Gillian Rose – författare

Have you found some exciting images that you want to explore but don’t know how to start your research or what methods to choose? Do you have a question about an aspect of visual culture that you want to answer?   Whatever level of experience you have, this classic text will provide you with the key skills you need to complete a visual methods research project, understand the rationale behind each step, and engage with the contexts and power relations that shape our interpretation of visual images.  With a clear step-by-step approach that is easy to dip in and out of, the book features:   •Key examples in every methods chapter to demonstrate how the methods work in practice and with different visual materials  •‘Focus’ and ‘Discussion’ features that help you practice your skills at specific parts of the methods and understand some of the method’s complexities  •Guidance on researching using digital visual media, such as Instagram and TikTok, integrated throughout the book

This bestselling critical guide is the perfect companion to visual methods projects for undergraduates, graduates, researchers and academics across the social sciences and humanities.

'This small book contains multitudes' Marina Warner'For those who have suffered for and in love, this may prove to be one of the most useful books they will ever read' Nicholas Lezard, GuardianAn extraordinary, uncompromising and consoling celebration of a life - through childhood, faith, family, love, friendship, pain and loss - written as its author was facing her own mortalityGillian Rose was a star academic, acclaimed as one of the most dazzling and original thinkers of her time. Told that she had incurable cancer, she found a new way to explore the world and herself. Tender, heartbreakingly honest and written with moments of surprising humour, Love's Work is the exhilarating result.In this short, unforgettable memoir, Rose looks back on her childhood, from the young dyslexic girl, torn between father and stepfather, to the adolescent confronting her Jewish inheritance. As an adult, Gillian Rose proves herself a passionate friend, a searcher for truth, a woman in love and, finally, an exacting but generous patient.Intertwining the personal and the philosophical, Rose meditates on faith, conflict and injustice; the fallibility and endurance of love; our yearning for independence and for connection to others. With droll self-knowledge ('I am highly qualified in unhappy love affairs,' Rose writes) and with unsettling wisdom ('To live, to love, is to be failed'), Love's Work asks the unanswerable question: how is a life best lived?

This original and challenging book presents a radical revision of traditional assessments of Hegel. Gillian Rose argues that the classical origins of contemporary non-Marxist and Marxist sociology rest on the -neo-Kantian' paradigm and that Hegel's thought anticipates and criticises the limitations of this pardaigm and the problems of methodologism and moralism in sociological method. Hegel's major mature works are expounded in the light og his early radical writings. From this unusal perspective Dr Rose shows that Hegel's speculative discourse is a powerful critique of bourgeois property relations and law, of art and religion as misrepresentation and of the inversions and end of culture. The book concludes with a discussion of the end of philosophy, the repetition of sociology and the culture and fate of Marxism.

In Mourning Becomes the Law, Gillian Rose takes us beyond the impasse of post-modernism or 'despairing rationalism withour reason'. Arguing that the post-modern search for a 'new ethics' and ironic philosophy are incoherent, she breathes new life into the debates concerning power and domination, transcendence and eternity. Mourning Becomes the Law is the philosophical counterpart to Gillian Rose's highly acclaimed memoir Love's Work. She extends similar clarity and insight to discussions of architecture, cinema, painting and poetry, through which relations between the formation of the individual and the theory of justice are connected. At the heart of this reconnection lies a reflection on the significance of the Holocaust and Judaism. Mourning Becomes the Law reinvents the classical analogy of the soul, the city and the sacred. It returns philosophy, Nietzsche's 'bestowing virtue', to the pulse of our intellectual and political culture.

In Mourning Becomes the Law, Gillian Rose takes us beyond the impasse of post-modernism or 'despairing rationalism withour reason'. Arguing that the post-modern search for a 'new ethics' and ironic philosophy are incoherent, she breathes new life into the debates concerning power and domination, transcendence and eternity. Mourning Becomes the Law is the philosophical counterpart to Gillian Rose's highly acclaimed memoir Love's Work. She extends similar clarity and insight to discussions of architecture, cinema, painting and poetry, through which relations between the formation of the individual and the theory of justice are connected. At the heart of this reconnection lies a reflection on the significance of the Holocaust and Judaism. Mourning Becomes the Law reinvents the classical analogy of the soul, the city and the sacred. It returns philosophy, Nietzsche's 'bestowing virtue', to the pulse of our intellectual and political culture.

