Slow Places in Béla Tarr’s Films explores Hungarian filmmaker Béla Tarr’s approach to creating geographies of indifference through slow cinema techniques. Through a close examination of Tarr’s filmography, Clara Orban observes that his interiors provide claustrophobic environments in which human relationships have difficult flourishing, while his exteriors become landscapes through which characters wander endlessly. Furthermore, Orban argues, Tarr’s sparse use of animals provides contrast to the humans who inhabit these spaces, as they, too, are indifferent to humans’ fates. Orban utilizes close readings of Tarr’s films—including his earlier short films—along with relevant poems, a thorough filmography, and an interview with Tarr about aspects of this book to aid in her analysis. Ultimately, this book offers an accessible but detailed look at the geographic locations and ecological implications of the entire compendium of Tarr’s productions.
Explores the link between Herve Guibert, one of France's most provocative contemporary writers who died of AIDS in 1991, and the Marquis de Sade, the most notorious Enlightenment libertine.
Works of art such as paintings with words on them or poems shaped as images communicate to the viewer by means of more than one medium. Here is presented a particular group of hybrid art works from the early twentieth century, to discover in what way words and images can function together to create meaning. The four central artists considered in this study investigate word/image forms in their work. F.T. Marinetti invented parole in libertà, among other ideas, to free language from syntactic connections. Umberto Boccioni experimented with newspaper clippings on the canvas from 1912-1915, and these collages constitute an important exploration into word/image forms. André Breton's collection of poems Clair de terre (1923) contains several typographical variations for iconographic effect. René Magritte explored the relationship between words and images, juxtaposing signifiers to contradictory signifieds on the canvas. A final chapter introduces media other than poetry and painting on which words and images appear. Posters, the theater, and the relatively new medium of cinema foreground words and images constantly. This volume will be of interest to scholars of twentieth-century French or Italian literature or painting, and to scholars of word and image studies.
Works of art such as paintings with words on them or poems shaped as images communicate to the viewer by means of more than one medium. Here is presented a particular group of hybrid art works from the early twentieth century, to discover in what way words and images can function together to create meaning. The four central artists considered in this study investigate word/image forms in their work. F.T. Marinetti invented parole in libertà, among other ideas, to free language from syntactic connections. Umberto Boccioni experimented with newspaper clippings on the canvas from 1912-1915, and these collages constitute an important exploration into word/image forms. André Breton's collection of poems Clair de terre (1923) contains several typographical variations for iconographic effect. René Magritte explored the relationship between words and images, juxtaposing signifiers to contradictory signifieds on the canvas. A final chapter introduces media other than poetry and painting on which words and images appear. Posters, the theater, and the relatively new medium of cinema foreground words and images constantly. This volume will be of interest to scholars of twentieth-century French or Italian literature or painting, and to scholars of word and image studies.
Works of art such as paintings with words on them or poems shaped as images communicate to the viewer by means of more than one medium. Here is presented a particular group of hybrid art works from the early twentieth century, to discover in what way words and images can function together to create meaning. The four central artists considered in this study investigate word/image forms in their work. F.T. Marinetti invented parole in libertà, among other ideas, to free language from syntactic connections. Umberto Boccioni experimented with newspaper clippings on the canvas from 1912-1915, and these collages constitute an important exploration into word/image forms. André Breton's collection of poems Clair de terre (1923) contains several typographical variations for iconographic effect. René Magritte explored the relationship between words and images, juxtaposing signifiers to contradictory signifieds on the canvas. A final chapter introduces media other than poetry and painting on which words and images appear. Posters, the theater, and the relatively new medium of cinema foreground words and images constantly. This volume will be of interest to scholars of twentieth-century French or Italian literature or painting, and to scholars of word and image studies.
