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Camera Lucida: Reflections on Photography

01 Jan 1980-
TL;DR: Barthes shares his passionate, in-depth knowledge and understanding of photography in Reflections on Photography as mentioned in this paper, examining the themes of presence and absence, the relationship between photography and theatre, history and death.
Abstract: Barthes shares his passionate, in-depth knowledge and understanding of photography. Examining the themes of presence and absence, the relationship between photography and theatre, history and death, these 'reflections on photography' begin as an investigation into the nature of photographs. Then, as Barthes contemplates a photograph of his mother as a child, the book becomes an exposition of his own mind.
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BookDOI
08 May 2019
TL;DR: In this paper, the authors focus on the past in the context of the present and the future in the future, and propose a framework to understand the past and the present in order to find the future.
Abstract: Preface Glossary Introduction PART 1: THE PROBLEM THAT IS THE PRESENT 1. School Deform I. The Race to Nowhere II. The Less You Know III. Untimely Concepts IV. Too Little Intellect in Matters of Soul V. The School as a Business VI. The Figure of the Schoolteacher 2: From Autobiography to Allegory I. To Run the Course II. Allegories-of-the-Present III. Allegory as Montage IV. Why Weimar? PART 2: THE REGRESSIVE MOMENT: THE PAST IN THE PRESENT 3. The Defeat of Democracy I. The Terrible Question II. States of Emergency III. The Highly Fissured Republic IV. The Regimented Mass V. Art as Allegory VI. Economic Crisis VII. The Great Age of Educational Reform VIII. Correctional Education 4. Mortal Educational Combat I. Gracious Submission II. The Racial Politics of Curriculum Reform III. Students and the Civil Rights Movement IV. Freedom Schools V. The Gender Politics of Curriculum Reform PART III: THE PROGRESSIVE MOMENT: THE FUTURE IN THE PRESENT 5. The Dissolution of Subjectivity in Cyberculture I. Dream, Thought, Fantasy II. Let Them Eat Data III. The Death of the Subject IV. Avatars V. Breaking News VI. Intimacy and Abjection 6. The Future in the Past I. The Technology of Cultural Crisis II. The Degradation of the Present III. A Philosophy of Technology IV. Technology and Soul PART IV: THE ANALYTIC MOMENT: UNDERSTANDING THE PRESENT 7. Anti-Intellectualism and Complicated Conversation I. Anti-Intellectualism II. An Unrehearsed Intellectual Adventure III. Curriculum as Complicated Conversation is Not (Only)Classroom Discourse IV. Is It Too Late? PART V: THE SYNTHETICAL MOMENT: REACTIVATING THE PAST, UNDERSTANDING THE PRESENT, FINDING THE FUTURE 8. Subjective and Social Reconstruction I. A Struggle Within Each Person II. Reactivating the Past III. Understanding the Present IV. Finding the Future References Index

937 citations

BookDOI
01 Jan 2008
TL;DR: The Handbook of the Arts in Qualitative Inquiry as discussed by the authors provides an overview of the past, present, and future of arts-based research in qualitative social science research and provides an accessible and stimulating collection of theoretical arguments and illustrative examples.
Abstract: "The Handbook of the Arts in Qualitative Inquiry: Perspectives, Methodologies, Examples, and Issues represents an unfolding and expanding orientation to qualitative social science research that draws inspiration, concepts, processes, and representational forms from the arts. In this defining work, J. Gary Knowles and Ardra L. Cole bring together the top scholars in qualitative methods to provide a comprehensive overview of the past, present, and future of arts-based research. This Handbook provides an accessible and stimulating collection of theoretical arguments and illustrative examples that delineate the role of the arts in qualitative social science research."--Publisher's website.

