<b>An exploration of the interaction of aesthetics and politics in Bertolt Brecht''s “photoepigrams.”</b><p>From 1938 to 1955, Bertolt Brecht created montages of images and text, filling his working journal (<i>Arbeitsjournal</i>) and his idiosyncratic atlas of images, <i>War Primer,</i> with war photographs clipped from magazines and adding his own epigrammatic commentary. In this book, Georges Didi-Huberman explores the interaction of politics and aesthetics in these creations, explaining how they became the means for Brecht, a wandering poet in exile, to “take a position” about the Nazi war in Europe. Illustrated with pages from the <i>Arbeitsjournal</i> and <i>War Primer</i> and contextual images including Raoul Hausmann''s poem-posters and Walter Benjamin''s drawings, <i>The Eye of History</i> offers a new view of important but little-known works by Brecht.</p><p>Didi-Huberman shows that Brecht took positions without taking sides; he used these montages to
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<b>How the history of art begins with the myth of the barbarian invasion—the romantic fragmentation of classical eternity.</b><p>The history of art, argues Éric Michaud, begins with the romantic myth of the barbarian invasions....
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The images of migrants and refugees arriving in precarious boats on the shores of southern Europe, and of the makeshift camps that have sprung up in Lesbos, Lampedusa, Calais and elsewhere, have become familiar sights on television screens around the...
kr 229.00
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<p>The toppling of statues in the name of anti-racism is disconcerting, as is the violence sometimes displayed towards others in the name of gender equality. The emancipation movements of the past seem to have undergone a subtle transformation:...
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