9783035807547 - A Wise One, a Warrior: Volume 3 (Objects Talk Back) de Kandasamy, Meena (18 resultados)

paperback. Condición: Fine.

Condición: New.

Paperback. Condición: New. A narrative of the early modern Indian sculpture known as the Mithuna couple. Meena Kandasamy writes about the Mithuna couple, a seventeenth-century ivory sculpture from Tamil Nadu, India, depicting lovers. Kandasamy unfurls a multi-layered, multi-directional narrative built from images, questions, and contradictions evoked by the sculpture. "How can we look at this work and not talk about who produced it?" Kandasamy asks and then examines how caste and class are carved into the object as indelibly as its physical details. Such knowledge complicates easy associations of love that may be evoked by the couple.  Refusing any impulse to idealize or exoticize, Kandasamy connects the carving to personal and political stories that expose painful realities of who gets to love whom, and how. She sets the intimate alongside the institutional to interrogate terms such as decolonize, restitution, and preservation. Through an astonishing stylistic mix, including Twitter, academic discourse, poetry, and memoir, she talks back, forward, and sideways with the object.

PAP. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Condición: As New. Unread book in perfect condition.

PAP. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Paperback. Condición: Brand New. 48 pages. 7.47x4.72x6.77 inches. In Stock.

Condición: New.

Condición: New. Brand New.

Condición: New.

Condición: New.

Condición: As New. Unread book in perfect condition.

Taschenbuch. Condición: Neu. Neuware -Meena Kandasamy writes about the Mithuna couple, a seventeenth-century ivory sculpture from Tamil Nadu, India, depicting lovers. Kandasamy unfurls a multi-layered, multi-directional narrative built from images, questions and contradictions evoked by the sculpture. 'How can we look at this work and not talk about who produced it ' Kandasamy asks and then examines how caste and class are carved into the object as indelibly as its physical details. Such knowledge complicates easy associations of love that may be evoked by the couple.Refusing any impulse to idealize or exoticize, Kandasamy connects the carving to personal and political stories that expose painful realities of who gets to love whom, and how. She sets the intimate alongside the institutional to interrogate terms such as decolonize, restitution and preservation. Through an astonishing stylistic mix, including Twitter, academic discourse, poetry and memoir, she talks back, forward and sideways with the object. Series Objects Talk Back published by Stiftung Humboldt Forum im Berliner Schloss 85 pp. Englisch.

Taschenbuch. Condición: Neu. Neuware -Meena Kandasamy writes about the Mithuna couple, a seventeenth-century ivory sculpture from Tamil Nadu, India, depicting lovers. Kandasamy unfurls a multi-layered, multi-directional narrative built from images, questions and contradictions evoked by the sculpture. 'How can we look at this work and not talk about who produced it ' Kandasamy asks and then examines how caste and class are carved into the object as indelibly as its physical details. Such knowledge complicates easy associations of love that may be evoked by the couple.

Taschenbuch. Condición: Neu. Neuware -Meena Kandasamy writes about the Mithuna couple, a seventeenth-century ivory sculpture from Tamil Nadu, India, depicting lovers. Kandasamy unfurls a multi-layered, multi-directional narrative built from images, questions and contradictions evoked by the sculpture. 'How can we look at this work and not talk about who produced it ' Kandasamy asks and then examines how caste and class are carved into the object as indelibly as its physical details. Such knowledge complicates easy associations of love that may be evoked by the couple.Prolit Verlagsauslief., Siemensstraße 16, 35463 Fernwald 85 pp. Englisch.

Taschenbuch. Condición: Neu. Neuware - Meena Kandasamy writes about the Mithuna couple, a seventeenth-century ivory sculpture from Tamil Nadu, India, depicting lovers. Kandasamy unfurls a multi-layered, multi-directional narrative built from images, questions and contradictions evoked by the sculpture. 'How can we look at this work and not talk about who produced it ' Kandasamy asks and then examines how caste and class are carved into the object as indelibly as its physical details. Such knowledge complicates easy associations of love that may be evoked by the couple.Refusing any impulse to idealize or exoticize, Kandasamy connects the carving to personal and political stories that expose painful realities of who gets to love whom, and how. She sets the intimate alongside the institutional to interrogate terms such as decolonize, restitution and preservation. Through an astonishing stylistic mix, including Twitter, academic discourse, poetry and memoir, she talks back, forward and sideways with the object. Series Objects Talk Back published by Stiftung Humboldt Forum im Berliner Schloss.

Taschenbuch. Condición: Neu. A Wise One, a Warrior | Volume 3 | Meena Kandasamy | Taschenbuch | Objekte widersprechen - Objects Talk Back | 88 S. | Englisch | 2025 | DIAPHANES AG | EAN 9783035807547 | Verantwortliche Person für die EU: diaphanes verlag, Dresdener Str. 118, 10999 Berlin, vertrieb[at]diaphanes[dot]net | Anbieter: preigu.

Paperback. Condición: New. A narrative of the early modern Indian sculpture known as the Mithuna couple. Meena Kandasamy writes about the Mithuna couple, a seventeenth-century ivory sculpture from Tamil Nadu, India, depicting lovers. Kandasamy unfurls a multi-layered, multi-directional narrative built from images, questions, and contradictions evoked by the sculpture. "How can we look at this work and not talk about who produced it?" Kandasamy asks and then examines how caste and class are carved into the object as indelibly as its physical details. Such knowledge complicates easy associations of love that may be evoked by the couple.  Refusing any impulse to idealize or exoticize, Kandasamy connects the carving to personal and political stories that expose painful realities of who gets to love whom, and how. She sets the intimate alongside the institutional to interrogate terms such as decolonize, restitution, and preservation. Through an astonishing stylistic mix, including Twitter, academic discourse, poetry, and memoir, she talks back, forward, and sideways with the object.