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Remembering the past in visual and v...

Ohio University.

Remembering the past in visual and visionary ways: Rhetorically exploring the narrative potentialities of Esther Parada's memory art.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
書名/作者:	Remembering the past in visual and visionary ways: Rhetorically exploring the narrative potentialities of Esther Parada's memory art.
作者:	Young, Stephanie L.
面頁冊數:	264 p.
附註:	Source: Dissertation Abstracts International, Volume: 70-09, Section: A, page: 3274.
Contained By:	Dissertation Abstracts International70-09A.
標題:	Art History.
標題:	Women's Studies.
標題:	Speech Communication.
ISBN:	9781109356458
摘要、提要註:	Rhetorical scholars have examined the ways in which memory is visually and materially enacted. While most research has concentrated on national scale subjects (e.g., the Vietnam War, the Oklahoma City bombing, the attacks of September 11th) when exploring collective memory, little attention has been given to vernacular engagements with the past. Memory art provides a rich area of inquiry for investigating rhetorical techniques used by artists to memorialize and inventively (re)create visions of familial memory and communal pasts.
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3372364

Remembering the past in visual and visionary ways: Rhetorically exploring the narrative potentialities of Esther Parada's memory art.
Young, Stephanie L.

Remembering the past in visual and visionary ways: Rhetorically exploring the narrative potentialities of Esther Parada's memory art. - 264 p.

Source: Dissertation Abstracts International, Volume: 70-09, Section: A, page: 3274.

Thesis (Ph.D.)--Ohio University, 2009.

Rhetorical scholars have examined the ways in which memory is visually and materially enacted. While most research has concentrated on national scale subjects (e.g., the Vietnam War, the Oklahoma City bombing, the attacks of September 11th) when exploring collective memory, little attention has been given to vernacular engagements with the past. Memory art provides a rich area of inquiry for investigating rhetorical techniques used by artists to memorialize and inventively (re)create visions of familial memory and communal pasts.

ISBN: 9781109356458Subjects--Topical Terms:

423075
Art History.

Remembering the past in visual and visionary ways: Rhetorically exploring the narrative potentialities of Esther Parada's memory art.
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245 1 0 $a Remembering the past in visual and visionary ways: Rhetorically exploring the narrative potentialities of Esther Parada's memory art.
300 $a 264 p.
500 $a Source: Dissertation Abstracts International, Volume: 70-09, Section: A, page: 3274.
500 $a Advisers: William K. Rawlins; Benjamin R. Bates.
502 $a Thesis (Ph.D.)--Ohio University, 2009.
520 $a Rhetorical scholars have examined the ways in which memory is visually and materially enacted. While most research has concentrated on national scale subjects (e.g., the Vietnam War, the Oklahoma City bombing, the attacks of September 11th) when exploring collective memory, little attention has been given to vernacular engagements with the past. Memory art provides a rich area of inquiry for investigating rhetorical techniques used by artists to memorialize and inventively (re)create visions of familial memory and communal pasts.
520 $a This dissertation explores the narrative capacity of artwork and how visual texts can be narratively experienced to engage with collective memories. Drawing upon theories in feminism, rhetoric, and collective memory, I theorize a visual narrative perspective grounded in a Bakhtinian understanding of dialogic intertextuality. This perspective views narrative as a sense-making process in which the rhetor and viewer intertextually co-construct textual meanings. Textual meanings of photographic images, specifically memory art, are intertextually co-produced through the dialogic interaction amongst rhetor, artifact, and viewer. Audiences converse with artists through images, merging their subjective knowledges and voices with the artist's intentions.
520 $a Specifically, I examine three artworks by Chicago-based artist Esther Parada to highlight this theory of visual narrativity. First, I explore the photomural Past Recovery and examine how Parada utilizes different visual tropes to invite me into the text. Then, I investigate the hypertext, Transplant: A Tale of Three Continents, and consider how the multilinear structure elicits narrative co-constructions. Finally, I analyze the multimedia installation piece, When the Bough Breaks and examine how different traces encourage a (re)piecing together of loss and memories. Collectively, Parada's photographic works provide alternative ways of seeing and remembering personal and collective pasts.
590 $a School code: 0167.
650 4 $a Art History. $3 423075
650 4 $a Women's Studies. $3 422982
650 4 $a Speech Communication. $3 423080
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710 2 $a Ohio University. $b School of Communication Studies. $3 423182
773 0 $t Dissertation Abstracts International $g 70-09A.
790 1 0 $a Rawlins, William K., $e advisor
790 1 0 $a Bates, Benjamin R., $e advisor
790 1 0 $a Harter, Lynn $e committee member
790 1 0 $a McKerrow, Raymie $e committee member
790 1 0 $a Patin, Thomas $e committee member
790 $a 0167
791 $a Ph.D.
792 $a 2009
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3372364

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