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Author: Dominic Rahtz

become separate and opposed terms. In the example used by Marx, there was no naturally motivated relationship such as there was between the form and the material stuff of a tree. 65 Form became merely the remainder of living labour and had nothing to do with the material that had been formed – “labour

In: Metaphorical Materialism
Author: Kerr Houston

also recalled a prominent recent subscription campaign run by Life in March of 1959, when stock inserts in the magazine read “Whatever it is, wherever it happens, with LIFE, you’re there , to see it with your own eyes as little as four days after it happens!” (fig. 32). You’re there : in Kaprow

In: The Place of the Viewer
Author: Dawn Odell

collection of Chinese art that is the focus of this essay was owned by a Dutch-born emigrant to the early United States, Andreas Everardus van Braam Houckgeest [1739–1801]. Although Van Braam lived in China at several points during his life, his collection of art was amassed during his final residence in

In: Ekphrastic Image-making in Early Modern Europe, 1500–1700
Author: Kerr Houston

the topic of embodied experience.” 8 For there is in fact a long-standing tradition of attention to mobile viewership in art historical discourse – which was often motivated, in turn, by the stated interests of practicing artists and by the visible features of works of art. Moreover, this strand of

In: The Place of the Viewer
Author: Kerr Houston

sensed that his subject, moored in the past, was constantly growing more remote. Consequently, any history of Greek art would unavoidably depend upon hypothesis and rest upon mere fragments: a necessarily partial affair. Although it was motivated in part by an awareness of temporal distance

In: The Place of the Viewer

and regulate the meaning of her words. 4 Godeau was among these first members of the Academy. 5 In the midst of all his worldly success, Godeau decided to pursue a life within the clergy. We have little information about what motivated this decision, but he climbed very fast through the episcopal

In: Ekphrastic Image-making in Early Modern Europe, 1500–1700

, was Panofsky. See Wood, “Source” 19. 89 On Thausing’s life, see Rosenauer A., “Moriz Thausing und die Wiener Schule der Kunstgeschichte”, Wiener Jahrbuch für Kunstgeschichte 36 (1983) 135 ff; Aurenhammer H.H., “150 Jahre Kunstgeschichte an der Universität Wien (1852–2002) Eine

In: Ekphrastic Image-making in Early Modern Europe, 1500–1700
Author: Karl Enenkel

leaves the feet of his master; He, a rapacious monster, always enjoys living on prey. 40 In this case, the most important example for Lazzarelli’s ekphrasis was Petrarch’s description of the god in the Africa . Albricus and Boccaccio do not have a separate chapter on Mars (they treat him only

In: Ekphrastic Image-making in Early Modern Europe, 1500–1700

by the winds’, whither Orpheus took himself to sing his songs of metamorphosis, analogues to the transformation of life into living death, both his and Eurydice’s, that he ultimately commemorates, after losing Eurydice a second time. 12 Seen in this light, the trees that populate the foreground

In: Ekphrastic Image-making in Early Modern Europe, 1500–1700
Author: Ringo Rösener

least one scene which makes explicit, and names, particular effects of terrorism. However, before dwelling on these scenes, I will relate my thoughts to the anthology . That is, I will first suggest a mode how fictional films deal with problems of “real life.” Following this, I will return to my

In: The Real of Reality: The Realist Turn in Contemporary Film Theory