scholarly journals The translation of biblion and biblos in the light of oral and scribal practice

2016 ◽  
Vol 50 (3) ◽  
Author(s):  
Jacobus A. Naudé ◽  
Cynthia L. Miller-Naudé
Keyword(s):  
Oral Tradition ◽  
Media History ◽  
Media Culture ◽  
Performance Criticism ◽  
The Bible ◽  
History Of ◽  
The Media ◽  
Relationship Of ◽  
Scribal Tradition

The Bible was composed both by way of oral tradition and by scribal activity. Various descriptions exist of the development and relationship of the dominant forms of orality and scribal tradition throughout the history of media culture. Utilising the insights of, and debate on, the field of Biblical Performance Criticism, this article argues for an articulated description of the interrelationship of oral and written. The article argues that these two aspects cannot be absolutely separated, either chronologically or in terms of importance, neither can they be ignored as part of a coherent model to depict the media history of the Bible. In the light of this model the article discusses the interpretation and translation of the words βιβλίον and βίβλος, which are sometimes misunderstood and mistranslated, because of a failure to understand the process of committing the oral biblical tradition to a preferred writing medium.

Race and the Rise of a Mass Visual Culture: The Case of David Hunter Strother’s Virginia Illustrated

2020 ◽  
Vol 32 (3) ◽  
pp. 446-479
Author(s):  
Christopher Lukasik
Keyword(s):  
Nineteenth Century ◽  
Visual Culture ◽  
White Male ◽  
Reception History ◽  
Media History ◽  
Literary Art ◽  
History Of ◽  
The Media ◽  
Relationship Of

Abstract The publication of David Hunter Strother’s Virginia Illustrated under the pseudonym Porte Crayon in Harper’s Monthly (1854–56) provides a compelling case study through which to consider the role of race in the development of a US mass visual culture. The media combinations found within and the reception history of Virginia Illustrated demonstrate the importance of racialized viewing to the early success of Harper’s Monthly at a critical moment in media history. To be sure, Virginia Illustrated circulated racist stereotypes to be mass consumed, but the image/text operations of Strother’s literary sketches and illustrations also extended the privileges and pleasures inherent in the performance of the white male gaze to the expanding readership of Harper’s Monthly despite the differences in region, gender, and class of that audience. The case study of Virginia Illustrated challenges us to revisit the oddly marginalized relationship of nineteenth-century illustration to literary, art, and media history and invites us to situate nineteenth-century US literature into the wider media landscape of which it was undoubtedly a part.

Police Records

2019 ◽  
pp. 797-819
Author(s):  
Cristina Vatulescu
Keyword(s):  
Nineteenth Century ◽  
Detective Fiction ◽  
Media History ◽  
Late Nineteenth Century ◽  
The Novel ◽  
Police Records ◽  
History Of ◽  
Late Nineteenth ◽  
Relationship Of ◽  
The Relationship

This chapter approaches police records as a genre that gains from being considered in its relationships with other genres of writing. In particular, we will follow its long-standing relationship to detective fiction, the novel, and biography. Going further, the chapter emphasizes the intermedia character of police records not just in our time but also throughout their existence, indeed from their very origins. This approach opens to a more inclusive media history of police files. We will start with an analysis of the seminal late nineteenth-century French manuals prescribing the writing of a police file, the famous Bertillon-method manuals. We will then track their influence following their adoption nationally and internationally, with particular attention to the politics of their adoption in the colonies. We will also touch briefly on the relationship of early policing to other disciplines, such as anthropology and statistics, before moving to a closer look at its intersections with photography and literature.

scholarly journals Planetary Cinema

2021 ◽  
Author(s):  
Tiago Luca
Keyword(s):  
Media History ◽  
Media Culture ◽  
Late Nineteenth Century ◽  
Film Culture ◽  
Combined Approach ◽  
The Earth ◽  
Photographic Evidence ◽  
The Media ◽  
The Impact ◽  
First Time

