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Copyright of Angles: French Perspectives on the Anglophone World is the property of Societe des Anglicistes de l Enseignement Superieur and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Seeing with Palestine was a constitutive possibility in the anticolonial way of seeing from the moment of the Nakba, meaning "catastrophe," the destruction of Palestinian society in 1948. This article traces this way of seeing in the genealogy of visual culture that emerged in Britain in dialogue with Black British cultural studies and art practice, based on the practices of Stuart Hall, George Lamming, John Berger, and Jean Mohr. It then discusses Palestinian artist Randa Maddah, whose work Berger described as "landswept." The conclusion speculates on how to "see in the dark" via the Palestinian artists Basel Abbas and Ruanne Abou Rahme. [ABSTRACT FROM AUTHOR]

This article analyses as series of archival documents called the Daily Occurrences of the Zoological Gardens of London. These pro formas were the institutional working texts that allowed authorial statements to appear concerning the organization of London Zoo, including: animal arrivals, departures, births, deaths, work, visitor figures and finance. The Daily Occurrences classified, described, and curated the frames which were constructed around the display animals at the zoo. By contextualizing and paying critical attention to these managerial pro formas, this article undertakes an interdisciplinary reading of overlooked texts that organized how animals and humans entered into and exited out from a system of living exhibition. This article addresses the research question: how were animals and humans organized at the zoo? By looking to how animals were organized at the zoo this article contributes to wider discussions found in organization studies regarding the visibility and status of what constitutes animal labour. [ABSTRACT FROM AUTHOR]

What intention should the drawing have in relation to what we have created? A drawing has to show what we want to explain, it has to reflect the intention, the purpose, the project, not only the reality. Consequently, a drawing can manipulate and alter the truth. The representation must convey what is meant to be said, whether it is true or not. Hence the drawing can lie, even must lie. But it is a lie that intends to transmit the deep intention of what it wants to explain. This requires a previous work that combines what one wants to say and how. Examples from throughout the ages are used to explore this issue, based on John Berger's book Ways of Seeing. [ABSTRACT FROM AUTHOR]

The article explores John Berger's essay on J.M.W. Turner, where Berger criticizes the art market and color reproductions, emphasizing the moral and political dimensions of art. It mentions that he argues that art is not only an aesthetic matter but also a moral and political one, and emphasizes Turner's early life in London, including his father's barbershop and his exposure to the Thames, which influenced his passion for water-related subjects.

The article explores John Berger's optimistic approach to art, culture, and social issues. It mentions It highlights his decision to donate half of his Booker Prize money to the Black Panther movement as a reflection of his belief in collective struggle against exploitation and systemic injustices. It also mentions Berger's view of art was intertwined with his broader vision of social change.

The article discusses John Berger's views on Pablo Picasso's transition into communism and its impact on his artistic practice. It mentions that Berger believed that Picasso's commitment to the Communist Party led to the exhaustion and decline of his painting, and Berger, a proponent of social realism, saw Picasso's earlier British realism as a response to post-war conditions but found his later cubist and abstract works lacking social content.

A literary criticism is presented of the book "A Fortunate Man: The Story of a Country Doctor" by John Berger. The book delves into the complexities of the human condition, highlighting the interplay of compassion, community, and the search for meaning in the face of adversity. The novel empathetic exploration of the life and work of a rural doctor in England.

A literary criticism is presented of the book "G" by John Berger. The novel explores the concept of time and its connection to individual experiences and politics. The story revolves around the protagonist, known simply as G, who navigates through various world-historical conflicts while grappling with his insatiable libido and desire for intimacy.

A literary criticism is presented of the book "A Seventh Man" by John Berger. The book explores the profound psychological effects of migration, emphasizing the displacement and loss of identity that accompany the search for employment. The book examines how migrants are often reduced to mere commodities, treated as expendable labor rather than individuals with hopes, dreams, and personal histories.

A literary criticism is presented of the book "A Seventh Man" by John Berger. The book explores the profound psychological effects of migration, emphasizing the displacement and loss of identity that accompany the search for employment. The book examines how migrants are often reduced to mere commodities, treated as expendable labor rather than individuals with hopes, dreams, and personal histories.

