The arts: general topics Books

Book SynopsisThis book charts the changing complexion of American culture in one of the most culturally vibrant of twentieth-century decades. It provides a vivid account of the major cultural forms of 1960s America - music and performance; film and television; fiction and poetry; art and photography - as well as influential texts, trends and figures of the decade: from Norman Mailer to Susan Sontag; from Muhammad Ali''s anti-war protests to Tom Lehrer''s stand-up comedy; from Bob Dylan to Rachel Carson; and from Pop Art to photojournalism. A chapter on new social movements demonstrates that a current of conservatism runs through even the most revolutionary movements of the 1960s and the book as a whole looks to the West and especially to the South in the making of the sixties as myth and as history.Trade ReviewJust when it seems as if there might be nothing new to be said about the 1960s, Sharon Monteith has crafted an original and highly valuable new take on the decade and its legacies. She combines perceptive cultural analysis and shrewd aesthetic judgements with a firm grasp of historical and social context. The result is a smart, engaging and persuasive introduction to the decade's complex cultural politics. -- Brian Ward, Professor of American Studies, University of Manchester Just when it seems as if there might be nothing new to be said about the 1960s, Sharon Monteith has crafted an original and highly valuable new take on the decade and its legacies. She combines perceptive cultural analysis and shrewd aesthetic judgements with a firm grasp of historical and social context. The result is a smart, engaging and persuasive introduction to the decade's complex cultural politics.Table of ContentsList of Figures; List of Case Studies; Chronology of 1960s American Culture; Introduction: The Intellectual Context; 1. Music and Performance; 2. Film and Television; 3. Fiction and Poetry; 4. Art and Photography; 5. New Social Movements and Creative Dissent; Conclusion: The Cultural Legacy of the 1960s; Notes; Bibliogrpahy; Index.

Read more less

Book SynopsisA clear overview of the major cultural forms of 1930s America: literature and drama, music and radio, film and photography, art and design, and case studies of influential texts and practitioners of the decade.Trade ReviewVivid, wide-ranging and original, David Eldridge is a perceptive guide, conducting his readers through the maze of American culture in the 1930s. This is a book to inspire students, inform general readers and challenge scholars to generate further research. -- Nicholas J. Cull, Director of the Public Diplomacy Program, University of Southern California Each chapter handles a different form of 1930s expression with a sure and light touch, and Eldridge's synchronic approach matches the multifarious ethos of the era very well. -- Catherine Gander, University of East Anglia Journal of American Studies This particular volume will be of interest to historians of American culture who are not specialists in the interwar period, and it would also be a good book for instructors to consider using in undergraduate courses on the period. The book contains detailed timelines of various cultural developments in the 1930s as well as a thorough and well-chosen bibliography, features that add to a solid synthetic cultural history of the 1930s. -- Michael Stamm, Michigan State university American Journalism Vivid, wide-ranging and original, David Eldridge is a perceptive guide, conducting his readers through the maze of American culture in the 1930s. This is a book to inspire students, inform general readers and challenge scholars to generate further research. Each chapter handles a different form of 1930s expression with a sure and light touch, and Eldridge's synchronic approach matches the multifarious ethos of the era very well. This particular volume will be of interest to historians of American culture who are not specialists in the interwar period, and it would also be a good book for instructors to consider using in undergraduate courses on the period. The book contains detailed timelines of various cultural developments in the 1930s as well as a thorough and well-chosen bibliography, features that add to a solid synthetic cultural history of the 1930s.Table of ContentsList of Figures; List of Case Studies; Acknowledgements; Chronology of 1930s American Culture; Introduction: The Intellectual Context; 1. Literature and Drama; 2. Film and Photography; 3. Music and Radio; 4. Art and Design; 5. New Deal Culture; Conclusion: The Cultural Legacy of the 1930s; Notes; Bibliography; Index.

