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Image, Text and Audience is the first book dealing with paintings related to Taishokan, the most popular ballad-drama of the 16th century. Key narrative elements in the story include the transmission of a magic jewel from China to Japan and the succession of the Fujiwara family. The narrative provided motifs for historical accounts, Buddhist proselytising texts, a nô play, puppet theatre plays, and satirical novels of the 18th century. This lavishly illustrated book is of interest to scholars of various disciplines including art history, literature, and religious studies. It offers the first annotated translation of the 1632 printed edition of the Taishokan and analyses painted versions on screens, scrolls, fans and manuscripts based on critical concepts and methodologies. The importance of the painting medium in shaping the visual content of each work is a pivotal aspect discussed in the book, along with questions of patronage, reception and gender.

This book contributes to a growing corpus of writing on the body, bringing new perspectives to this fascinating and topical subject. Feminist, psychoanalytic and queer readings, among others, have demonstrated the extent of the functions and roles fulfilled by the body, as well as the number of critical perspectives it can serve. However, by and large, African representations of the body have been overlooked. This coherent volume brings together essays on the portrayal of the body in African art, film, literature, photography and theatre. The book includes thematically linked contributions which explore issues of power and representation, and reflects current trends in the study of the body and more broadly within the field of African Studies.

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This book contributes to a growing corpus of writing on the body, bringing new perspectives to this fascinating and topical subject. Feminist, psychoanalytic and queer readings, among others, have demonstrated the extent of the functions and roles fulfilled by the body, as well as the number of critical perspectives it can serve. However, by and large, African representations of the body have been overlooked. This coherent volume brings together essays on the portrayal of the body in African art, film, literature, photography and theatre. The book includes thematically linked contributions which explore issues of power and representation, and reflects current trends in the study of the body and more broadly within the field of African Studies.

In this classic work, Anthony W. Knapp offers a survey of representation theory of semisimple Lie groups in a way that reflects the spirit of the subject and corresponds to the natural learning process. This book is a model of exposition and an invaluable resource for both graduate students and researchers. Although theorems are always stated precisely, many illustrative examples or classes of examples are given. To support this unique approach, the author includes for the reader a useful 300-item bibliography and an extensive section of notes.

In this classic work, Anthony W. Knapp offers a survey of representation theory of semisimple Lie groups in a way that reflects the spirit of the subject and corresponds to the natural learning process. This book is a model of exposition and an invaluable resource for both graduate students and researchers. Although theorems are always stated precisely, many illustrative examples or classes of examples are given. To support this unique approach, the author includes for the reader a useful 300-item bibliography and an extensive section of notes.

In this classic work, Anthony W. Knapp offers a survey of representation theory of semisimple Lie groups in a way that reflects the spirit of the subject and corresponds to the natural learning process. This book is a model of exposition and an invaluable resource for both graduate students and researchers. Although theorems are always stated precisely, many illustrative examples or classes of examples are given. To support this unique approach, the author includes for the reader a useful 300-item bibliography and an extensive section of notes.

Hardcover: 391 pages Publisher: Addison-Wesley Pub (Sd) (January 1990) Language: English

In this classic work, Anthony W. Knapp offers a survey of representation theory of semisimple Lie groups in a way that reflects the spirit of the subject and corresponds to the natural learning process. This book is a model of exposition and an invaluable resource for both graduate students and researchers. Although theorems are always stated precisely, many illustrative examples or classes of examples are given. To support this unique approach, the author includes for the reader a useful 300-item bibliography and an extensive section of notes.

Hardcover: 391 pages Publisher: Addison-Wesley Pub (Sd) (January 1990) Language: English

Appears unread. May have a retail sticker on back cover or remainder mark on the text block

This book reconsiders a wide array of images of Byzantine empresses on media as diverse as bronze coins and gold mosaic from the fifth through to the seventh centuries A.D. The representations have often been viewed in terms of individual personas, but strong typological currents frame their medieval context. Empress Theodora, the target of political pornography, has consumed the bulk of past interest, but even her representations fit these patterns. Methodological tools from fields as disparate as numismatics as well as cultural and gender studies help clarify the broader cultural significance of female imperial representation and patronage at this time.

The third in the "Understanding the Moving Image" series, this book aims to provide a critical and theoretical base for the study of the media. It offers innovative ways of talking about the key concept of representation, and also looks outside our ethnocentric mediated world to see how we are represented to others.

