MARC Record from harvard_bibliographic_metadata

LEADER: 03244cam a2200445 i 4500
001 014072073-1
005 20140808185942.0
008 131118s2014 ncua b 001 0 eng c
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016 7 $a016658052$2Uk
020 $a0822353563 (cloth : alk. paper)
020 $a9780822353560 (cloth : alk. paper)
020 $a0822353717 (pbk. : alk. paper)
020 $a9780822353713 (pbk. : alk. paper)
035 0 $aocn859044845
035 2 $aocn883615098
040 $aNcD/DLC$beng$erda$cCNCCA
042 $apcc
043 $ae-fr---
050 00 $aN72.P6$bF45 2014
082 00 $a709.44/09045$223
100 1 $aFeldman, Hannah,$eauthor.
245 10 $aFrom a nation torn :$bdecolonizing art and representation in France, 1945-1962 /$cHannah Feldman.
264 1 $aDurham ;$aLondon :$bDuke University Press,$c2014.
300 $axvi, 317 pages :$billustrations (some color) ;$c26 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
490 1 $aObjects/Histories: Critical perspectives on art, material culture, and representation
504 $aIncludes bibliographical references (page 271-304) and index.
505 0 $aIntroduction: art during war and the potentialities of decolonial representation -- Fragments and façades: André Malraux and the image of the past as the future of the present -- Fragments; or, the ends of photography -- Fac̦ades; or, the space of silence -- Between resistance and refusal: the language of art and its publics -- Sonic youth, sonic space: Isidore Isou and the lettrist accoustics of deterritorialization -- La France Déchirée: the politics of representation and the spaces in between -- Reidentifications: seeing citizens being seen -- "The eye of history": photojournalism, protest, and the manifestation of 17 October 1961 -- Looking past the state of emergency: a coda.
520 $a"From a Nation Torn provides a powerful critique of art history's understanding of French modernism and the historical circumstances that shaped its production and reception. Within art history, the aesthetic practices and theories that emerged in France from the late 1940s into the 1960s are demarcated as 'postwar.' Yet it was during these very decades that France fought a protracted series of wars to maintain its far-flung colonial empire. Given that French modernism was created during, rather than after, war, Hannah Feldman argues that its interpretation must incorporate the tumultuous 'decades of decolonization' and their profound influence on visual and public culture. Focusing on the Algerian War of Independence (1954-1962) and the historical continuities it presented with the experience of the Second World War, Feldman highlights decolonization's formative effects on art and related theories of representation, both political and aesthetic"--Back cover.
650 0 $aArt$xPolitical aspects$zFrance$xHistory$y20th century.
650 0 $aArt and state$zFrance$xHistory$y20th century.
650 0 $aDecolonization$xSocial aspects$zFrance$xHistory$y20th century.
655 7 $aHistory.$2fast
830 0 $aObjects/histories.
830 0 $aObjects/histories
988 $a20140528
906 $0OCLC