Read more less

Book SynopsisThis book examines the quilts, ceramics, paintings, sculpture, installations, assemblages, daguerreotypes, photography and performance art produced by African American artists over a two hundred year period.Trade Review'This is the richest and most important book on African American visual arts on the market. It has enormous period coverage without sacrificing rich analysis and depth. It is a book that will be crucial for anyone interested in African American culture, the visual arts, and American Studies. It is brilliantly conceived, deeply research, and very well executed.' John Stauffer, Harvard University -- John Stauffer, Harvard University This book is well written and informed by extensive research based on archival as well as secondary sources... A well researched and interesting book, a welcome addition to its field, and the author expresses an individual voice whilst also enabling artists to speak to the reader. -- Gen Doy, De Montfort University The Art Book This book is important because it explores onotlogical concerns that focus on the nature of African American art history, how it is written, its critical and theoretical frames and the need for more in-depth research and critical analysis... producing an informed and very rich narrative shaped by a comprehensive understanding of African American history and culture... African American Visual Arts is a clear indication that Celeste Marie Bernier is a new talent in the room and that those of us interested in expanding the discourse on African American art history have good reason to await her future publications on this and related subjects with great anticipation. -- Floyd Coleman, Howard University, Washington DC International Review of African American Art 'This is the richest and most important book on African American visual arts on the market. It has enormous period coverage without sacrificing rich analysis and depth. It is a book that will be crucial for anyone interested in African American culture, the visual arts, and American Studies. It is brilliantly conceived, deeply research, and very well executed.' John Stauffer, Harvard University This book is well written and informed by extensive research based on archival as well as secondary sources... A well researched and interesting book, a welcome addition to its field, and the author expresses an individual voice whilst also enabling artists to speak to the reader. This book is important because it explores onotlogical concerns that focus on the nature of African American art history, how it is written, its critical and theoretical frames and the need for more in-depth research and critical analysis... producing an informed and very rich narrative shaped by a comprehensive understanding of African American history and culture... African American Visual Arts is a clear indication that Celeste Marie Bernier is a new talent in the room and that those of us interested in expanding the discourse on African American art history have good reason to await her future publications on this and related subjects with great anticipation.Table of ContentsChronology of Visual Arts by African Americans from Slavery to the Present; Introduction: The Historical Context; 1. 'Grotesque jars and voodoo jugs': Africa, a Slave Past and the Visual Arts; 2. 'Ethiopia Awakening': Sculpture, Religion and Folk Art; 3. Black Revolution, the Mural and the Fine Arts; 4. Creative Chroniclers: Developments in Photography; 5. A Visual Language: Graffiti Art and Installation; Conclusion; Guide to Further Reading.

Read more less

Book SynopsisThis book sets out a variety of reasons why we should move away from seeing the recent era as 'postmodern' and our culture as 'postmodernist' through a series of analyses of contemporary culture.Trade ReviewIn marrying a clear conceptual critique of postmodernism to the analysis of a rich diversity of popular cultural phenomena the book presents a unique framework from which to make sense of our 'accelerated culture' in the 21st Century. -- Dr Richard Haynes, Director, Stirling Media Research Institute, University of Stirling In marrying a clear conceptual critique of postmodernism to the analysis of a rich diversity of popular cultural phenomena the book presents a unique framework from which to make sense of our 'accelerated culture' in the 21st Century.Table of Contents1. After Postmodernity?; 2. Post-Cultural State; 3. Post-Space; 4. Post-Pop; 5. Pastmodernism; 6. Post-Sports; 7. Post-Politics; 8. Post-Catastrophe; 9. Post-Theory; 10. Post-Future

Read more less

Book SynopsisPaul Virilio is one of the most challenging critics of art and technology. His work has produced substantial debate, compelling readers to ask if his criticism is out of touch or out in front of traditional perspectives. This title includes 13 original writings, that is suitable for students and researchers into contemporary visual culture.