For more than a century, Illinois has been home to a blossoming wine culture, yet winemaking in the state has not received the attention it deserves. Now, Clara Orban has created the ultimate companion to Illinois wines and wineries. This illustrated volume is a comprehensive yet user-friendly guide for both experienced wine lovers and amateur oenophiles. Orban, a certified sommelier, begins with the history of Illinois wine production and wineries. She then enlightens readers on such wine basics as the most common grapes grown in Illinois, optimal food and wine pairings, the tenets of wine tasting, and provides an overview of the world of labels, bottles, and corks. The fascinating science of wine also is discussed, including the particulars of Illinois soil and climate and their effect on the industry. Orban then provides a guide to all the wineries listed by the Illinois Grape Growers and Vintners’ Association. For each winery, she offers a succinct history, information regarding the variety of grapes used, hours of operation, location, and contact information. In addition to providing readers with a background of the state’s industry and snapshots of individual wineries, Illinois Wines and Wineries provides a glossary of key wine terms, including those specific to the state of Illinois, as well as color photos and a map to each location visited in the book. This sophisticated yet practical guidebook is an essential resource for connoisseurs and casual enthusiasts alike who are interested in exploring Illinois’s rich winemaking legacy.
Slow Places in Béla Tarr’s Films explores Hungarian filmmaker Béla Tarr’s approach to creating geographies of indifference through slow cinema techniques. Through a close examination of Tarr’s filmography, Clara Orban observes that his interiors provide claustrophobic environments in which human relationships have difficult flourishing, while his exteriors become landscapes through which characters wander endlessly. Furthermore, Orban argues, Tarr’s sparse use of animals provides contrast to the humans who inhabit these spaces, as they, too, are indifferent to humans’ fates. Orban utilizes close readings of Tarr’s films—including his earlier short films—along with relevant poems, a thorough filmography, and an interview with Tarr about aspects of this book to aid in her analysis. Ultimately, this book offers an accessible but detailed look at the geographic locations and ecological implications of the entire compendium of Tarr’s productions.
Explores the link between Herve Guibert, one of France's most provocative contemporary writers who died of AIDS in 1991, and the Marquis de Sade, the most notorious Enlightenment libertine.
Presenting an analysis of modern-day extremism, this book explores how any group of people or participants in a movement--political, ideological, racial, ethnonational, religious, or issue-driven--can adopt extremist mindsets if they believe their existence or interests are threatened. Looking beyond "fringe" resistance groups already labeled as terrorists or subversives, the author examines conventional organizations--political parties, religious groups, corporations, interest groups, nation-states, police, and the military--that deploy extremist strategies to further their agendas. Dynamics of mutual causation process between dominant and resistant extremist groups are explored, including how resistant extremisms surface in response to oppressive and abusive measures advanced by the dominant groups to further their interests and maintain supremacy through systemic injustices, as happens in slavery, caste systems, patriarchy, colonialism, autocracy, exploitive capitalism, and discrimination against minorities.
The call for establishing a right to bank holds valid premises, yet this right has never been contemplated before. The book argues that introducing a right to bank under international law can offer a new route to ensure that the banking sector acts as a force for good like ethical banks currently do. The right to bank aims to address the fundamental issues that customers can experience while dealing with banks, introducing the paradigm: “get access; be respected; trust the system”. The right to bank is a right for everyone: in the transition from a financial crisis to a climate crisis, it empowers individuals to play an active role in the financial system through ethical and sustainable decision-making. It also stimulates financial institutions and governments to reflect about the fundamental role they play and to act wisely in furthering the ecological transition. The book therefore presents a proposal for establishing a right to bank, explaining the issues that this right aims to address, the benefits linked to its adoption, and the intended change it can trigger. Within this context, the author also presents the 10 Principles of Banking Social Responsibility, a new framework that the author decided to create in order to give concrete traction to the positive transition that the banking sector crucially needs to embrace in this challenging historical moment. This innovative work will be valuable for lawmakers, banking and finance professionals and researchers, governments and NGOs, including UN bodies.
Aleppo is regarded as one of the historical centres of an urban Arab art music tradition known as 'tarab'. During the war that followed Syria's 2011 political uprisings, vast parts of the city were destroyed. This Element explores how 'tarab' lives on in new contexts. It does so through a focus on the work of Hello Psychaleppo, one of Aleppo's displaced musicians and the pioneer of 'electro-tarab', an eclectic style of urban electronic dance music that is conceived as a homage to Aleppo's musical legacy. Whether local religious chants, Palestinian poetry, or the image of a yellow man, electro-tarab includes an inventory of audio, visual and literary samples. These samples help conceptualise the role music has played during the Syrian war; they offer insights into Aleppo's musical and diasporic afterlife; and they illuminate some of the socio-aesthetic parameters that characterise contemporary Arab electronic music.
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