Introduction

2021 ◽  
Author(s):  
Jenna Ng
Keyword(s):  
Media History ◽  
Screen Media ◽  
Critical Attention ◽  
Subject And Object

This Introduction presents the context for the book’s argument of the post-screen, namely, an argument for a state of critical attention to the delimitations of screen media and the ensuing problematizations of relations between image and object; an intensifying evolution of the virtual and its role in defining media consumers and their realities; and an era of screen media marked by the disappearances of boundaries of differentiation between subject and object; and a point in media history. The central query of the post-screen lies in the growing imperceptibility and instability of screen boundaries. Where these thresholds begin to disappear is also where the need arises to re-question the definitional states of the actual and the virtual, and the renewed contestations for dominance between them.

Conclusion/Coda

2021 ◽  
Author(s):  
Jenna Ng
Keyword(s):  
Virtual Reality ◽  
Visual Media ◽  
Media History ◽  
The Real ◽  
Screen Media ◽  
Visual Phenomenon

This Conclusion/Coda summarizes the book’s key argument: the postscreen as a visual phenomenon which, through contemporary instantiations via Virtual Reality, holographic and light projections, blurs boundaries between virtuality and actuality, and re-formulates conditions of media, reality, death, life, matter and history. The Conclusion also points the post-screen towards two further ideas which drive its concept: difference, in terms of screen boundaries demarcating image against surroundings, and on difference without positive terms; and gluttony of visual media, specifically in relation to play between the real and the unreal. Both ideas not only serve the diminished boundaries of the post-screen in terms of the book’s analyses, but also render the post-screen a framework for today’s politics of post-truth, misinformation and deepfakes as a moment of media history. Finally, the Conclusion extends the post-screen to the (as of writing) current Covid-19 pandemic as a mirror of the internalization that is of both post-screen media and virus – both are in us, and inescapable.

scholarly journals PROSPECTS FOR REPRESENTATION IN SCREEN MEDIA HISTORY

2017 ◽  
Vol 13 (1-2) ◽  
pp. 59-63
Author(s):  
Tatiana S Ivaschenko
Keyword(s):  
Media History ◽  
Historical Research ◽  
Visual Anthropology ◽  
Historical Science ◽  
Actual Problem ◽  
Screen Media ◽  
Interdisciplinary Approaches ◽  
History Of ◽  
Film Profile

The article is devoted to an actual problem, interdisciplinary approaches in historical research. There is noted a role of various ways of the audiovisual fixation in reality such as the Visual Studies and Digital Humanities, actively developing multidisciplinary approaches to gender and micro-history, visual anthropology, history of everyday life and other areas of modern social practices. The goal is the development of these areas in the national historical science. Realization of this goal is possible through the recognition of the importance of the scientific community in the process of rekonst-struction history not only newsreels, but the game of cinema, capable of convincingly testify historicized time-symmetric. It raises questions about the need to introduce into the curricula of training historians subjects of cultural and film profile.

Subject and object.

1978 ◽  
Author(s):  
Nini Praetorius
Keyword(s):  
Subject And Object

Feminist Media History

2011 ◽  
Author(s):  
Maria DiCenzo ◽  
Lucy Delap ◽  
Leila Ryan
Keyword(s):  
Media History

Comparing Comparisons: Political Implications of Different Notions of Difference

2016 ◽  
Vol 13 (1) ◽  
pp. 7-26
Author(s):  
Glenn Odom
Keyword(s):  
Cultural Studies ◽  
World Literature ◽  
The West ◽  
Political Debates ◽  
Political Implications ◽  
The World ◽  
Critical Attention ◽  
David Damrosch ◽  
Location Point

With the rise of the American world literature movement, questions surrounding the politics of comparative practice have become an object of critical attention. Taking China, Japan and the West as examples, the substantially different ideas of what comparison ought to do – as exhibited in comparative literary and cultural studies in each location – point to three distinct notions of the possible interactions between a given nation and the rest of the world. These contrasting ideas can be used to reread political debates over concrete juridical matters, thereby highlighting possible resolutions. This work follows the calls of Ming Xie and David Damrosch for a contextualization of different comparative practices around the globe.