The article reflects on how John Berger's essay "Why Look at Animals?" changed the author's perception of zoos. It mentions Berger's critique focuses on zoos' shortcomings, such as animals not meeting expectations and being marginalized in their confinement, and explores the historical shift in human-animal relationships, emphasizing the use of animal imagery to conceal their marginalization.

A literary criticism is presented of the book "Ways of Seeing" by John Berger. Berger deconstructs the objectification of women in art and highlights the influence of historical, political, and economic contexts on our perception of art, and examines the role of reproductions in commodifying art and explores the impact of advertising on visual perception.

A literary criticism is presented of the book "The Success and Failure of Picasso" by John Berger. It offers exploration of the life and artistic journey of the artist Pablo Picasso, and delves into the complexities of Picasso's artistic triumphs as well as his perceived failures, offering a nuanced perspective on the artist's legacy.

This article examines Michael Pinchbeck and Ollie Smith's theatrical adaptation of A Seventh Man, the 1975 book by John Berger and photographer Jean Mohr studying the experience of migrant workers in Europe. Pinchbeck and Smith's 2020 adaptation uses immersive performance strategies in dialogue with a multi-voiced, cross-disciplinary publication that itself aims to produce an immersive or 'animated' reader engagement. In this article, Babbage and Pinchbeck present source text and performance as examples of practice-as-research, referencing Nelson's paradigm that establishes different modes of knowledge and points of connection- and dissension-between them. They discuss the book's cross-disciplinarity and the attempt to reflect this in a new creative context that is spatiotemporal, embodied, social, visual, verbal and aural. The article's theoretical context draws on writing by Barthes, Berger, Said and Sontag, applying Barthes' notion of the studium and the punctum to reflect on the dramaturgical rendering of the source text's 'interruptive shocks'. Babbage and Pinchbeck argue that, in book and performance, the juxtaposition of different formal languages elicits an encounter with the material that is productively 'unsettling'. [ABSTRACT FROM AUTHOR]

This article explores the influence of John Berger on Eva Figes' novel Light (1981). The novel describes a day in the life of Claude Monet. Figes' depiction of Monet's artistic processes reflects her own explorations of literary-critical theory as well as showing the clear influence of Berger's ideas. The article uses archive materials newly recently made available at the British Library to outline the personal relationship between the two writers. It uses this to build a picture of mutual influence, both interpersonal and interdisciplinary, between two of the leading critics, Marxist and Feminist, of the 1970s. [ABSTRACT FROM AUTHOR]

John Berger's warnings around the gaze in Ways of Seeing and the discourses surrounding NASA's Blue Marble, the 1972 image of the whole Earth from space, propose a visual practice based on vision as inculcating an alienating objectivity. I return to these foundational texts from 1972 in order to produce symptomatic readings that suggest a background for certain attitudes around digital images. Introducing Donna Haraway's notion of diffraction multiplies the interpretive identities of such texts and pushes against over identifications that limit a text's contemporary resonance, as I explain through my discussion of Ways of Seeing and then model through various approaches to Blue Marble. My analysis identifies how attributes of each object contribute to the disappearance of the image as something one looks at, but by reclaiming vision, a new kind of critical visuality becomes available, particularly as it applies to digital culture, as I address in my conclusion. [ABSTRACT FROM AUTHOR]

Fifty years after John Berger's controversial acceptance speech for the Booker Prize in 1972, in which he highlighted Booker McConnell's involvement in the colonial exploitation of the Caribbean and announced that he would donate half of the prize money to the British Black Panthers and use the other half to research the situation of European migrant workers, the author reflects on the implications of the speech for anti-racist struggle in the 1970s and today, as well as the direction of Berger's work after this pivotal intervention. [ABSTRACT FROM AUTHOR]