This book fundamentally challenges the radical credentials of post-structuralism. Though Derrida, Foucault and Deleuze claim to have 'deconstructed' metaphysics, their work has much in common with previous attempts to 'end' the metaphysical tradition, from Kant to Nietzshe and Heidegger, and by sociology in general. Gillian Rose shows that this anti-metaphysical writing always appears in historically specific jurisprudential terms, which themselves found and recapitulate metaphysical categories. She reconsiders post-structuralism in this light and assesses the relationship between deconstruction and the earlier structuralism of Saussure and Levi-Strauss. She argues in conclusion that the choice between post-structuralist nihilism and Hegelian and Marxist dialectic is spurious.

The Broken Middle offers a startlingly original rethinking of the modern philosophical tradition and fundamentally rejects the anti-philosophy and anti-theory of post-modernity. Extending across the disciplines from philosophy to theology, Judaica, law, social and political theory, literary criticism, feminism and architecture, this book stakes itself on a renewed potential for sustained critique. Against the grain of much contemporary thought, this work of criticism offers the reader a way beyond the spurious alternatives of "totalization" or acknowledgement of the "other". The Broken Middle expounds the phenomenology of the diremption of law and ethics. By reconstructing the suppressed political history of modernity, it shows that contemporary thought belongs to a tradition which has become ancient. Following this drama in the configuration of anxiety of beginning, equivocation of the ethical, and agon of authorship, the logos opens out of the pathos of the concept.

Geography is a subject which throughout its history has been dominated by men; men have undertaken the heroic explorations which form the mythology of its foundation, men have written most of its texts and, as many feminist geographers have remarked, men's interests have structured what counts as legitimate geographical knowledge. This book offers a sustained examination of the masculinism of contemporary geographical discourses. Drawing on the work of feminist theories about the intersection of power, knowledge and subjectivity, different aspects of the discipline's masculinism are discussed in a series of essays which bring influential approaches in recent geography together with feminist accounts of the space of the everyday, the notion of a sense of place and views of landscape. In the final chapter, the spatial imagery of a variety of feminists is examined in order to argue that the geographical imagination implicit in feminist discussions of the politics of location is one example of a geography which does not deny difference in the name of a universal masculinity.

Geography is a subject which throughout its history has been dominated by men; men have undertaken the heroic explorations which form the mythology of its foundation, men have written most of its texts and, as many feminist geographers have remarked, men's interests have structured what counts as legitimate geographical knowledge. This book offers a sustained examination of the masculinism of contemporary geographical discourses. Drawing on the work of feminist theories about the intersection of power, knowledge and subjectivity, different aspects of the discipline's masculinism are discussed in a series of essays which bring influential approaches in recent geography together with feminist accounts of the space of the everyday, the notion of a sense of place and views of landscape. In the final chapter, the spatial imagery of a variety of feminists is examined in order to argue that the geographical imagination implicit in feminist discussions of the politics of location is one example of a geography which does not deny difference in the name of a universal masculinity.

Geography is a subject which throughout its history has been dominated by men; men have undertaken the heroic explorations which form the mythology of its foundation, men have written most of its texts and, as many feminist geographers have remarked, men''s interests have structured what counts as legitimate geographical knowledge. This book offers a sustained examination of the masculinism of contemporary geographical discourses.

Drawing on the work of feminist theories about the intersection of power, knowledge and subjectivity, different aspects of the discipline''s masculinism are discussed in a series of essays which bring influential approaches in recent geography together with feminist accounts of the space of the everyday, the notion of a sense of place and views of landscape. In the final chapter, the spatial imagery of a variety of feminists is examined in order to argue that the geographical imagination implicit in feminist discussions of the politics of location is one example of a geography which does not deny difference in the name of a universal masculinity.

Family photography, a ubiquitous domestic tradition in the developed world, is now more popular than ever thanks to the development of digital photography. Once uploaded to PCs and other gadgets, photographs may be stored, deleted, put in albums, sent to relatives and friends, retouched, or put on display. Moreover, in recent years family photographs are more frequently appearing in public media: on posters, in newspapers and on the Internet, particularly in the wake of disasters like 9/11, and in cases of missing children. Here, case study material drawn from the UK offers a deeper understanding of both domestic family photographs and their public display. Recent work in material culture studies, geography, and anthropology is used to approach photographs as objects embedded in social practices, which produce specific social positions, relations and effects. Also explored are the complex economies of gifting and exchange amongst families, and the rich geographies of domestic and public spaces into which family photography offers an insight.

