Ambivalent force (21 résultats)

Etat : good. A copy that has been read, remains in good condition. All pages are intact, and the cover is intact. The spine and cover show signs of wear. Pages can include notes and highlighting and show signs of wear, and the copy can include "From the library of" labels or previous owner inscriptions. 100% GUARANTEE! Shipped with delivery confirmation, if you're not satisfied with purchase please return item! Ships via media mail.…

Hardcover. Etat : Fine. 360 pp., Illus, Orig Blue Hardback, Gilt title, no DJ, VG- Fine.

Paperback. Etat : Fair. No Jacket. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

Etat : good. A copy that has been read, remains in good condition. All pages are intact, and the cover is intact. The spine and cover show signs of wear. Pages can include notes and highlighting and show signs of wear, and the copy can include "From the library of" labels or previous owner inscriptions. 100% GUARANTEE! Shipped with delivery confirmation, if you're not satisfied with purchase please return item! Ships via media mail.…

Etat : New.

Etat : good. A copy that has been read, remains in good condition. All pages are intact, and the cover is intact. The spine and cover show signs of wear. Pages can include notes and highlighting and show signs of wear, and the copy can include "From the library of" labels or previous owner inscriptions. 100% GUARANTEE! Shipped with delivery confirmation, if you're not satisfied with purchase please return item! Ships via media mail.…

Hard Cover. No Jacket. Publisher: Ginn and Company, 1970 Good, HB, pg.360. cover has some wear. Book.

Etat : Very Good. First edition. Very good. Book is rubbed on the edges and the corners. Spine is rubbed and faded.

Etat : New.

Taschenbuch. Etat : Neu. Druck auf Anfrage Neuware - Printed after ordering - Bachelor Thesis from the year 2021 in the subject English Language and Literature Studies - Literature, grade: 1,0, Carl von Ossietzky University of Oldenburg, language: English, abstract: This thesis draws on the notion that identity - our sense of self - and the ways in which we remember ourselves are strongly interrelated to discuss two novels of an author who is well accustomed to writing what he himself has, in a 1989 interview with Gregory Mason, called ¿the texture of memory¿: Kazuo Ishiguro.In discussing two of Ishigurös novels, The Remains of the Day and When We Were Orphans, this thesis will address the ambivalent forces of memory in more detail and examine how personal memory and personal identity are, in the two chosen texts, conceptualised interdependently. In doing so, this thesis furthermore analyses the specific literary functionalisation of the concepts of memory, which the two chosen texts provide us with. However, the theme of memory and identity must not be dealt with as a stand-alone subject in the two chosen texts; it rather has to be examined in the context of other discourses that are related to it. In both novels, identity is built on certain ideals which are, over the course of the two novels, subverted along with the respective identities themselves. Consequently, this thesis will relate its main research interest, the interdependence between memory and identity, to such other discourses which, in the two selected texts, are crucial to acquiring an understanding of the exact nature of the interdependence in question: discourses on individuality, trauma, self-deception, selfdelusion, self-reflection, nostalgia, and idealism.Having awarded Kazuo Ishiguro with the 2017 Nobel Prize in Literature, the Nobel Committee explained its choice in a press release, stating that Ishiguro, ¿in novels of great emotional force, has uncovered the abyss beneath our illusory sense of connection with the world.¿ In his novels, Ishiguro explores this illusory sense of connectedness through the eyes of characters that are confronted with the fragile forces of their very own memories. It is these characters, caught between remembrance and oblivion, between trauma and nostalgia for an irretrievable past, through which Ishiguro unmasks the illusory essence not only of our sense of connection with the world, but also of our sense of self. In an opening remark on the British Council¿s official profile of Kazuo Ishiguro, James Procter fittingly states that ¿Ishiguro's novels are preoccupied by memories, their potential to digress and distort, to forget and to silence, and, above all, to haunt.¿.…

Taschenbuch. Etat : Neu. Druck auf Anfrage Neuware - Printed after ordering - Bachelor Thesis from the year 2013 in the subject Art - Photography and Film, grade: 78 % = 1, University of Westminster (Department of Media, Arts and Design), course: Photography Dissertation, language: English, abstract: 'The strongest of Richter's effects of withdrawing the work from the viewer's gaze, is the creation of a softening blur as the final touch to all his Photo Paintings. Making the paintings, the artist firstly drafts his subject with a normally sized brush to create a 'sharp' image (Fig.3). Having finished, he would come with a broader brush or a squeegee and blur the still wet oil paint (Fig. 4) to create the photographic effect of an out-of-focus image1. The blur in these paintings is not a trace of movement of the object in the photograph. This blur is an addition to the painting that does not relate to a form of haziness in the specific photographic source image, but to the general idea of vagueness, indecisiveness, anti-definition. Therefore, it mirrors the artist's attitudes towards life in an especially expressive way. The enlargement of the usual distance between what is depicted and the viewer are the basis of this effect. At first on a quite literal level: Richter introduces another layer of depiction in these paintings by creating the depiction of a depiction of an object. This places the object of the painting further away than usual from its maker and us as viewers (Butin, 2010). Secondly, on the level of reception: an image that stays 'out-of-focus' from whichever distance we look at it rejects us, and refuses to communicate. This typical caginess of Richter's paintings, the exclusion of the recipient whom they are made for, is a striking effect in the encounter with these images. The analysis of the antithetic emotional effects of this simple but fascinating painterly technique is the theme of this essay.'. …

