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"Disassembling the Archive is a quasi-fictional correspondence with the artist Fiona Tan. It departs from interpretations of post-colonial identity issues in her work to trace the implications of the archival housing of photographs and moving images. By way of a detour through Siegfried Kracauer's writing on photography and Jacques Derrida's writing on the Freudian impression, we witness - right before our eyes - the disintegrative and destructive effect of photography on the archive."--BOOK JACKET.
Now republished with minor corrections, this volume provides the first comprehensive collection of charters, letters and other documents issued by native rulers of Wales from the early twelfth century to the Edwardian conquest of 1282 - 3 that extinguished independent rule.
How to double-cross Hollywood as an artist? This first monograph on British artist Douglas Gordon analyses all of the artist's video projection installations that are based on his appropriations of Hollywood film noir or Hitchcock films, examining Gordon's language works as well. Counter to the usual interpretations of Gordon's work as a dichotomy between good and evil, Double-Cross argues that his work is all about dissemblance, with the dichotomy only one deception among others. It also argues that, with the inaugural separation of the components of sound and image in his work, one of the artist's disguises is that of an author. All the fragments of the artist's work--projections, language works, photography--add up to the production of a criminal author. His final disguise is that of an experimental filmmaker whose subject is not the film noir themes of trust, guilt, fate, and the madness of the double that appear as the content of his work, but the temporality of the spectator's engagement.
The book ranges widely through frontier myth, American foreign policy, technology, war, film history, psychoanalytic theory (Nicholas Abraham and Maria Torok's cryptonymy), and philosophy (Jacques Derrida and Emmanuel Levinas), as it weaves art analysis into the troubled history of a social artifact. As Blake tells his story purely through images issuing as haunting from the architecture of Winchester house, Spirit Hunter pursues its speculation on the secrets Sarah Winchester shielded through her fabled mansion into the image itself to question whether she was hostage to her haunting or to national myth.
This careful and scholarly study assembles and discusses the available evidence for the ecllesiastical organisation of the Church of the East (the so-called 'Nestorian' church) in the Middle East between the fourteenth and twentieth centuries. The author has built on the work of the late J.M. Fiey, but has covered a wider geographical area and used a much wider range of sources. Besides drawing on the memoirs of European and American missionaries and other literary sources, the author has consulted a large number of manuscript catalogues, many of which are only accessible in Arabic sources, and has analysed the evidence of more than 2.500 East Syrian manuscript colophons to establish the dioceses of the Church of the East at different periods, to identify its ecclesiastical elites (patriarchs, bishops, priests, deacons and scribes), and to analyse the rivalry between the church's traditionalist and Catholic wings after the schism of 1552. The study contains a number of detailed maps, which localise hundreds of East Syrian villages in Kurdistan, and will be an indispensable reference tool for scholars of the Church of the East.
The monastery of Monte Cassino, founded by St. Benedict in the sixth century, was the cradle of Western monasticism. It became one of the vital centers of culture and learning in Europe. At the height of its influence, in the eleventh and early twelfth centuries, two of its abbots (including Desiderius) and one of its monks became popes, and it controlled a vast network of dependencies--churches, monasteries, villages, and farms--especially in central and southern Italy. Herbert Bloch's study, the product of forty years of research, takes as its starting point the twelfth-century bronze doors of the basilica of the abbey, the most significant relic of the medieval structure. The panels of th...
'Hugh de Singleton is a delight... the well-crafted plot, the excellent period detail and the flashes of humour.' Donna Fletcher Crow, author of The Monastery Murders "My life would have been more tranquil in the days after Martinmas had I not seen the crows. Whatever it was that the crows had found lay in the dappled shadow of the bare limbs of the oak, so I was nearly upon the thing before I recognized what the crows were feasting upon. The corpse wore black." Master Hugh is making his way towards Oxford when he discovers the young Benedictine - a fresh body, barefoot - not half a mile from the nearby abbey. The abbey's novice master confirms the boy's identity: John, one of three novices. But he had gone missing four days previously, and his corpse is fresh. There has been plague in the area, but this was not the cause of death: the lad has been stabbed in the back. To Hugh's sinking heart, the abbot has a commission for him ... A new and disturbing puzzle for the medieval surgeon-turned-sleuth.