`If there is a single question that presses upon the intellect of the current generation of social scientists, it is surely: "what do the great insights of social theory imply for the way we conduct research and write about the social world?". Until now there has been no single text to turn to that explores the epistemological complexities of field work, the problems of writing and language, and of the logics of inquiry that link theory, method and evidence. Using Social Theory is a magisterial effort to open up the black-box of research methods, and to provide students, in a way that no other comparable text has done, with a road map for the practice of the contemporary human sciences' -

Michael Watts, Chancellor's Professor of Geography and Director Institute of International Studies, University of California, Berkeley

`From "theory talk to making it walk", Using Social Theory is one of the most useful and interesting books on the market. The authors demonstrate how to use philosophy and social theory as an indispensable toolkit for passionate and rigorous research. Essential reading for students and teachers in the social sciences and humanities' - Professor Elspeth Probyn, Department of Gender Studies, University of Sydney

Have you ever stopped to wonder about the influences that underpin research? If you are thinking about doing a piece of research, what difference might it make to the question you ask, to your approach to empirical work, analysis and writing of research, if you are influenced by one theoretical approach rather than another?

The chapters in this innovative guide share a common belief that thinking alongside ideas, philosophical persuasions, is an integral part of the research process; it is not an optional extra. It sets out ways to encourage the researcher to think through three key moments of the research process: the production of a research question; fieldwork; and analysis and writing.

As the authors demonstrate, research is not simply `done': it has to be thought about and thought through. The book's accessible style makes it suitable for anyone wishing to engage ideas in research in the social sciences and humanities.

`If there is a single question that presses upon the intellect of the current generation of social scientists, it is surely: "what do the great insights of social theory imply for the way we conduct research and write about the social world?". Until now there has been no single text to turn to that explores the epistemological complexities of field work, the problems of writing and language, and of the logics of inquiry that link theory, method and evidence. Using Social Theory is a magisterial effort to open up the black-box of research methods, and to provide students, in a way that no other comparable text has done, with a road map for the practice of the contemporary human sciences' -

Michael Watts, Chancellor's Professor of Geography and Director Institute of International Studies, University of California, Berkeley

`From "theory talk to making it walk", Using Social Theory is one of the most useful and interesting books on the market. The authors demonstrate how to use philosophy and social theory as an indispensable toolkit for passionate and rigorous research. Essential reading for students and teachers in the social sciences and humanities' - Professor Elspeth Probyn, Department of Gender Studies, University of Sydney

Have you ever stopped to wonder about the influences that underpin research? If you are thinking about doing a piece of research, what difference might it make to the question you ask, to your approach to empirical work, analysis and writing of research, if you are influenced by one theoretical approach rather than another?

The chapters in this innovative guide share a common belief that thinking alongside ideas, philosophical persuasions, is an integral part of the research process; it is not an optional extra. It sets out ways to encourage the researcher to think through three key moments of the research process: the production of a research question; fieldwork; and analysis and writing.

As the authors demonstrate, research is not simply `done': it has to be thought about and thought through. The book's accessible style makes it suitable for anyone wishing to engage ideas in research in the social sciences and humanities.

Drawing lessons from the complex and often contradictory position of white women writing in the colonial period, This unique book explores how feminism and poststructuralism can bring new types of understanding to the production of geographical knowledge. Through a series of colonial and postcolonial case studies, essays address the ways in which white women have written and mapped different geographies, in both the late nineteenth century and today, illustrating the diverse objects (landscapes, spaces, views), the variety of media (letters, travel writing, paintings, sculpture, cartographic maps, political discourse), and the different understandings and representations of people and place.

This book explores what’s happening to ways of seeing urban spaces in the contemporary moment, when so many of the technologies through which cities are visualised are digital. Cities have always been pictured, in many media and for many different purposes. This edited collection explores how that picturing is changing in an era of digital visual culture. Analogue visual technologies like film cameras were understood as creating some sort of a trace of the real city. Digital visual technologies, in contrast, harvest and process digital data to create images that are constantly refreshed, modified and circulated. Each of the chapters in this volume examines a different example of how this processual visuality is reconfiguring the spatial and temporal organisation of urban life.