Paperback. Etat : Good+. First Edition; Second Printing. 360 pages; light shelf wear on the covers and spine. Minor yellowing on pages. Good condition otherwise. No other noteworthy defects. No markings. ; - Your satisfaction is our priority. We offer free returns and respond promptly to all inquiries. Your item will be carefully cushioned in bubble wrap and securely boxed. All orders ship on the same or next business day. Buy with confidence.…

Taschenbuch. Etat : Neu. This item is printed on demand - it takes 3-4 days longer - Neuware -Bachelor Thesis from the year 2021 in the subject English Language and Literature Studies - Literature, grade: 1,0, Carl von Ossietzky University of Oldenburg, language: English, abstract: This thesis draws on the notion that identity - our sense of self - and the ways in which we remember ourselves are strongly interrelated to discuss two novels of an author who is well accustomed to writing what he himself has, in a 1989 interview with Gregory Mason, called ¿the texture of memory¿: Kazuo Ishiguro.In discussing two of Ishigurös novels, The Remains of the Day and When We Were Orphans, this thesis will address the ambivalent forces of memory in more detail and examine how personal memory and personal identity are, in the two chosen texts, conceptualised interdependently. In doing so, this thesis furthermore analyses the specific literary functionalisation of the concepts of memory, which the two chosen texts provide us with. However, the theme of memory and identity must not be dealt with as a stand-alone subject in the two chosen texts; it rather has to be examined in the context of other discourses that are related to it. In both novels, identity is built on certain ideals which are, over the course of the two novels, subverted along with the respective identities themselves. Consequently, this thesis will relate its main research interest, the interdependence between memory and identity, to such other discourses which, in the two selected texts, are crucial to acquiring an understanding of the exact nature of the interdependence in question: discourses on individuality, trauma, self-deception, selfdelusion, self-reflection, nostalgia, and idealism.Having awarded Kazuo Ishiguro with the 2017 Nobel Prize in Literature, the Nobel Committee explained its choice in a press release, stating that Ishiguro, ¿in novels of great emotional force, has uncovered the abyss beneath our illusory sense of connection with the world.¿ In his novels, Ishiguro explores this illusory sense of connectedness through the eyes of characters that are confronted with the fragile forces of their very own memories. It is these characters, caught between remembrance and oblivion, between trauma and nostalgia for an irretrievable past, through which Ishiguro unmasks the illusory essence not only of our sense of connection with the world, but also of our sense of self. In an opening remark on the British Council¿s official profile of Kazuo Ishiguro, James Procter fittingly states that ¿Ishiguro's novels are preoccupied by memories, their potential to digress and distort, to forget and to silence, and, above all, to haunt.¿ 52 pp. Englisch.…

Taschenbuch. Etat : Neu. This item is printed on demand - it takes 3-4 days longer - Neuware -Bachelor Thesis from the year 2013 in the subject Art - Photography and Film, grade: 78 % = 1, University of Westminster (Department of Media, Arts and Design), course: Photography Dissertation, language: English, abstract: 'The strongest of Richter's effects of withdrawing the work from the viewer's gaze, is the creation of a softening blur as the final touch to all his Photo Paintings. Making the paintings, the artist firstly drafts his subject with a normally sized brush to create a 'sharp' image (Fig.3). Having finished, he would come with a broader brush or a squeegee and blur the still wet oil paint (Fig. 4) to create the photographic effect of an out-of-focus image1. The blur in these paintings is not a trace of movement of the object in the photograph. This blur is an addition to the painting that does not relate to a form of haziness in the specific photographic source image, but to the general idea of vagueness, indecisiveness, anti-definition. Therefore, it mirrors the artist's attitudes towards life in an especially expressive way. The enlargement of the usual distance between what is depicted and the viewer are the basis of this effect. At first on a quite literal level: Richter introduces another layer of depiction in these paintings by creating the depiction of a depiction of an object. This places the object of the painting further away than usual from its maker and us as viewers (Butin, 2010). Secondly, on the level of reception: an image that stays 'out-of-focus' from whichever distance we look at it rejects us, and refuses to communicate. This typical caginess of Richter's paintings, the exclusion of the recipient whom they are made for, is a striking effect in the encounter with these images. The analysis of the antithetic emotional effects of this simple but fascinating painterly technique is the theme of this essay.' 72 pp. Englisch. …

Etat : New. Print on Demand pp. 74 424:B&W 5.83 x 8.27 in or 210 x 148 mm (A5) Perfect Bound on Creme w/Matte Lam.

Etat : New. Print on Demand pp. 74.

