LEADER 02400nam 2200697 450 001 9910461188503321 005 20200520144314.0 010 $a1-4529-5241-8 010 $a1-4529-4506-3 035 $a(CKB)3710000000473322 035 $a(EBL)4391798 035 $a(SSID)ssj0001545819 035 $a(PQKBManifestationID)16134094 035 $a(PQKBTitleCode)TC0001545819 035 $a(PQKBWorkID)14734338 035 $a(PQKB)11545970 035 $a(StDuBDS)EDZ0001375451 035 $a(MiAaPQ)EBC4391798 035 $a(OCoLC)920883425 035 $a(MdBmJHUP)muse47815 035 $a(Au-PeEL)EBL4391798 035 $a(CaPaEBR)ebr11152968 035 $a(CaONFJC)MIL829354 035 $a(EXLCZ)993710000000473322 100 $a20160218h20152015 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aImproper names $ecollective pseudonyms from the Luddites to Anonymous /$fMarco Deseriis 210 1$aMinneapolis, Minnesota ;$aLondon, England :$cUniversity of Minnesota Press,$d2015. 210 4$dİ2015 215 $a1 online resource (305 p.) 225 0 $aQuadrant Book 300 $aDescription based upon print version of record. 311 $a0-8166-9486-9 320 $aIncludes bibliographical references and index. 327 $aNed Ludd, the machine breaker -- Allen Smithee, the anti-auteur -- Monty Cantsin, the open pop star -- Luther Blissett, the mythmaker -- Anonymous, the transducer. 330 8 $aThis title features fascinating case studies of how collectives and affinity groups have changed the history of the labour movement, the film industry, art, activism, and hacking by simply sharing a name. 410 2$aA Quadrant Book 606 $aAnonymous writings 606 $aAnonyms and pseudonyms 606 $aAuthorship 606 $aGroup identity 606 $aIdentity (Philosophical concept) 608 $aElectronic books. 615 0$aAnonymous writings. 615 0$aAnonyms and pseudonyms. 615 0$aAuthorship. 615 0$aGroup identity. 615 0$aIdentity (Philosophical concept) 676 $a412 700 $aDeseriis$b Marco$f1971-$0779415 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910461188503321 996 $aImproper names$92442309 997 $aUNINA LEADER 03439nam 2200709 450 001 9910787706303321 005 20230801231729.0 010 $a3-05-006261-4 024 7 $a10.1524/9783050062617 035 $a(CKB)2670000000533700 035 $a(EBL)1348924 035 $a(SSID)ssj0001211400 035 $a(PQKBManifestationID)11832064 035 $a(PQKBTitleCode)TC0001211400 035 $a(PQKBWorkID)11221250 035 $a(PQKB)10949670 035 $a(MiAaPQ)EBC1348924 035 $a(DE-B1597)220936 035 $a(OCoLC)871775727 035 $a(OCoLC)953295732 035 $a(DE-B1597)9783050062617 035 $a(Au-PeEL)EBL1348924 035 $a(CaPaEBR)ebr10848985 035 $a(CaONFJC)MIL580075 035 $a(EXLCZ)992670000000533700 100 $a20140321h20122012 uy| 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 14$aThe animated image $eRoman theory on naturalism, vividness and divine power /$fStijn Bussels 210 1$aBerlin :$cAkademie Verlag,$d[2012] 210 4$dİ2012 215 $a1 online resource (224 p.) 225 1 $aStudien Aus Dem Warburg-Haus ;$vBand 11 300 $aDescription based upon print version of record. 311 $a3-05-005949-4 320 $aIncludes bibliographical references and index. 327 $tFront Matter -- $tNaturalism and Animation: Pliny's Anecdotes on Art -- $tEnargeia as Epistemological Requirement and Rhetorical Virtue: Quintilian on Vividness -- $tCreation and Impact of Art, Literature and speech: Callistratus' on the statue of a Bacchante -- $tLife and Animation in Dance, Theatre and Spectacle: Lucian's the Dance -- $tCult statues at the Boundaries of Humanity: Plutarch on Supernatural Animation -- $tEpilogue: Erotic Reactions to Praxiteles' Cnidian Aphrodite -- $tBack Matter 330 $aMany Romans wrote about the belief that an image - a sculpture or painting, as well as a verbal description or a personage on stage - is not a representation, but the image's prototype or that an image had particular aspects of life. A first group of authors explained these believes as incorrect observation or wrong mental processing by the beholder. Other authors pointed at the excellent craftsmanship of the maker of the image. A third group looked at the supernatural involvement of its prototype, often a god. Together these discourses on the animation of images bring us to what intellectuals from all over the Roman empire saw as reprehensible or acceptable in beholding images as works of art or as cult images. Moreover, these discourses touch upon ontological and epistemological problems. The barrier between life and death was explored and also the conditions to obtain knowledge from observation. 410 0$aStudien aus dem Warburg-Haus ;$vBand 11. 606 $aSculpture, Roman 606 $aArt, Roman 606 $aNaturalism 606 $aSculpture$xTechnique 606 $aAesthetics, Roman 615 0$aSculpture, Roman. 615 0$aArt, Roman. 615 0$aNaturalism. 615 0$aSculpture$xTechnique. 615 0$aAesthetics, Roman. 676 $a938 686 $aLH 61020$2rvk 700 $aBussels$b Stijn$0963565 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910787706303321 996 $aThe animated image$93690922 997 $aUNINA