9780674504516 - disaster drawn: visual witness, comics, and documentary form di chute, hillary l. (21 risultati)
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Da: ThriftBooks-Atlanta, AUSTELL, GA, U.S.A.ThriftBooks-Atlanta
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EUR 29,56
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Hardcover. Condizione: Fair. No Jacket. Missing dust jacket; Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.
Altre immaginiLingua: Inglese
Editore: Belknap Press: An Imprint of Harvard University Press, Cambridge, Massachusetts 2016
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- Prima edizione
Da: Books & Bidders, Cleveland, OH, U.S.A.Books & Bidders
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EUR 35,60
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Hardcover. Condizione: Fine. Condizione sovraccoperta: Fine. First Edition. Grey cloth, silver gilt title in unclipped, mylar protected dust-jacket, (9.5 x 6.5 inches). First Edition/First Printing (First Printing stated on copyright page). 359 pages with extensive Notes and Index; color illustrations. This book is a critical st…udy of the nature of trauma in visual narrative; it is a major work in comic studies. A clean, tight copy.
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Da: Rarewaves.com USA, London, LONDO, Regno UnitoRarewaves.com USA
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Hardback. Condizione: New. In hard-hitting accounts of Auschwitz, Bosnia, Palestine, and Hiroshima's Ground Zero, comics display a stunning capacity to bear witness to trauma. Investigating how hand-drawn comics has come of age as a serious medium for engaging history, Disaster Drawn explores the ways graphic narratives by diver…se artists, including Jacques Callot, Francisco Goya, Keiji Nakazawa, Art Spiegelman, and Joe Sacco, document the disasters of war.Hillary L. Chute traces how comics inherited graphic print traditions and innovations from the seventeenth century and later, pointing out that at every turn new forms of visual-verbal representation have arisen in response to the turmoil of war. Modern nonfiction comics emerged from the shattering experience of World War II, developing in the 1970s with Art Spiegelman's first "Maus" story about his immigrant family's survival of Nazi death camps and with Hiroshima survivor Keiji Nakazawa's inaugural work of "atomic bomb manga," the comic book Ore Wa Mita ("I Saw It")-a title that alludes to Goya's famous Disasters of War etchings.Chute explains how the form of comics-its collection of frames-lends itself to historical narrative. By interlacing multiple temporalities over the space of the page or panel, comics can place pressure on conventional notions of causality. Aggregating and accumulating frames of information, comics calls attention to itself as evidence. Disaster Drawn demonstrates why, even in the era of photography and film, people understand hand-drawn images to be among the most powerful forms of historical witness.
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Da: Grand Eagle Retail, Bensenville, IL, U.S.A.Grand Eagle Retail
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EUR 42,11
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Hardcover. Condizione: new. Hardcover. In hard-hitting accounts of Auschwitz, Bosnia, Palestine, and Hiroshima's Ground Zero, comics display a stunning capacity to bear witness to trauma. Investigating how hand-drawn comics has come of age as a serious medium for engaging history, Disaster Drawn explores the ways graphic narrati…ves by diverse artists, including Jacques Callot, Francisco Goya, Keiji Nakazawa, Art Spiegelman, and Joe Sacco, document the disasters of war.Hillary L. Chute traces how comics inherited graphic print traditions and innovations from the seventeenth century and later, pointing out that at every turn new forms of visual-verbal representation have arisen in response to the turmoil of war. Modern nonfiction comics emerged from the shattering experience of World War II, developing in the 1970s with Art Spiegelman's first "Maus" story about his immigrant family's survival of Nazi death camps and with Hiroshima survivor Keiji Nakazawa's inaugural work of "atomic bomb manga," the comic book Ore Wa Mita ("I Saw It")-a title that alludes to Goya's famous Disasters of War etchings.Chute explains how the form of comics-its collection of frames-lends itself to historical narrative. By interlacing multiple temporalities over the space of the page or panel, comics can place pressure on conventional notions of causality. Aggregating and accumulating frames of information, comics calls attention to itself as evidence. Disaster Drawn demonstrates why, even in the era of photography and film, people understand hand-drawn images to be among the most powerful forms of historical witness. In hard-hitting accounts of Auschwitz, Bosnia, Palestine, and Hiroshimas Ground Zero, comics have shown a stunning capacity to bear witness to trauma. Hillary Chute explores the ways graphic narratives by diverse artists, including Jacques Callot, Francisco Goya, Keiji Nakazawa, Art Spiegelman, and Joe Sacco, document the disasters of war. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.