Family photography, a ubiquitous domestic tradition in the developed world, is now more popular than ever thanks to the development of digital photography. Once uploaded to PCs and other gadgets, photographs may be stored, deleted, put in albums, sent to relatives and friends, retouched, or put on display. Moreover, in recent years family photographs are more frequently appearing in public media: on posters, in newspapers and on the Internet, particularly in the wake of disasters like 9/11, and in cases of missing children. Here, case study material drawn from the UK offers a deeper understanding of both domestic family photographs and their public display. Recent work in material culture studies, geography, and anthropology is used to approach photographs as objects embedded in social practices, which produce specific social positions, relations and effects. Also explored are the complex economies of gifting and exchange amongst families, and the rich geographies of domestic and public spaces into which family photography offers an insight.

Two of the key theoretical shifts over the past two decades of critical work have been the 'visual turn' and the 'material turn'. This book argues that these hitherto distinct fields should be understood as in continual dialogue and co-constitution and focuses on reconceptualising the visual as an embodied, material, and often politically-charged realm. This edited volume elaborates this conceptual argument through a series of contemporary case studies, drawn from the disciplines of Architecture, Sociology, Media Studies, Geography and Cultural Studies. The case studies included are paired around four themes: consumption, translation, practice and ethics. As well as exploring the bringing together of visuality and materiality studies, the contributors raise questions of social identity and social critique, and also focus on the ethics of material visualities.

Two of the key theoretical shifts over the past two decades of critical work have been the ''visual turn'' and the ''material turn''. This book argues that these hitherto distinct fields should be understood as in continual dialogue and co-constitution and focuses on reconceptualising the visual as an embodied, material, and often politically-charged realm. This edited volume elaborates this conceptual argument through a series of contemporary case studies, drawn from the disciplines of Architecture, Sociology, Media Studies, Geography and Cultural Studies. The case studies included are paired around four themes: consumption, translation, practice and ethics. As well as exploring the bringing together of visuality and materiality studies, the contributors raise questions of social identity and social critique, and also focus on the ethics of material visualities.

Two of the key theoretical shifts over the past two decades of critical work have been the ''visual turn'' and the ''material turn''. This book argues that these hitherto distinct fields should be understood as in continual dialogue and co-constitution and focuses on reconceptualising the visual as an embodied, material, and often politically-charged realm. This edited volume elaborates this conceptual argument through a series of contemporary case studies, drawn from the disciplines of Architecture, Sociology, Media Studies, Geography and Cultural Studies. The case studies included are paired around four themes: consumption, translation, practice and ethics. As well as exploring the bringing together of visuality and materiality studies, the contributors raise questions of social identity and social critique, and also focus on the ethics of material visualities.

Family photography, a ubiquitous domestic tradition in the developed world, is now more popular than ever thanks to the development of digital photography. Once uploaded to PCs and other gadgets, photographs may be stored, deleted, put in albums, sent to relatives and friends, retouched, or put on display. Moreover, in recent years family photographs are more frequently appearing in public media: on posters, in newspapers and on the Internet, particularly in the wake of disasters like 9/11, and in cases of missing children. Here, case study material drawn from the UK offers a deeper understanding of both domestic family photographs and their public display. Recent work in material culture studies, geography, and anthropology is used to approach photographs as objects embedded in social practices, which produce specific social positions, relations and effects. Also explored are the complex economies of gifting and exchange amongst families, and the rich geographies of domestic and public spaces into which family photography offers an insight.

Family photography, a ubiquitous domestic tradition in the developed world, is now more popular than ever thanks to the development of digital photography. Once uploaded to PCs and other gadgets, photographs may be stored, deleted, put in albums, sent to relatives and friends, retouched, or put on display. Moreover, in recent years family photographs are more frequently appearing in public media: on posters, in newspapers and on the Internet, particularly in the wake of disasters like 9/11, and in cases of missing children. Here, case study material drawn from the UK offers a deeper understanding of both domestic family photographs and their public display. Recent work in material culture studies, geography, and anthropology is used to approach photographs as objects embedded in social practices, which produce specific social positions, relations and effects. Also explored are the complex economies of gifting and exchange amongst families, and the rich geographies of domestic and public spaces into which family photography offers an insight.

