9780262037877 - The Eye of History: When Images Take Positions (RIC BOOKS (Ryerson Image Centre Books)) de Didi-Huberman, Georges (29 resultados)

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Hardcover. Condición: new. Hardcover. An exploration of the interaction of aesthetics and politics in Bertolt Brecht's "photoepigrams."An exploration of the interaction of aesthetics and politics in Bertolt Brecht's "photoepigrams."From 1938 to 1955, Bertolt Brecht created montages of images and text, filling his working journal (Arbeitsjournal) and his idiosyncratic atlas of images, War Primer, with war photographs clipped from magazines and adding his own epigrammatic commentary. In this book, Georges Didi-Huberman explores the interaction of politics and aesthetics in these creations, explaining how they became the means for Brecht, a wandering poet in exile, to "take a position" about the Nazi war in Europe. Illustrated with pages from the Arbeitsjournal and War Primer and contextual images including Raoul Hausmann's poem-posters and Walter Benjamin's drawings, The Eye of History offers a new view of important but little-known works by Brecht.Didi-Huberman shows that Brecht took positions without taking sides; he used these montages to challenge the viewpoints of the press and propose other readings, to offer a stylistic and political response to the inescapable visibility of historical events enabled by the photographic medium. Brecht's montages disrupt and scrutinize this visibility by juxtaposing representations of war found in magazines with his own epigrams-a "documentary lyricism" that dismounts and remounts modern history. The montages created meaningful disorder, exposing the truth by disorganizing-a process Didi-Huberman calls a "dialectic of the monteur." These works are examples of "the eyes of history"-when seeing may simultaneously deepen and critique historical knowledge. The montages Didi-Huberman argues, are Brecht's most Benjaminian works. An exploration of the interaction of aesthetics and politics in Bertolt Brecht's photoepigrams. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Condición: New. 2018. hardcover. . Not a first edition copy. . . . Books ship from the US and Ireland.

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Condición: New. 2018. hardcover. . Not a first edition copy. . . .

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Condición: as new. Toronto : RIC Books & Cambridge, Massachusetts : MIT Press, 2018. Hardcover. xxx,257 pp. - An exploration of the interaction of aesthetics and politics in Bertolt Brecht's photoepigrams. From 1938 to 1955, Bertolt Brecht created montages of images and text, filling his working journal (Arbeitsjournal) and his idiosyncratic atlas of images, War Primer, with war photographs clipped from magazines and adding his own epigrammatic commentary. In this book, Georges Didi-Huberman explores the interaction of politics and aesthetics in these creations, explaining how they became the means for Brecht, a wandering poet in exile, to take a position about the Nazi war in Europe. Illustrated with pages from the Arbeitsjournal and War Primer and contextual images including Raoul Hausmann's poem-posters and Walter Benjamin's drawings, The Eye of History offers a new view of important but little-known works by Brecht. Didi-Huberman shows that Brecht took positions without taking sides; he used these montages to challenge the viewpoints of the press and propose other readings, to offer a stylistic and political response to the inescapable visibility of historical events enabled by the photographic medium. Brecht's montages disrupt and scrutinize this visibility by juxtaposing representations of war found in magazines with his own epigrams-a documentary lyricism that dismounts and remounts modern history. The montages created meaningful disorder, exposing the truth by disorganizing-a process Didi-Huberman calls a dialectic of the monteur. These works are examples of the eyes of history -when seeing may simultaneously deepen and critique historical knowledge. The montages Didi-Huberman argues, are Brecht's most Benjaminian works. Condition : as new copy. ISBN 9780262037877. Keywords : ART THEORY,

Hardcover. Condición: New.

Buch. Condición: Neu. Neuware -An exploration of the interaction of aesthetics and politics in Bertolt Brecht's photoepigrams. From 1938 to 1955, Bertolt Brecht created montages of images and text, filling his working journal (Arbeitsjournal) and his idiosyncratic atlas of images, War Primer, with war photographs clipped from magazines and adding his own epigrammatic commentary. In this book, Georges Didi-Huberman explores the interaction of politics and aesthetics in these creations, explaining how they became the means for Brecht, a wandering poet in exile, to take a position about the Nazi war in Europe. Illustrated with pages from the Arbeitsjournal and War Primer and contextual images including Raoul Hausmann's poem-posters and Walter Benjamin's drawings, The Eye of History offers a new view of important but little-known works by Brecht.Didi-Huberman shows that Brecht took positions without taking sides; he used these montages to challenge the viewpoints of the press and propose other readings, to offer a stylistic and political response to the inescapable visibility of historical events enabled by the photographic medium. Brecht's montages disrupt and scrutinize this visibility by juxtaposing representations of war found in magazines with his own epigrams a documentary lyricism that dismounts and remounts modern history. The montages created meaningful disorder, exposing the truth by disorganizing a process Didi-Huberman calls a dialectic of the monteur. These works are examples of the eyes of history when seeing may simultaneously deepen and critique historical knowledge. The montages Didi-Huberman argues, are Brecht's most Benjaminian works. 282 pp. Englisch.