Lingua: Inglese
Editore: Belknap Press: An Imprint of Harvard University Press 2016
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Da: Brook Bookstore On Demand, Napoli, NA, ItaliaBrook Bookstore On Demand
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Condizione: new.
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Da: PBShop.store UK, Fairford, GLOS, Regno UnitoPBShop.store UK
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HRD. Condizione: New. New Book. Shipped from UK. Established seller since 2000.
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Da: Kennys Bookshop and Art Galleries Ltd., Galway, GY, IrlandaKennys Bookshop and Art Galleries Ltd.
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EUR 38,21
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Condizione: New. In hard-hitting accounts of Auschwitz, Bosnia, Palestine, and Hiroshima s Ground Zero, comics have shown a stunning capacity to bear witness to trauma. Hillary Chute explores the ways graphic narratives by diverse artists, including Jacques Callot, Francisco Goya, Keiji Nakazawa, Art Spiegelman, and Joe Sacco, d…ocument the disasters of war." Num Pages: 336 pages. BIC Classification: AKLC; FZG; JW. Category: (G) General (US: Trade). . . 2016. Hardcover. . . . .
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Da: Kennys Bookstore, Olney, MD, U.S.A.Kennys Bookstore
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EUR 47,41
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Condizione: New. In hard-hitting accounts of Auschwitz, Bosnia, Palestine, and Hiroshima s Ground Zero, comics have shown a stunning capacity to bear witness to trauma. Hillary Chute explores the ways graphic narratives by diverse artists, including Jacques Callot, Francisco Goya, Keiji Nakazawa, Art Spiegelman, and Joe Sacco, d…ocument the disasters of war." Num Pages: 336 pages. BIC Classification: AKLC; FZG; JW. Category: (G) General (US: Trade). . . 2016. Hardcover. . . . . Books ship from the US and Ireland.
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Da: Rheinberg-Buch Andreas Meier eK, Bergisch Gladbach, , GermaniaRheinberg-Buch Andreas Meier eK
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EUR 33,50
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Buch. Condizione: Neu. Neuware -In hard-hitting accounts of Auschwitz, Bosnia, Palestine, and Hiroshima's Ground Zero, comics display a stunning capacity to bear witness to trauma. Investigating how hand-drawn comics has come of age as a serious medium for engaging history, Disaster Drawn explores the ways graphic narratives by…diverse artists, including Jacques Callot, Francisco Goya, Keiji Nakazawa, Art Spiegelman, and Joe Sacco, document the disasters of war.Hillary L. Chute traces how comics inherited graphic print traditions and innovations from the seventeenth century and later, pointing out that at every turn new forms of visual-verbal representation have arisen in response to the turmoil of war. Modern nonfiction comics emerged from the shattering experience of World War II, developing in the 1970s with Art Spiegelman's first 'Maus' story about his immigrant family's survival of Nazi death camps and with Hiroshima survivor Keiji Nakazawa's inaugural work of 'atomic bomb manga,' the comic book Ore Wa Mita ('I Saw It')-a title that alludes to Goya's famous Disasters of War etchings.Chute explains how the form of comics-its collection of frames-lends itself to historical narrative. By interlacing multiple temporalities over the space of the page or panel, comics can place pressure on conventional notions of causality. Aggregating and accumulating frames of information, comics calls attention to itself as evidence. Disaster Drawn demonstrates why, even in the era of photography and film, people understand hand-drawn images to be among the most powerful forms of historical witness. 376 pp. Englisch.
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Da: BuchWeltWeit Ludwig Meier e.K., Bergisch Gladbach, , GermaniaBuchWeltWeit Ludwig Meier e.K.
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Buch. Condizione: Neu. Neuware -In hard-hitting accounts of Auschwitz, Bosnia, Palestine, and Hiroshima's Ground Zero, comics display a stunning capacity to bear witness to trauma. Investigating how hand-drawn comics has come of age as a serious medium for engaging history, Disaster Drawn explores the ways graphic narratives by…diverse artists, including Jacques Callot, Francisco Goya, Keiji Nakazawa, Art Spiegelman, and Joe Sacco, document the disasters of war.Hillary L. Chute traces how comics inherited graphic print traditions and innovations from the seventeenth century and later, pointing out that at every turn new forms of visual-verbal representation have arisen in response to the turmoil of war. Modern nonfiction comics emerged from the shattering experience of World War II, developing in the 1970s with Art Spiegelman's first 'Maus' story about his immigrant family's survival of Nazi death camps and with Hiroshima survivor Keiji Nakazawa's inaugural work of 'atomic bomb manga,' the comic book Ore Wa Mita ('I Saw It')-a title that alludes to Goya's famous Disasters of War etchings.Chute explains how the form of comics-its collection of frames-lends itself to historical narrative. By interlacing multiple temporalities over the space of the page or panel, comics can place pressure on conventional notions of causality. Aggregating and accumulating frames of information, comics calls attention to itself as evidence. Disaster Drawn demonstrates why, even in the era of photography and film, people understand hand-drawn images to be among the most powerful forms of historical witness. 376 pp. Englisch.