Read more less

Book SynopsisExplores the aesthetic dimensions of the Arab Spring and the worldwide protest movements that followed. This book also explores the central role the aesthetic played in energising the massive mobilisations of young people, the disaffected, the middle classes and the apolitical silent majority.Table of ContentsTimeline; Preface; Introduction, Pnina Werbner, Martin Webb and Kathryn Spellman-Poots; Part I: The Arab Spring: Uprisings and Their Aftermath; Teargas, Flags, and the Harlem Shake: Images of and for Revolution in Tunisia and the Dialectics of the Local in the Global, Simon Hawkins; Singing the Revolt in Tahrir Square: Euphoria, Utopia and Revolution, Dalia Wahdan; 'I Dreamed of Being a People': Egypt's Revolution, the People, and Critical Imagination, Hanan Sabea; The Body of the Colonel: Caricature and Incarnation in the Libyan Revolution, Igor Cherstich; Poetry of Protest: Tribes in Yemen's 'Change Revolution', Steven C. Caton, Hazim Al-Eriyani, and Rayman Aryani; Part II: Beyond the Arab Spring: Asia and Africa; A Fractured Solidarity: Communitas and Structure in the Israeli 2011 Social Protest, Oren Livio and Tamar Katriel; 'Gandhi, Camera, Action!' Anna Hazare and the 'Media Fold' in Twenty-First Century India, Christopher Pinney; Short Circuits: The Aesthetics of Protest, Media and Martydom in Indian Anti- Corruption Activism, Martin Webb; The Mother of all Strikes: Popular Protest Culture and Vernacular Cosmopolitanism in the Botswana Public Service Unions' Strike, 2011, Pnina Werbner; Part III: Beyond the Arab Spring: American and European Protests; Vernacular Culture and Grassroots Activism: Non-violent Protest and Progressive Ethos at the 2011 Wisconsin Labor Rallies, Christine Garlough; Occupy Wall Street: Carnival Against Capital? Carnivalesque as Protest Sensibility, Claire Tancons; Subversion through Performance: Performance Activism in London, Paula Serafini; Spain's Indignados and the Mediated Aesthetics of Nonviolence, John Postill; The Poetics of Indignation in Greece: Anti-Austerity Protest and Accountability, Dimitrios Theodossopoulos; About the Contributors.

Read more less

Book SynopsisThe Edinburgh Festival is the world's largest arts festival. It has also been the site of numerous 'culture wars' since it began in 1947. This book explores the 'culture wars' of 1945-1970 and is the first major study of the origins and development of this leading annual arts extravaganza.

Read more less

Book SynopsisThis engaging introduction outlines the cultural and political contexts in which the avant-gardes operated, taking readers on a journey throughout the whole of Europe.

Read more less

Book SynopsisThis engaging introduction outlines the cultural and political contexts in which the avant-gardes operated, taking readers on a journey throughout the whole of Europe.

Read more less

Book SynopsisSituated in a Mediterranean landscape, the Maeght Foundation is a unique Modernist museum, product of an extraordinary collaboration between the architect, José Luis Sert, and the artists whose work was to be displayed there. The architecture, garden design and art offer a rare opportunity to see work in settings conceived in active collaboration with the artists themselves. By focusing on the relationship between this art foundation and its Arcadian setting, including Joan Miró''s labyrinth, George Braque''s pool, Tal-Coat''s mosaic wall and Giacometti''s terrace, Jan K. Birksted demonstrates how the building articulates many of the ideas that preoccupied this group of artists during the culminating years of their lives. The study pays special attention to the ways in which architecture can shape the experience of time, and addresses the Modernist desire for wilderness and its problematic roots in the classical Mediterranean ideal. In showing how the design of the Maeght Foundation isTrade Review'Jan Birksted has responded with passion and ingenuity to a marvellous subject. Sert's Maeght Foundation fulfils the criteria for an exemplary Gallery of Modern Art, but in this account it becomes a site of deconstruction. Using a mass of archival material from Sert and the Maeght family, he explores the relationship between patron, artists and architect, and between the built form of the gallery and the surrounding Mediterranean world.' Stephen Bann, University of Bristol, UK 'Jan Birksted's unravelling of the design process of the Maeght Foundation reads like a thriller where the corpse is only discovered at the very last line. It unwraps one layer of intentions after another, revealing the fascinating potentials of architectural modernism beyond the stereotypes of the International Style. It brings to light the surprising reinvention of architecture as landscape, and garden as architecture, begot by the dance of Modernism and Surrealism under the timely skies of the Mediterranean. A marvellous promenade architecturale.' Michel Conan, Dumbarton Oaks, US 'This book is a handsome object... Birksted has accomplished a rare task. He has written a book of fine scholarship; he has managed to make it read like a gripping story; and he draws us into a world of reflection upon the nature of landscape and architecture... When Birksted leaves scholarship behind and moves into the space of argumentative speculation he treats us to rich, rewarding and exigent thought.' Edward Winters, The Architects' Journal 'The author's style manages to be both readable and scholarly, and the notes and bibliography are exhaustive...' Sandy McLendon, Modernism Magazine '... this is a beautiful, many-layered book that greatly deepens our understanding and knowledge of the building's whole design and methodology and has many fascinating details.' Twentieth Century Society Newsletter 'Though of particular interest to landscape historians, this bookTable of ContentsContents: Preface; Introduction: The Commission: 'A moment of Euphoria'; The labyrinth: The labyrinth; Knossos; The Mediterranean: The Mediterranean; Narratives; The Pools: The pools; Reflections; Conclusion: The Aftermath: 1974; Academic envoi: Spatial temporality; Bibliography; Index.