Of late, the trope of the green, smart and climate‐resilient city has dominated imaginations of urban futures across the globe. Less visible perhaps, but arguably of equal social impact, global climate finance (GCF) agendas have asserted themselves as the only imaginable pathway to do and undo such futures in effective ways. Based on a document analysis of recent GCF reports, this contribution unpicks the mechanisms of 'futuring' advanced in this process of agenda setting, and sketches its inherent imaginaries of a model future city. We borrow from John Berger's city of Troy and call this city Groy. Groy is a metaphor for green growth; it is the World Bank's fantasy project: a techno‐capitalist vision of prosperity, the bank's donor darling and its best practice case. In rendering this fantasy into a fictional city, we explore how future visions of urban GCF initiatives shape cities today to allow for a sustained critique of that future and, in consequence, a rethinking of present times. Our analysis builds on the work of futurists Ben Anderson and John Urry, and an emerging debate that seeks to postcolonialize climate finance, to demand thinking about definancialization beyond regulation as a sociopolitical process of opening up the future for other imaginations. [ABSTRACT FROM AUTHOR]

The article discusses the history and legacy of the Institute of Race Relations (IRR) in the context of anti-racist organizing in Great Britain. It highlights the role of key figures such as John Berger, Ambalavaner Sivanandan, and Liz Fekete in challenging racism and promoting a critical understanding of race relations, and also explores the concept of left internationalism and the need for ongoing analyses in the face of capitalist crisis, militarization, and popular rebellions.

As a guide to the visuality of writing, this visual essay aims to encourage those writing in Art & Design to recognize that as much as they communicate through the content of written forms, those also have a visual dimension that writers can use with various effects. And that an abstract does not have to take a written form. [ABSTRACT FROM AUTHOR]

The Swiss photographer Jean Mohr, who died in November 2018 at the age of 93, is well known for his long career documenting the plight of the displaced and dispossessed. Especially noteworthy are his collaborations with major intellectual figures, through which he experimented with the construction of visual narratives. His celebrated books with John Berger include *A Fortunate Man*, an intimate portrait of an English country doctor, and *A Seventh Man*, a meditation on migrant labour in 1970s Europe; with Edward Said, he published *After the Last Sky*, a reflection on Palestinian life through the fusion of text and photography. Partially based on a short interview conducted with Mohr in early 2018, this paper reflects on his life and work, taking the reader on a journey mediated by our conversation. In particular, I explore the development of his unique approach to photography and the experimental construction of visual narratives. In so doing, I argue that Mohr's work offers social scientists, particularly those engaged in studying processes of migration or zones of conflict, ways of constructing more effective, more engaged, and more experiential accounts of complex social realities. [ABSTRACT FROM AUTHOR]

A literary criticism of the book "A Fortunate Man: The Story of a Country Doctor," by John Berger and Jean Mohr is presented. It examines the representation of a doctor in a remote and small village in the book, the disappearance of the universal doctor and the emerging system that has replaced this type of physician, and the changes in the provision of healthcare implemented in developed and developing countries.

The paper focuses on the changing status of the moral framing of animals in Western visual culture in the last four decades. The author proposes to revise John Berger's critique of the marginal way of seeing animals in modern museums and zoos. Both institutions presented animals as strangers to urban culture by keeping them isolated in showcases and cages. Mass media that disseminated wildlife documentaries kept on separating animals from human culture by picturing them as representatives of "wild" species. The paper brings attention to a decisive moment in the reframing of the public gaze, which occurred with the birth of two new visual genres. First, investigative documentaries and activist blogs allowed the human right to exploit animals to be criticized. Second, the rise of social networks allowed animals to be pictured as companions. The author argues that both genres caused an inclusive turn of public gaze that visually integrated animals into urban culture. [ABSTRACT FROM AUTHOR]

The aim of the present research is to investigate the relation between phenomenology and language, and to comprehend the cognitive experience by reading a literary work or an aesthetic text. It also addresses the process of pure perception and visualization of an object in the mind and the relation of body to the world within the phenomenal field. The present study delves into John Berger’s A Painter of Our Time (1958) in order to examine the painterly process of expressing an array of human sensations and experience of the world, eventually revealing the truth. The phenomenological philosophy of Maurice Merleau-Ponty enables an intersubjective interaction between “body”, “experience”, language and “perceptual world”. This study thus seeks to address the mechanics of the painter’s mind, exploring the root of being and eventually explaining his style and mute meaning. Focusing on whether visualizing, reading, and thinking through a work of art in a text, could provide an aesthetic experience of the text ultimately brings an aesthetic judgment of a work of art based on the knowledge gained through the literary text. Consequently, the readers, positioning themselves in the synesthetic and experience of the text, develop a new visual and aesthetic experience of the world [ABSTRACT FROM AUTHOR]