‘The well-known, old, but still unbeaten track’: Women Poets and Irish Periodical Culture in the Mid-Twentieth Century

2012 ◽  
Vol 42 (1) ◽  
pp. 32-52 ◽  
Author(s):  
Anne Mulhall
Keyword(s):  
Twentieth Century ◽  
Literary Culture ◽  
Woman Writer ◽  
Double Bind ◽  
Women Poets ◽  
Substantial Body ◽  
Growing Body ◽  
Critical Attention ◽  
Irish Women ◽  
Under Construction

While neglected Irish male poets of the mid century have seen some recuperation in recent decades, the work of Irish women poets still languishes in obscurity. A growing body of scholarship has identified the need to bring critical attention to bear on this substantial body of work. In this essay I explore the positioning of Irish women poets in mid-century periodical culture, to flesh out the ways in which the terms of this ‘forgetting’ are already established within the overwhelmingly masculinist homosocial suppositions and idioms that characterized contemporary debates about the proper lineage and aesthetic norms for the national literary culture that was then under construction. Within the terms set by those debates, the woman writer was caught in the double bind that afflicted any woman wishing to engage in a public, politicized forum in post-revolutionary Ireland. While women poets engage in sporadic or oblique terms with such literary and cultural debates, more often their voices are absent from these dominant discourses – the logic of this absence has continued in the occlusion of these women poets from the national poetic canon.

The Meaning of Children's Poetry: A Cognitive Approach

2013 ◽  
Vol 6 (2) ◽  
pp. 127-142 ◽  
Author(s):  
Karen Coats
Keyword(s):  
Crucial Role ◽  
The Body ◽  
Critical Discourse ◽  
Holding Environment ◽  
Cognitive Poetics ◽  
Cognitive Approach ◽  
Communal Life ◽  
Clear Sense ◽  
Critical Attention ◽  
Children's Poetry

Critical attention to children's poetry has been hampered by the lack of a clear sense of what a children's poem is and how children's poetry should be valued. Often, it is seen as a lesser genre in comparison to poetry written for adults. This essay explores the premises and contradictions that inform existing critical discourse on children's poetry and asserts that a more effective way of viewing children's poetry can be achieved through cognitive poetics rather than through comparisons with adult poetry. Arguing that children's poetry preserves the rhythms and pleasures of the body in language and facilitates emotional and physical attunement with others, the essay examines the crucial role children's poetry plays in creating a holding environment in language to help children manage their sensory environments, map and regulate their neurological functions, contain their existential anxieties, and participate in communal life.

Pater's Parerga: Framing the Imaginary Portraits

2013 ◽  
Vol 3 (2) ◽  
pp. 119-135
Author(s):  
Giles Whiteley
Keyword(s):  
Nineteenth Century ◽  
Formal Structure ◽  
Literary Genre ◽  
Late Nineteenth Century ◽  
Liminal Space ◽  
Critical Attention ◽  
Similar Operation ◽  
Late Nineteenth ◽  
The Relationship

Walter Pater's late-nineteenth-century literary genre of the imaginary portrait has received relatively little critical attention. Conceived of as something of a continuum between his role as an art critic and his fictional pursuits, this essay probes the liminal space of the imaginary portraits, focusing on the role of the parergon, or frame, in his portraits. Guided by Pater's reading of Kant, who distinguishes between the work (ergon) and that which lies outside of the work (the parergon), between inside and outside, and contextualised alongside the analysis of Derrida, who shows how such distinctions have always already deconstructed themselves, I demonstrate a similar operation at work in the portraits. By closely analysing the parerga of two of Pater's portraits, ‘Duke Carl of Rosenmold’ (1887) and ‘Apollo in Picardy’ (1893), focusing on his partial quotation of Goethe in the former, and his playful autocitation and impersonation of Heine in the latter, I argue that Pater's parerga seek to destabilise the relationship between text and context so that the parerga do not lie outside the text but are implicated throughout in their reading, changing the portraits constitutively. As such, the formal structure of the parergon in Pater's portraits is also a theoretical fulcrum in his aesthetic criticism and marks that space where the limits of, and distinctions between, art and life become blurred.

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