東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

Memory and power: Reflections on his...

Shevi, Orly.

FindBook

Google Book

Amazon

博客來

Memory and power: Reflections on history, memory, and Auschwitz in contemporary art and film.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Memory and power: Reflections on history, memory, and Auschwitz in contemporary art and film./
作者:	Shevi, Orly.
面頁冊數:	249 p.
附註:	Source: Dissertation Abstracts International, Volume: 71-07, Section: A, page: 2257.
Contained By:	Dissertation Abstracts International71-07A.
標題:	Art Criticism. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3408852
ISBN:	9781124054377

Memory and power: Reflections on history, memory, and Auschwitz in contemporary art and film.
Shevi, Orly.

Memory and power: Reflections on history, memory, and Auschwitz in contemporary art and film. - 249 p.

Source: Dissertation Abstracts International, Volume: 71-07, Section: A, page: 2257.

Thesis (Ph.D.)--University of California, San Diego, 2010.

This project aims to explore the connection between history, memory, political power, and visual art. It aims to contribute insight to how contemporary visual artists, like the filmmaker Jean Luc Godard, and the installation artist Christian Boltanski, confront politics through the reformation of collective memory. In their case the memory and history that they evoke are connected to Second War World and the Holocaust. In a very schematic way I will try to describe their role as a provider of a sight; a sight of the political struggle. I structured our investigation of Boltanski and Godard's works around three general questions on art, history and power. These questions provided a point of departure for my exploration, and helped with the formation of my arguments. At first, I tried to understand the presence of history in both Boltanski's and Godard's works. As I explained in this project, their motivations come from different reasons and events. Above all, as I have presented in this project, these artists use history in order to understand the conditions of the present moment. Therefore, I will argue that both Boltanski and Godard are historians of the present. Secondly, it was important for me to understand their specific use of the Holocaust and Auschwitz in their works. Here we notice how this event is perceived, as a reflection of social structures, and our understanding of the way power operates has grown accordingly. In this respect, Boltanski and Godard's works fall, both directly and indirectly, under the theoretical framework formulated by Michel Foucault, Adi Ophir, and Giorgio Agamben. The third question relates specifically to the art world and art practice, focusing on the attempt to expose how artistic methods and technique function as apparatuses of power. In other words, I wanted to understand and expose how power suffuses art through artistic practices. Here, I followed Godard's own investigation of cinematic montage, and Boltanski's challenges of archival practice. Therefore, it was through their paradigms that I was able to consider alternatives.

ISBN: 9781124054377Subjects--Topical Terms:

637082
Art Criticism.

Memory and power: Reflections on history, memory, and Auschwitz in contemporary art and film.
LDR:03245nam 2200337 4500 001 1398610
005 20110914095956.5
008 130515s2010 ||||||||||||||||| ||eng d
020 $a 9781124054377
035 $a (UMI)AAI3408852
035 $a AAI3408852
040 $a UMI $c UMI
100 1 $a Shevi, Orly. $3 1677492
245 1 0 $a Memory and power: Reflections on history, memory, and Auschwitz in contemporary art and film.
300 $a 249 p.
500 $a Source: Dissertation Abstracts International, Volume: 71-07, Section: A, page: 2257.
500 $a Adviser: Lesley F. Stern.
502 $a Thesis (Ph.D.)--University of California, San Diego, 2010.
520 $a This project aims to explore the connection between history, memory, political power, and visual art. It aims to contribute insight to how contemporary visual artists, like the filmmaker Jean Luc Godard, and the installation artist Christian Boltanski, confront politics through the reformation of collective memory. In their case the memory and history that they evoke are connected to Second War World and the Holocaust. In a very schematic way I will try to describe their role as a provider of a sight; a sight of the political struggle. I structured our investigation of Boltanski and Godard's works around three general questions on art, history and power. These questions provided a point of departure for my exploration, and helped with the formation of my arguments. At first, I tried to understand the presence of history in both Boltanski's and Godard's works. As I explained in this project, their motivations come from different reasons and events. Above all, as I have presented in this project, these artists use history in order to understand the conditions of the present moment. Therefore, I will argue that both Boltanski and Godard are historians of the present. Secondly, it was important for me to understand their specific use of the Holocaust and Auschwitz in their works. Here we notice how this event is perceived, as a reflection of social structures, and our understanding of the way power operates has grown accordingly. In this respect, Boltanski and Godard's works fall, both directly and indirectly, under the theoretical framework formulated by Michel Foucault, Adi Ophir, and Giorgio Agamben. The third question relates specifically to the art world and art practice, focusing on the attempt to expose how artistic methods and technique function as apparatuses of power. In other words, I wanted to understand and expose how power suffuses art through artistic practices. Here, I followed Godard's own investigation of cinematic montage, and Boltanski's challenges of archival practice. Therefore, it was through their paradigms that I was able to consider alternatives.
590 $a School code: 0033.
650 4 $a Art Criticism. $3 637082
650 4 $a Holocaust Studies. $3 1669632
650 4 $a Cinema. $3 854529
690 $a 0365
690 $a 0507
690 $a 0900
710 2 $a University of California, San Diego. $b Art History, Theory and Criticism. $3 1281551
773 0 $t Dissertation Abstracts International $g 71-07A.
790 1 0 $a Stern, Lesley F., $e advisor
790 1 0 $a Bryson, Norman $e committee member
790 1 0 $a Gorin, Jean Pierre $e committee member
790 1 0 $a Le Espiritu, Yen $e committee member
790 1 0 $a Yoneyama, Lisa $e committee member
790 $a 0033
791 $a Ph.D.
792 $a 2010
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3408852