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Seite 29
Nature here does not signify an essence , but an undifferentiated territory , which — like Kristeva's semiotic — is the recalcitrant materialism of which signs are made . There are their legs , muscled , dirty , walking , unavoidably ...
Nature here does not signify an essence , but an undifferentiated territory , which — like Kristeva's semiotic — is the recalcitrant materialism of which signs are made . There are their legs , muscled , dirty , walking , unavoidably ...
Seite 58
The photographer , on the other hand , needs , in many cases , no aid from any language but his own , preferring rather to listen with the picture before him , to the silent but telling language of nature — it is unnecessary for him to ...
The photographer , on the other hand , needs , in many cases , no aid from any language but his own , preferring rather to listen with the picture before him , to the silent but telling language of nature — it is unnecessary for him to ...
Seite 189
Still another paradox accounts for the fact that if photography emerged out of a desire for “ truthfulness to nature ” and has been perceived as an accomplishment of that desire , the earliest photographic images actually contributed to ...
Still another paradox accounts for the fact that if photography emerged out of a desire for “ truthfulness to nature ” and has been perceived as an accomplishment of that desire , the earliest photographic images actually contributed to ...
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The Spaces of Sexuality | 3 |
DISCOURSE 16 | 16 |
Morris Sydney Laura Mulvey London Patrice Petro UWM Mary | 25 |
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Aboriginal aesthetic American analysis appears argues artist attempt become blur body boredom bourgeois calls camera century cinema claim construction contemporary Cries critical culture Dash Daughters Deleuze desire difference discourse drawing Duchenne effect emotions essay evidence example existence experience expression face facial fantasy female feminine feminist figure film gaze girl give hand human kind labor lack living logic look male meaning medical photography memory Moffatt mother movement narrative nature Night object painting Paris particular past photographs picture politics pose position possibility postmodern present production question refers relation remake representation represented response reveals says seems sense sexual Sherman shock signs social space speak specific story Studies suggests takes theory thing thinking thought tion Trans truth turn vision visual woman women writing York