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[null,"1.","Record Nr.",null,"UNINA9910947815803321"]
[null,null,"Autore",null,"Rameder Agnes"]
[null,null,"Titolo",null,"Picturing the (un)Dead in Beirut : Appropriations of Martyr Posters and Other Images of the Physically Deceased"]
[null,null,"Pubbl/distr/stampa",null,"Bielefeld : , : transcript Verlag, , 2024"]
[{"$nulls":4},"©2024"]
[null,null,"ISBN",null,"9783839475393"]
[{"$nulls":4},"3839475392"]
[null,null,"Edizione",null,"[1st ed.]"]
[null,null,"Descrizione fisica",null,"1 online resource (415 pages)"]
[null,null,"Collana",null,"Image ; ; 253"]
[null,null,"Soggetti",null,"ART / History / Contemporary (1945-)"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,"Nota di contenuto",null,"Frontmatter -- Acknowledgements -- Abbrevations -- Figures -- Contents -- 1. Introduction -- Description -- 1.1 An Underview of Pictures of the (Un)Dead in Beirut -- 1.2 Through the Chapters -- 1.3 Research in a Context One Has Not Been Socialised in and the Author’s Background -- 2. The Martyr and the Picture -- 2.1 Constructing the Martyr -- 2.2 The Dead Are on the Walls: Re-Tracing Images of Martyrs in Lebanon -- 2.3 Martyrs and Posters in Lebanon -- 3. Introducing Nancy and the Play’s Context -- 3.1 Beirut’s Art Scene and Contemporary Lebanese Art Discourses -- 3.2 About Nancy -- 3.3 Reading Nancy as an Interplay of Text and Image -- 3.4 Nancy as Mroué’s Most Evasive Artwork on Martyrdom -- 3.5 Four Sectarian Martyrs on Their Way to Murr Tower: The Protagonists, and the Historical Background of Nancy -- 3.6 Martyr Posters from the Wars and Their Appropriation in Nancy -- 3.7 Similar Stories, Similar Visuals, and a Common Meeting Point -- 4. Appropriating and Questioning Images of the Sectarian Martyr in Nancy -- Introduction -- 4.1 The Sectarian Use of Logos, Symbols, and Slogans -- 4.2 The Martyr and the Photographic Image: Indexicality, Iconicity, and Truth Claims -- 4.3 Constructed Nuances of Visual Memory: Hierarchies of Remembrance and the Oblivion of the Dead -- 4.4 Gendered Martyrdom: Performances in the Image After Death and the Martyr Poster as an Advertising Image -- 4.5 Premature Historicist: The Martyr Poster and the Ruin as Presents Framed as Past -- 4.6 The Time Is Out of Joint: The Martyr as a Spectral Ghost -- 4.7 How Nancy Shows Us via Appropriation That the Martyr Image Is Fabricated -- 5. Images of the "]
[{"$nulls":4},"Dead Around 4 August 2020 -- 5.1 Coexistence: Sectarian Martyrs, the Martyrs of the Thawra, and the Dead of 4 August -- 5.2 Artistic Reflections of 4 August -- 5.3 A Continuation of Violence, Ghosts, Ruins, and Impossible Truths -- 6. Martyrs and Other (Un)Dead in Beirut and Beyond -- 6.1 Nancy and the Construction of Images of Martyrs -- 6.2 Old and New Pictures of the (Un)Dead: Beirut 2020–23 -- 6.3 Looking Further: Martyrs in Northern Ireland -- Afterword: An Ongoing Mass Production of Martyrs and a Stabilised Dystopia -- After the Afterword: War Again -- Bibliography"]
[null,null,null,"Sommario/riassunto","Martyr 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."]