| |
|
|
|
|
|
|
|
|
1. |
Record Nr. |
UNINA9910453527003321 |
|
|
Autore |
Hardy Barbara Nathan |
|
|
Titolo |
A reading of Jane Austen [[electronic resource] /] / Barbara Hardy |
|
|
|
|
|
Pubbl/distr/stampa |
|
|
|
|
|
|
ISBN |
|
1-281-78350-1 |
9786611783501 |
1-84714-052-1 |
|
|
|
|
|
|
|
|
Descrizione fisica |
|
1 online resource (193 p.) |
|
|
|
|
|
|
Disciplina |
|
|
|
|
|
|
Soggetti |
|
English literature |
Electronic books. |
|
|
|
|
|
|
|
|
Lingua di pubblicazione |
|
|
|
|
|
|
Formato |
Materiale a stampa |
|
|
|
|
|
Livello bibliografico |
Monografia |
|
|
|
|
|
Note generali |
|
Description based upon print version of record. |
|
|
|
|
|
|
Nota di contenuto |
|
Contents; I: The Flexible Medium; II: The Feelings and the Passions; III: The Storytellers 1: Continuity, Climax and Conclusion; IV: The Storytellers 2: Imagination and Memory; V: Social Groups; VI: Properties and Possessions; VII: A Sense of the Author |
|
|
|
|
|
|
|
|
Sommario/riassunto |
|
A Reading of Jane Austen (first published by Peter Owen in 1975) has established itself with critics and readers as an outstanding contribution to the growing literature on this author, full of fresh and stimulating perceptions. Central to the word is Barbara Hardy's view of Jane Austen as the originator of the modern novel, largely through her creation of a new and flexible medium enabling her to move easily from sympathy to detachment, from one mind to many minds, from solitary scenes to social gatherings. |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2. |
Record Nr. |
UNINA9910466732303321 |
|
|
Titolo |
Faceless : re-inventing privacy through subversive media strategies / / Bogomir Doringer, Brigitte Felderer, eds |
|
|
|
|
|
|
|
Pubbl/distr/stampa |
|
|
Boston, MA : , : De Gruyter, , [2018] |
|
©2018 |
|
|
|
|
|
|
|
|
|
ISBN |
|
|
|
|
|
|
Descrizione fisica |
|
1 online resource (304 pages) |
|
|
|
|
|
|
Collana |
|
Edition Angewandte. book series of the University of Applied Arts Vienna ; ; the ser. is not no.ed |
|
|
|
|
|
|
|
|
Disciplina |
|
|
|
|
|
|
Soggetti |
|
Arts, Modern - 21st century |
Electronic books. |
|
|
|
|
|
|
|
|
Lingua di pubblicazione |
|
|
|
|
|
|
Formato |
Materiale a stampa |
|
|
|
|
|
Livello bibliografico |
Monografia |
|
|
|
|
|
Nota di contenuto |
|
Frontmatter -- Contents -- The Beginning / Doringer, Bogomir -- Faceless Book / Macho, Thomas -- Archiving faceless / Doringer, Bogomir -- Hi! I'm famous new media artist Jeremy Bailey! / Bailey, Jeremy -- Faceless Praxis in the Age of Zero Trust: Strategies of Disappearance and Distributed Pseudonymity in Art and Research / Tarasiewicz, Matthias -- THE PRIVACY GIFT SHOP / Harvey, Adam -- Public Privacy / Felderer, Brigitte -- The Future is Unknown - I am the Future / Bosma, Josephine -- Behind the White Shadows of Image Processing: Shirley, Lena, Jennifer, and the Angel of History / Menkman, Rosa -- Here Be Faces / Niquille, Simone C. -- Suppressed Images / Dewey-Hagborg, Heather -- Permission is a Material: Jill Magid Faces the Information Sublime / Muggs, Joe -- Selected Excerpts from the WE MARGIELA Inter views -- Masking the Body as a Trope of Japanese Reflections on Reality / Seidl, Walter -- Exhibitionism as the New Normal: From Presenting to Performing / Koskela, Hille -- The Museum / Kneževic, Nikola / Listopad, Bruno -- under new moons we stand strong / Dillon, Teresa -- IMAGE CREDITS -- PUBLISHER'S NOTE |
|
|
|
|
|
|
|
|
Sommario/riassunto |
|
Die Beiträge dieses Buchs sind einem Phänomen auf der Spur, das widersprüchlich anmutet: Wir, Computernutzerinnen und User, sind im digitalen Raum in alle Ewigkeit wiederzufinden. Man will einerseits wahrnehmbar, andererseits doch nicht gleich wiedererkennbar sein, |
|
|
|
|
|
|
|
|
|
|
sich nicht an eine unüberschaubare Öffentlichkeit ausliefern, gar das Gesicht verlieren. Das Buch dokumentiert künstlerische und andere Strategien, die Möglichkeiten aufzeigen, im unendlichen Buch der Gesichter zu erscheinen und sich dabei doch jeglicher Erfassung zu entziehen. Der Wunsch, kein bloßes Objekt des facialen Ausverkaufs zu werden, bleibt dabei nicht bloß ein ästhetisches Unterfangen. Die Beiträge formulieren auch kämpferische wie ironische Ansagen gegen eine digitale Dynamik, die unseren Alltag längst erreicht hat. |
The contributions to this book explore a phenomenon that appears to be a contradiction in itself - we, the users of computers, can be tracked in digital space for all eternity. Although, on the one hand, one wants to be noticed and noticeable, on the other hand one does not necessarily want to be recognized at the first instance, being prey to an unfathomable public, or - even less so - to lose face. The book documents artistic and other strategies that point out options for appearing in the infinite book of faces whilst nevertheless avoiding being included in any records. The desire not to become a mere object of facial sell-out does not just remain an aesthetic endeavor. The contributions also contain combative and sarcastic statements against a digital dynamic that has already penetrated our everyday lives. |
|
|
|
|
|
| |