This article uses John Berger's idea (1972) that images are connected to 'ways of seeing' to reflect on the creation of interactive visualizations of peace agreement and peace process data. We reflect on three visualizations created during a three-year long collaboration. We first describe our data, the peacebuilding ambitions for its use, and why we produced interactive forms of visualization. Second, we describe how the process of producing these visualizations created an interdisciplinary conversation and collaboration, which also connected different epistemic and geographic communities involved in peace processes. We term this 'visualization-as-scoping'. Third, we reflect on both 'what we saw', through the process of visualization, how it affected policy, and the lessons we learned regarding visualization in the peacebuilding field. In the article, we argue that our experience of 'visualization-as-scoping' inverts traditional assumptions about the connection of data visualization to policy influence. In place of the notion of visualization-as-communication, focused on transmitting clear policy 'messages', we point to visualization-as-scoping as a practice of interchange, critique and re-iteration. Using John Berger as inspiration, we suggest that the 'ways of seeing' that result can usefully disrupt the idea of a data producing singular policy prescriptions, and rather enable people to grapple better with the complex political processes they are involved in. [ABSTRACT FROM AUTHOR]

Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay argues that Berger and Mohr's A Fortunate Man (1967) – comprising social observation and photographs of the rural practitioner, Dr. Sassall and his patients – enacts an embodied, intersubjective empathy called "pain-work." The book enacts "pain-work" through two strategies. Firstly, by conflating three ways of seeing – Berger's observation, Mohr's photography, and Sassall's medical gaze – it shows that the clinical encounter embodies objective vision through intersubjective pain. Secondly, it employs the concepts of recognition and witnessing to show how the subjectivity of the physician is distributed in his community. Thus, Berger and Mohr witness Sassall's witnessing of his patients; even as Sassall and his patients are constituted intersubjectively, so too are Berger, Mohr, and Sassall. [ABSTRACT FROM AUTHOR]

The article first summarises the critical definitions of the works of Slovenian artists – painters, sculptors, printmakers and photographers – who were protagonists of the writer’s author exhibition Magic of Art in the late 1980s and early 1990s, which was shown in 2014 and 2015 at the Italian Villa Manin, the Vienna Kuenstlerhaus and the Glyptotheque of the Croatian Academy of Sciences and Arts in Zagreb. What follows are some generally accepted reflections on the opacity of contemporary art, which is seen primarily as a cultural phenomenon of the new consumer and media society. The writer asks whether the author exhibitions curated by Peter Weibl, Harald Szeemann and René Block, which included artists from the entire Balkan region, have contributed to a new or better evaluation of selected Slovenian artists. Moreover – is there still a division between classical and new media or a new division according to a sociological and ideological key; what curators should take into account in their work regardless of their own accepted criteria besides the so-called unlimited free art. The conclusion of the article upholds and summarises the analysis of events in contemporary society in all limitations and excesses, which are reflected in the selection of art events as perceived by the art critic John Berger (Steps Towards a Small Theory of the Visible, 2020) before the beginning of this decade and as it remains immanent today. [ABSTRACT FROM AUTHOR]

This article rereads Émile Zola's Le Docteur Pascal (1893) from a critical Medical Humanities perspective to highlight the eponymous doctor's entanglement with medical practice, thus offering an innovative interpretation of one of Zola's most maligned novels. Drawing on John Berger's trope of the country doctor, described in A Fortunate Man: The Story of a Country Doctor (1967), this article foregrounds, firstly, Pascal's confrontation with his professional inadequacy; and, secondly, the inequality inherent in the doctor-patient relationship. At the same time as demonstrating the value of applying conceptual approaches derived from the critical Medical Humanities to literary studies, my analysis of the doctor-patient relationship in a rural context is of critical interest to the current development of the Medical Humanities. [ABSTRACT FROM AUTHOR]

