Direkt zur Hauptnavigation springen Direkt zum Inhalt springen
info(at)avldigital.remove-this.de
Deutsch English
Filtern nach
Aktive Filter
Letzte Suchanfragen

Ergebnisse für *

Zeige Ergebnisse 1 bis 2 von 2.

  1. Portraits of violence
    war and the aesthetics of disfigurement
    Autor*in: Biernoff, Suzannah
    Erschienen: © 2017
    Verlag:  University of Michigan Press, Ann Arbor

    Portraits of Violence explores the image and idea of facial disfigurement in one of its most troubling modern formations, as a symbol and consequence of war. It opens with Nina Berman's iconic photograph Marine Wedding, which provoked a debate about... mehr

    Standort:
    Bayerische Staatsbibliothek
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe

    Standort:
    Zentralinstitut für Kunstgeschichte, Bibliothek
    Fernleihe:
    keine Ausleihe von Bänden, nur Papierkopien werden versandt

     

    Portraits of Violence explores the image and idea of facial disfigurement in one of its most troubling modern formations, as a symbol and consequence of war. It opens with Nina Berman's iconic photograph Marine Wedding, which provoked a debate about the medical, military, and psychological response to serious combat injuries. While these issues remain urgent, it is equally crucial to interrogate the representation of war and injury. The concepts of valor, heroism, patriotism, and courage assume visible form and do their cultural work when they are personified and embodied. The mutilated or disabled veteran's body can connote the brutalizing, dehumanizing potential of modern combat. Suzannah Biernoff draws on a wide variety of sources mainly from WWI but also contemporary photography and computer games. Each chapter revolves around particular images: Marine Wedding is discussed alongside Stuart Griffiths' portraits of British veterans; Henry Tonks' drawings of WWI facial casualties are compared to the medical photographs in the Gillies Archives; the production of portrait masks for the severely disfigured is approached through the lens of documentary film and photography; and finally the haunting image of one of Tonks's patients reappears in BioShock, a highly successful computer game. The book simultaneously addresses a neglected area in disability studies; puts disfigurement on the agenda for art history and visual studies; and makes a timely and provocative contribution to the literature on the First World War

     
    Export in Literaturverwaltung   RIS-Format
      BibTeX-Format
    Hinweise zum Inhalt
    Quelle: Verbundkataloge
    Sprache: Englisch
    Medientyp: Buch (Monographie)
    ISBN: 9780472130290
    Schriftenreihe: Corporealities : Discourses of disability
    Schlagworte: Gesellschaftskritik; Ästhetik; Verwundung; Krieg; Visualisierung
    Weitere Schlagworte: Mutilation / Treatment; War wounds / Treatment; Prosthesis / Case studies; Theatrical prosthetic makeup; Disabled veterans / Rehabilitation; Disfigured persons / Treatment; Surgery, Plastic
    Umfang: viii, 213 Seiten, Illustrationen, Portraits, 24 cm
    Bemerkung(en):

    Introduction -- 1. The elusive portrait -- 2. Aversion : a history -- 3. Repairing war's ravages -- 4. Flesh poems -- 5. The afterlife of Henry Lumley -- Conclusion
  2. Portraits of violence
    war and the aesthetics of disfigurement
    Autor*in: Biernoff, Suzannah.
    Erschienen: © 2017
    Verlag:  University of Michigan Press, Ann Arbor

    Portraits of Violence explores the image and idea of facial disfigurement in one of its most troubling modern formations, as a symbol and consequence of war. It opens with Nina Berman's iconic photograph Marine Wedding, which provoked a debate about... mehr

     

    Portraits of Violence explores the image and idea of facial disfigurement in one of its most troubling modern formations, as a symbol and consequence of war. It opens with Nina Berman's iconic photograph Marine Wedding, which provoked a debate about the medical, military, and psychological response to serious combat injuries. While these issues remain urgent, it is equally crucial to interrogate the representation of war and injury. The concepts of valor, heroism, patriotism, and courage assume visible form and do their cultural work when they are personified and embodied. The mutilated or disabled veteran's body can connote the brutalizing, dehumanizing potential of modern combat. Suzannah Biernoff draws on a wide variety of sources mainly from WWI but also contemporary photography and computer games. Each chapter revolves around particular images: Marine Wedding is discussed alongside Stuart Griffiths' portraits of British veterans; Henry Tonks' drawings of WWI facial casualties are compared to the medical photographs in the Gillies Archives; the production of portrait masks for the severely disfigured is approached through the lens of documentary film and photography; and finally the haunting image of one of Tonks's patients reappears in BioShock, a highly successful computer game. The book simultaneously addresses a neglected area in disability studies; puts disfigurement on the agenda for art history and visual studies; and makes a timely and provocative contribution to the literature on the First World War

     
    Export in Literaturverwaltung   RIS-Format
      BibTeX-Format
    Hinweise zum Inhalt
    Quelle: Verbundkataloge
    Sprache: Englisch
    Medientyp: Buch (Monographie)
    Format: Druck
    ISBN: 9780472130290
    RVK Klassifikation: LH 84380
    Schriftenreihe: Corporealities: Discourses of disability
    Schlagworte: Krieg; Verwundung; Körperliche Entstellung; Visualisierung; Gesellschaftskritik; Ästhetik;
    Weitere Schlagworte: Mutilation / Treatment; War wounds / Treatment; Prosthesis / Case studies; Theatrical prosthetic makeup; Disabled veterans / Rehabilitation; Disfigured persons / Treatment; Surgery, Plastic
    Umfang: viii, 213 Seiten, Illustrationen, Portraits, 24 cm
    Bemerkung(en):

    Literaturverzeichnis Seite 197-205

    Introduction -- 1. The elusive portrait -- 2. Aversion : a history -- 3. Repairing war's ravages -- 4. Flesh poems -- 5. The afterlife of Henry Lumley -- Conclusion