Landscape painting in France between 1870 and 1914 was a battleground, fought over by avant-garde and conservative artists, as well as the Left and Right in French politics. This collection of essays by distinguished contributors throws light on how representing the land became an evolutionary vehicle not only for art but society as well. 70 illustrations.
Throughout this book, the concept of framing is used to look at art, photography, scientific drawings and cinema as visually constituted, spatially bounded productions. The way these genres relate to that which exists beyond the frame, by means of plastic, chemically transposed, pencil-sketched or moving images allows us to decipher the particular language of the visual and at the same time circumscribe the dialectic between presence and absence that is proper to all visual media. Yet, these kinds of re-framing owe their existence to the ruptures and upheavals that marked the demise of certain discursive systems in the past, announcing the emergence of others that were in turn overturned.
This book explores the debate and politicisation of the Transatlantic Trade and Investment Partnership (TTIP) negotiations in the Spanish, French and British public spheres. It addresses the questions of how and to what extent the national media discourses about TTIP were Europeanised, and how this type ofEuropeanisation contributes to the democratic legitimacy of the EU. The author argues that the politicisation of TTIP should be seen as a symptom of the ‘normal’ politics of a democratic polity, as it enlarges the political arena by embedding European issues into national political debates. Demands for ‘Another Europe is Possible’ empower rather than hinder the legitimacy of the EU.
Writers, painters, photographers, illustrators, directors and designers search for the perfect frame to capture, isolate, subvert, or aestheticize an image, and may deploy a range of framing devices to tell their stories: the layered photograph, the jumbled timeframe, the flashback, the voice-over, the unreliable narrator, the hybrid assemblage. Throughout this book, the concept of framing allows us to think together art, photography, scientific drawings and cinema as visually constituted, spatially bounded productions. The way these genres relate to that which exists beyond the frame, by means of plastic, chemically transposed, pencil-sketched or moving images allows us to decipher the particular language of the visual and at the same time circumscribe the dialectic between presence and absence that is proper to all visual media. Yet, these kinds of re-framing owe their existence to the ruptures and upheavals that marked the demise of certain discursive systems in the past, announcing the emergence of others that were in turn overturned.
Debates on immigrant integration often center on “national models of integration,” a concept that reflects the desire of both researchers and policy makers to find common ground. This book challenges the idea that there has ever been a coherent or consistent Dutch model of integration and asserts that though Dutch society has long been seen as exemplary for its multiculturalism—and argues that the incorporation of migrants remains one of the country's most pressing social and political concerns. In addition to an analysis of how immigration is framed and reframed through diverse dialogues, the author provides a highly dynamic overview of integration policy and its evolution alongside migration research.
This book compares how British and Spanish media have covered the French ban on hijab wearing in public schools. Using interdisciplinary approaches ranging from social psychology, semiology, cognitive linguistics and sociology, it seeks to explain how the hijab is interpreted as a sign by the mainstream culture, and hijab-wearing Muslim sub-culture. Based on an analysis of 108 articles published in the national newspaper from each context, this comparative study operates on two levels: a micro-level analysis of within-culture variations between mainstream culture and the hijab-wearing women; and a macro-level analysis of the cross-cultural variation between the British context and the Spanish one. The result is a profound insight into how each discourse reveals the different level of social integration of hijab-wearing women in these two different contexts. The Analysis methodology combines between Critical Discourse Analysis CDA, Conceptual Metaphor Theory CMT, and Cognitive Linguistics CL. The book introduces a novel analysis methodology for social and linguistic sciences. It is the Cognitive Critical Discourse Analysis methodology CCDA.
Incorporating recent theories of feminism and diaspora, Women Artists in Interwar France: Framing Femininities returns the Société des Femmes Artists Modernes, known as FAM, to its proper place in the history of modern art. Paula Birnbaum's study explores how FAM artists including Suzanne Valadon, Marie Laurencin, and Tamara de Lempicka, approached the self-portrait, motherhood and the female nude, as well as their response to marginalization and the reactionary politics of 1930s France.
