“Like Having New Batteries Installed!”: Problematizing the Category of the “40+ Mother” in Contemporary Danish Media
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Quelle: http://www.tandfonline.com/doi/full/10.1080/08038740.2016.1241827?ai=z4&mi=3fqos0&af=R
Quelle: http://www.tandfonline.com/doi/full/10.1080/08038740.2016.1241827?ai=z4&mi=3fqos0&af=R
Quelle: http://www.cairn.info/numero.php?ID_REVUE=RHMC&ID_NUMPUBLIE=RHMC_633&WT.rss_f=revue-RHMC&WT.tsrc=RSS
Associations of Politics and Nature: Cuban Corals in East-Berlin, 1964–1974. The concept of association is centre stage in ecological studies on coral reefs. It describes the specific composition of diverse coral species in a given reef section that depends, among other factors, on the type of surf and the form of the seabed. ‘Association’ is also an important concept in Bruno Latour's plea for transcending the division between humans and objects in sociological analysis. Drawing on the idea of association, the article explores the history of the corals that were moved from the northern Cuban coast to East-Berlin in the late 1960s and worked into a coral reef diorama exhibited in East Berlin's Natural History Museum in 1974. By focusing on the mobilisation of the corals between Cuba and the GDR as well as within the museum, I will show that far from being sharply defined objects of nature, the corals collected in Cuba and displayed in East-Berlin must be understood as parts of constantly changing heterogeneous associations of organisms, non-organic material, national politics, postcolonial economies and institutional politics.
Quelle: http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1002%2Fbewi.201601801
To Shoot Photographs of Tutankhamun – The Making of an Exhibition Star. In the 1970s, the exhibition “Treasures of Tutankhamun” toured the world. It still ranks today amongst the most popular museum exhibitions of all time. This article explores photography used in the catalogue of this blockbuster exhibition in the USA and West Germany; it describes how the pictures of Tutankhamun's objects, which were made by a team from the Metropolitan Museum in New York, introduced a significantly new and different approach to catalogue photography. Until the 1960s, Ancient Egyptian artefacts had been documented by means of bare frontal or profile images in black and white; their close-grained, accurately shaded quality allowed the objects to be investigated independently of the viewer's location. The high gloss colour images of the 1970s, however, instead sought to lend the objects something a photograph could not normally achieve: a palpable presence. They captured sensational traces, creating star items that one “just had to see for oneself”. In other words, the article presents how catalogue photos were able to participate in the creation of star objects and therefore also contributed to the exhibition's enormous success. The historical background behind the rise of this sensational photography in the 1960s and 1970s will be discussed and framed theoretically. In showing how photography played an important role in transforming the objects taken from Tutankhamen's tomb, it argues that mobilising museum objects through media can induce (semiotic and material) transformations of objects.
Quelle: http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1002%2Fbewi.201601804
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