{"title":"Neustadt a.d. Aisch","authors":"Marla Elisabeth Heid","doi":"10.5070/r74155764","DOIUrl":"https://doi.org/10.5070/r74155764","url":null,"abstract":"","PeriodicalId":343897,"journal":{"name":"Refract: An Open Access Visual Studies Journal","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116354348","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Jozi Rhapsody: Tracing a City’s Legacy through Time","authors":"Ncomi Nzimande","doi":"10.5070/r74155774","DOIUrl":"https://doi.org/10.5070/r74155774","url":null,"abstract":"","PeriodicalId":343897,"journal":{"name":"Refract: An Open Access Visual Studies Journal","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130633304","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Letter from the Editor","authors":"Maggie Wander","doi":"10.5070/r73151187","DOIUrl":"https://doi.org/10.5070/r73151187","url":null,"abstract":"","PeriodicalId":343897,"journal":{"name":"Refract: An Open Access Visual Studies Journal","volume":"21 12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125777548","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Visualizing Banaba: Art and Research about a Diffracted Pacific Island","authors":"K. Teaiwa","doi":"10.5070/r73151194","DOIUrl":"https://doi.org/10.5070/r73151194","url":null,"abstract":"Author(s): Teaiwa, Katerina Martina | Abstract: My book, Consuming Ocean Island: Stories of People and Phosphate from Banaba , about the impact of British, Australian, and, New Zealand phosphate mining on one of my ancestral homelands, felt like a mission to Mars. Prolonged sitting, writing, reading, rewriting, and editing are static embodied processes unnatural to human design. And while I’m so pleased the book has been taken up in several anthropology, history, Pacific studies, and Indigenous studies classrooms, the chapter I love most is the one that reviewers and editors had almost nothing to say about. Titled “Remix: Our Sea of Phosphate,” it consists of textual and visual fragments from books, journal articles, ethnographic film, and archives. Elsewhere, I have written about my interest in Indigenous remix and how apt it is for Banaban lands, choreographies, histories, and displacement. My goal has never been to produce a neat and well-synthesized master narrative of what happened to Banaba, also known as Ocean Island, but to appropriately present our two-and-a-half-square-mile (six-square-kilometer) ancestral island that was broken, crushed, dried, bagged, and hauled off in ships “in pieces.” The remixed forms of research and storytelling about Banaba are in line with the multisited, multisensory, empirical, material, social, and political elements marking the interaction and mutual interference between Banaba and twentieth-century British, Australian, and New Zealand colonial, imperial, agricultural, and food security projects.","PeriodicalId":343897,"journal":{"name":"Refract: An Open Access Visual Studies Journal","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116927900","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"White Shoals, White Shrouds: Reflections on the Ethics of Looking at Captive Bodies","authors":"Axelle Toussaint","doi":"10.5070/r73151192","DOIUrl":"https://doi.org/10.5070/r73151192","url":null,"abstract":"Author(s): Toussaint, Axelle | Abstract: In the winter of 2018, I presented a conference paper on a set of nineteenth-century photographs from the national archive of the French colonies. The series, titled “Types Comoriens” (Comorian types), comprises seven photographs commissioned by the French Ecole Coloniale between 1890 and 1896. The Ecole Coloniale was a French colonial school created in 1889, and dedicated to the recruitment and training of French colonial administrators. The school was instrumental to both the institutionalization of colonial knowledge and the development of French higher education. The images are full-length portraits of seven young Comorian natives, naked, standing in front of a white background. My paper looked at the beaded strings that the indigenous islanders wore around their waists, which I traced back to an East African puberty ritual called unyago. Subsumed in the minutiae of my anthropological analysis, I did not register the violence that had been folded into the photographic frame. Nor did I realize that I, myself, was reenacting the voyeuristic gaze of the colonial photographer by re-producing these images in my conference presentation. For the purposes of my presentation, I cropped the subjects’ naked bodies but decided to show their faces. Even then, this timid gesture seemed insufficient, uncomfortably incomplete.","PeriodicalId":343897,"journal":{"name":"Refract: An Open Access Visual Studies Journal","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131553848","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Bloodlines, Kinship","authors":"Hilary A. Short","doi":"10.5070/r73151199","DOIUrl":"https://doi.org/10.5070/r73151199","url":null,"abstract":"","PeriodicalId":343897,"journal":{"name":"Refract: An Open Access Visual Studies Journal","volume":"266 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114940579","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"In the Traces: Reflections on Fieldwork in the Region of Ani","authors":"Christina Maranci","doi":"10.5070/r73151191","DOIUrl":"https://doi.org/10.5070/r73151191","url":null,"abstract":"Author(s): Maranci, Christina | Abstract: I study the medieval Armenian monuments—churches, monasteries, fortresses, palaces, and more—in what is now eastern Turkey (what many call western Armenia). For me, this region is at once the most beautiful, and most painful, place on earth. I am the grandchild of survivors of the Armenian Genocide of 1915–22, in which Armenians living in the Ottoman Empire suffered mass deportation and extermination: a crime that still goes unrecognized by the Turkish state. Scholars have characterized the Armenian monuments in Turkey as physical traces of their lost homeland. While my scholarship addresses these sites as historical and architectural/artistic phenomena, that work does not often capture the moods and emotions I feel when I am there. I hope to offer here a sense of the more personal dimensions of firsthand work with the buildings and their landscapes.","PeriodicalId":343897,"journal":{"name":"Refract: An Open Access Visual Studies Journal","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122204001","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Face of an Empire: Cosmetics and Whiteness in Imperial Portraits of Queen Elizabeth I","authors":"Tara Allen-Flanagan","doi":"10.5070/r73151193","DOIUrl":"https://doi.org/10.5070/r73151193","url":null,"abstract":"Author(s): Allen-Flanagan, Tara | Abstract: When Queen Elizabeth I entered her fifties, she grew reluctant to sit for any more portraits. The final three portraits that she sat for – the Armada Portrait, The Ditchley Portrait, and the Oliver Miniature – painted between the mid-1580s and her death in 1602, portray the Queen with a smooth, white face, and bright coral lips and cheeks. The style of painting the Queen’s face as seen in these last portraits were canonized as a pattern for future artists to follow when painting the Queen during and after the last years of her reign. In the Elizabethan era, the English government often attempted to control how the Queen was depicted in artwork; in 1596 the English Privy Council drafted a proclamation that required portraits of the Queen depict her as “beutyfull [sic] and magnanimous” as “God hathe blessed her.” In both art historical scholarship and popular culture, the Queen’s whitened skin and rouged lips and cheeks in her official portraiture are often cited as evidence of her vanity and waning looks. However, as I will explore in this paper, the use of cosmetics in the early-modern era was associated not only with narcissism, but with England’s colonial efforts. By considering discourses regarding both her status as a symbol of natural beauty and the racist associations that were associated with makeup application, I argue that the legibility of makeup on the Queen’s face in imperial portraits and preservation of this motif as a pattern can be read as a symbol of her imperial and racial domination in the Americas and in England.","PeriodicalId":343897,"journal":{"name":"Refract: An Open Access Visual Studies Journal","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128181629","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
求助内容：
应助结果提醒方式：
京公网安备 11010802042870号
