The Paradiso＜/em＞, Dante explores the goal of human striving: the merging of individual destiny with universal order. One of the towering creations of world literature, this epic discovery of truth is a work of mystical intensity? an immortal hymn to God, Nature, Eternity, and Love.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞The 1980s was a critical decade in shaping today’s art production. While newly visible work concerned with power and identity hinted at a shift toward multiculturalism, the ‘80s were also a time of social conservatism that resulted in substantial changes in arts funding. In Asking the Audience, Adair Rounthwaite uses this context to analyze the rising popularity of audience participation in American art during this important decade.＜/p＞ ＜p＞Rounthwaite explores two seminal and interrelated art projects sponsored by the Dia Art Foundation in New York: Group Material’s ＜em＞Democracy＜/em＞ and Martha Rosler’s ＜em＞If You Lived Here….＜/em＞ These projects married issues of social activismーsuch as homelessness and the AIDS crisisーwith various forms of public participation, setting the precedent for the high-profile participatory practices currently dominating global contemporary art. Rounthwaite draws on diverse archival images, audio recordings, and more than thirty new interviews to analyze the live affective dynamics to which the projects gave rise. Seeking to foreground the audience experience in understanding the social context of participatory art, she argues that affect is key to the audience’s ability to exercise agency within the participatory artwork.＜/p＞ ＜p＞From artists and audiences to institutions, funders, and critics, ＜em＞Asking the Audience＜/em＞ traces the networks that participatory art creates between various agents, demonstrating how, since the 1980s, leftist political engagement has become a cornerstone of the institutionalized consumption of contemporary art.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞At the dawn of the digital era in the final decades of the twentieth century, film and media studies scholars grappled with the prospective end of what was deemed cinema: analog celluloid production, darkened public movie theaters, festival culture. The notion of the “end of cinema” had already been broached repeatedly over the course of the twentieth centuryーfrom the introduction of sound and color to the advent of television and videoーand in ＜em＞Ends of Cinema＜/em＞, contributors reinvigorate this debate to contemplate the ends, as well as directions and new beginnings, of cinema in the twenty-first century.＜/p＞ ＜p＞In this volume, scholars at the forefront of film and media studies interrogate multiple potential “ends” of cinema: its goals and spaces, its relationship to postcinema, its racial dynamics and environmental implications, and its theoretical and historical conclusions. Moving beyond the predictable question of digital versus analog, the scholars gathered here rely on critical theory and historical research to consider cinema alongside its media companions: television, the gallery space, digital media, and theatrical environments. ＜em＞Ends of Cinema＜/em＞ underscores the shared project of film and media studies to open up what seems closed off, and to continually reinvent approaches that seem unresponsive.＜/p＞ ＜p＞Contributors: Caetlin Benson-Allott, Georgetown U; James Leo Cahill, U of Toronto; Francesco Casetti, Yale U; Mary Ann Doane, U of California Berkeley; Andr? Gaudreault, U de Montr?al; Michael Boyce Gillespie, City College of New York; Mark Paul Meyer, EYE Filmmuseum; Jennifer Lynn Peterson, Woodbury U, Los Angeles; Amy Villarejo, Cornell U.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜em＞The Heretical Archive＜/em＞ examines the relationship between memory and creation in contemporary artworks that use digital technology while appropriating film materials. Domietta Torlasco argues that these digital films and multimedia installations radically transform our memory of cinema and our understanding of the archive. Indeed, such works define a notion of archiving not as the passive preservation of audiovisual signs but as an intervention and the creative rearticulation of cinema’s perceptual and political textures.＜/p＞ ＜p＞Connecting psychoanalysis, phenomenology, and feminist theory in innovative ways, Torlasco analyzes cutting-edge digital works that engage with the past of European cinema and visual culture, including video installations by Monica Bonvicini (＜em＞Destroy She Said＜/em＞) and Pierre Huyghe (＜em＞The Ellipsis＜/em＞), Agn?s Varda’s film ＜em＞The Gleaners and I＜/em＞, Marco Poloni’s multimedia installation ＜em＞The Desert Room＜/em＞, and Chris Marker’s CD-ROM ＜em＞Immemory＜/em＞.＜/p＞ ＜p＞Torlasco’s central claim is that if the archives of psychoanalysis and cinema have long privileged the lineage that runs from Oedipus to Freud, the archives of the digital ageーwhat she calls the “heretical archive”ーcan help us imagine an unruly, porous, multifaceted legacy, one in which marginal figures return to speak of lost life as much as of life that demands to be lived.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜em＞The Heretical Archive＜/em＞ examines the relationship between memory and creation in contemporary artworks that use digital technology while appropriating film materials. Domietta Torlasco argues that these digital films and multimedia installations radically transform our memory of cinema and our understanding of the archive. Indeed, such works define a notion of archiving not as the passive preservation of audiovisual signs but as an intervention and the creative rearticulation of cinema’s perceptual and political textures.＜/p＞ ＜p＞Connecting psychoanalysis, phenomenology, and feminist theory in innovative ways, Torlasco analyzes cutting-edge digital works that engage with the past of European cinema and visual culture, including video installations by Monica Bonvicini (＜em＞Destroy She Said＜/em＞) and Pierre Huyghe (＜em＞The Ellipsis＜/em＞), Agn?s Varda’s film ＜em＞The Gleaners and I＜/em＞, Marco Poloni’s multimedia installation ＜em＞The Desert Room＜/em＞, and Chris Marker’s CD-ROM ＜em＞Immemory＜/em＞.＜/p＞ ＜p＞Torlasco’s central claim is that if the archives of psychoanalysis and cinema have long privileged the lineage that runs from Oedipus to Freud, the archives of the digital ageーwhat she calls the “heretical archive”ーcan help us imagine an unruly, porous, multifaceted legacy, one in which marginal figures return to speak of lost life as much as of life that demands to be lived.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。