The story is now familiar. In the late 1960s humanity finally saw photographic evidence of the Earth in space for the first time. According to this narrative, the impact of such images in the consolidation of a planetary consciousness is yet to be matched. This book tells a different story. It argues that this narrative has failed to account for the vertiginous global imagination underpinning the media and film culture of the late nineteenth century and beyond. Panoramas, giant globes, world exhibitions, photography and stereography: all promoted and hinged on the idea of a world made whole and newly visible. When it emerged, cinema did not simply contribute to this effervescent globalism so much as become its most significant and enduring manifestation. Planetary Cinema proposes that an exploration of that media culture can help us understand contemporary planetary imaginaries in times of environmental collapse. Engaging with a variety of media, genres and texts, the book sits at the intersection of film/media history and theory/philosophy, and it claims that we need this combined approach and expansive textual focus in order to understand the way we see the world.

scholarly journals Media aesthetic component of communication and its manifestation in infographic content

Lumina ◽  
2020 ◽  
Vol 14 (1) ◽  
pp. 84-96
Author(s):  
Svetlana Simakova
Keyword(s):  
Visual Image ◽  
Integrated Approach ◽  
Visual Media ◽  
Media Culture ◽  
Media Content ◽  
Case Study Method ◽  
History Of ◽  
The Media

The goal of the present study is to demonstrate the media-aesthetic potential of infographic messages on particular cases. This can be done due to an integrated approach to the analysis of the visual content of media content. That indicates the case study method implementation as well as description and generalization. The theoretical basis of the research is represented by scientific studies of various directions. That includes the history of media and visual media culture; features of the concepts of media culture and media language, media aesthetics; infographics as a tool of media language. The empirical basis of the study is journalistic materials containing infographic content of such publications as by RIA Novosti (ria.ru), TASS (tass.ru). The examples of visual image implementation in the transmission of information — media content containing infographics — are given and analyzed. Considering media aesthetics as the formation of a sensory perception of the proposed media content, the author turns to the philosophical and aesthetic foundations of visual practices in the media and post-humanistic trends in journalism. As a result of the analysis of the theoretical and practical basis of the research, the author comes to the conclusion that today the role of the media aesthetic component of messages is most relevant. And infographics, as the connecting link of language and consciousness, is its most striking tool.

“Picture it all, Darley”

2015 ◽  
Vol 70 (1) ◽  
pp. 65-101 ◽  
Author(s):  
Sari Altschuler
Keyword(s):  
African Americans ◽  
Media History ◽  
The Novel ◽  
Two Stage ◽  
Race Politics ◽  
Current Events ◽  
History Of ◽  
The Media ◽  
Representational Limits ◽  
History Of Race

Sari Altschuler “‘Picture it all, Darley’: Race Politics and the Media History of George Lippard’s The Quaker City” (pp. 65–101) This essay adresses two related questions. First, how did George Lippard’s The Quaker City develop from a multimedia story told through newspaper conventions, illustration, and two plays into the novel that appeared in May 1845? And second, how did Lippard’s white-seduction narrative come to pivot around the nightmare of an ambiguously raced Devil-Bug? Joining these questions of form and content, I argue that the media history of The Quaker City is inextricable from its history of race. In the wake of the almost riot around the mid-serialization of his Philadelphia play, Lippard moved away from fictionalizing current events toward the “grotesque-sublime” through a broader critique of Philadelphia less open to charges of libel. This shift took place through the transformation of Devil-Bug, a character Lippard rapidly developed in the middle installments until he was complex enough to carry the new story. Turning the once-black Devil-Bug into his protagonist, however, required character developments that necessarily complicated the story’s representation of race, a process that occurred concurrently with events related to the work that highlighted the systemic oppression of African Americans. In winter 1844, troubles with two stage productions and his illustrator highlighted the problems of representing race. After a several-month hiatus, Lippard published new installments vituperously condemning the representational limits of these nonprose forms and turned to prose to develop his antislavery position through Devil-Bug. As a result of these confluent developments, The Quaker City became an antislavery text through the process of opening Devil-Bug’s character up to its own hybridity and interiority.