801 citations

BookDOI
01 Jan 2011
TL;DR: Barabasi et al. as mentioned in this paper discussed the relationship between communication theory and social network sites and found that social networks affect social capital processes, and social networks as virtual communities can be viewed as virtual publics.
Abstract: Introduction and Keynote to the Networked Self Albert-Laszlo Barabasi Part One Context: Communication Theory and Social Network Sites 1. Interaction of Interpersonal, Peer, and Media Influence Sources Online: A Research Agenda for Technology Convergence Joseph B. Walther, Caleb Carr, Scott Seung W. Choi, David DeAndrea, Jinsuk Kim, Stephanie Tom Tong, Brandon Van Der Heide 2. Social Network Sites as Networked Publics: Affordances, Dynamics, and Implication danah boyd 3. Addictive, Compulsive, or Just Another Habit? Robert LaRose, Junghyun Kim, and Wei Peng 4. Social Network Exploitation Mark Andrejevic Part Two Social Textures: Emerging Patterns of Sociability on Social Network Sites 5. Social Network Sites as Virtual Communities Malcolm R. Parks 6. "With a little help from my Friends: How social network sites affect social capital processes" Nicole Ellison, Cliff Lampe, Charles Steinfield, and Jessica Vitak 7. From Dabblers to Omnivores:A Typology of Social Network Site Usage Eszter Hargittai and Yu-Li Patrick Hsieh 8. Exploring the Use of Social Network Sites in the Workplace Mary Beth Watson-Manheim Part Three Convergent Practices:Intuitive Appropriations of SNS Affordances 9. United We Stand? Online Social Nework Sites and Civic Engagement Thomas J. Johnson, Weiwu Zhang, Shannon L. Bichard, and Trent Seltzer 10. Between Barack and a Net Place: Users and Uses of Social Network Sites and Blogs for Political Information Barbara K. Kaye 11. Working the Twittersphere: Microblogging as professional identity construction Dawn Gilpin 12. Look at us: Collective Narcissism in College Student Facebook Photo Galleries Andrew L. Mendelson and Zizi Papacharissi 13. Copyright, Fair Use and Social Networks Patricia Aufderheide 14. Artificial Agents Entering Social Networks Nikolaos Mavridis Conclusion: A Networked Self Zizi Papacharissi

475 citations

Journal ArticleDOI
TL;DR: How technical changes (digitization) combined with growing insights in cognitive science and socio-cultural transformations have affected personal photography is explored.
Abstract: Taking photographs seems no longer primarily an act of memory intended to safeguard a family's pictorial heritage, but is increasingly becoming a tool for an individual's identity formation and communication. Digital cameras, cameraphones, photoblogs and other multipurpose devices are used to promote the use of images as the preferred idiom of a new generation of users. The aim of this article is to explore how technical changes (digitization) combined with growing insights in cognitive science and socio-cultural transformations have affected personal photography. The increased manipulation of photographic images may suit the individual's need for continuous self-remodelling and instant communication and bonding. However, that same manipulability may also lessen our grip on our images' future repurposing and reframing. Memory is not eradicated from digital multipurpose tools. Instead, the function of memory reappears in the networked, distributed nature of digital photographs, as most images are sent over the internet and stored in virtual space.

418 citations

Journal ArticleDOI
TL;DR: The first encounter with the photographic inventory of ultimate horror is a kind of revelation, the prototypically modern revelation: a negative epiphany as mentioned in this paper, which cuts me as sharply, deeply, instantaneously.
Abstract: “One’s first encounter with the photographic inventory of ultimate horror is a kind of revelation, the prototypically modern revelation: a negative epiphany. For me, it was photographs of Bergen-Belsen and Dachau that I came across by chance in a bookstore in Santa Monica in July . Nothing I have seen—in photographs or in real life— ever cut me as sharply, deeply, instantaneously. Indeed, it seems plausible to me to divide my life into two parts, before I saw those photographs (I was twelve) and after, though it was several years before I understood fully what they were about.What good was served by seeing them? They were only photographs—of an event I had scarcely heard of and could do nothing to affect, of suffering I could hardly imagine and could do nothing to relieve. When I looked at those photographs, something broke. Some limit had been reached, and not only that of horror; I felt irrevocably grieved, wounded, but a part of my feelings started to tighten; something went dead, something is still crying.”1

379 citations