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Da: Wegmann1855, Zwiesel, , GermaniaWegmann1855
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Buch. Condizione: Neu. Neuware -In hard-hitting accounts of Auschwitz, Bosnia, Palestine, and Hiroshima's Ground Zero, comics display a stunning capacity to bear witness to trauma. Investigating how hand-drawn comics has come of age as a serious medium for engaging history, Disaster Drawn explores the ways graphic narratives by…diverse artists, including Jacques Callot, Francisco Goya, Keiji Nakazawa, Art Spiegelman, and Joe Sacco, document the disasters of war.Hillary L. Chute traces how comics inherited graphic print traditions and innovations from the seventeenth century and later, pointing out that at every turn new forms of visual-verbal representation have arisen in response to the turmoil of war. Modern nonfiction comics emerged from the shattering experience of World War II, developing in the 1970s with Art Spiegelman's first 'Maus' story about his immigrant family's survival of Nazi death camps and with Hiroshima survivor Keiji Nakazawa's inaugural work of 'atomic bomb manga,' the comic book Ore Wa Mita ('I Saw It')-a title that alludes to Goya's famous Disasters of War etchings.Chute explains how the form of comics-its collection of frames-lends itself to historical narrative. By interlacing multiple temporalities over the space of the page or panel, comics can place pressure on conventional notions of causality. Aggregating and accumulating frames of information, comics calls attention to itself as evidence. Disaster Drawn demonstrates why, even in the era of photography and film, people understand hand-drawn images to be among the most powerful forms of historical witness.
Lingua: Inglese
Editore: Belknap Press: An Imprint of Harvard University Press 2016
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Da: Books Puddle, New York, NY, U.S.A.Books Puddle
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EUR 57,79
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Condizione: New. pp. 336.
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Da: THE SAINT BOOKSTORE, Southport, , Regno UnitoTHE SAINT BOOKSTORE
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Hardback. Condizione: New. New copy - Usually dispatched within 4 working days.
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Da: CitiRetail, Stevenage, Regno UnitoCitiRetail
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EUR 39,36
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Hardcover. Condizione: new. Hardcover. In hard-hitting accounts of Auschwitz, Bosnia, Palestine, and Hiroshima's Ground Zero, comics display a stunning capacity to bear witness to trauma. Investigating how hand-drawn comics has come of age as a serious medium for engaging history, Disaster Drawn explores the ways graphic narrati…ves by diverse artists, including Jacques Callot, Francisco Goya, Keiji Nakazawa, Art Spiegelman, and Joe Sacco, document the disasters of war.Hillary L. Chute traces how comics inherited graphic print traditions and innovations from the seventeenth century and later, pointing out that at every turn new forms of visual-verbal representation have arisen in response to the turmoil of war. Modern nonfiction comics emerged from the shattering experience of World War II, developing in the 1970s with Art Spiegelman's first "Maus" story about his immigrant family's survival of Nazi death camps and with Hiroshima survivor Keiji Nakazawa's inaugural work of "atomic bomb manga," the comic book Ore Wa Mita ("I Saw It")-a title that alludes to Goya's famous Disasters of War etchings.Chute explains how the form of comics-its collection of frames-lends itself to historical narrative. By interlacing multiple temporalities over the space of the page or panel, comics can place pressure on conventional notions of causality. Aggregating and accumulating frames of information, comics calls attention to itself as evidence. Disaster Drawn demonstrates why, even in the era of photography and film, people understand hand-drawn images to be among the most powerful forms of historical witness. In hard-hitting accounts of Auschwitz, Bosnia, Palestine, and Hiroshimas Ground Zero, comics have shown a stunning capacity to bear witness to trauma. Hillary Chute explores the ways graphic narratives by diverse artists, including Jacques Callot, Francisco Goya, Keiji Nakazawa, Art Spiegelman, and Joe Sacco, document the disasters of war. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.