Shortlisted for the Jane Jacobs Urban Communication Book Award 2023The New Urban Aesthetic explores how cities worldwide are being transformed and reconfigured by the twin forces of digital technologies and ''urban branding'' in the name of global capitalism. Both of these shifts entrain new sensory bodily experiences, and this digitally-mediated reconfiguration of what cities feel like is what this book terms the new urban aesthetic.Focussing on major case-studies of urban change from London to Doha, the book explores how different kinds of digital mediation play a central role in urban transformation, from smart city phone apps, to social media interactions, to computer-generated visualisations. The book reveals how different versions of the new urban aesthetic organize different sensory experiences of temporality and spatiality – leading to a new understanding of the way we experience cities today.The New Urban Aesthetic is essential reading for researchers and students in urban studies, architecture, digital studies, sociology, and human geography.

Shortlisted for the Jane Jacobs Urban Communication Book Award 2023The New Urban Aesthetic explores how cities worldwide are being transformed and reconfigured by the twin forces of digital technologies and ''urban branding'' in the name of global capitalism. Both of these shifts entrain new sensory bodily experiences, and this digitally-mediated reconfiguration of what cities feel like is what this book terms the new urban aesthetic.Focussing on major case-studies of urban change from London to Doha, the book explores how different kinds of digital mediation play a central role in urban transformation, from smart city phone apps, to social media interactions, to computer-generated visualisations. The book reveals how different versions of the new urban aesthetic organize different sensory experiences of temporality and spatiality – leading to a new understanding of the way we experience cities today.The New Urban Aesthetic is essential reading for researchers and students in urban studies, architecture, digital studies, sociology, and human geography.

Shortlisted for the Jane Jacobs Urban Communication Book Award 2023Cities are key sites for the reproduction of global capitalism, and urban branding is central to this transformative dynamic. In the 21st century, cities are also being profoundly reconfigured by the deployment of many kinds of digital technologies. Both of these shifts entrain sensory bodily experiences. This digitally mediated reconfiguration of what cities feel like is what this book terms the new urban aesthetic.The book focuses on three examples of urban change in which digital technologies of different kinds were central: a large scale urban redevelopment in Doha, the retrofitting of Milton Keynes to become a smart city, and the cultural regeneration of Smithfield Market into the Culture Mile in London. Each case study focusses on a different kind of digital mediation, including the computer-generated images created to sell new urban developments, smart city phone apps, and Instagram posts about particular urban places. The book identifies three versions of the new urban aesthetic: glamorous, flowing, and dramatic. It shows how each of these organize sensory experiences through particular distributions of temporality and spatiality. As well as exploring the importance of sensory constellations in our digitally mediated cities, the book also offers ways to investigate their fragility and potential for subversion.The New Urban Aesthetic is essential reading for researchers and students in urban studies, architecture, digital studies, sociology, and human geography.

Two of the key theoretical shifts over the past two decades of critical work have been the 'visual turn' and the 'material turn'. This book argues that these hitherto distinct fields should be understood as in continual dialogue and co-constitution and focuses on reconceptualising the visual as an embodied, material, and often politically-charged realm. This edited volume elaborates this conceptual argument through a series of contemporary case studies, drawn from the disciplines of Architecture, Sociology, Media Studies, Geography and Cultural Studies. The case studies included are paired around four themes: consumption, translation, practice and ethics. As well as exploring the bringing together of visuality and materiality studies, the contributors raise questions of social identity and social critique, and also focus on the ethics of material visualities.

This original and challenging book presents a radical revision of traditional assessments of Hegel. Gillian Rose argues that the classical origins of contemporary non-Marxist and Marxist sociology rest on the ''neo-Kantian'' paradigm and that Hegel''s thought anticipates and criticises the limitations of this paradigm and the problems of methodologism and moralism in sociological method.Hegel''s major mature works are expounded in the light of his early radical writings. From this unusual perspective Dr Rose shows that Hegel''s speculative discourse is a powerful critique of bourgeois property relations and law, or art and religion as misrepresentation and of the inversions and end of culture. The book concludes with a discussion of the end of philosophy, the repetition of sociology and the culture and fate of Marxism.

