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2) The distinction between vision and visuality, as made by Hal Foster (see Introduction of Vision and Visuality) parallels that of sex and gender, with the first understood as biological and the second as culturally-constructed.
For Lacan, and elsewhere for Armstrong, the signifier can not be equated with appearances or visuality, nor, much recent criticism suggests, would race have been during the era.
In this light, what we want to suggest is that from an ethical standpoint we must begin to move beyond the emphasis on verbal narrative and toward the visuality of film.
Originally in Bryson's theory (2) the gaze coincides with the Cartesian perspective: the viewing body is reduced to one point only, namely to the retina of a single eye, a single point of view (binocular disparity was technically not taken into account in terms of visuality before the eighteenth century).
See also Bernard Hibbitts, "Making Sense of Metaphors: Visuality, Aurality, and the Reconfiguration of American Legal Discourse," 16 Cardozo Law Review 229 (1994) available online at http://www.
is, to some degree at least, inseparable from the power and production of whiteness," she identifies Morrison as an equally talented expositor of the ties that knit blackness to aural/oral culture in defiance of an oppressive white visuality (p.
By demonstrating how the genre of travel-writing shaped these pilgrimage accounts, especially for the HME and LH, and the import of the recurring trope of visuality within them, Frank creates an understanding of pilgrimage as much from visitor's point of view as from the monks themselves.
In terms of style, the narrative is characterized by the incongruence of tense and time (preterite and the present) and the deictic change (from first- to third-person singular), the drama by the impression of immediacy (present tense) and visuality.
This article will analyze how this group elaborates a specific visuality and, thus, how steampunk proposes a peculiar critical worldview.
The variety of forms, tendencies and directions of visuality became the corner-stone that keeps almost all the contemporary culture, which operates and manipulates images.
Adams Sitney, who has been avant-garde cinema's most accomplished and most visible exegete for four decades, takes seriously Emerson's claims about vision and visuality in the ordering of experience and applies them to cinematic thinking, describing film as an art form that enacts the processes of the intellect constructive.