＜p＞How would artistic practice contribute to political change in post?World War II Japan? How could artists negotiate the imbalanced global dynamics of the art world and also maintain a sense of aesthetic and political authenticity? While the contemporary art world has recently come to embrace some of Japan’s most daring postwar artists, the interplay of art and politics remains poorly understood in the Americas and Europe. ＜em＞The Stakes of Exposure＜/em＞ fills this gap and explores art, visual culture, and politics in postwar Japan from the 1950s to the 1970s, paying special attention to how anxiety and confusion surrounding Japan’s new democracy manifested in representations of gender and nationhood in modern art.＜/p＞ ＜p＞Through such pivotal postwar episodes as the Minamata Disaster, the Lucky Dragon Incident, the budding antinuclear movement, and the ANPO protests of the 1960s, ＜em＞The Stakes of Exposure＜/em＞ examines a wide range of issues addressed by the period’s prominent artists, including Tanaka Atsuko and Shiraga Kazuo (key members of the Gutai Art Association), Katsura Yuki, and Nakamura Hiroshi. Through a close study of their paintings, illustrations, and assemblage and performance art, Namiko Kunimoto reveals that, despite dissimilar aesthetic approaches and divergent political interests, Japanese postwar artists were invested in the entangled issues of gender and nationhood that were redefining Japan and its role in the world.＜/p＞ ＜p＞Offering many full-color illustrations of previously unpublished art and photographs, as well as period manga, ＜em＞The Stakes of Exposure＜/em＞ shows how contention over Japan’s new democracy was expressed, disavowed, and reimagined through representations of the gendered body.＜/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 Mestizo State＜/em＞ examines how the ideas, images, and public discourse around race, nation, and citizen formation have been transformed in Mexico from the mid-nineteenth century to the present. Starting with the Porfiriato, Joshua Lund investigates the rise of a racialized “mestizo state,” its reinvention after the Mexican Revolution, and its mobilization as a critical lever that would act both on behalf of and against mainstream Mexican political culture during the long hegemony of the Partido Revolucionario Institucional.＜/p＞ ＜p＞Lund takes race as his object of critical reflection in the context of modern Mexico. An analysis that does not confuse race with mestizaje, indigeneity, African identity, or whiteness, the book sheds light on the history of the materialism of race as it unfolds within the cultural production of modern Mexico, grounded on close readings of four writers whose work explicitly challenged the politics of race in Mexico: Luis Alva, Ignacio Manuel Altamirano, Rosario Castellanos, and Elena Garro.＜/p＞ ＜p＞In seeking to address race as a cultural-political problematic, Lund considers race as integral to the production of the materiality of Mexican national history: constitutive of the nation form, a mediator of capitalist accumulation, and a central actor in the rise of modernity.＜/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＞The first critical study of writing without language＜/strong＞＜/p＞ ＜p＞In recent years, asemic writingーwriting without languageーhas exploded in popularity, with anthologies, a large-scale art exhibition, and flourishing interest on sites like tumblr, YouTube, Pinterest, and Instagram. Yet this burgeoning, fascinating field has never received a dedicated critical study. ＜em＞Asemic＜/em＞ fills that gap, proposing new ways of rethinking the nature of writing.＜/p＞ ＜p＞Pioneered in the work of creators such as Henri Michaux, Roland Barthes, and Cy Twombly, asemic writing consolidated as a movement in the 1990s. Author Peter Schwenger first covers these “asemic ancestors” before moving to current practitioners such as Michael Jacobson, Rosaire Appel, and Christopher Skinner, exploring how asemic writing has evolved and gained importance in the contemporary era.＜/p＞ ＜p＞＜em＞Asemic＜/em＞ includes intriguing revelations about the relation of asemic writing to Chinese characters, the possibility of asemic writing in nature, and explanations of how we can read without language. Written in a lively style, this book will engage scholars of contemporary art and literary theory, as well as anyone interested in what writing was and what it is now in the process of becoming.