Agnès devictor (29 Ergebnisse)

Softcover. Zustand: Bon. Ancien livre de bibliothèque avec équipements. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Good. Former library book. Ammareal gives back up to 15% of this item's net price to charity organizations.…

Paperback. Zustand: New. For forty years, life in Afghanistan has been shaped by wars, the destruction of heritage, terrorist attacks, everyday fears and hopes, and migrations. In 2001, the Taliban government was overthrown by an international coalition bringing hopes of stability and reconstruction. The intervention did not however bring total peace. In this period of optimism, a number of international creation programs were set up as young Afghan artists returned from exile. Artists in the country - either self-taught having grown up under a Taliban regime that banned images, or trained during their exile - had no heritage to take on and no classical rules to break: anything seemed possible. Kharmohra is named after a gland taken from a donkey's neck that, on drying, becomes as hard as stone and is said to bring happiness by making the owner's most secret dreams come true. The metaphor is used to show how contemporary Afghan art is a long way from the romantic expectations with which Westerners often approach the country. The artists explore a wide variety of forms and media to express the horror of terrorism and the omnipresent shadow of death looming over the hostile urban environment. The works stand as an often humorous testimony to the peace that was promised but never delivered and the bitter illusions this fostered. All express a spirit of revolt against the most oppressive traditional forces that repress women and homosexuals as well as the Hazara ethnic group. Through their artistic practices, the artists show how salvation, however slight, is achievable.…

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Zustand: new.

Zustand: New. 2022. Bilingual. Paperback. . . . . .

Zustand: New. 2022. Bilingual. Paperback. . . . . . Books ship from the US and Ireland.

Zustand: New.

Taschenbuch. Zustand: Neu. Neuware -For forty years, life in Afghanistan has been shaped by wars, the destruction of heritage, terrorist attacks, everyday fears and hopes, and migrations. In 2001, the Taliban government was overthrown by an international coalition bringing hopes of stability and reconstruction. The intervention did not however bring total peace. In this period of optimism, a number of international creation programs were set up as young Afghan artists returned from exile. Artists in the country - either self-taught having grown up under a Taliban regime that banned images, or trained during their exile - had no heritage to take on and no classical rules to break: anything seemed possible. Kharmohra is named after a gland taken from a donkey's neck that, on drying, becomes as hard as stone and is said to bring happiness by making the owner's most secret dreams come true. The metaphor is used to show how contemporary Afghan art is a long way from the romantic expectations with which Westerners often approach the country. The artists explore a wide variety of forms and media to express the horror of terrorism and the omnipresent shadow of death looming over the hostile urban environment. The works stand as an often humorous testimony to the peace that was promised but never delivered and the bitter illusions this fostered. All express a spirit of revolt against the most oppressive traditional forces that repress women and homosexuals as well as the Hazara ethnic group. Through their artistic practices, the artists show how salvation, however slight, is achievable. 144 pp. Englisch.…

Taschenbuch. Zustand: Neu. Neuware -For forty years, life in Afghanistan has been shaped by wars, the destruction of heritage, terrorist attacks, everyday fears and hopes, and migrations. In 2001, the Taliban government was overthrown by an international coalition bringing hopes of stability and reconstruction. The intervention did not however bring total peace. In this period of optimism, a number of international creation programs were set up as young Afghan artists returned from exile. Artists in the country - either self-taught having grown up under a Taliban regime that banned images, or trained during their exile - had no heritage to take on and no classical rules to break: anything seemed possible. Kharmohra is named after a gland taken from a donkey's neck that, on drying, becomes as hard as stone and is said to bring happiness by making the owner's most secret dreams come true. The metaphor is used to show how contemporary Afghan art is a long way from the romantic expectations with which Westerners often approach the country. The artists explore a wide variety of forms and media to express the horror of terrorism and the omnipresent shadow of death looming over the hostile urban environment. The works stand as an often humorous testimony to the peace that was promised but never delivered and the bitter illusions this fostered. All express a spirit of revolt against the most oppressive traditional forces that repress women and homosexuals as well as the Hazara ethnic group. Through their artistic practices, the artists show how salvation, however slight, is achievable. 144 pp. Englisch.…

Zustand: As New. Unread book in perfect condition.