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Da: buchversandmimpf2000, Emtmannsberg, BAYE, Germaniabuchversandmimpf2000
Contatta il venditoreVenditore con 5 stelleCondizione: Nuovo
EUR 33,50
EUR 60,00 spedizioneSpedito da Germania a U.S.A.Quantità: 1 disponibili
Buch. Condizione: Neu. Neuware -In hard-hitting accounts of Auschwitz, Bosnia, Palestine, and Hiroshima's Ground Zero, comics display a stunning capacity to bear witness to trauma. Investigating how hand-drawn comics has come of age as a serious medium for engaging history, Disaster Drawn explores the ways graphic narratives by…diverse artists, including Jacques Callot, Francisco Goya, Keiji Nakazawa, Art Spiegelman, and Joe Sacco, document the disasters of war.Hillary L. Chute traces how comics inherited graphic print traditions and innovations from the seventeenth century and later, pointing out that at every turn new forms of visual-verbal representation have arisen in response to the turmoil of war. Modern nonfiction comics emerged from the shattering experience of World War II, developing in the 1970s with Art Spiegelman's first 'Maus' story about his immigrant family's survival of Nazi death camps and with Hiroshima survivor Keiji Nakazawa's inaugural work of 'atomic bomb manga,' the comic book Ore Wa Mita ('I Saw It')-a title that alludes to Goya's famous Disasters of War etchings.Chute explains how the form of comics-its collection of frames-lends itself to historical narrative. By interlacing multiple temporalities over the space of the page or panel, comics can place pressure on conventional notions of causality. Aggregating and accumulating frames of information, comics calls attention to itself as evidence. Disaster Drawn demonstrates why, even in the era of photography and film, people understand hand-drawn images to be among the most powerful forms of historical witness.Libri GmbH, Europaallee 1, 36244 Bad Hersfeld 376 pp. Englisch.
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Da: AussieBookSeller, Truganina, VIC, AustraliaAussieBookSeller
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EUR 68,76
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Hardcover. Condizione: new. Hardcover. In hard-hitting accounts of Auschwitz, Bosnia, Palestine, and Hiroshima's Ground Zero, comics display a stunning capacity to bear witness to trauma. Investigating how hand-drawn comics has come of age as a serious medium for engaging history, Disaster Drawn explores the ways graphic narrati…ves by diverse artists, including Jacques Callot, Francisco Goya, Keiji Nakazawa, Art Spiegelman, and Joe Sacco, document the disasters of war.Hillary L. Chute traces how comics inherited graphic print traditions and innovations from the seventeenth century and later, pointing out that at every turn new forms of visual-verbal representation have arisen in response to the turmoil of war. Modern nonfiction comics emerged from the shattering experience of World War II, developing in the 1970s with Art Spiegelman's first "Maus" story about his immigrant family's survival of Nazi death camps and with Hiroshima survivor Keiji Nakazawa's inaugural work of "atomic bomb manga," the comic book Ore Wa Mita ("I Saw It")-a title that alludes to Goya's famous Disasters of War etchings.Chute explains how the form of comics-its collection of frames-lends itself to historical narrative. By interlacing multiple temporalities over the space of the page or panel, comics can place pressure on conventional notions of causality. Aggregating and accumulating frames of information, comics calls attention to itself as evidence. Disaster Drawn demonstrates why, even in the era of photography and film, people understand hand-drawn images to be among the most powerful forms of historical witness. In hard-hitting accounts of Auschwitz, Bosnia, Palestine, and Hiroshimas Ground Zero, comics have shown a stunning capacity to bear witness to trauma. Hillary Chute explores the ways graphic narratives by diverse artists, including Jacques Callot, Francisco Goya, Keiji Nakazawa, Art Spiegelman, and Joe Sacco, document the disasters of war. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.
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Da: AHA-BUCH GmbH, Einbeck, GermaniaAHA-BUCH GmbH
Contatta il venditoreVenditore con 5 stelleCondizione: Nuovo
EUR 38,10
EUR 63,94 spedizioneSpedito da Germania a U.S.A.Quantità: 1 disponibili
Buch. Condizione: Neu. Neuware - In hard-hitting accounts of Auschwitz, Bosnia, Palestine, and Hiroshima's Ground Zero, comics display a stunning capacity to bear witness to trauma. Investigating how hand-drawn comics has come of age as a serious medium for engaging history, Disaster Drawn explores the ways graphic narratives by… diverse artists, including Jacques Callot, Francisco Goya, Keiji Nakazawa, Art Spiegelman, and Joe Sacco, document the disasters of war.Hillary L. Chute traces how comics inherited graphic print traditions and innovations from the seventeenth century and later, pointing out that at every turn new forms of visual-verbal representation have arisen in response to the turmoil of war. Modern nonfiction comics emerged from the shattering experience of World War II, developing in the 1970s with Art Spiegelman's first 'Maus' story about his immigrant family's survival of Nazi death camps and with Hiroshima survivor Keiji Nakazawa's inaugural work of 'atomic bomb manga,' the comic book Ore Wa Mita ('I Saw It')-a title that alludes to Goya's famous Disasters of War etchings.Chute explains how the form of comics-its collection of frames-lends itself to historical narrative. By interlacing multiple temporalities over the space of the page or panel, comics can place pressure on conventional notions of causality. Aggregating and accumulating frames of information, comics calls attention to itself as evidence. Disaster Drawn demonstrates why, even in the era of photography and film, people understand hand-drawn images to be among the most powerful forms of historical witness.