＜/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 nineteenth-century Europe and the United States, fashionーonce the province of the well-to-doーbegan to make its way across class lines. At once a democratizing influence and a means of maintaining distinctions, gaps in time remained between what the upper classes wore and what the lower classes later copied. And toward the end of the century, style also moved from the streets to the parlor. The third in a four-part series charting the social, cultural, and political expression of clothing, dress, and accessories, ＜em＞Fashioning the Nineteenth Century＜/em＞ focuses on this transformative period in an effort to show how certain items of apparel acquired the status of fashion and how fashion shifted from the realm of the elites into the emerging middle and working classesーand back.＜/p＞ ＜p＞The contributors to this volume are leading scholars from France, Italy, and the United States, as well as a practicing psychoanalyst and artists working in fashion and with textiles. Whether considering girls’ school uniforms in provincial Italy, widows’ mourning caps in Victorian novels, Charlie’s varying dress in Kate Chopin’s eponymous story, or the language of clothing in Henry James, the essays reveal how changes in ideals of the body and its adornment, in classes and nations, created what we now understand to be the imperatives of fashion.＜/p＞ ＜p＞Contributors: Dagni Bredesen, Eastern Illinois U; Carmela Covato, U of Rome Three; Agn?s Derail-Imbert, ?cole Normale Sup?rieure/VALE U of Paris, Sorbonne; Clair Hughes, International Christian University of Tokyo; Bianca Iaccarino Idelson; Beryl Korot; Anna Masotti; Bruno Monfort, Universit? of Paris, Ouest Nanterre La D?fense; Giuseppe Nori, U of Macerata, Italy; Marta Savini, U of Rome Three; Anna Scacchi, U of Padua; Carroll Smith-Rosenberg, U of Michigan.＜/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 this innovative work, Lukasz Stanek frames a uniquely contextual appreciation of Henri Lefebvre’s idea that space is a social product. Stanek explicitly confronts both the philosophical and the empirical foundations of Lefebvre’s oeuvre, especially his direct involvement in the fields of urban development, planning, and architecture.＜/p＞ ＜p＞Countering the prevailing view, which reduces Lefebvre’s theory of space to a projection of his philosophical positions, Stanek argues that Lefebvre’s work grew out of his concrete, empirical engagement with everyday practices of dwelling in postwar France and his exchanges with architects and planners. Stanek focuses on the interaction between architecture, urbanism, sociology, and philosophy that occurred in France in the 1960s and 1970s, which was marked by a shift in the processes of urbanization at all scales, from the neighborhood to the global level. Lefebvre’s thinking was central to this encounter, which informed both his theory of space and the concept of urbanization becoming global.＜/p＞ ＜p＞Stanek offers a deeper and clearer understanding of Lefebvre’s thought and its implications for the present day. At a time when cities are increasingly important to our political, spatial, and architectural world, this reassessment proposes a new empirical, and practical, interpretation of Lefebvre’s ideas on urbanism.＜/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＞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＞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＞＜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＞＜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 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＞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＞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＞＜strong＞Exploring how the figure of the “wild child” in contemporary fiction grapples with contemporary cultural anxieties about reproductive ethics and the future of humanity＜/strong＞＜/p＞ ＜p＞In the eighteenth century, Western philosophy positioned the figure of “the child” at the border between untamed nature and rational adulthood. Contemporary cultural anxieties about the ethics and politics of reproductive choice and the crisis of parental responsibility have freighted this liminal figure with new meaning in twenty-first-century narratives.