Paperback. Zustand: new. Paperback. For forty years, life in Afghanistan has been shaped by wars, the destruction of heritage, terrorist attacks, everyday fears and hopes, and migrations. In 2001, the Taliban government was overthrown by an international coalition bringing hopes of stability and reconstruction. The intervention did not however bring total peace. In this period of optimism, a number of international creation programs were set up as young Afghan artists returned from exile. Artists in the country - either self-taught having grown up under a Taliban regime that banned images, or trained during their exile - had no heritage to take on and no classical rules to break: anything seemed possible.Kharmohra is named after a gland taken from a donkey's neck that, on drying, becomes as hard as stone and is said to bring happiness by making the owner's most secret dreams come true. The metaphor is used to show how contemporary Afghan art is a long way from the romantic expectations with which Westerners often approach the country.The artists explore a wide variety of forms and media to express the horror of terrorism and the omnipresent shadow of death looming over the hostile urban environment.The works stand as an often humorous testimony to the peace that was promised but never delivered and the bitter illusions this fostered. All express a spirit of revolt against the most oppressive traditional forces that repress women and homosexuals as well as the Hazara ethnic group. Through their artistic practices, the artists show how salvation, however slight, is achievable. Catalog of an exhibition held at Mucem, November 21, 2019-March 1, 2020. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.…

Taschenbuch. Zustand: Neu. Neuware - For forty years, life in Afghanistan has been shaped by wars, the destruction of heritage, terrorist attacks, everyday fears and hopes, and migrations. In 2001, the Taliban government was overthrown by an international coalition bringing hopes of stability and reconstruction. The intervention did not however bring total peace. In this period of optimism, a number of international creation programs were set up as young Afghan artists returned from exile. Artists in the country - either self-taught having grown up under a Taliban regime that banned images, or trained during their exile - had no heritage to take on and no classical rules to break: anything seemed possible. Kharmohra is named after a gland taken from a donkey's neck that, on drying, becomes as hard as stone and is said to bring happiness by making the owner's most secret dreams come true. The metaphor is used to show how contemporary Afghan art is a long way from the romantic expectations with which Westerners often approach the country. The artists explore a wide variety of forms and media to express the horror of terrorism and the omnipresent shadow of death looming over the hostile urban environment. The works stand as an often humorous testimony to the peace that was promised but never delivered and the bitter illusions this fostered. All express a spirit of revolt against the most oppressive traditional forces that repress women and homosexuals as well as the Hazara ethnic group. Through their artistic practices, the artists show how salvation, however slight, is achievable.…

hardcover. Zustand: Fine.

Kartoniert / Broschiert. Zustand: New. For forty years, life in Afghanistan has been shaped by wars, the destruction of heritage, terrorist attacks, everyday fears and hopes, and migrations. In 2001, the Taliban government was overthrown by an international coalition bringing hopes of stability .

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Taschenbuch. Zustand: Neu. Art Under Fire in Afghanistan | Guilda Chahverdi (u. a.) | Taschenbuch | Kartoniert / Broschiert | Englisch | 2022 | Actes Sud | EAN 9782330128302 | Verantwortliche Person für die EU: Libri GmbH, Europaallee 1, 36244 Bad Hersfeld, gpsr[at]libri[dot]de | Anbieter: preigu.

Zustand: Very Good.

