This analysis of painted versions of the Taishokan, a Muromachi-period story about the transmission of a magic jewel from China to Japan and the succession of the Fujiwara family, includes an annotated translation of the 1632 Daigashira edition. The catalogue of Taishokan pictures, tables of represented scenes, and chronology also document versions of the narrative on hanging scrolls, folding screens, handscrolls, fans, illuminated manuscripts, printed books, and ukiyoe prints.
Expanding upon longstanding concerns in cultural history about the relation of text and image, this book explores how ideas move across and between expressive forms. The contributions draw from art and architectural history, film, theater, performance studies, and social and cultural history to identify and dissect the role that the visual and performing arts can play in the experience and understanding of the past.The essays highlight the role of oral history in the documentation of the visual and performing arts. They share a common set of questions as they explore, firmly grounded in their distinctive disciplinary standpoints, the circuit of word, gesture, object in the formation and reproduction of knowledge, identity, and community. Blending theory and case study, they cover subjects such as the response of artists to the South African Truth and Reconciliation Commission; violence in Columbia and Mexico and the Balkan Wars; the circuit of sexual desire in contemporary art and photography; and sites of collective and personal memory, including the Internet, the urban landscape, family photographs, and hip hop.Stressing the relationship of media to the formation of collective memory, the volume explores how media intertextuality creates overlapping repertoires for understanding the past and the present. Scholars of art history, media and cultural studies, literature, and performance studies will all find this work a valuable resource.
Whether we are watching TV, surfing the Internet, listening to our iPods, or reading a novel, we all engage with media as an audience. . Despite the widespread use of this term in our popular culture, the meaning of "audience" is complex, and it has undergone significant historical shifts as new forms of mediated communication have developed from print, telegraphy, and radio to film, television, and the Internet. Media Audiences: Effects, Users, Institutions, and Power 2nd Edition explores the concept of media audiences from four broad perspectives: as "victims" of mass media, as market constructions and commodities, as users of media, and as producers and subcultures of mass media. The goal of the text is for students to be able to think critically about the role and status of media audiences in contemporary society, reflecting on their relative power in relation to institutional media producers.
Visual Texts explores the complex, demanding and highly rewarding area of visual texts. Making meaning from motion pictures, television, multimedia, graphics and design requires specific skills. Visual Texts uses case studies, examples and guided activities to help students engage with the world of visual texts in a structured and coordinated way. Visual Texts explores: movie techniques, cartoons, comics and 'graphic novels', computer games, magazines, picture books, TV, postcards and brochures, the Internet.
"This book sets out to establish the state of the art of screen translation and at the same time to underscore the work of scholars following new paths of investigation both in terms of innovative linguistic mediations being examined and pioneering experimental design." "The volume includes descriptions of sophisticated electronic databases and corpora of audiovisual products for the big and small screen, and the rationale behind them. Furthermore, Between Text and Image also includes a number of cutting edge studies in audience perception of audiovisual products." "Finally, the volume does not fail to ignore examples of original research carried out from both a traditional linguistic viewpoint and from a more cultural perspective."--P. [4] de la couv.
While ideology has been treated widely in CDA-literature, the role played by the interaction of text and image in multiplying meaning and furthering ideological stances has not so far received a lot of attention. Mediating Ideology in Text and Image offers a number of approaches to such analysis, offering students and academics valuable tools for identifying possible discrepancies between the world and the way it is represented through various mediational means. The authors' common aim is one of assisting the audience in reading between the lines, thus offering a variety of approaches that may contribute to a better understanding of how ideologies possibly work and how they may be denaturalised from text and image. The articles in part I look at rhetorical strategies used in meaning construction processes unfolding in various kinds of mass media. Part II focuses on the re-semiotization of meaning and looks at how analysing the combination of text and image may contribute to a better understanding of ideological processes brought about by multimodal resources. Foreword by Ruth Wodak.
A reader may be in" a text as a character is in a novel, but also as one is in a train of thought--both possessing and being possessed by it. This paradox suggests the ambiguities inherent in the concept of audience. In these original essays, a group of international scholars raises fundamental questions about the status--be it rhetorical, semiotic and structuralist, phenomenological, subjective and psychoanalytic, sociological and historical, or hermeneutic--of the audience in relation to a literary or artistic text. Originally published in 1980. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Images from the ancient Near East are an important though generally underutilized source of data for interpreting the Hebrew Bible and the cultural context from which it emerged. The essays in this volume highlight the ways that ancient Near Eastern iconography can inform exegesis. This aim is accomplished through case studies in iconographic exegesis that exhibit sound methodologies for relating images and texts. Since the 1970s, biblical scholars have been turning increasingly to iconography as a source for understanding the religion, history and literature of the ancient Near East. The essays in this volume tackle two thorny issues: 1) how images reflect the cultures that produce them and 2) the nature of the relationship between images and texts, both within discrete cultures and among different cultures. Until now, there have been relatively few methodologically self-conscious treatments of ancient iconography and its relationship to the biblical text. So this volume addresses a clear need for demonstrating transparent and consistent methods for iconographic work among biblical scholars.
