9,825 research outputs found
Alan Trachtenberg. — Reading American Photographs. Images as History, Mathew Brady to Walker Evans
No full textBrunet François. Alan Trachtenberg. — Reading American Photographs. Images as History, Mathew Brady to Walker Evans. In: Revue Française d'Etudes Américaines, N°44, avril 1990. Le corps dans la culture et la littérature américaine. pp. 105-106
Alan Trachtenberg. — Reading American Photographs. Images as History, Mathew Brady to Walker Evans
No full textBrunet François. Alan Trachtenberg. — Reading American Photographs. Images as History, Mathew Brady to Walker Evans. In: Revue Française d'Etudes Américaines, N°44, avril 1990. Le corps dans la culture et la littérature américaine. pp. 105-106
L to R: Craig Hansell (Sports Writer), Dale Miller, Alan Miller, Darin Penny, Jim Gaddis, M. Earl Miller, Alan Engen, Brad Smith, and Kent Mathews on top of Mount Ogden, March 1998.
No full textPhoto of a group of skiers at the top of Mount Ogden above Snowbasin, in 1998. Left to right: Craig Hansell (Sports Writer), Dale Miller, Alan Miller, Darin Penny, Jim Gaddis, M. Earl Miller, Alan Engen, Brad Smith, and Kent Mathew
After Gutenberg: History and Culture in Fifteenth-century Printed Books at the Bodleian Library. Oxford, Biblioteca Bodleiana, novembre 2004 – aprile 2005.
No full textMostra internazionale per celebrare la conclusione di 15 anni di ricerca sulla catalogazione della collezione di incunaboli (7500) della Biblioteca Bodleiana di Oxford, pubblicati in 6 volumi da Oxford University Pres
Araluen Arts Centre (Alice Springs, Australia) [Performance Video Recording]
No full textDigital migration of VHS. Video type: performance. Date: 1985. Venue type: Theatre. Venue name: Araluen Arts Centre. Digitisation notes: 74 errors, migration okay.Circus OZ video recording 1985 - Alice Springs, Australia, Araluen Arts Centre - 24 July0:00:00-0:00:35 Intro --- 0:00:35-0:03:57 Untitled (Mathew Hughes) --- 0:03:57-0:07:20 Introducing Circus Oz (Tim Coldwell) --- 0:07:22-0:08:57 Untitled --- 0:08:58-0:11:06 Untitled --- 0:11:07-0:15:22 The Knockabout --- 0:15:26-0:35:05 The Incredible Handstand (Tim Coldwell, Boris Conley) --- 0:35:06-0:39:47 Untitled --- 0:39:47-0:41:24 Untitled --- 0:41:26-0:52:25 Special Robert Stunt Troop (Mathew Hughes, Tim Coldwell) --- 0:52:42-1:00:44 Untitled --- 1:00:45-1:03:09 Untitled --- 1:03:10-1:08:10 Untitled --- 1:08:11-1:15:18 Cannon Act (Alan Clarke) --- 1:15:18-1:27:08 Roofwalk (Tim Coldwell) --- 1:27:09-1:33:58 Untitled --- 1:33:58-1:40:11 Circus Oz Bicycle Brigade --- 1:40:12-1:45:12 Untitled (Geoff Toll, John Rumble, Mathew Hughes, Ponch Hawkes, Michael Harris, Kelvin Gedye, Sally Forth, Gael Coulton, Boris Conley, Tim Coldwell, Georgine Clarsen, Alan Clarke, Stephen Burton, Teresa Blake
Alan Moore Comics as Performance, Fiction as Scalpel
No full textEclectic British author Alan Moore (b. 1953) is one of the most acclaimed and controversial comics writers to emerge since the late 1970s. He has produced a large number of well-regarded comic books and graphic novels while also making occasional forays into music, poetry, performance, and prose. In Alan Moore: Comics as Performance, Fiction as Scalpel , Annalisa Di Liddo argues that Moore employs the comics form to dissect the literary canon, the tradition of comics, contemporary society, and our understanding of history. The book considers Moore's narrative strategies and pinpoints the main thematic threads in his works: the subversion of genre and pulp fiction, the interrogation of superhero tropes, the manipulation of space and time, the uses of magic and mythology, the instability of gender and ethnic identity, and the accumulation of imagery to create satire that comments on politics and art history. Examining Moore's use of comics to scrutinize contemporary culture, Di Liddo analyzes his best-known works-- Swamp Thing, V for Vendetta, Watchmen, From Hell, Promethea , and Lost Girls . The study also highlights Moore?s lesser-known output, such as Halo Jones, Skizz , and Big Numbers , and his prose novel Voice of the Fire. Alan Moore: Comics as Performance, Fiction as Scalpel reveals Moore to be one of the most significant and distinctly postmodern comics creators of the last quarter-century.Intro -- Contents -- Preface and Acknowledgments -- Introduction -- CHAPTER 1. Formal Considerations on Alan Moore's Writing -- CHAPTER 2. Chronotopes: Outer Space, the Cityscape, and the Space of Comics -- CHAPTER 3. Moore and the Crisis of English Identity -- CHAPTER 4. Finding a Way into Lost Girls -- Conclusion -- Notes -- Bibliography -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- Y -- ZEclectic British author Alan Moore (b. 1953) is one of the most acclaimed and controversial comics writers to emerge since the late 1970s. He has produced a large number of well-regarded comic books and graphic novels while also making occasional forays into music, poetry, performance, and prose. In Alan Moore: Comics as Performance, Fiction as Scalpel , Annalisa Di Liddo argues that Moore employs the comics form to dissect the literary canon, the tradition of comics, contemporary society, and our understanding of history. The book considers Moore's narrative strategies and pinpoints the main thematic threads in his works: the subversion of genre and pulp fiction, the interrogation of superhero tropes, the manipulation of space and time, the uses of magic and mythology, the instability of gender and ethnic identity, and the accumulation of imagery to create satire that comments on politics and art history. Examining Moore's use of comics to scrutinize contemporary culture, Di Liddo analyzes his best-known works-- Swamp Thing, V for Vendetta, Watchmen, From Hell, Promethea , and Lost Girls . The study also highlights Moore?s lesser-known output, such as Halo Jones, Skizz , and Big Numbers , and his prose novel Voice of the Fire. Alan Moore: Comics as Performance, Fiction as Scalpel reveals Moore to be one of the most significant and distinctly postmodern comics creators of the last quarter-century.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
In Alan Turing’s Name: Pardoning the Dead, Forgetting the Living
No full textThis special panel discussion brought together authorities on Alan Turing and the statutory pardon legislation intended to honour him. Leading academics, in conversation with those who have unsuccessfully petitioned to have offences disregarded, were joined by the Turing Bill’s author
Bernard Williams
No full textAn edited multi-author volume assessing the moral philosophy of the late British philosopher Bernard Williams. Contributors: Adrian Moore, John Skorupski, Alan Thomas, Robert B Louden, Michael Stocker, A. A. Long, Edward Crai
Post-war British working-class fiction with special reference to the novels of John Braine, Alan Sillitoe, Stan Barstow, David Storey and Barry Hines
No full textThis study is about British working-class fiction in the post-war period.
It covers various authors such as Robert Tressell, George Orwell, Walter Greenwood, Lewis Grassic Gibbon and DH Lawrence from the early twentieth century; writers traditionally classified as 'Angry Young Men' like John Osborne, Arnold Wesker, Shelagh Delaney, John Wain and
Kingsley Amis; and working-class novelists like John Braine, Stan Barstow, David Storey, Alan Sillitoe and Barry Hines from the 1950s and 1960s.
Some of the main issues dealt with in the course of this study are language, form, community, self/identity/autobiography, sexuality and relationship with bourgeois art. The major argument centres on two questions: representation of working-class life, and the
relationship between working-class literary tradition and dominant ideologies.
We will be arguing that while working-class fiction succeeded in challenging and rupturing bourgeois literary tradition, on the level of language and linguistic medium of expression for example, it utterly failed to break away from dominant, bourgeois modes of literary production in relation to form, for instance.
Our argument is situated within Marxist approaches to literature, a political and aesthetic position from which we attempt an analysis and an evaluation of this working-class literary tradition. These critical approaches provide us also with the theoretical tool to define the political perspective of this tradition, and to judge whether it was confined to a descriptive mode of representation or
located in a radical, political outlook
Elements of Abstraction: Space, Line and Interval in Modern British Art
No full textThe book is the catalogue of the exhibition Elements of Abstraction: Space, Line and Interval in Modern British Art, which the author curated from the collections of the Tate Gallery, London, the Arts Council, London, Southampton City Art Gallery and private collections. The author provided three essays, 'The Geometry of Modern British Art', 'West Country Constructivism', and 'Abstract Art and the Decline of Modernism' to advance critical histories of three distinct moments of importance in the development of British abstract art. A fourth, edited by him, was by a research student under his supervision (Alan Fowler) and covered Systems Art and Constructionism
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