Paperback. Zustand: New. For forty years, life in Afghanistan has been shaped by wars, the destruction of heritage, terrorist attacks, everyday fears and hopes, and migrations. In 2001, the Taliban government was overthrown by an international coalition bringing hopes of stability and reconstruction. The intervention did not however bring total peace. In this period of optimism, a number of international creation programs were set up as young Afghan artists returned from exile. Artists in the country - either self-taught having grown up under a Taliban regime that banned images, or trained during their exile - had no heritage to take on and no classical rules to break: anything seemed possible. Kharmohra is named after a gland taken from a donkey's neck that, on drying, becomes as hard as stone and is said to bring happiness by making the owner's most secret dreams come true. The metaphor is used to show how contemporary Afghan art is a long way from the romantic expectations with which Westerners often approach the country. The artists explore a wide variety of forms and media to express the horror of terrorism and the omnipresent shadow of death looming over the hostile urban environment. The works stand as an often humorous testimony to the peace that was promised but never delivered and the bitter illusions this fostered. All express a spirit of revolt against the most oppressive traditional forces that repress women and homosexuals as well as the Hazara ethnic group. Through their artistic practices, the artists show how salvation, however slight, is achievable.…

Hardback. Zustand: New. An intimate portrayal of protest through images during the Syrian warNever before in history has a conflict been so extensively filmed by its own warring parties, generating a wealth of sound and image. From the start of the Syrian revolt in 2011, several million videos were posted online by demonstrators, activists, and militant fighters. Their prime objective was to work around the media blackout imposed by the regime of Bashar al-Assad, as well as its calling into question the size and scope of activism and repression on the ground, by filming the demonstrations, the repression, and the funerals. Use of video quickly diversified to include protest action, testimonies, military defections, combat training, tributes to "martyrs," and live combat.Syria, Revolt and War in the Digital Age explores this vast territory of images and sounds, offering a new approach to understanding the conflict in Syria and, more broadly, it analyzes the new use of images in contemporary conflicts. Based on both digital ethnography and interviews with video-takers on the ground, the contributors identify gestures, grammars, and textures specific to this audiovisual footage that has emerged from different spaces of the conflict rarely studied as a continuum. The contributors to this volume look at images from opposing camps from inside Syria and in the diaspora in order to delve into the specificities of each side's audiovisual practices and cultures, the way these images relate to one another, and how they might render the Syrian revolt and conflict more intelligible.With the world awash in images from conflict zones, this book opens readers' eyes to understanding heretofore neglected aspects of revolt and conflict and proposes new ways of thinking about them.Contributors:Hatem A., Independent worker, Malmo, SwedenEmma Aubin-Boltanski, National Center for Scientific Research (CNRS), Paris, FranceF.B., Independent worker, Strasbourg, FranceErminia Chiara Calabrese, French Institute in the Near East (Ifpo), Beirut, LebanonGiulia Galluccio, National Center for Scientific Research (CNRS) Paris, FranceLucile Irigoyen, Independent worker and filmmaker, Mauleon, FranceShahriar Khonsari, Independent photographer, Tehran, IranCédric Labrousse, The School of Advanced Studies in the Social Sciences (EHESS), Paris, FranceAnna Poujeau, National Center for Scientific Research (CNRS), Paris, FranceChamsy Sarkis, Independent worker, Paris, France.…

Zustand: New.

Zustand: As New. Unread book in perfect condition.

Hardcover. Zustand: Brand New. 288 pages. 9.00x6.00x9.00 inches. In Stock.