Read more less

Book SynopsisQuestions of creativity, and particularly the processes which underlie creative performance or 'improvisation', form some of the central areas of interest in current musicology. Yet the predominant discourses on which musicological thought in this area are based have rarely been challenged. In this book Laudan Nooshin interrogates musicological discourses of creativity from the perspective of critical theory and postcolonial studies, examining their ideological underpinnings, the relationships of alterity which they sustain, and the profound implications for our understanding of creative processes in music. The repertoire which forms the book's main focus is Iranian classical music, a tradition in which the performer plays a central creative role. Addressing a number of issues regarding the nature of musical creativity, the author explores both the discourses through which ideas about creativity are constructed, exchanged and negotiated within this tradition, and the practice by which Trade ReviewWinner of the British Forum for Ethnomusicology (BFE) Book Prize, 2016.'Iranian Classical Music is an important addition to the recent studies of music-making in related traditions. As a commendable example of scientific analysis that is theoretically grounded, the book will also appeal to a wider audience that is interested in the innate creativity of the human condition.'-- John Morgan O'Connell, Cardiff University, Oxford JournalTable of ContentsContents: Preface. Part I Musicological Narratives of Creativity: Approaching the study of musical creativity: musicologies, discourses and others. Part II Creativity in the Iranian Context: Discourses and Structures: Discourses of creativity in Iranian classical music; Disciplining creativity: the radif of Iranian classical music. Part III Beyond Discourse: The Practice of Creativity: Creative performance in Iranian classical music; Postlude: ’Roots in the past and a view towards the future’: contemporary developments in Iranian classical music performance. Appendices; Bibliography; Index.

Read more less

Book SynopsisThe immense effect that Michelangelo had on many artists working in the sixteenth century is widely acknowledged by historians of Italian Renaissance art. Yet until recently greater stress has been placed on the individuality of these artists' styles and interpretation rather than on the elucidation of their debts to others. There has been little direct focus on the ways in which later sixteenth-century artists actually confronted Michelangelo, or how those areas or aspects of their artistic production that are most closely related to his reveal their attitudes and responses to Michelangelo's work. Reactions to the Master presents the first coherent study of the influence exerted by Michelangelo's work in painting and sculpture on artists of the late-Renaissance period including Alessandro Allori, Agnolo Bronzino, Battista Franco, Francesco Parmigianino, Jacopo Pontormo, Francesco Salviati, Raphael, Giorgio Vasari, Marcello Venusti, and Alessandro Vittoria. The essays focusTrade Review'Clearly and intelligently written, [the essays] make an important contribution to a subject that is receiving growing attention...The editors are exceptionally well qualified...This book offers many intriguing insights into Michelangelo, an artist who has been studied exhaustively.' RA Magazine '... contains ten erudite essays by notable scholars...' A.V. Coonin, Choice ...a provocative and welcome addition to the field CAA ReviewTable of ContentsContents: Introduction, Paul Joannides and Francis Ames-Lewis; Raphael's responsiveness to Michelangelo's draughtsmanship, Francis Ames-Lewis; The influence of Michelangelo: Pontormo, Bronzino, and Allori, Elizabeth Pilliod; Parmigianino and Michelangelo, David Ekserdjian; Salviati and Michelangelo, Paul Joannides; Absorption and interpretation: Michelangelo through the eyes of a Venetian follower, Battista Franco, Anne Varick Lauder; The reproduction and publication of Michelangelo's Sacristy: drawings and prints by Franco, Salviati, Naldini, and Cort, Raphael Rosenberg; Michelangelo and Marcello Venusti: A case of multiple authorship, William E. Wallace; Alessandro Vittoria: The Michelangelo of Venice?, Victoria Avery; Vasari, Borghini, and Michelangelo, Rick Scorza; Michelangelo and Spain: on the dissemination of his draughtmanship, Lizzie Boubli, Bibliography; Index.

