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Nomadic Narratives, Visual Forces: Gwen Johns Letters and Paintings New edition [Hardback]

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  • Formāts: Hardback, 202 pages, height x width: 225x150 mm, weight: 480 g
  • Sērija : Studies in Life Writing 1
  • Izdošanas datums: 22-Jul-2010
  • Izdevniecība: Peter Lang Publishing Inc
  • ISBN-10: 1433108607
  • ISBN-13: 9781433108600
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Nomadic Narratives, Visual Forces: Gwen Johns Letters and Paintings New editionPalielināt
  • Formāts: Hardback, 202 pages, height x width: 225x150 mm, weight: 480 g
  • Sērija : Studies in Life Writing 1
  • Izdošanas datums: 22-Jul-2010
  • Izdevniecība: Peter Lang Publishing Inc
  • ISBN-10: 1433108607
  • ISBN-13: 9781433108600
Citas grāmatas par šo tēmu:
Permanent link: https://www.kriso.lv/db/9781433108600.html
Keywords:
Nomadic Narratives, Visual Forces explores issues, questions, and problems emerging in the analysis of epistolary and visual narratives. This book focuses in particular on Gwen John's letters and paintings. It offers an innovative theoretical approach to narrative analysis by drawing on Foucault's theory of power, Deleuze and Guattari's analytics of desire, and Cavarero's concept of the narratable self. Furthermore, it examines the use of letters as documents of life in narrative research and highlights the dynamics of spatiality in the constitution of the female self in art. This study brings together theoretical insights that emerge from the analysis of life documents---some of them previously unpublished---combining innovative research with specific methodological suggestions on doing narrative analysis.

"The most thoughtful integration of paintings and epistolary narrative that I know. Nomadic Narratives, Visual Forces shows how letters do more than depict the `real' painter; the analysis problematizes the relations between visual and written texts. Insights from the author's meticulous archival research with autobiographical materials engage dynamically with Gwen John's art work, resulting in a dialogic narrative about the complex subjectivity of a woman artist working in a male-dominated world. Drawing on contemporary theory, Maria Tamboukou offers a new analytic perspective on the relation between the visual and the epistolary, which will push the `narrative turn' in social research in exciting directions." Catherine Kohler Riessman, Boston College

Recenzijas

«The most thoughtful integration of paintings and epistolary narrative that I know. Nomadic Narratives, Visual Forces shows how letters do more than depict the real painter; the analysis problematizes the relations between visual and written texts. Insights from the authors meticulous archival research with autobiographical materials engage dynamically with Gwen John's art work, resulting in a dialogic narrative about the complex subjectivity of a woman artist working in a male-dominated world. Drawing on contemporary theory, Maria Tamboukou offers a new analytic perspective on the relation between the visual and the epistolary, which will push the narrative turn in social research in exciting directions.» (Catherine Kohler Riessman, Boston College)

Acknowledgments ix
Introduction: Mapping Gwen John: Lives, Lines and Images 1(14)
Making Cartographies of Power and Desire
4(11)
Chapter One Letters, Paintings and the Event
15(14)
Letters and Paintings as Events
18(2)
To Come
20(2)
Who Writes or Paints?
22(4)
Nomadic Narratives, Visual Forces
26(3)
Chapter Two Epistolary Narratives and the Nomadic Self
29(22)
Gwen John: A Nomadic Narratable Subject
30(3)
Letters as Nomadic Narratives
33(3)
Drafting the Self: Openness in Epistolary Narratives
36(4)
Interior Styles, Extravagant Lines
40(2)
Pronoun Ambiguity, Names and Imaginary Figures
42(3)
Narrative as Force
45(6)
Chapter Three Between the Letter and the Self-Portrait
51(26)
Talking of Genres: the Self-Portrait
53(5)
Portraiture as a Visual Form of Life Writing
58(4)
Peircian semiotics and beyond
59(3)
Farewell to the Self
62(10)
The Slade self-portraits
64(3)
A young artist in Paris
67(1)
Nude in the mirror: the artist and the model
68(4)
Painting the Self, Playing with the Self
72(5)
Chapter Four Beyond Figuration and Narration
77(30)
Portraits and Faces
79(4)
On the Figure and the Motif
83(5)
Forces, Rhythm and Form
88(5)
On Colours
93(3)
Colourism, Forces and Figures in John's Paintings
96(11)
Charting forces in John's portraits
101(6)
Chapter Five In the Fold: Spaces of Solitude
107(20)
Charting a New Geography or perhaps Painting it
109(2)
Plane One The Room, the Interior and the Studio
111(5)
Objects, Faces and Spaces
113(2)
Spatial Entanglements
115(1)
Plane Two The Street, the Cafe, the Public Garden
116(5)
Plane Three The Countryside, the River, the Sea
121(3)
Epistolary Geographies, Nomadic Becomings
124(3)
Chapter Six "My Dear Master": Between Power and Desire
127(24)
Love Letters as Technologies of the Self
128(3)
Intertextual Connections
131(14)
The "Master", the lover and the artist
133(3)
In the fold of reading and writing
136(3)
Styles of passion: The Letters of the Portuguese Nun
139(3)
Discourses of pathos: reading Clarissa
142(3)
Power and Desire in Epistolary Technologies of the Self
145(6)
Chapter Seven Becomings: Of Cats and Other Signs
151(14)
Cats as Companions and as Epistolary Signs
153(2)
Real and Imagined Spaces, Human and Non-Human Animals
155(1)
Narratives of Becoming-Cat
156(6)
Becoming-Cat, Becoming-Other
162(3)
Chapter Eight Heterotemporalities
165(10)
Whose Archive?
166(2)
Different Spaces, Displaced Temporalities
168(7)
Bibliography 175(10)
Index 185
Maria Tamboukou is Reader in Sociology and Co-director of the Centre of Narrative Research at the University of East London. Her research interests and publications specialize in auto/biographical narratives, feminist theories, Foucauldian and Deleuzian analytics, the sociology of gender and education, gender and space and the sociology of art. She is the author of Women, Education and the Self: A Foucauldian Perspective, In the Fold between Power and Desire: Women Artists Narratives and co-editor of Dangerous Encounter: Genealogy and Ethnography, Doing Narrative Research and Beyond Narrative Coherence.