| |
|
|
|
|
|
|
|
|
1. |
Record Nr. |
UNINA9910524692603321 |
|
|
Autore |
Gaudio Michael |
|
|
Titolo |
Sound, Image, Silence : Art and the Aural Imagination in the Atlantic World / / Michael Gaudio |
|
|
|
|
|
|
|
Pubbl/distr/stampa |
|
|
University of Minnesota Press, 2019 |
|
Minneapolis, USA, : University of Minnesota Press, 2019 |
|
©2019 |
|
|
|
|
|
|
|
|
|
ISBN |
|
9781452962634 |
1452962634 |
9781452960890 |
1452960895 |
|
|
|
|
|
|
|
|
Edizione |
[1.] |
|
|
|
|
|
Descrizione fisica |
|
1 online resource (xviii, xviii, 195 pages. 12 unnumbered pages of plates :) : illustrations (some color) ; |
|
|
|
|
|
|
|
|
Disciplina |
|
|
|
|
|
|
Soggetti |
|
Visual perception in art |
Communication in art |
Arts, American |
Communication in art - America |
Electronic books. |
America |
|
|
|
|
|
|
|
|
Lingua di pubblicazione |
|
|
|
|
|
|
Formato |
Materiale a stampa |
|
|
|
|
|
Livello bibliografico |
Monografia |
|
|
|
|
|
Note generali |
|
|
|
|
|
|
Nota di contenuto |
|
Cover -- Half Title -- Title -- Copyright -- Contents -- Acknowledgments -- Introduction: Soundings -- Chapter 1: "It Seems Their Voices Are Still in My Ears" -- Chapter 2: Frans Post's Silent landscapes -- Chapter 3: Magical Pictures, or Observations on Lightning and Thunder, Occasion'd by a Portrait of Dr. Franklin -- Chapter 4: At the Mouth of the Cave -- Chapter 5: Dancing for the Kinetograph -- Coda -- Notes -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- Y -- Z -- Color Plates. |
|
|
|
|
|
|
|
|
Sommario/riassunto |
|
"Sound, Image, Silence explores how, over the course of three centuries, paintings, photographs and early silent films communicated |
|
|
|
|
|
|
|
|
|
|
the sounds and silences found in the New World to white audiences on the European continent. Through the representation of both landscapes and indigenous people, book explores the role of aural imagination as it pertains to the visualization of particular episodes of colonialism and oppression, but also tries to think seriously about how art historians should engage with sound in what is inherently a "mute" medium"-- |
|
|
|
|
|
| |