The writer Clarice Lispector reserved, throughout her work, a privileged space for the encounter between humans and animals, through exchanges of glances that destabilize the ontological hierarchy amid beings. In an argument interested in the role of the gaze during the encounter with animal difference, we will analyze the short stories "O búfalo", from Laços de Família (1960), and "Tentação", from A legião estrangeira (1964), in dialogue with the works of Giorgio Agamben and John Berger regarding the social place of the zoo as a device for separation, control, and the cataloging of what is given as nature and culture. [ABSTRACT FROM AUTHOR]

This article explores taxidermy as an interesting example of human-animal relations through a study of its incorporation into the later nineteenth and early twentieth century domestic interior. Occupying a liminal space that speaks to life and to death, often posed within an operational aesthetic of wildness, yet firmly captured in domestic confines, taxidermy offers valuable insight into how the geography of home depicted the dynamics of empire, gender and consumption, as well as cogitating on the animal as a scientific and artistic presence. Usefully building on John Berger's contention that urban industrialism encouraged both the disappearance and the multiplication of animals in human life, this study highlights the way in which a decorative paradox of dead wild things found a place in the British home in the form of naturalist mounts, hunting trophies and other consumer items. Approached as engineered artefacts of animal capital, the fantastic beasts of "the great indoors" exemplify the convoluted (and often contradictory) relations between humans and other species in the modern world. [ABSTRACT FROM AUTHOR]

This article takes John Berger's seminal book on art criticism, Ways of Seeing (1972), as a starting point for looking at the South Asian monsoons from the perspective of wetness. Revisiting Gupta's 2012 work 'Monsoon Fever' to think through its watery elements as more closely tied to the visual, sensorial, and affective, it focuses on three distinct representations of the monsoons: photographer Ritesh Uttamchandani's 2014 'Facing the Monsoon' series set in Mumbai, which showcases a range of personalised attitudes towards contending with monsoonal rains as an urban infrastructure; journalist Cynthia Barnett's journey to write the story of the fine art practice of crafting attars in Kannauj, India, wherein the fragrant earthy wetness of the monsoon (considered 'rain perfume') is captured in a bottle, and includes synthetic versions; and lastly, a lone photograph by Arko Datto that suggests the sublime monsoon as affect in all its subdued wet colours but also portends climate change for South Asia. Together, these watery readings suggest a renewed attention to ways of seeing the monsoon differently, via the visual, sensorial, and affective. [ABSTRACT FROM AUTHOR]

The precarious existence endured by the communities depicted in John Berger's late fiction bears some similarity to the condition of the human condition that Frantz Fanon examines in his The Wretched of the Earth. Throughout his adult life Berger maintained a deeply held concern for the plight of the marginalised and abandoned in society and often made this the subject of his discursive essays. This article examines Berger's late fiction as representations of despair and of hope in the midst of the changing nature of contemporary society. In doing so, it attempts to establish connections between the state of the contemporary world which Fanon circumscribes. Achille Mbembe's more recent work and, in particular, his reassigning of Fanon's vision for a new world, is included in this reading of Berger's fiction which, in its conclusion, seeks to demonstrate how some measure of hope for a different society can be envisioned through the imaginative and speculative possibilities which fiction promises. [ABSTRACT FROM AUTHOR]

This Arts and Medicine feature reviews journalist Polly Morland's A Fortunate Woman, a 2022 follow-up to John Berger's classic 1967 A Fortunate Man, detailing changes over 50 years in the rewards and challenges of primary care practice in small-town rural general practice in northern England. [ABSTRACT FROM AUTHOR]

