ZEITSCHRIFTENARTIKEL
Through the Looking Glass – Dioramas, Bodies, and Performances in New York
Zeitschrift für Medien- und Kulturforschung, Bd. 11 (2020), Iss. 0: S. 23–39
5 Citations (CrossRef)
Zusätzliche Informationen
Bibliografische Daten
Etienne, Noémie
Cited By
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Introduction: Double Intentionality
Summa, Michela | Klein, Martin | Schmidt, PhilippTopoi, Bd. 41 (2022), Heft 1 S.93
https://doi.org/10.1007/s11245-021-09786-7 [Citations: 3] -
Introduction: Affect, Tendency, Drive—Perspectives on the Basic Structures of Intentionality
Summa, Michela | Spano, Nicola | Schmidt, PhilippHuman Studies, Bd. 47 (2024), Heft 1 S.1
https://doi.org/10.1007/s10746-024-09723-8 [Citations: 0] -
Encyclopedia of Phenomenology
Medieval Philosophy and Phenomenology
De Santis, Daniele | Tropia, Anna2023
https://doi.org/10.1007/978-3-030-47253-5_390-1 [Citations: 0] -
Encyclopedia of Phenomenology
Medieval Philosophy, Influence on and by Phenomenology
De Santis, Daniele | Tropia, Anna2024
https://doi.org/10.1007/978-3-030-47253-5_390-2 [Citations: 1] -
Schwerpunkt: Intentionalität – Mittelalterliche und phänomenologische Zugänge
Klein, Martin | Summa, MichelaDeutsche Zeitschrift für Philosophie, Bd. 72 (2024), Heft 3 S.363
https://doi.org/10.1515/dzph-2024-0027 [Citations: 0]
Abstract
Dioramas are multimedia installations used in museums and popular culture since the 19th century. I study two sets of anthropological dioramas: the ones made for the Museum of Natural History in New York by Franz Boas; and the ones fabricated at the New York State Museum in Albany by Arthur C. Parker. As I will show, dioramas are not only visual dis- plays but also installations with a proper materiality and temporality: they are the stage of multiple performances and work as contact zones between objects, models, makers, and beholders.
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