＜/p＞ ＜p＞In ＜em＞Wild Child＜/em＞, Naomi Morgenstern explores depictions of children and their adult caregivers in extreme situationsーranging from the violence of slavery and sexual captivity to accidental death, mass murder, torture, and global apocalypseーin such works as Toni Morrison’s ＜em＞A Mercy＜/em＞, Cormac McCarthy’s ＜em＞The Road＜/em＞, Lionel Shriver’s ＜em＞We Need to Talk about Kevin＜/em＞, Emma Donoghue’s ＜em＞Room＜/em＞, and Denis Villeneuve’s film ＜em＞Prisoners＜/em＞. Morgenstern shows how, in such narratives, “wild” children function as symptoms of new ethical crises and existential fears raised by transformations in the technology and politics of reproduction and by increased ethical questions about the very decision to reproduce. In the face of an uncertain future that no longer confirms the confidence of patriarchal humanism, such narratives displace or project present-day apprehensions about maternal sacrifice and paternal protection onto the wildness of children in a series of hyperbolically violent scenes.＜/p＞ ＜p＞Urgent and engaging, ＜em＞Wild Child＜/em＞ offers the only extended consideration of how twenty-first-century fiction has begun to imagine the decision to reproduce and the ethical challenges of posthumanist parenting.＜/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 visionary new approach to the Americas during the age of colonization, made by engaging with the aural aspects of supposedly “silent” images＜/strong＞＜/p＞ ＜p＞Colonial depictions of the North and South American landscape and its indigenous inhabitants fundamentally transformed the European imaginationーbut how did those images reach Europe, and how did they make their impact? In ＜em＞Sound, Image, Silence＜/em＞, noted art historian Michael Gaudio provides a groundbreaking examination of the colonial Americas by exploring the special role that aural imagination played in visible representations of the New World.＜/p＞ ＜p＞Considering a diverse body of images that cover four hundred years of Atlantic history, ＜em＞Sound, Image, Silence＜/em＞ addresses an important need within art history: to give hearing its due as a sense that can inform our understanding of images. Gaudio locates the noise of the pagan dance, the discord of battle, the din of revivalist religion, and the sublime sounds of nature in the Americas, such as lightning, thunder, and the waterfall. He invites readers to listen to visual media that seem deceptively couched in silence, offering bold new ideas on how art historians can engage with sound in inherently “mute” media.＜/p＞ ＜p＞＜em＞Sound, Image, Silence＜/em＞ includes readings of Brazilian landscapes by the Dutch painter Frans Post, a London portrait of Benjamin Franklin, Thomas Edison’s early Kinetoscope film ＜em＞Sioux Ghost Dance＜/em＞, and the work of Thomas Cole, founder of the Hudson River School of American landscape painting. It masterfully fuses a diversity of work across vast social, cultural, and spatial distances, giving us both a new way of understanding sound in art and a powerful new vision of the New 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＞＜strong＞A visionary new approach to the Americas during the age of colonization, made by engaging with the aural aspects of supposedly “silent” images＜/strong＞＜/p＞ ＜p＞Colonial depictions of the North and South American landscape and its indigenous inhabitants fundamentally transformed the European imaginationーbut how did those images reach Europe, and how did they make their impact? In ＜em＞Sound, Image, Silence＜/em＞, noted art historian Michael Gaudio provides a groundbreaking examination of the colonial Americas by exploring the special role that aural imagination played in visible representations of the New World.＜/p＞ ＜p＞Considering a diverse body of images that cover four hundred years of Atlantic history, ＜em＞Sound, Image, Silence＜/em＞ addresses an important need within art history: to give hearing its due as a sense that can inform our understanding of images. Gaudio locates the noise of the pagan dance, the discord of battle, the din of revivalist religion, and the sublime sounds of nature in the Americas, such as lightning, thunder, and the waterfall. He invites readers to listen to visual media that seem deceptively couched in silence, offering bold new ideas on how art historians can engage with sound in inherently “mute” media.＜/p＞ ＜p＞＜em＞Sound, Image, Silence＜/em＞ includes readings of Brazilian landscapes by the Dutch painter Frans Post, a London portrait of Benjamin Franklin, Thomas Edison’s early Kinetoscope film ＜em＞Sioux Ghost Dance＜/em＞, and the work of Thomas Cole, founder of the Hudson River School of American landscape painting. It masterfully fuses a diversity of work across vast social, cultural, and spatial distances, giving us both a new way of understanding sound in art and a powerful new vision of the New 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。