Titlebook: Iconic Power; Materiality and Mean Jeffrey C. Alexander,Dominik Bartmański,Bernhard G Book 2012 Jeffrey C. Alexander, Dominik Bartma?ski, a

數(shù)量

HALL

興奮過度

Shifting Extremisms: On the Political Iconology in Contemporary Serbiaject of our analysis. Serbia is not only depicted as the main culprit of the recent Balkan Wars, but also as a paradigm case of a modern society that is (still) imbued with a mythically distorted perception of the past and the present. In his acclaimed work on ., the Serbian anthropologist Ivan ?olo

Common-Migraine

漂亮

自制

Becoming Iconic: The Cases of Woodstock and Bayreuth manipulation and invocation of sacred and profane symbols in situations involving intense, rhythmical, embodied actions such as music and dance. A current dispute in Durkheimian sociology concerns a matter of analytic primacy, in effect weighting either the first or the second part of the sentence

Obsequious

Body and Imagelation of image, medium, and body is expanded with a fourth factor when we introduce the concept of the gaze. Images emerge only in the act of looking. But then we have to understand looking as the carrier of our entire knowledge about images (.). Gazes are the accomplices of bodies that engage with

peptic-ulcer

Iconic Difference and Seductionociality on a par with contract and domination. In contrast to many studies of visual sociology that deal mainly with images in popular culture (Mitchell 1994; 2005), we will illustrate our thesis with art, in particular with renaissance paintings.. These paintings tell not only mythical stories of

彎腰

廣口瓶

Visible Meaningsmpirical, observable reality and not directly perceivable. Some are hidden in human minds, as psychological meanings: motivations, intentions, reasons, aspirations, dreams. Other are hidden in social facts in the Durkheimian sense, as cultural meanings: values, rules, norms, ideologies, shared belie