Etat : New. PRINT ON DEMAND pp. 74.

Taschenbuch. Etat : Neu. This item is printed on demand - Print on Demand Titel. Neuware -Bachelor Thesis from the year 2021 in the subject English Language and Literature Studies - Literature, grade: 1,0, Carl von Ossietzky University of Oldenburg, language: English, abstract: This thesis draws on the notion that identity - our sense of self - and the ways in which we remember ourselves are strongly interrelated to discuss two novels of an author who is well accustomed to writing what he himself has, in a 1989 interview with Gregory Mason, called ¿the texture of memory¿: Kazuo Ishiguro.In discussing two of Ishigurös novels, The Remains of the Day and When We Were Orphans, this thesis will address the ambivalent forces of memory in more detail and examine how personal memory and personal identity are, in the two chosen texts, conceptualised interdependently. In doing so, this thesis furthermore analyses the specific literary functionalisation of the concepts of memory, which the two chosen texts provide us with. However, the theme of memory and identity must not be dealt with as a stand-alone subject in the two chosen texts; it rather has to be examined in the context of other discourses that are related to it. In both novels, identity is built on certain ideals which are, over the course of the two novels, subverted along with the respective identities themselves. Consequently, this thesis will relate its main research interest, the interdependence between memory and identity, to such other discourses which, in the two selected texts, are crucial to acquiring an understanding of the exact nature of the interdependence in question: discourses on individuality, trauma, self-deception, selfdelusion, self-reflection, nostalgia, and idealism.Having awarded Kazuo Ishiguro with the 2017 Nobel Prize in Literature, the Nobel Committee explained its choice in a press release, stating that Ishiguro, ¿in novels of great emotional force, has uncovered the abyss beneath our illusory sense of connection with the world.¿ In his novels, Ishiguro explores this illusory sense of connectedness through the eyes of characters that are confronted with the fragile forces of their very own memories. It is these characters, caught between remembrance and oblivion, between trauma and nostalgia for an irretrievable past, through which Ishiguro unmasks the illusory essence not only of our sense of connection with the world, but also of our sense of self. In an opening remark on the British Council¿s official profile of Kazuo Ishiguro, James Procter fittingly states that ¿Ishiguro's novels are preoccupied by memories, their potential to digress and distort, to forget and to silence, and, above all, to haunt.¿ 52 pp. Englisch.…

Taschenbuch. Etat : Neu. Identity and the Ambivalent Force of Memory in Kazuo Ishiguro's "The Remains of the Day" and "When We Were Orphans" | Thorben Höppner | Taschenbuch | Englisch | 2023 | GRIN Verlag | EAN 9783346864864 | Verantwortliche Person für die EU: preigu GmbH & Co. KG, Lengericher Landstr. 19, 49078 Osnabrück, mail[at]preigu[dot]de | Anbieter: preigu Print on Demand.…

Taschenbuch. Etat : Neu. This item is printed on demand - Print on Demand Titel. Neuware -Bachelor Thesis from the year 2013 in the subject Art - Photography and Film, grade: 78 % = 1, University of Westminster (Department of Media, Arts and Design), course: Photography Dissertation, language: English, abstract: 'The strongest of Richter¿s effects of withdrawing the work from the viewer¿s gaze, is the creation of a softening blur as the final touch to all his Photo Paintings. Making the paintings, the artist firstly drafts his subject with a normally sized brush to create a ¿sharp¿ image (Fig.3). Having finished, he would come with a broader brush or a squeegee and blur the still wet oil paint (Fig. 4) to create the photographic effect of an out-of-focus image1. The blur in these paintings is not a trace of movement of the object in the photograph. This blur is an addition to the painting that does not relate to a form of haziness in the specific photographic source image, but to the general idea of vagueness, indecisiveness, anti-definition. Therefore, it mirrors the artist¿s attitudes towards life in an especially expressive way. The enlargement of the usual distance between what is depicted and the viewer are the basis of this effect. At first on a quite literal level: Richter introduces another layer of depiction in these paintings by creating the depiction of a depiction of an object. This places the object of the painting further away than usual from its maker and us as viewers (Butin, 2010). Secondly, on the level of reception: an image that stays ¿out-of-focus¿ from whichever distance we look at it rejects us, and refuses to communicate. This typical caginess of Richter¿s paintings, the exclusion of the recipient whom they are made for, is a striking effect in the encounter with these images. The analysis of the antithetic emotional effects of this simple but fascinating painterly technique is the theme of this essay.'Books on Demand GmbH, Überseering 33, 22297 Hamburg 72 pp. Englisch. …

Taschenbuch. Etat : Neu. On Gerhard Richter's Blur Effect. The Ambivalent Character of a Distanced Force | Sarah Doerfel | Taschenbuch | 72 S. | Englisch | 2014 | GRIN Verlag | EAN 9783656609896 | Verantwortliche Person für die EU: GRIN Publishing GmbH, Waltherstr. 23, 80337 München, info[at]grin[dot]com | Anbieter: preigu Print on Demand. …