In Still Life with Rhetoric, Laurie Gries forges connections among new materialism, actor network theory, and rhetoric to explore how images become rhetorically active in a digitally networked, global environment. Rather than study how an already-materialized “visual text” functions within a specific context, Gries investigates how images often circulate and transform across media, genre, and location at viral rates. A four-part case study of Shepard Fairey’s now iconic Obama Hope image elucidates how images reassemble collective life as they actualize in different versions, enter into various relations, and spark a firework of activity across the globe. While intent on tracking the rhetorical life of a single, multiple image, Still Life with Rhetoric is most concerned with studying rhetoric in motion. To account for an image’s widespread circulation and emergent activities, Gries introduces iconographic tracking—a digital research method for tracing an image’s divergent rhetorical becomings. Yet Gries also articulates a dynamic set of theoretical principles for studying rhetoric as a distributed, generative, and unforeseeable event that is applicable beyond the study of visual rhetoric. With an eye toward futurity—the strands of time beyond a thing’s initial moment of production and delivery—Still Life with Rhetoric intends to be taken up by those interested in visual rhetoric, research methods, and theory.
Winner of the 2016 CCCC Advancement of Knowledge Award and the 2016 CCCC Research Impact Award In Still Life with Rhetoric, Laurie Gries forges connections among new materialism, actor network theory, and rhetoric to explore how images become rhetorically active in a digitally networked, global environment. Rather than study how an already-materialized “visual text” functions within a specific context, Gries investigates how images often circulate and transform across media, genre, and location at viral rates. A four-part case study of Shepard Fairey’s now iconic Obama Hope image elucidates how images reassemble collective life as they actualize in different versions, enter into various relations, and spark a firework of activity across the globe. While intent on tracking the rhetorical life of a single, multiple image, Still Life with Rhetoric is most concerned with studying rhetoric in motion. To account for an image’s widespread circulation and emergent activities, Gries introduces iconographic tracking—a digital research method for tracing an image’s divergent rhetorical becomings. Yet Gries also articulates a dynamic set of theoretical principles for studying rhetoric as a distributed, generative, and unforeseeable event that is applicable beyond the study of visual rhetoric. With an eye toward futurity—the strands of time beyond a thing’s initial moment of production and delivery—Still Life with Rhetoric intends to be taken up by those interested in visual rhetoric, research methods, and theory.
The first comprehensive description of English word formation covers inflection and derivation, compounding, conversion, and minor processes such as subtractive morphology. It combines theory-neutral presentation of data with theoretically informed analysis. Winner of the 2015 Bloomfield Book Award and written by three outstanding scholars, this is a vital reference for all linguists.
Brahms in the Priesthood of Art: Gender and Art Religion in the Nineteenth-Century German Musical Imagination explores the intersection of gender, art religion (Kunstreligion) and other aesthetic currents in Brahms reception of the nineteenth and early twentieth centuries. In particular, it focuses on the theme of the self-sacrificing musician devoted to his art, or "priest of music," with its quasi-mystical and German Romantic implications of purity seemingly at odds with the lived reality of Brahms's bourgeois existence. While such German Romantic notions of art religion informed the thinking on musical purity and performance, after the failed socio-political revolutions of 1848/49, and in the face of scientific developments, the very concept of musical priesthood was questioned as outmoded. Furthermore, its essential gender ambiguity, accommodating such performing mothers as Clara Schumann and Amalie Joachim, could suit the bachelor Brahms but leave the composer open to speculation. Supportive critics combined elements of masculine and feminine values with a muddled rhetoric of prophets, messiahs, martyrs, and other art-religious stereotypes to account for the special status of Brahms and his circle. Detractors tended to locate these stereotypes in a more modern, fin-de-siècle psychological framework that questioned the composer's physical and mental well-being. In analyzing these receptions side by side, this book revises the accepted image of Brahms, recovering lost ambiguities in his reception. It resituates him not only in a romanticized priesthood of art, but also within the cultural and gendered discourses overlooked by the absolute music paradigm.
Are compounds words or phrases - or are they neither or both? How should we classify compounds? How can we deal with the fact that the relationship between the elements of sugar pill ('pill made of sugar') is different from that in sea-sickness pill ('pill to prevent sea-sickness')? Are compounds a linguistic universal? How much do languages vary in the way their compounds work? Why do we need compounds, when there are other ways of creating the same meanings? Are so-called neoclassical compounds like photograph really compounds? Based on more than forty years' research, this controversial new book sets out to answer these and many other questions.
Robyn Rihanna Fenty, known professionally as Rihanna, is a singer and songwriter from Barbados. This eight-time Grammy winner is one of the world's best-selling artists, having released sixty-six singles and selling over 230 million records according to Billboard. This fascinating biography profiles the life and career of Rihanna, whose personality and talent make her one of the most popular singers? in the world?. Chapters chronicle her childhood, family, success in the music industry, and philanthropy.
You're no idiot, of course. You negotiate like a pit bull on the job, organize your household budget with your computer, and even manage to coax your kids to finish their homework. But when it comes to plunking down your money to buy a crystal vase, you're not sure whether you'll be getting trash or treasure. Don't hand over the cash yet! The Complete Idiot's Guide to Buying and Selling Collectibles helps you build the skills you need to become a savvy, satisfied collector. Feel confident about buying the collectible you want, even when the seller is playing hardball. In this Complete Idiot's Guide, you get:
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