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Da: preigu, Osnabrück, Germaniapreigu
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EUR 34,25
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Buch. Condizione: Neu. Disaster Drawn | Visual Witness, Comics, and Documentary Form | Hillary L Chute | Buch | Einband - fest (Hardcover) | Englisch | 2016 | Harvard University Press | EAN 9780674504516 | Verantwortliche Person für die EU: Libri GmbH, Europaallee 1, 36244 Bad Hersfeld, gpsr[at]libri[dot]de | Anbieter: preigu.
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Da: Rarewaves.com UK, London, Regno UnitoRarewaves.com UK
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EUR 39,05
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Hardback. Condizione: New. In hard-hitting accounts of Auschwitz, Bosnia, Palestine, and Hiroshima's Ground Zero, comics display a stunning capacity to bear witness to trauma. Investigating how hand-drawn comics has come of age as a serious medium for engaging history, Disaster Drawn explores the ways graphic narratives by diver…se artists, including Jacques Callot, Francisco Goya, Keiji Nakazawa, Art Spiegelman, and Joe Sacco, document the disasters of war.Hillary L. Chute traces how comics inherited graphic print traditions and innovations from the seventeenth century and later, pointing out that at every turn new forms of visual-verbal representation have arisen in response to the turmoil of war. Modern nonfiction comics emerged from the shattering experience of World War II, developing in the 1970s with Art Spiegelman's first "Maus" story about his immigrant family's survival of Nazi death camps and with Hiroshima survivor Keiji Nakazawa's inaugural work of "atomic bomb manga," the comic book Ore Wa Mita ("I Saw It")-a title that alludes to Goya's famous Disasters of War etchings.Chute explains how the form of comics-its collection of frames-lends itself to historical narrative. By interlacing multiple temporalities over the space of the page or panel, comics can place pressure on conventional notions of causality. Aggregating and accumulating frames of information, comics calls attention to itself as evidence. Disaster Drawn demonstrates why, even in the era of photography and film, people understand hand-drawn images to be among the most powerful forms of historical witness.
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Da: Books-by-Floh, Paderborn, GermaniaBooks-by-Floh
Contatta il venditoreVenditore con 3 stelleCondizione: Nuovo
EUR 47,34
EUR 105,00 spedizioneSpedito da Germania a U.S.A.Quantità: 1 disponibili
Buch. Condizione: Neu. Neuware -In hard-hitting accounts of Auschwitz, Bosnia, Palestine, and Hiroshima's Ground Zero, comics display a stunning capacity to bear witness to trauma. Investigating how hand-drawn comics has come of age as a serious medium for engaging history, Disaster Drawn explores the ways graphic narratives by…diverse artists, including Jacques Callot, Francisco Goya, Keiji Nakazawa, Art Spiegelman, and Joe Sacco, document the disasters of war.Hillary L. Chute traces how comics inherited graphic print traditions and innovations from the seventeenth century and later, pointing out that at every turn new forms of visual-verbal representation have arisen in response to the turmoil of war. Modern nonfiction comics emerged from the shattering experience of World War II, developing in the 1970s with Art Spiegelman's first 'Maus' story about his immigrant family's survival of Nazi death camps and with Hiroshima survivor Keiji Nakazawa's inaugural work of 'atomic bomb manga,' the comic book Ore Wa Mita ('I Saw It')-a title that alludes to Goya's famous Disasters of War etchings.Chute explains how the form of comics-its collection of frames-lends itself to historical narrative. By interlacing multiple temporalities over the space of the page or panel, comics can place pressure on conventional notions of causality. Aggregating and accumulating frames of information, comics calls attention to itself as evidence. Disaster Drawn demonstrates why, even in the era of photography and film, people understand hand-drawn images to be among the most powerful forms of historical witness. 376 pp. Englisch.
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Da: BWS BKS, Ferndale, NY, U.S.A.BWS BKS
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EUR 1758,60
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Hardcover. Condizione: New.