Ann Vasaly introduces representation theory into the study of Ciceronian persuasion and contends that an understanding of milieu―social, political, topographical―is crucial to understanding Ciceronian oratory. As a genre uniquely dependent on an immediate interaction between author and audience, ancient oratory becomes performance art.Vasaly investigates the way Cicero represented the contemporary physical world―places, topography, and monuments, both those seen and those merely mentioned―to his listeners and demonstrates how he used these representations to persuade. Her exceptionally well-written study deftly recaptures the immediacy of Cicero's oratory and makes a trenchant contribution to an important new area of inquiry in Classical Studies.

In eight essays expanded and revised from papers presented at a symposium on the relation of mnemonic function to pictorial representation, held at Johns Hopkins U. (no date noted), scholars in psychology, anthropology, art history, and social history argue that memory is not a neurological recording device, but is constructed using visual images. Annotation copyright Book News, Inc. Portland, Or.

Visual Research Methods: Image, Society, and Representation translates abstract concepts into visually-compelling elements of everyday life. Differing from photographs as illustration, this edited volume synthesizes images with analytic questions about the world "out there." Editor Gregory C. Stanczak crisscrosses disciplines in ways that highlight the multiple manifestations of a new interdisciplinary trend.

During the 1930s and 1940s, women artists associated with the Surrealist movement produced a significant body of self-images that have no equivalent among the works of their male colleagues. While male artists exalted Woman's otherness in fetishized images, women artists explored their own subjective worlds. The self-images of Claude Cahun, Dorothea Tanning, Leonora Carrington, Frida Kahlo, Meret Oppenheim, Remedios Varo, Kay Sage, and others both internalize and challenge conventions for representing femininity, the female body, and female subjectivity. Many of the representational strategies employed by these pioneers continue to resonate in the work of contemporary women artists. The words "Surrealist" and "surrealism" appear frequently in discussions of such contemporary artists as Louise Bourgeois, Ana Mendieta, Cindy Sherman, Francesca Woodman, Kiki Smith, Dorothy Cross, Michiko Kon, and Paula Santiago.This book, which accompanies an exhibition organized by the MIT List Visual Arts Center, explores specific aspects of the relationship between historic and contemporary work in the context of Surrealism. The contributors reexamine art historical assumptions about gender, identity, and intergenerational legacies within modernist and postmodernist frameworks. Questions raised include: how did women in both groups draw from their experiences of gender and sexuality? What do contemporary artistic practices involving the use of body images owe to the earlier examples of both female and male Surrealists? What is the relationship between self-image and self- knowledge?Contributors : Dawn Ades, Whitney Chadwick, Salomon Grimberg, Katy Kline, Helaine Posner, Susan Rubin Suleiman, Dickran Tashjian.

Pictures are often admired for their aesthetic merits but they are rarely treated as if they had as much to offer as the written word. They are often overlooked as objects of analysis themselves, and tend to be seen simply as adjuncts to the text. Images, however, are not passive, and have a direct impact that engages attention in ways independent of any specific text. Advertising, entertainment and propaganda have realised the extent of this power to shape ideas, but the scientific community has hitherto neglected the ways in which visual material conditions the ways in which we think.With subjects including prehistoric artworks, excavation illustrations, artists' impressions of ancient sites and peoples and contemporary landscapes, photographs and drawings, this study explores how pictures shape our perceptions and our expectations of the past.This volume is not concerned with the accuracy of pictures from the past or directly about the past itself, but is interested instead in why certain subjects are selected, why they are depicted the way they are, and what effects such images have on our idea of the past. This collection constitutes a ground-breaking study in historiography which radically reassesses the ways that history can be written.

Pictures are often admired for their aesthetic merits but they are rarely treated as if they had as much to offer as the written word. They are often overlooked as objects of analysis themselves, and tend to be seen simply as adjuncts to the text. Images, however, are not passive, and have a direct impact that engages attention in ways independent of any specific text. Advertising, entertainment and propaganda have realised the extent of this power to shape ideas, but the scientific community has hitherto neglected the ways in which visual material conditions the ways in which we think.With subjects including prehistoric artworks, excavation illustrations, artists' impressions of ancient sites and peoples and contemporary landscapes, photographs and drawings, this study explores how pictures shape our perceptions and our expectations of the past.This volume is not concerned with the accuracy of pictures from the past or directly about the past itself, but is interested instead in why certain subjects are selected, why they are depicted the way they are, and what effects such images have on our idea of the past. This collection constitutes a ground-breaking study in historiography which radically reassesses the ways that history can be written.

Softcover. Good binding and cover. Clean, unmarked pages.