scholarly journals The FEMENist Connection: Ruptures and Agency in FEMEN France

2015 ◽  
Vol 2 (1,2) ◽  
Author(s):  
Marine Gheno
Keyword(s):  
Women's Movement ◽  
Media Culture ◽  
Feminist Activism ◽  
Girl Power ◽  
Media Attention ◽  
History Of ◽  
The Media ◽  
Representations Of Women

FEMEN embodies many ambiguities as a feminist group using its members' bare breasts to inscribe messages and attract media attention. Now settled in France, a context wherein the women’s movement has a long history of activism and theory, these ambiguities are particularly visible through strong criticism from feminist figures. In this article, I argue that FEMEN actions are both beneficial and detrimental to feminism as they present the media with eroticized militant women while empowering such representations of women. In the vein of popfeminism and girl power media culture, FEMEN contributes to a transformation of contemporary feminist activism in continuity with feminist claims to agency, and in rupture with feminist criticisms of neoliberal commodification of women. 

The Future of the Literary Past

PMLA ◽  
2010 ◽  
Vol 125 (4) ◽  
pp. 959-967 ◽  
Author(s):  
Meredith L. McGill ◽  
Andrew Parker
Keyword(s):  
American Literature ◽  
Literary History ◽  
Media History ◽  
Paper Machine ◽  
Literary Works ◽  
Little Magazines ◽  
History Of ◽  
The Media ◽  
Serial Publication ◽  
Technology Grant

[B]y carrying us beyond paper, the adventures of technology grant us a sort of future anterior: they liberate our reading for a retrospective exploration of the past resources of paper, for its previously multimedia vectors.—Jacques Derrida, Paper MachineThis essay explores some of the ways that the contemporary mediascape has begun to transform the questions we can ask of our students and ourselves. Our subject derives from an undergraduate English course, Literary History and/as Media History, that we designed to address the lack of critical attention paid in the curriculum to the media of literary works. The course, whose catalog description follows, was intended to cover a lot of historical ground while highlighting theoretical questions that generally remain unasked in Norton Anthology–style surveys:Living in an era of rapid technological innovation, we tend to forget that print itself was once a new medium. The history of English and American literature since the Renaissance has been as much a response to the development of new material formats (scribal copying, printed playtexts, newspaper and serial publication, “little magazines,” radio, film, television, the internet) as it has been a succession of ideal literary forms (poems, plays, and novels). This course will survey literary works from the sixteenth to the twentieth century in relation to the history of media. What can these histories say to each other? Are they, indeed, one history?

Introduction

2020 ◽  
pp. 1-25
Author(s):  
Florian Hoof
Keyword(s):  
Interdisciplinary Approach ◽  
Media History ◽  
Modern World ◽  
Business Consulting ◽  
Independent Form ◽  
History Of ◽  
The Media ◽  
Visualization Techniques ◽  
Global Growth

This introductory chapter establishes the book’s goal of recovering the media history of consulting and determining what the global growth of consulting knowledge can tell us about the modern world. The time span of the investigation, from 1880 to 1930, covers three parallel developments, which lead to a fundamental transformation of industrial knowledge structures. First, there is the constitution of an independent form of managerial activity in industry. Second, there is the establishment of the field of corporate consulting. Third, there is the emergence of a series of visualization techniques after 1880, which are at the disposal of the first two spheres, management and corporate consulting. These three tropes lead to a new form of visual management that follows from oral and written forms of management. The introduction describes the interdisciplinary approach the author adopts to trace the visual culture and historical epistemology of business consulting and consulting knowledge between media and business history and theory.

Sign in / Sign up

Export Citation Format

Share Document