Buch. Condición: Neu. Neuware -An exploration of the interaction of aesthetics and politics in Bertolt Brecht's photoepigrams. From 1938 to 1955, Bertolt Brecht created montages of images and text, filling his working journal (Arbeitsjournal) and his idiosyncratic atlas of images, War Primer, with war photographs clipped from magazines and adding his own epigrammatic commentary. In this book, Georges Didi-Huberman explores the interaction of politics and aesthetics in these creations, explaining how they became the means for Brecht, a wandering poet in exile, to take a position about the Nazi war in Europe. Illustrated with pages from the Arbeitsjournal and War Primer and contextual images including Raoul Hausmann's poem-posters and Walter Benjamin's drawings, The Eye of History offers a new view of important but little-known works by Brecht.Didi-Huberman shows that Brecht took positions without taking sides; he used these montages to challenge the viewpoints of the press and propose other readings, to offer a stylistic and political response to the inescapable visibility of historical events enabled by the photographic medium. Brecht's montages disrupt and scrutinize this visibility by juxtaposing representations of war found in magazines with his own epigrams a documentary lyricism that dismounts and remounts modern history. The montages created meaningful disorder, exposing the truth by disorganizing a process Didi-Huberman calls a dialectic of the monteur. These works are examples of the eyes of history when seeing may simultaneously deepen and critique historical knowledge. The montages Didi-Huberman argues, are Brecht's most Benjaminian works. 282 pp. Englisch.

Buch. Condición: Neu. Neuware -An exploration of the interaction of aesthetics and politics in Bertolt Brecht's 'photoepigrams.".

Hardcover. Condición: Brand New. 280 pages. 9.25x7.25x0.75 inches. In Stock.

Hardback. Condición: New.

Condición: New. Georges Didi-Huberman, a philosopher and art historian based in Paris, teaches at the &#201cole des Hautes &#201tudes en Sciences Sociales. Recipient of the 2015 Adorno Prize, he is the author of more than fifty books on the history and theory of images, .

Hardcover. Condición: new. Hardcover. An exploration of the interaction of aesthetics and politics in Bertolt Brecht's "photoepigrams."An exploration of the interaction of aesthetics and politics in Bertolt Brecht's "photoepigrams."From 1938 to 1955, Bertolt Brecht created montages of images and text, filling his working journal (Arbeitsjournal) and his idiosyncratic atlas of images, War Primer, with war photographs clipped from magazines and adding his own epigrammatic commentary. In this book, Georges Didi-Huberman explores the interaction of politics and aesthetics in these creations, explaining how they became the means for Brecht, a wandering poet in exile, to "take a position" about the Nazi war in Europe. Illustrated with pages from the Arbeitsjournal and War Primer and contextual images including Raoul Hausmann's poem-posters and Walter Benjamin's drawings, The Eye of History offers a new view of important but little-known works by Brecht.Didi-Huberman shows that Brecht took positions without taking sides; he used these montages to challenge the viewpoints of the press and propose other readings, to offer a stylistic and political response to the inescapable visibility of historical events enabled by the photographic medium. Brecht's montages disrupt and scrutinize this visibility by juxtaposing representations of war found in magazines with his own epigrams-a "documentary lyricism" that dismounts and remounts modern history. The montages created meaningful disorder, exposing the truth by disorganizing-a process Didi-Huberman calls a "dialectic of the monteur." These works are examples of "the eyes of history"-when seeing may simultaneously deepen and critique historical knowledge. The montages Didi-Huberman argues, are Brecht's most Benjaminian works. An exploration of the interaction of aesthetics and politics in Bertolt Brecht's photoepigrams. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

Buch. Condición: Neu. The Eye of History | When Images Take Positions | Georges Didi-Huberman | Buch | RIC BOOKS (Ryerson Image Centre Books) | Einband - fest (Hardcover) | Englisch | 2018 | MIT Press Ltd | EAN 9780262037877 | Verantwortliche Person für die EU: Libri GmbH, Europaallee 1, 36244 Bad Hersfeld, gpsr[at]libri[dot]de | Anbieter: preigu.

Buch. Condición: Neu. Neuware -An exploration of the interaction of aesthetics and politics in Bertolt Brecht's 'photoepigrams."Libri GmbH, Europaallee 1, 36244 Bad Hersfeld 282 pp. Englisch.

Buch. Condición: Neu. Neuware - An exploration of the interaction of aesthetics and politics in Bertolt Brecht's photoepigrams. From 1938 to 1955, Bertolt Brecht created montages of images and text, filling his working journal (Arbeitsjournal) and his idiosyncratic atlas of images, War Primer, with war photographs clipped from magazines and adding his own epigrammatic commentary. In this book, Georges Didi-Huberman explores the interaction of politics and aesthetics in these creations, explaining how they became the means for Brecht, a wandering poet in exile, to take a position about the Nazi war in Europe. Illustrated with pages from the Arbeitsjournal and War Primer and contextual images including Raoul Hausmann's poem-posters and Walter Benjamin's drawings, The Eye of History offers a new view of important but little-known works by Brecht.Didi-Huberman shows that Brecht took positions without taking sides; he used these montages to challenge the viewpoints of the press and propose other readings, to offer a stylistic and political response to the inescapable visibility of historical events enabled by the photographic medium. Brecht's montages disrupt and scrutinize this visibility by juxtaposing representations of war found in magazines with his own epigrams a documentary lyricism that dismounts and remounts modern history. The montages created meaningful disorder, exposing the truth by disorganizing a process Didi-Huberman calls a dialectic of the monteur. These works are examples of the eyes of history when seeing may simultaneously deepen and critique historical knowledge. The montages Didi-Huberman argues, are Brecht's most Benjaminian works.

Hardback. Condición: New.