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Critical distance in documentary media
This collection of essays presents new formulations of ideas and practices within documentary media that respond critically to the multifaceted challenges of our age. As social media, augmented reality, and interactive technologies play an increasing role in the documentary landscape, new theorizations are needed to account for how such media both represents recent political, socio-historical, environmental, and representational shifts, and challenges the predominant approaches by promoting new critical sensibilities. The contributions to this volume approach the idea of \"critical distance\" in a documentary context and in subjects as diverse as documentary exhibitions, night photography, drone imagery, installation art, mobile media, nonhuman creative practices, sound art and interactive technologies. It is essential reading for scholars, practitioners and students working in fields such as documentary studies, film studies, cultural studies, contemporary art history and digital media studies.
Book
Disturbing Indians
How Faulkner, Welty, Lytle, and Gordon reimagined and
reconstructed the Native American past in their
work.
In this book, Annette Trefzer argues that not only have
Native Americans played an active role in the construction of
the South’s cultural landscape—despite a history of
colonization, dispossession, and removal aimed at rendering
them invisible—but that their under-examined presence in
southern literature also provides a crucial avenue for a
post-regional understanding of the American South. William
Faulkner, Eudora Welty, Andrew Lytle, and Caroline Gordon
created works about the Spanish conquest of the New World, the
Cherokee frontier during the Revolution, the expansion into the
Mississippi Territory, and the slaveholding societies of the
American southeast. They wrote 100 years after the forceful
removal of Native Americans from the southeast but consistently
returned to the idea of an \"Indian frontier,\" each articulating
a different vision and discourse about Native
Americans—wholesome and pure in the vision of some,
symptomatic of hybridity and universality for others.
Trefzer contends that these writers engage in a double
discourse about the region and nation: fabricating regional
identity by invoking the South’s \"native\" heritage and
pointing to issues of national guilt, colonization, westward
expansion, and imperialism in a period that saw the US sphere
of influence widen dramatically. In both cases, the \"Indian\"
signifies regional and national self-definitions and
contributes to the shaping of cultural, racial, and national
\"others.\" Trefzer employs the idea of archeology in two senses:
quite literally the excavation of artifacts in the South during
the New Deal administration of the 1930s (a surfacing of
material culture to which each writer responded) and archeology
as a method for exploring texts she addresses (literary digs
into the textual strata of America’s literature and its
cultural history).
eBook
New Music at Darmstadt
New Music at Darmstadt explores the rise and fall of the so-called 'Darmstadt School', through a wealth of primary sources and analytical commentary. Martin Iddon's book examines the creation of the Darmstadt New Music Courses and the slow development and subsequent collapse of the idea of the Darmstadt School, showing how participants in the West German new music scene, including Herbert Eimert and a range of journalistic commentators, created an image of a coherent entity, despite the very diverse range of compositional practices on display at the courses. The book also explores the collapse of the seeming collegiality of the Darmstadt composers, which crystallised around the arrival there in 1958 of the most famous, and notorious, of all post-war composers, John Cage, an event Carl Dahlhaus opined 'swept across the European avant-garde like a natural disaster'.
eBook
Plagiarism and Literary Property in the Romantic Period
In a series of articles published in Tait's Magazine in 1834, Thomas DeQuincey catalogued four potential instances of plagiarism in the work of his friend and literary competitor Samuel Taylor Coleridge. DeQuincey's charges and the controversy they ignited have shaped readers' responses to the work of such writers as Coleridge, Lord Byron, William Wordsworth, and John Clare ever since. But what did plagiarism mean some two hundred years ago in Britain? What was at stake when early nineteenth-century authors levied such charges against each other? How would matters change if we were to evaluate these writers by the standards of their own national moment? And what does our moral investment in plagiarism tell us about ourselves and about our relationship to the Romantic myth of authorship?In Plagiarism and Literary Property in the Romantic Period, Tilar Mazzeo historicizes the discussion of late eighteenth- and early nineteenth-century plagiarism and demonstrates that it had little in common with our current understanding of the term. The book offers a major reassessment of the role of borrowing, textual appropriation, and narrative mastery in British Romantic literature and provides a new picture of the period and its central aesthetic contests. Above all, Mazzeo challenges the almost exclusive modern association of Romanticism with originality and takes a fresh look at some of the most familiar writings of the period and the controversies surrounding them.
eBook
William of Ockham’s Early Theory of Property Rights in Context
This book analyzes William of Ockham's early theory of property rights alongside those of his fellow dissident Franciscans, paying careful attention to each friar's use of Roman and civil law, which provided the conceptual building blocks of the poverty controversy.
eBook
Constructing the Coens : from Blood simple to Inside Llewyn Davis
Combines recent developments in cognitive film theory, genre studies, and adaptation theory to isolate the ways in which the Coens encourage spectators to participate in the ongoing construction of their movies.
BOOK
The Romance Epics of Boiardo, Ariosto, and Tasso
InThe Romance Epics of Boiardo, Ariosto, and Tasso, Jo Ann Cavallo attempts a new interpretation of the history of the renaissance romance epic in northern Italy, focusing on the period's three major chivalric poets. Cavallo challenges previous critical assumptions about the trajectory of the romance genre, especially regarding questions of creative imitation, allegory, ideology, and political engagement.
In tracing the development of the romance epic against the historical context of the Ferrarese court and the Italian peninsula, Cavallo moves from a politically engaged Boiardo, whose poem promotes the tenets of humanism, to an individualistic Tasso, who opposed the repressive aspects of the counter-reformation culture he is often thought to represent. Ariosto is read from the vantage of his predecessor Boiardo, and Cavallo describes his cynicism and later mellowing attitude toward the real-world relevance of his and Boiardo's fiction.The Romance Epics of Boiardo, Ariosto, and Tassois the first critical study to bring together the three poets in a coherent vision that maps changes while uncovering continuities.
eBook