Buch. Zustand: Neu. Neuware - An intimate portrayal of protest through images during the Syrian warNever before in history has a conflict been so extensively filmed by its own warring parties, generating a wealth of sound and image. From the start of the Syrian revolt in 2011, several million videos were posted online by demonstrators, activists, and militant fighters. Their prime objective was to work around the media blackout imposed by the regime of Bashar al-Assad, as well as its calling into question the size and scope of activism and repression on the ground, by filming the demonstrations, the repression, and the funerals. Use of video quickly diversified to include protest action, testimonies, military defections, combat training, tributes to "martyrs," and live combat.Syria, Revolt and War in the Digital Ageexplores this vast territory of images and sounds, offering a new approach to understanding the conflict in Syria and, more broadly, it analyzes the new use of images in contemporary conflicts. Based on both digital ethnography and interviews with video-takers on the ground, the contributors identify gestures, grammars, and textures specific to this audiovisual footage that has emerged from different spaces of the conflict rarely studied as a continuum. The contributors to this volume look at images from opposing camps from inside Syria and in the diaspora in order to delve into the specificities of each side's audiovisual practices and cultures, the way these images relate to one another, and how they might render the Syrian revolt and conflict more intelligible.With the world awash in images from conflict zones, this book opens readers' eyes to understanding heretofore neglected aspects of revolt and conflict and proposes new ways of thinking about them.Contributors:Hatem A., Independent worker, Malmo, SwedenEmma Aubin-Boltanski, National Center for Scientific Research (CNRS), Paris, FranceF.B., Independent worker, Strasbourg, FranceErminia Chiara Calabrese, French Institute in the Near East (Ifpo), Beirut, LebanonGiulia Galluccio, National Center for Scientific Research (CNRS) Paris, FranceLucile Irigoyen, Independent worker and filmmaker, Mauleon, FranceShahriar Khonsari, Independent photographer, Tehran, IranCédric Labrousse, The School of Advanced Studies in the Social Sciences (EHESS), Paris, FranceAnna Poujeau, National Center for Scientific Research (CNRS), Paris, FranceChamsy Sarkis, Independent worker, Paris, France.…

Hardback. Zustand: New. An intimate portrayal of protest through images during the Syrian warNever before in history has a conflict been so extensively filmed by its own warring parties, generating a wealth of sound and image. From the start of the Syrian revolt in 2011, several million videos were posted online by demonstrators, activists, and militant fighters. Their prime objective was to work around the media blackout imposed by the regime of Bashar al-Assad, as well as its calling into question the size and scope of activism and repression on the ground, by filming the demonstrations, the repression, and the funerals. Use of video quickly diversified to include protest action, testimonies, military defections, combat training, tributes to "martyrs," and live combat.Syria, Revolt and War in the Digital Age explores this vast territory of images and sounds, offering a new approach to understanding the conflict in Syria and, more broadly, it analyzes the new use of images in contemporary conflicts. Based on both digital ethnography and interviews with video-takers on the ground, the contributors identify gestures, grammars, and textures specific to this audiovisual footage that has emerged from different spaces of the conflict rarely studied as a continuum. The contributors to this volume look at images from opposing camps from inside Syria and in the diaspora in order to delve into the specificities of each side's audiovisual practices and cultures, the way these images relate to one another, and how they might render the Syrian revolt and conflict more intelligible.With the world awash in images from conflict zones, this book opens readers' eyes to understanding heretofore neglected aspects of revolt and conflict and proposes new ways of thinking about them.Contributors:Hatem A., Independent worker, Malmo, SwedenEmma Aubin-Boltanski, National Center for Scientific Research (CNRS), Paris, FranceF.B., Independent worker, Strasbourg, FranceErminia Chiara Calabrese, French Institute in the Near East (Ifpo), Beirut, LebanonGiulia Galluccio, National Center for Scientific Research (CNRS) Paris, FranceLucile Irigoyen, Independent worker and filmmaker, Mauleon, FranceShahriar Khonsari, Independent photographer, Tehran, IranCédric Labrousse, The School of Advanced Studies in the Social Sciences (EHESS), Paris, FranceAnna Poujeau, National Center for Scientific Research (CNRS), Paris, FranceChamsy Sarkis, Independent worker, Paris, France.…

Zustand: Used: Like New. LIVRE A L?ETAT DE NEUF. EXPEDIE SOUS 3 JOURS OUVRES. NUMERO DE SUIVI COMMUNIQUE AVANT ENVOI, EMBALLAGE RENFORCE. EAN:9791094176146.

Couverture souple. Zustand: bon. R100068895: 2004. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 310 pages - quelques planches de photos en noir et blanc. . . . Classification Dewey : 791.43-Cinéma.

Zustand: Used: Like New. LIVRE A L?ETAT DE NEUF. EXPEDIE SOUS 3 JOURS OUVRES. NUMERO DE SUIVI COMMUNIQUE AVANT ENVOI, EMBALLAGE RENFORCE. EAN:9782811114206.