In Portrait of a Young Painter, the distinguished historian Mary Kay Vaughan adopts a biographical approach to understanding the culture surrounding the Mexico City youth rebellion of the 1960s. Her chronicle of the life of painter Pepe Zúñiga counters a literature that portrays post-1940 Mexican history as a series of uprisings against state repression, injustice, and social neglect that culminated in the student protests of 1968. Rendering Zúñiga's coming of age on the margins of formal politics, Vaughan depicts midcentury Mexico City as a culture of growing prosperity, state largesse, and a vibrant, transnationally-informed public life that produced a multifaceted youth movement brimming with creativity and criticism of convention. In an analysis encompassing the mass media, schools, politics, family, sexuality, neighborhoods, and friendships, she subtly invokes theories of discourse, phenomenology, and affect to examine the formation of Zúñiga's persona in the decades leading up to 1968. By discussing the influences that shaped his worldview, she historicizes the process of subject formation and shows how doing so offers new perspectives on the events of 1968.
Автор: Bhattacharya Shantanu Название: Portal: The Curious Account of Achintya Bose ISBN: 8194534801 ISBN-13(EAN): 9788194534808 Издательство: Неизвестно Рейтинг: Цена: 55050.00 T Наличие на складе: Есть у поставщика Поставка под заказ. Описание: Portal: The Curious Account of Achintya Bose, conceptualized, compiled and reproduced by Shan Bhattacharya, recipient of the Umrao Singh Sher-Gil Grant for Photography, 2015 (instituted by the Sher-Gil Sundaram Arts Foundation), presents the personal diary of the owner of a small photography studio in Calcutta, India, maintained sporadically from 1994 to 1996, before his sudden unexplained disappearance. The diary is a fictional 'found archive' that contains his collection of photographic prints, letters, torn pages from books, newspaper and magazine cuttings, declassified police records, polaroids and print advertisements obtained from different sources. Through these documents spanning the twentieth century, he attempts to trace photographic 'evidence' and information about an elusive woman who seemingly does not age through a century. Mr Bose's search is also a journey through the local history of vernacular photography and regional publications that reflect popular culture, politics, fashion, design, advertising and other iconography, and their transformations over time. In this book, images serve both as the primary objects of interest and a narrative device. The cover plot interrogates the veracity of photographs - the way they are used as indices and evidence of a person's existence in spatio-temporal reality. These images are staged in variously contrived scenarios, often taking cues from the several utilitarian subsets of twentieth-century photography-the wedding portrait, the convocation photo, the vacation/holiday photo, candid snapshots, product advertisements-as though taken by different fictional photographers using different image-making aesthetics, techniques and formats appropriate to the time/place/visual cultures that those prototypes historically belong to. Referring to the genre of historiographic metafiction, fictional text and visual elements based on real events and characters are introduced to enable this 'found archive' assume certain characteristics of a hoax.
In Portrait of a Young Painter, the distinguished historian Mary Kay Vaughan adopts a biographical approach to understanding the culture surrounding the Mexico City youth rebellion of the 1960s. Her chronicle of the life of painter Pepe Zúñiga counters a literature that portrays post-1940 Mexican history as a series of uprisings against state repression, injustice, and social neglect that culminated in the student protests of 1968. Rendering Zúñiga's coming of age on the margins of formal politics, Vaughan depicts midcentury Mexico City as a culture of growing prosperity, state largesse, and a vibrant, transnationally-informed public life that produced a multifaceted youth movement brimming with creativity and criticism of convention. In an analysis encompassing the mass media, schools, politics, family, sexuality, neighborhoods, and friendships, she subtly invokes theories of discourse, phenomenology, and affect to examine the formation of Zúñiga's persona in the decades leading up to 1968. By discussing the influences that shaped his worldview, she historicizes the process of subject formation and shows how doing so offers new perspectives on the events of 1968.
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