Bulletin, Volumen 16The University, 2006 |
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Términos y frases comunes
135 cm Gift 1973 Screenprint AFRICAN Congo Zaire Alma-Tadema American Archaeology architectural artist Asian Art Collection Atget's born Candis and Helmut century BCE city gate cm Museum purchase Cohen Family Fund coins crepe-backed satin depicted Doris Duke's Southeast double oak drawings Duke's Southeast Asian Eleusis Eugène Atget figure Wood figurine fish Gekka Gelatin silver print Gift of Candis Gift of Doris Gift of Howard Gift of Jack haori Helmut Stern Howard and Patricia interior Jacques Callot Jules Laforgue Kelsey Museum Archives kimono Lawrence Alma-Tadema lined in white Metapontum Michigan Museum Museum of Art Nkisi Noreen Rounick Oil pastel painting pastel on paper Patricia Yamaguchi pattern photographs Pisidian Antioch Poems of Jules portfolio Some Poems propylaea purchase made possible reconstruction Saga nishiki silk crepe silk for torso skirt and cuffs soldiers Southeast Asian Art tie-dyed University of Michigan wax-resist white silk Wood Woodbridge Woodbridge's woven Yalvaç Zhejiang
Pasajes populares
Página 58 - It not only stands with its feet on the ground, but, in relation to all other commodities, it stands on its head, and evolves out of its wooden brain grotesque ideas, far more wonderful than if it were to start dancing of its own accord.
Página 58 - The mysterious character of the commodity-form consists therefore simply in the fact that the commodity reflects the social characteristics of men's own labour as objective characteristics of the products of labour themselves, as the socio-natural properties of these things.
Página 67 - Barthes who, in discussing the photograph (which he says cannot signify "except by assuming a mask"), concludes: . . . the photograph's immobility is somehow the result of a perverse confusion between two concepts: the Real and Live: by attesting that the object has been real, the photograph surreptitiously induces belief that it is alive because of that delusion which makes us attribute to Reality an absolutely superior, somehow eternal value; but by shifting this reality to the past ("this-has-been")...
Página 72 - This was so in the case of a man whose fetish was an athletic support-belt which could also be worn as bathing drawers. This piece of clothing covered up the genitals entirely and concealed the distinction between them. Analysis showed that it signified that women were castrated and that they were not castrated; and it also allowed of the hypothesis that men were castrated, for all these possibilities could equally well be concealed under the belt - the earliest rudiment of which in his childhood...
Página 56 - The collector proves to be the true resident of the interior. He makes his concern the idealization of objects. To him falls the Sisyphean task of divesting things of their commodity character by taking possession of them.
Página 67 - In the case of photographing a corpse, 'the image' certifies that the corpse is alive, as corpse: it is the living image of the dead thing" (Camera 79). Modotti does not dwell on the blood and the gruesomeness of Mella's death but rather on his beauty and youth, that which will endure as an icon. This photographic strategy underscores that the loss is aesthetic as well as political, showing what Ansel Adams has declared...
Página 50 - ... walls of his apartment. It is as if he had made it a point of honor not to allow the traces of his everyday objects and accessories to get lost. Indefatigably, he takes the impression of a host of objects; for his slippers and his watches, his blankets and his umbrellas, he devises coverlets and cases. He has a marked preference for velour and plush, which preserve the imprint of all contact. In the style characteristic of the Second Empire, the apartment becomes a sort of cockpit. The traces...
Página 50 - The interior is not just the universe of the private individual; it is also his etui. Ever since the time of Louis Philippe, the bourgeois has shown a tendency to compensate for the absence of any trace of private life in the big city. He tries to do this within the four walls of his apartment. It is as if he had made it a point of honor not to allow the traces of his everyday objects and accessories to get lost. Indefatigably, he takes the impression of a host of objects; for his slippers and his...
Página 67 - In photography, the presence of the thing (at a certain past moment) is never metaphoric; and in the case of animated beings, their life as well . . . ; if the photograph then becomes horrible, it is because it certifies, so to speak, that the corpse is alive, as corpse: it is the living image of a dead thing.
Página 115 - I was an advanced graduate student in the Department of the History of Art at the University of Michigan where I majored in the history of ancient Chinese art, especially traditional painting.