How to Be Both by Ali Smith, which centres around the concept of art and reality to a great extent, is an experimental novel that invites the reader to think through dualities, including life and death, artwork and human; and, significantly, from the perspectives of eyes and camera. Divided into two sections, the novel includes two stories which are decade-apart. One of them focuses on the life of the 15th-century artist Francesco del Cossa, and the other is reflected through the point of view of George, a young girl from the contemporary period, dealing with the loss of her mother, as she recalls some precious moments she shared with her. The different plots merge when George and her mother go to see the paintings of Cossa. By foregrounding the two kinds of perception, Smith's novel signifies the art critic John Berger's theory of perspective, indicated in his BBC series-based book Ways of Seeing. According to Berger's cultural theory, the human eye, like a painting on the wall, can only be in one place at a time. Yet, the camera takes its visible world with it as it moves, and through the camera we can see things which are not in front of us; it is freed from the boundaries of time and space. The aim of this paper is to demonstrate the significance of gaze while interpreting relative reality in Smith's novel by employing Berger's cultural and artistic theory. [ABSTRACT FROM AUTHOR]

The paper addresses the uses of literary materials performed by the Medical Humanities, through an analysis of their readings of William Carlos Williams and John Berger and Jean Mohr's book A Fortunate Man. Through scrutiny into articles within the Medical Humanities that are devoted to them, I seek to render the ways of engaging the literary --and therefore of understanding it-- they propose as they relate to those instituted by literary scholarship. I underscore as their general conditions a certain imaginary slippage between the author, the narrator or poetic subject, characters and readers, and the unmaking of disciplinary borders. There are three specific suggestions for ways to put the text to work: the education of the senses, narrative as a space for ethical speculation, and the rewriting of discourses such as the medical. [ABSTRACT FROM AUTHOR]

Since John Berger's Ways of Seeing (1972) Marxist criticism of John Constable has criticised his landscapes as 'Tory' mystifications of the condition of the agricultural worker. This essay challenges this Marxist approach by returning to the philosophical basis of the traditional approach to painting to which Constable subscribed: ut pictura poesis. It is argued that his relation of poetry to landscape seeks to emphasize the importance of agricultural labour to all human activity and by uniting the diurnal with the demotic enhances the status of the common worker. In this respect Marxist criticism, properly applied, should read Constable positively. By altering perception of the importance of labour Constable, like early Wordsworth, or Blake and Shelley, is a potentially revolutionary artist. [ABSTRACT FROM AUTHOR]

Robin Nelson has argued that intermedial performance has 'elicited a new cultural way of seeing, feeling and being in the contemporary world' (Nelson in Bay-Cheng et al. 2010. Mapping Intermediality in Performance. Amsterdam: Amsterdam University Press, 18). This extension of John Berger's 'ways of seeing' to consider feeling and being in relation to visual art and performance becomes increasingly important in works that immerse the spectator's body in physical and/or virtual environments. This article considers ways of seeing, feeling and being in three virtual reality performances staged in 2019: Jordan Tannahill's Draw Me Close (Young Vic, Feb 2019); Marshmallow Laser Feast's We Live in an Ocean of Air (Saatchi Gallery, 2018–2019); and my own practice-as-research explorations of VR and intimate performance, and our faces, my heart, brief as photos, that took place during a residency at the National Theatre of Scotland in August and September 2019. In this article, I argue that the specific modes of engagement produced in these works are the unique result of the meeting point between virtual reality technologies and live performance practices and that the forms of embodied spectatorship afforded can facilitate the movement between the actual and the virtual, intimacy and distance, immersion and making strange: producing very real and potent effects. [ABSTRACT FROM AUTHOR]

This article describes a pedagogical approach to collage based on the work of art historians John Berger (1926–2017) and Aby Warburg (1866–1929). Its aim is to understand how images can be used to develop critical visual thinking skills within the context of architectural education and architectural theory in particular. Drawing on the notions of 'visual literacy' and 'visual learning' familiar from educational theory, the article proposes collage as a means to challenge the predominantly verbal modes of assessment prevalent in contextual and critical studies, where 'contextual' refers to the wider contexts (cultural, social, historical, theoretical) within which architecture is situated. The Collage Workshop, which the author has developed over the last five years whilst working closely with students at both undergraduate and postgraduate level, is a concrete attempt to implement visually oriented forms of learning and reduce the reliance on written assignments across the curriculum. By analysing some examples of collages produced by students who participated in the workshop, the article hopes to show how images can be used in the construction of an argument and, perhaps more crucially, how seeing assumes meaning in an image‐saturated world. [ABSTRACT FROM AUTHOR]

