LEADER 01125nam--2200385---450- 001 990001918790203316 005 20050805142645.0 035 $a000191879 035 $aUSA01000191879 035 $a(ALEPH)000191879USA01 035 $a000191879 100 $a20040809d1960----km-y0itay0103----ba 101 0 $afre 102 $aFR 105 $a|||-||||001yy 200 1 $aPoemes$fWilliam Shakespeare$gtraduction et notes par Jean Fuzier$gessais critiques par Henri Fluchere 210 $aParis$cGallimard$d1960 215 $aXXXIX, 652 p.$d20 cm 410 0$12001 454 1$12001 461 1$1001-------$12001 700 1$aSHAKESPEARE,$bWilliam$0132200 702 1$aFUZIER,$bJean 702 1$aFLUCHERE,$bHenri 801 0$aIT$bsalbc$gISBD 912 $a990001918790203316 951 $aVII.3.A. 1930(II F A 638)$b21606 L.M.$cII F A 959 $aBK 969 $aUMA 979 $aSIAV3$b10$c20040809$lUSA01$h1458 979 $aSIAV3$b10$c20040809$lUSA01$h1459 979 $aSIAV3$b10$c20040809$lUSA01$h1505 979 $aCOPAT5$b90$c20050805$lUSA01$h1426 996 $aPoemes$9953424 997 $aUNISA LEADER 04927nam 22006493 450 001 9910947815803321 005 20251116153706.0 010 $a9783839475393 010 $a3839475392 024 7 $a10.1515/9783839475393 035 $a(MiAaPQ)EBC31861649 035 $a(Au-PeEL)EBL31861649 035 $a(CKB)37084374700041 035 $a(OCoLC)1482261857 035 $a(DE-B1597)703917 035 $a(DE-B1597)9783839475393 035 $a(ScCtBLL)82403c88-0ac7-42e9-a3da-2b65ee8129b4 035 $a(EXLCZ)9937084374700041 100 $a20241230d2024 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aPicturing the (un)Dead in Beirut $eAppropriations of Martyr Posters and Other Images of the Physically Deceased 205 $a1st ed. 210 1$aBielefeld :$ctranscript Verlag,$d2024. 210 4$d©2024. 215 $a1 online resource (415 pages) 225 0 $aImage ;$v253 311 08$a9783837675399 311 08$a3837675394 327 $tFrontmatter -- $tAcknowledgements -- $tAbbrevations -- $tFigures -- $tContents -- $t1. Introduction -- $tDescription -- $t1.1 An Underview of Pictures of the (Un)Dead in Beirut -- $t1.2 Through the Chapters -- $t1.3 Research in a Context One Has Not Been Socialised in and the Author?s Background -- $t2. The Martyr and the Picture -- $t2.1 Constructing the Martyr -- $t2.2 The Dead Are on the Walls: Re-Tracing Images of Martyrs in Lebanon -- $t2.3 Martyrs and Posters in Lebanon -- $t3. Introducing Nancy and the Play?s Context -- $t3.1 Beirut?s Art Scene and Contemporary Lebanese Art Discourses -- $t3.2 About Nancy -- $t3.3 Reading Nancy as an Interplay of Text and Image -- $t3.4 Nancy as Mroué?s Most Evasive Artwork on Martyrdom -- $t3.5 Four Sectarian Martyrs on Their Way to Murr Tower: The Protagonists, and the Historical Background of Nancy -- $t3.6 Martyr Posters from the Wars and Their Appropriation in Nancy -- $t3.7 Similar Stories, Similar Visuals, and a Common Meeting Point -- $t4. Appropriating and Questioning Images of the Sectarian Martyr in Nancy -- $tIntroduction -- $t4.1 The Sectarian Use of Logos, Symbols, and Slogans -- $t4.2 The Martyr and the Photographic Image: Indexicality, Iconicity, and Truth Claims -- $t4.3 Constructed Nuances of Visual Memory: Hierarchies of Remembrance and the Oblivion of the Dead -- $t4.4 Gendered Martyrdom: Performances in the Image After Death and the Martyr Poster as an Advertising Image -- $t4.5 Premature Historicist: The Martyr Poster and the Ruin as Presents Framed as Past -- $t4.6 The Time Is Out of Joint: The Martyr as a Spectral Ghost -- $t4.7 How Nancy Shows Us via Appropriation That the Martyr Image Is Fabricated -- $t5. Images of the Dead Around 4 August 2020 -- $t5.1 Coexistence: Sectarian Martyrs, the Martyrs of the Thawra, and the Dead of 4 August -- $t5.2 Artistic Reflections of 4 August -- $t5.3 A Continuation of Violence, Ghosts, Ruins, and Impossible Truths -- $t6. Martyrs and Other (Un)Dead in Beirut and Beyond -- $t6.1 Nancy and the Construction of Images of Martyrs -- $t6.2 Old and New Pictures of the (Un)Dead: Beirut 2020?23 -- $t6.3 Looking Further: Martyrs in Northern Ireland -- $tAfterword: An Ongoing Mass Production of Martyrs and a Stabilised Dystopia -- $tAfter the Afterword: War Again -- $tBibliography 330 $aMartyr posters are more than obituary images ? they can act as visual politics. Focusing on Rabih Mroué's play How Nancy Wished That Everything Was an April Fool's Joke (2007), Agnes Rameder analyses how contemporary artists question and appropriate Lebanese martyr posters. By linking the posters from the Wars in Lebanon (1975-1990) to contemporary posters, she shows that these images continue to the present day, that martyrs are still created and that deaths, such as those who were killed in the explosion on 4 August 2020, are still visually remembered. This study does not focus on how such pictures are perceived by a Western audience but delves into the use and abuse of martyr posters that were intended to be shown to the Lebanese. 606 $aART / History / Contemporary (1945-)$2bisacsh 610 $aArt History of the 20th Century. 610 $aArt History of the 21st Century. 610 $aArt. 610 $aBeirut. 610 $aContemporary Art. 610 $aCulture. 610 $aFine Arts. 610 $aLebanon. 610 $aMartyr. 610 $aPolitical Art. 610 $aVisual Politics. 610 $aVisual Studies. 615 7$aART / History / Contemporary (1945-). 700 $aRameder$b Agnes$01792346 701 $aArndt$b Maria$01782233 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910947815803321 996 $aPicturing the (un)Dead in Beirut$94330798 997 $aUNINA