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Trans/actions: Art, Film and Death explore the representation of art, artists and art history in film through two primary questions. The first: why are there so many representations of stereotypical mad artists, particularly psychopathic killers and suicidal artists in film when there are so few clearly documented cases of such artists within the history of art? And the second question, with two components: is there a political meaning that is able to be assigned to the proliferation of such films in contemporary society, and what does this say about the producers of such material and the consuming interest in art, death, and crime, of the cinema going public? Employing Jacques Derrida's 'four times around' deconstructive process, the author takes the philosophical injunction to explore the surrounds and approaches to his chosen subjects -- the films of Alfred Hitchcock, Fritz Lang, Roger Corman, Tim Burton, Peter Greenaway, among others -- paying specific attention to 'the work, frame, passé partout (key), title, signature, museum, archive, discourse, marketplace -- in short, wherever there is legislation by marking of the limit' (Derrida, 1987). Each of the chapters move beyond the two original questions and their related components, across and through - trans/acting - various theoretical, historical and critical fields into specific domains of philosophical and political enquiry; for example, the question of the other in the construction of social stereotypes, and the political and libidinal economy of various types of humour: parody, irony and satire. Employing the post-Freudian phantasmatic models developed by Giorgio Agamben, the author discusses the historical construction of various stereotypes for artists, particularly the manner in which these have been ideologically inscribed into the cultural dominant, and thereby become available for reproduction, both in terms of artist's presentation of self in everyday life, and also in terms of cultural representations within the domains of mass and popular culture, specifically cinema. Bruce Barber is an interdisciplinary artist based in Halifax, Nova Scotia where he directs the MFA Program at NSCAD University. He is the research coordinator at the European Graduate School, EGS and the editor of Essays on Performance and Cultural Politicization; Conceptual Art: the NSCAD Connection 1967-1973. Co-editor, with Guilbaut, S., and O'Brian J., Voices of Fire: Art Rage, Power and the State. Editor, Condé + Beveridge: Class Works (2008); author of Performance [Performance] and Performers: Essays and Conversations edited by Marc Léger (2008).

Anbieter: Orell Fuessli CH
Stand: 18.02.2020
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Slow Print
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This book explores the literary culture of Britain's radical press from 1880 to 1910, a time that saw a flourishing of radical political activity as well as the emergence of a mass print industry. While Enlightenment radicals and their heirs had seen free print as an agent of revolutionary transformation, socialist, anarchist and other radicals of this later period suspected that a mass public could not exist outside the capitalist system. In response, they purposely reduced the scale of print by appealing to a small, counter-cultural audience. 'Slow print,' like 'slow food' today, actively resisted industrial production and the commercialization of new domains of life. Drawing on under-studied periodicals and archives, this book uncovers a largely forgotten literary-political context. It looks at the extensive debate within the radical press over how to situate radical values within an evolving media ecology, debates that engaged some of the most famous writers of the era (William Morris and George Bernard Shaw), a host of lesser-known figures (theosophical socialist and birth control reformer Annie Besant, gay rights pioneer Edward Carpenter, and proto-modernist editor Alfred Orage), and countless anonymous others.

Anbieter: Thalia AT
Stand: 18.02.2020
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Trans/Actions
24,99 € *
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Trans/actions: Art, Film and Death explore the representation of art, artists and art history in film through two primary questions. The first: why are there so many representations of stereotypical mad artists, particularly psychopathic killers and suicidal artists in film when there are so few clearly documented cases of such artists within the history of art? And the second question, with two components: is there a political meaning that is able to be assigned to the proliferation of such films in contemporary society, and what does this say about the producers of such material and the consuming interest in art, death, and crime, of the cinema going public? Employing Jacques Derrida's 'four times around' deconstructive process, the author takes the philosophical injunction to explore the surrounds and approaches to his chosen subjects -- the films of Alfred Hitchcock, Fritz Lang, Roger Corman, Tim Burton, Peter Greenaway, among others -- paying specific attention to 'the work, frame, passé partout (key), title, signature, museum, archive, discourse, marketplace -- in short, wherever there is legislation by marking of the limit' (Derrida, 1987). Each of the chapters move beyond the two original questions and their related components, across and through - trans/acting - various theoretical, historical and critical fields into specific domains of philosophical and political enquiry; for example, the question of the other in the construction of social stereotypes, and the political and libidinal economy of various types of humour: parody, irony and satire. Employing the post-Freudian phantasmatic models developed by Giorgio Agamben, the author discusses the historical construction of various stereotypes for artists, particularly the manner in which these have been ideologically inscribed into the cultural dominant, and thereby become available for reproduction, both in terms of artist's presentation of self in everyday life, and also in terms of cultural representations within the domains of mass and popular culture, specifically cinema. Bruce Barber is an interdisciplinary artist based in Halifax, Nova Scotia where he directs the MFA Program at NSCAD University. He is the research coordinator at the European Graduate School, EGS and the editor of Essays on Performance and Cultural Politicization; Conceptual Art: the NSCAD Connection 1967-1973. Co-editor, with Guilbaut, S., and O'Brian J., Voices of Fire: Art Rage, Power and the State. Editor, Condé + Beveridge: Class Works (2008); author of Performance [Performance] and Performers: Essays and Conversations edited by Marc Léger (2008).

Anbieter: Thalia AT
Stand: 18.02.2020
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Combinatorial Number Theory and Additive Group ...
39,99 € *
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This book collects the material delivered in the 2008 edition of the DocCourse in Combinatorics and Geometry which was devoted to the topic of additive combinatorics. The first two parts, which form the bulk of the volume, contain the two main advanced courses, Additive Group Theory and Non-Unique Factorizations by Alfred Geroldinger, and Sumsets and Structure by Imre Z. Ruzsa. The first part centers on the interaction between non-unique factorization theory and additive group theory. The main objective of factorization theory is a systematic treatment of phenomena related to the non-uniqueness of factorizations in monoids and domains. This part introduces basic concepts of factorization theory such as sets of lengths, and outlines the translation of arithmetical questions in Krull monoids into combinatorial questions on zero-sum sequences over the class group. Using methods from additive group theory such as the theorems of Kneser and of Kemperman-Scherk, classical zero-sum constants are studied, including the Davenport constant and the Erdös-Ginzburg-Ziv constant. Finally these results are applied again to the starting arithmetical problems. The second part is a course on the basics of combinatorial number theory (or additive combinatorics): cardinality inequalities (Plünnecke’s graph theoretical method), Freiman’s theorem on the structure of sets with a small sumset, inequalities for the Schnirelmann and asymptotic density of sumsets, analogous results for the measure of sumsets of reals, the connection with the Bohr topology. The third part of the volume collects some of the seminars which accompanied the main courses. It contains contributions by C. Elsholtz, G. Freiman, Y. O. Hamidoune, N. Hegyvari, G. Karolyi, M. Nathanson, J. Solymosi and Y. Stanchescu.

Anbieter: Thalia AT
Stand: 18.02.2020
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