The paper discusses images of failure in Polish photography created in 1970-2000, drawing on three particular projects: Archeology of Photography by Jerzy Lewczyński and the exhibitions The New Documentalists (2006) and Postdocument: Missing Documents: Documents of the Polish Transformation After 1989 (2012). As such, it concentrates on documentary, or post-documentary, photography which suffers no illusions as to the mimetic power of the medium, but persists in hoping that photos can have social impact. As the analyzed projects aim to create a critical picture of reality, they focus on spaces and people subject to exclusion and on the experience of failure (e.g., Unfinished Houses by Konrad Pustoła and Wojciech Wilczyk's There's No Such Thing as an Innocent Eye), as well as on the erosion of interpersonal relations (e.g., Aneta Grzeszykowska's Album). Disappointments stemming from both the socialist reality and Polish capitalism mix with the desire to find and preserve what is intimate and authentic. The discussed artists devote the majority of their attention to the problem of photography as a medium and its ability to generate social change. However, they remain fully aware of the fact that the very nature of the photographic image, with its media entanglements, makes it difficult to create an unadulterated reflection of reality; it also makes it difficult to accept anything that does not fit the visual poetics of success, anything old, damaged, démodé, or kitschy. Accordingly, the artists raise important questions about the rules for creating images in the photographic universe and about the possibility of transcending them to create a new type of document, one that would elude the rules of "dominant images" (a term first coined by Rafał Drozdowski), and to enable such a use of photography as was postulated by John Berger: rooted in personal experience and memory. [ABSTRACT FROM AUTHOR]

A Fortunate Man: The Story of a Country Doctor is an essay and a narrative, illustrated with photographs, which explores the personal story of a country doctor as well as the story of society and humanity. The text discusses the issues of healing and illness, concentrating on the social and human aspects of these concepts. It explores the idea of healing primarily as a social construct. It is observed that the figure of the healer is handled through the examples of the doctor, as well as the master mariner and the storyteller with regard to humanism and social responsibility. Thus, "healing" is a metaphor in Berger's view which signifies empathizing and human responsibility. Storytelling is a central concept in Berger's outlook as Berger believes the storyteller is a healer as s/he rescues the reader from absurdity while the healer/doctor is a storyteller who records the story of his patients, the community. The aim of this article is to investigate the ideas of healing and the figure of the healer in A Fortunate Man, mainly in social and human terms. It is revealed that the value of a healer and the value of society are measured socially. [ABSTRACT FROM AUTHOR]

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

An introduction to the journal is presented which discusses topics within the issue including moment of cubism; and the book "The Success and Failure of Picasso" by John Berger.

Ali Smith’s How to Be Both (2014) provides the reader with a unique reading experience through two interconnected narratives. The novel has two separate editions with the same words and the same cover; the only difference between these editions is the order of the sections it contains. Hence, the text challenges the reader’s comprehension and perception. Fluidity and simultaneity, which are indicated in the title of the novel is the focal point of this study. Throughout the novel, fiction and non-fiction, past and present, art and life, living human beings and ghosts, creation and destruction, eyes and camera intertwine. The aim of this article is to examine the narrative devices employed in this novel, whilst displaying the presentation of the characters in these interwoven stories. While discussing the structure of the novel as well as the relationship between the main characters (one of which is a Renaissance painter, whereas the other is a modern adolescent girl), theories on seeing, gaze, visibility and perception - with reference to Michel Foucault, Maurice Merleau-Ponty and John Berger - are employed. This study examines the relationship between seeing and the mind, the communication between perception and prejudice, and the reflection of concepts such as point of view and perspective in visual arts and literature. The analysis of certain incidents, characters and notions via close reading of the text makes it possible to consider concepts such as seeing, comprehension and point of view in light of both Renaissance and contemporary theories. [ABSTRACT FROM AUTHOR]