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Depth psychology --- Semiotics --- 159.93 --- 7.01 --- 111.852 --- Psychologie --- Psychoanalyse --- Kunsttheorie ; visuele waarneming en beeldvorming --- Cultuurfilosofie ; over liefde --- Thema's in de kunst ; ras ; gender ; geslacht --- Thema's in de kunst ; het menselijk lichaam --- Psychologie ; Gevoel. Sensorische waarneming --- Kunst ; theorie, filosofie, esthetica --- Filosofie ; Kunstfilosofie. Esthetica --- Appearance (Philosophy) --- Love. --- Psychoanalysis and philosophy. --- Vision. --- Appearance (Philosophy). --- Love --- Psychoanalysis and philosophy --- Vision --- Eyesight --- Seeing --- Sight --- Senses and sensation --- Blindfolds --- Eye --- Physiological optics --- Philosophy and psychoanalysis --- Philosophy --- Affection --- Emotions --- First loves --- Friendship --- Intimacy (Psychology)
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Apparence (Philosophie) --- Appearance (Philosophy) --- Eyesight --- Fenomenalisme --- Phenomenalism --- Phénomenalisme --- Psychanalyse et philosophie --- Psychoanalyse en filosofie --- Psychoanalysis and philosophy --- Schijn (Filosofie) --- Seeing --- Sight --- Vision --- Vision (Physiologie) --- Zien [Het ] --- Phénoménalisme --- Phenomenalism. --- Psychoanalysis and philosophy. --- Vision. --- Appearance (Philosophy). --- Phénoménalisme --- Senses and sensation --- Blindfolds --- Eye --- Physiological optics --- Philosophy and psychoanalysis --- Philosophy --- Knowledge, Theory of --- Positivism --- Reality
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Volume one focuses on the nineteenth century and some of its contemporary progeny. It begins with the camera obscura, which morphed into chemical photography and lives on in digital form, and ends with Walter Benjamin. Key figures discussed along the way include Nicéphore Niépce, Louis Daguerre, William Fox-Talbot, Jeff Wall, and Joan Fontcuberta.
Photography --- History --- fotografie --- fotografiegeschiedenis --- negentiende eeuw --- twintigste eeuw --- eenentwintigste eeuw --- fotografietheorie --- kunsttheorie --- film --- filmtheorie --- Akerman Chantal --- Fox Talbot William Henry --- Niepce Nicephore --- Daguerre Louis Jacques Mandé --- Morell Abelardo --- Benjamin Walter --- portretfotografie --- Wall Jeff --- Proust Marcel --- 77.035 --- History. --- Photography - History
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Women in motion pictures. --- Motion pictures --- Psychoanalysis. --- Voice. --- Motion pictures and women. --- Feminism and motion pictures. --- Women and psychoanalysis. --- Women --- Communication --- Psychoanalysis and women --- Psychoanalysis --- Motion pictures and feminism --- Women and motion pictures --- Speaking --- Human sounds --- Language and languages --- Music --- Throat --- Diaphragm --- Elocution --- Larynx --- Speech --- Psychology --- Psychology, Pathological --- Psychological aspects. --- Communication. --- Physiological aspects --- Freud, Sigmund, --- Freud, Sigmund --- Feminism and motion pictures --- Motion pictures and women --- Women and psychoanalysis --- Women in motion pictures --- 791.41 --- experimentele film --- feminisme --- film --- film en psychoanalyse --- filmtheorie --- Freud Sigmund --- geluid --- gender studies --- lichamelijkheid --- psychoanalyse --- 82:159.9 --- 82:791.43 --- 82:791.43 Literatuur en film --- Literatuur en film --- 82:159.9 Literatuur en psychologie. Literatuur en psychoanalyse --- Literatuur en psychologie. Literatuur en psychoanalyse --- Psychological aspects --- Psychoanalyse --- Cultuur en religie. --- Femmes dans les films --- Psychologie et le cinema --- Voix dans les films
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Photography --- History.
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Masculinity in literature. --- Masculinity --- Masculinity. --- Psychoanalysis and feminism. --- Subjectivity --- History.
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Depth psychology --- Film --- Movie review --- Movies --- Psychoanalysis --- Book --- Irigaray, Luce --- Lacan, Jacques --- Freud, Sigmund --- Kristeva, Julia
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What is a woman? What is a man? How do they—and how should they—relate to each other? Does our yearning for "wholeness" refer to something real, and if there is a Whole, what is it, and why do we feel so estranged from it? For centuries now, art and literature have increasingly valorized uniqueness and self-sufficiency. The theoreticians who loom so large within contemporary thought also privilege difference over similarity. Silverman reminds us that this is but half the story, and a dangerous half at that, for if we are all individuals, we are doomed to be rivals and enemies. A much older story, one that prevailed through the early modern era, held that likeness or resemblance was what organized the universe, and that everything emerges out of the same flesh. Silverman shows that analogy, so discredited by much of twentieth-century thought, offers a much more promising view of human relations. In the West, the emblematic story of turning away is that of Orpheus and Eurydice, and the heroes of Silverman's sweeping new reading of nineteenth- and twentieth-century culture, the modern heirs to the old, analogical view of the world, also gravitate to this myth. They embrace the correspondences that bind Orpheus to Eurydice and acknowledge their kinship with others past and present. The first half of this book assembles a cast of characters not usually brought together: Friedrich Nietzsche, Sigmund Freud, Marcel Proust, Lou-Andréas Salomé, Romain Rolland, Rainer Maria Rilke, Wilhelm Jensen, and Paula Modersohn-Becker. The second half is devoted to three contemporary artists, whose works we see in a moving new light:Terrence Malick, James Coleman, and Gerhard Richter.
Analogy in literature. --- Resemblance (Philosophy) in literature. --- Ontology in literature. --- Art, Modern --- Philosophy. --- Orpheus --- In literature.
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Probably the most prominent living filmmaker, and one of the foremost directors of the postwar era, Jean Luc-Godard has received astonishingly little critical attention in the United States. With Speaking about Godard, leading film theorist Kaja Silverman and filmmaker Harun Farocki have made one of the most significant contributions to film studies in recent memory: a lively set of conversations about Godard and his major films, from Contempt to Passion. Combining the insights of a feminist film theorist with those of an avant-garde filmmaker, these eight dialogues–each representing a different period of Godard's film production, and together spanning his entire career–get at the very heart of his formal and theoretical innovations, teasing out, with probity and grace, the ways in which image and text inform one another throughout Godard's oeuvre. Indeed, the dialogic format here serves as the perfect means of capturing the rhythm of Godard's ongoing conversation with his own medium, in addition to shedding light on how a critic and a director of films respectively interpret his work. As it takes us through Godard's films in real time, Speaking about Godard conveys the sense that we are at the movies with Silverman and Farocki, and that we, as both student and participant, are the ultimate beneficiaries of the performance of this critique. Accessible, informative, witty, and, most of all, entertaining, the conversations assembled here form a testament to the continuing power of Godard's work to spark intense debate, and reinvigorate the study of one of the great artists of our time.
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