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  • 2020-2024  (3)
  • Durham : Duke University Press  (3)
  • Cambridge [u.a.] : Cambridge University Press
  • History  (3)
  • Sociology  (3)
Datasource
Material
Language
Years
Year
Author, Corporation
  • 1
    ISBN: 9781478025290 , 1478025298 , 9781478020486 , 1478020482
    Language: English
    Pages: xvii, 347 Seiten , Illustrationen, Karten , 23 cm
    Parallel Title: Online version Rijke-Epstein, Tasha, 1975- Children of the soil
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    Keywords: Architecture and society / Madagascar / Mahajanga / History ; Sociology, Urban / Madagascar / Mahajanga / History ; City planning / Madagascar / Mahajanga / History ; Mahajanga (Madagascar) / Social conditions ; Mahajanga (Madagascar) / History ; HISTORY / Africa / East ; ARCHITECTURE / General ; Architecture and society ; City planning ; Social conditions ; Sociology, Urban ; Madagascar / Mahajanga ; History ; History
    Abstract: "Children of the Soil traces the relationships between indigenous Malagasy people, Comorian migrants, and French colonizers across several generations in the Indian Ocean port city of Mahajanga, Madagascar. Focusing on the built environment, Tasha Rijke-Epstein considers the complex dynamics between African groups and the spatial and formal ways that they asserted their presence and claimed space in the city before, during, and after colonization. Rijke-Epstein focuses on the articulation of Malagasy power through indigenous architectural forms; then shifts her focus to consider how Comorian migrants shaped the city's spatial and cultural terrain, marrying into existing Malagasy families, constructing mosques, and animating street life. Yet despite their longstanding ties to Madagascar and shared cultural lexicon, Comorian migrants were targeted in a series of violent uprisings in 1976 that resulted in the deaths of at least 1,000 people and the expulsion of more than 16,000 people from Mahajanga. Children of the Soil gives readers a new way to understand the role of material environments in shaping national and urban belonging, as well as to understand the wave of expulsions that happened across post-colonial societies"--
    Description / Table of Contents: Material Histories -- Building Power -- Casting the Land: Architectural Tactics and the Politics of Durability -- Vibrant Matters: The Rova and More-than-Human Forces -- Anticipatory Landscapes -- Storied Refusals: Labor and Laden Absences -- Sedimentary Bonds: Treasured Mosques and Everyday Expertise -- Residual Lives and Afterlives -- Garnered Presences: Constructing Belonging in the Zanatany City -- Violent Remnants: Infrastructures of Possibility and Peril -- Unfinished Histories
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  • 2
    ISBN: 9781478004684 , 9781478004073
    Language: English
    Pages: ix, 236 Seiten, 16 ungezählte Seiten Bildtafeln , Illustrationen
    Parallel Title: Erscheint auch als Smith, Shawn Michelle, 1965 - Photographic returns
    DDC: 779/.93058
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    Keywords: Photography in ethnology History ; Documentary photography History ; Art and photography ; Photography in historiography ; Photography Social aspects ; History ; Art and history ; History ; USA ; Dokumentarfotografie ; Ethnologie ; Rasse ; USA ; Rassenfrage ; Fotografie
    Abstract: Photographic returns -- Looking forward and looking back: Rashid Johnson and Frederick Douglass on photography -- Photographic remains: Sally Mann at Antietam -- The scene of the crime: Deborah Luster -- Photographic referrals: Lorna Simpson's 9 props -- Afterimages: Jason Lazarus -- Photographic reenactments: Carrie Mae Weems's constructing history -- False returns: Taryn Simon's The Innocents -- A glimpse forward: Dawoud Bey's The Birmingham project.
    Abstract: "In PHOTOGRAPHIC RETURNS Shawn Smith sets out to examine works of contemporary art, only to find that many of the works refer back to the past, to photography's many intersections with the history of racial justice in the U.S. Smith focuses on flashpoints in that history -- spanning from the abolitionist movement, to the Civil War, lynching, and mass incarceration-- to mark the roles that photography has played in documenting the exigencies of Black life, and as a tool for resisting those racial regimes. For each of these moments, Smith shows how contemporary photographers utilize their medium as a way to recall, revise, or amplify the relationship between racial politics in the past and in the present. She argues that the tendency of African-American photographers and other artists to return to the archive of early photography does not simply point to the usefulness of early photography as document of the past, but to the recursive nature of photography itself. This study expands our theories of photography and memory by arguing that the recursive temporality of photography is central to its role in recording and remembering history. It also asserts that photography is an invaluable tool for critical practice of racial justice"--
    Note: Includes bibliographical references and index
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  • 3
    Online Resource
    Online Resource
    Durham : Duke University Press
    ISBN: 9781478005537
    Language: English
    Pages: 1 Online-Ressource (ix, 236 Seiten)
    Parallel Title: Erscheint auch als Smith, Shawn Michelle, 1965 - Photographic returns
    DDC: 779.93058
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    Keywords: Photography in ethnology History ; Documentary photography History ; Art and photography ; Photography in historiography ; Photography Social aspects ; History ; Art and history ; Photography in ethnology-United States-History ; Electronic books ; USA ; Dokumentarfotografie ; Ethnologie ; Rasse ; Rassenfrage ; Fotografie
    Abstract: In Photographic Returns Shawn Michelle Smith traces how historical moments of racial crisis come to be known photographically and how the past continues to inhabit, punctuate, and transform the present through the photographic medium in contemporary art. Smith engages photographs by Rashid Johnson, Sally Mann, Deborah Luster, Lorna Simpson, Jason Lazarus, Carrie Mae Weems, Taryn Simon, and Dawoud Bey, among others. Each of these artists turns to the past—whether by using nineteenth-century techniques to produce images or by re-creating iconic historic photographs—as a way to use history to negotiate the present and to call attention to the unfinished political project of racial justice in the United States. By interrogating their use of photography to recall, revise, and amplify the relationship between racial politics of the past and present, Smith locates a temporal recursivity that is intrinsic to photography, in which images return to haunt the viewer and prompt reflection on the present and an imagination of a more just future.
    URL: Cover
    URL: Cover
    URL: Cover  (lizenzpflichtig)
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