`If there is a single question that presses upon the intellect of the current generation of social scientists, it is surely: "what do the great insights of social theory imply for the way we conduct research and write about the social world?". Until now there has been no single text to turn to that explores the epistemological complexities of field work, the problems of writing and language, and of the logics of inquiry that link theory, method and evidence. Using Social Theory is a magisterial effort to open up the black-box of research methods, and to provide students, in a way that no other comparable text has done, with a road map for the practice of the contemporary human sciences′ -

Michael Watts, Chancellor′s Professor of Geography and Director Institute of International Studies, University of California, Berkeley

`From "theory talk to making it walk", Using Social Theory is one of the most useful and interesting books on the market. The authors demonstrate how to use philosophy and social theory as an indispensable toolkit for passionate and rigorous research. Essential reading for students and teachers in the social sciences and humanities′ - Professor Elspeth Probyn, Department of Gender Studies, University of Sydney

Have you ever stopped to wonder about the influences that underpin research? If you are thinking about doing a piece of research, what difference might it make to the question you ask, to your approach to empirical work, analysis and writing of research, if you are influenced by one theoretical approach rather than another?

The chapters in this innovative guide share a common belief that thinking alongside ideas, philosophical persuasions, is an integral part of the research process; it is not an optional extra. It sets out ways to encourage the researcher to think through three key moments of the research process: the production of a research question; fieldwork; and analysis and writing.

As the authors demonstrate, research is not simply `done′: it has to be thought about and thought through. The book′s accessible style makes it suitable for anyone wishing to engage ideas in research in the social sciences and humanities.

A critical examination of the digital imagery and visualization tools that mediate urban lifeAnimated Urbanism explores the ways urban life is increasingly mediated by digital visualization tools, from elaborate marketing productions to specialized techniques of urban planning that rely on the collection of large datasets. By developing a critical vocabulary for these forms of digital imagery, Gillian Rose investigates the implications of using digital technology to manage the spatial and temporal organization of life in cities.Pushing back against the so-called smartness mandate, which sees urban existence and its infrastructure as necessarily governed by big data, automation, and artificial intelligence, Animated Urbanism is a nuanced examination of the various types of media structuring urban life and their propensity to replicate highly gendered and racialized forms of human embodiment. From smartphone apps to special effects in movies to sophisticated "fly-through" videos of cities created by urban developers, Rose analyzes the corporate imaginaries that are being created, building on the influential theories of Donna Haraway, among others, concerning the interrelation of technology, power, and human life.While recent digital analysis often focuses on the political economy of tech platforms or the efficacy of data in smart cities, Rose emphasizes the role of human subjectivity in the shifting configurations of these new urban landscapes. With an incisive, feminist approach to the imagery enabled by software and handheld devices, Animated Urbanism invites us to question how human life emerges from these complex entanglements of technology and visual culture.Retail e-book files for this title are screen-reader friendly with images accompanied by short alt text and/or extended descriptions.

A critical examination of the digital imagery and visualization tools that mediate urban lifeAnimated Urbanism explores the ways urban life is increasingly mediated by digital visualization tools, from elaborate marketing productions to specialized techniques of urban planning that rely on the collection of large datasets. By developing a critical vocabulary for these forms of digital imagery, Gillian Rose investigates the implications of using digital technology to manage the spatial and temporal organization of life in cities.Pushing back against the so-called smartness mandate, which sees urban existence and its infrastructure as necessarily governed by big data, automation, and artificial intelligence, Animated Urbanism is a nuanced examination of the various types of media structuring urban life and their propensity to replicate highly gendered and racialized forms of human embodiment. From smartphone apps to special effects in movies to sophisticated "fly-through" videos of cities created by urban developers, Rose analyzes the corporate imaginaries that are being created, building on the influential theories of Donna Haraway, among others, concerning the interrelation of technology, power, and human life.While recent digital analysis often focuses on the political economy of tech platforms or the efficacy of data in smart cities, Rose emphasizes the role of human subjectivity in the shifting configurations of these new urban landscapes. With an incisive, feminist approach to the imagery enabled by software and handheld devices, Animated Urbanism invites us to question how human life emerges from these complex entanglements of technology and visual culture.Retail e-book files for this title are screen-reader friendly with images accompanied by short alt text and/or extended descriptions.