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Photo-texts
What do photographs want? Do they need any accompaniment in today's image-saturated society? Can writing inflect photography (or vice versa) in such a way that neither medium takes precedence? Or are they in constant, inexorable battle with each other? Taking nine case studies from the 1990s French-speaking world (from France, North Africa and the Caribbean), this book attempts to define the interaction between non-fictional written text (caption, essay, fragment, poem) and photographic image. Having considered three categories of 'intermediality' between text and photography - the collaborative, the self-collaborative and the retrospective - the book concludes that the dimensions of their interaction are not simple and two-fold (visuality versus/alongside textuality), but threefold and therefore 'complex'. Thus, the photo-text, as defined here, is concerned as much with orality - the demotic, the popular, the vernacular - as it is with visual and written culture. That text-image collaborations give space to the spoken, spectral traces of human discourse, suggests that the key element of the photo-text is its radical provisionality.
Semiotics, Law & Art
This book presents an interdisciplinary study of the relation between semiotics, law & art. Focusing on Greimasian semiotics, it examines specific works of art (from Giotto to Banksy) that deal with the theme of justice, promoting a more sensitive and humanized perception of the values that surround law. The book offers readers a comprehensive review of the semiotics of law, critically examining the relation between law & art. It covers a variety of topics, including semiotics, law and art; semiotics, art and experience; and society, law and art, as well as semiotics, law and painting; semiotics, law and architecture; semiotics, law and theatre; semiotics, law and literature; and semiotics, ...
Artful Deceptions
Selected papers from a conference organized at the National University of Ireland, Galway, in April 2004.
Touching Surfaces
Who isn't seduced by the idea of an affinity between aging and aesthetics? Yet, when does aging truly begin? What attributes does the aesthetic embrace? Looking into startling photographic art of the past three decades, this book is prompted by such questions and turns them into a meditation on how aesthetics mediates our relation to time. The photographic approach of the corporeal is at the center of the book. Within a phenomenological framework, Cristofovici brings into focus the physical and the psychic body to read aging as a process of change and becoming over time. Her understanding of aging sees beyond difference into larger patterns of perceptions that we share. Offering valuable insights into aging as a process of subject construction, this book will be of interest to students and scholars of visual culture, photography, art history, age studies, and theories of knowledge. This cross-disciplinary study that puts theory to the test of life's and art's paradoxes in an evocative style will also appeal to a wider readership interested in how photography and aging illuminate each other.
The Poetics of the Margins
This volume contains a selection of the proceedings of a conference on European problems of identity titled Europe and its Others, which was held in St Andrews in July 2007. It looks at some of the histories and stories that connect the European margins to an imagined or imaginary centre of this complex continent as seen mostly from within, and with self-reflective insights from literary, socio-historical and cinematic perspectives. By following the marginal route created by the essays, the volume juxtaposes, as in a mosaic, a range of artistic discourses produced in many European languages. Each of these discourses highlights a different perception of belonging or not belonging to Europe; and each of these discourses brings to the fore in its respective society a fresh perspective on new European territories seen not as 'the other' but rather as contiguous tiles in a mosaic of idiosyncrasies. Lying one next to the other, these territories engage in dialogue poetically - harmoniously or dissonantly - in an attempt to create through their juxtaposition an enigmatic poetic discourse of the margins.
Representing Sylvia Plath
Interest in Sylvia Plath continues to grow, as does the mythic status of her relationship with Ted Hughes, but Plath is a poet of enduring power in her own right. This book explores the many layers of her often unreliable and complex representations and the difficult relationship between the reader and her texts. The volume evaluates the historical, familial and cultural sources which Plath drew upon for material: from family photographs, letters and personal history to contemporary literary and cinematic holocaust texts. It examines Plath's creative processes: what she does with materials ranging from Romantic paintings to women's magazine fiction, how she transforms these in multiple drafts and the tools she uses to do this, including her use of colour. Finally the book investigates specific instances when Plath herself becomes the subject matter for other artists, writers, film makers and biographers.
Photographic Travel Books
Since early in its history, photography has been used by a diversity of travellers, whose collected photographs have been compiled into albums. But Photographic Travel as a genre of art did not appear before the second half of the twentieth century, and had a singular fate and fortune in the US as well as in Europe. The initial objective of some itinerant photographers is to make a book; their shooting practice is conditioned by this objective, as well as their travel experience. Their books – designed as one coherent hole – refer to their wandering experience, even though their stories are never completely free from fiction. In these books, their travels are converged, and their subjectivity is revealed. It is therefore relevant to call such books made of photographies, and possibly words about the travel experience, Photographic Travel books (comparably to Travel books). Danièle Méaux has tackled the task of characterizing this genre.
The Photographer as Autobiographer
This book explores hybrid memoirs, combining text and images, authored by photographers. It contextualizes this sub-category of life writing from a historical perspective within the overall context of life writing, before taking a structural and cognitive approach to the text/image relationship. While autobiographers use photographs primarily for their illustrative or referential function, photographers have a much more complex interaction with pictures in their autobiographical accounts. This book explores how the visual aspect of a memoir may drastically alter the reader’s response to the work, but also how, in other cases, the visual parts seem disconnected from the text or underused.