Read more less

Book SynopsisJohn Lyly is the first collection of essays dedicated solely to the work of this University Wit, celebrity prose writer, and playwright to the court of Elizabeth. Lyly''s energy and wit inspired his contemporaries to follow new directions in prose fiction and stage comedy, and his writings still illuminate sixteenth-century culture for the modern reader. The twenty-four essays in this selection include some older classics, but most date from 1990 onwards and reflect current critical concerns with politics and sexuality, class and audience. Both Euphues books and the eight plays receive some detailed attention. The essays are grouped into four sections: Lessons in Wit, Courting the Queen, Playing with Desire, and Performing Lyly. A biographical summary and critical survey are provided in the introduction; other voices and insights are alluded to in the notes and listed in the wide-ranging bibliography.Trade Review'Lunney's collection of essays is an indispensable handbook for students, teachers and scholars alike. It outlines the major strands in scholarship and gives an excellent summary of the often contradictory ideas about the mostly neglected literary works of John Lyly.' Sixteenth-Century StudiesTable of ContentsContents: Introduction; Part I Lessons in Wit: Euphues and his Erasmus, Judith Rice Henderson; 'A large occasion of discourse': John Lyly and the art of civil conversation, Catherine Bates; The prose style of John Lyly, Jonas A. Barish; The humanist in the market: gendering exchange and authorship in Lyly's Euphues romances, Joan Pong Linton. Part II Courting the Queen: Elizabethan epideictic drama: praise and blame in the plays of Peele and Lyly, R. Headlam Wells; The monarchy of love in Lyly's 'Endimion', Robert S. Knapp; Lyly's 'Endimion' and 'Midas': the Catholic question in England, David Bevington; 'O unquenchable thirst of gold': Lyly's 'Midas' and the English quest for empire, Annaliese Connolly; The subversion of flattery: the Queen's body in John Lyly's 'Sapho and Phao', Theodora A. Jankowski; Lyly's chimerical vision: witchcraft in 'Endymion', Christine M. Neufeld; 'I would fain serve': John Lyly's career at court, Derek B. Alwes; John Lyly and the politics of language, Leah Scragg. Part III Playing with Desire: John Lyly and the language of play, Jocelyn Powell; The disarming of the knight: comic parody in Lyly's Endymion, Sara Deats; Ovidian myth in Lyly's courtship comedies, Jeff Shulman; The Woman in the Moon: cursed be Utopia, Michael Pincombe; Constructions of female homoerotics in early modern drama, Denise A. Walen; Cross-dressing and John Lyly's 'Gallathea', Christopher Wixson; 'Jack hath not Jill': failed courtship in Lyly and Shakespeare, David Bevington; The transformation of stage courtship, Anne Jennalie Cook. Part IV Performing Lyly: Female roles and the children's companies: Lyly's Pandora in 'The Woman in the Moon', Maurice Charney; Speaking pictures: style and spectacle in Lylyian comedy, Leah Scragg; The confusions of 'Gallathea': John Lyly as popular dramatist, Kent Cartwright; Playing with Lyly: theatrical criticism and non-Shakespearean drama, Kate D. Levin; Name index.

Read more less

Book SynopsisDavid Bevington''s volume on George Peele looks at the literary achievement of that dramatist and author, who was born in London some time around 1556-8, was educated at Oxford, and returned to London to become a prolific writer until his death in 1596. He died at the age of forty, in poverty, and was never far from the threat of debtors'' prison throughout his adult life. Peele, like Greene and Marlowe, was caricatured in his immediate afterlife as the embodiment of a popular and thriving literary culture in London of the late sixteenth century: a world that was competitive and relentlessly unforgiving in its economic pressures, but also colourful, adventuresome, and vital. This volume collects together for the first time the best contemporary published work on Peele by a group of renowned scholars. They discuss Peele''s Lord Mayor''s Pageants, Court Entertainments, occasional poems, and his plays The Arraignment of Paris, The Old Wives Tale, The Battle of Alcazar, Edward I, David Trade Review'... Bevington's critical anthology is a worthwhile and substantial collection of essays on the life and work of this early and influential dramatist. ...' Sixteenth Century JournalTable of ContentsContents: Introduction; Part I Lord Mayor's Pageants, Court Entertainments, Occasional Poems: Entertainments for court and city, A.R. Braunmuller; 'Many a 'Herdsman' more disposde to morne': Peele, Campion, and the Portugal expedition of 1589, Hugh Gazzard. Part II The Arraignment of Paris: Gifts and reasons: the contexts of Peele's 'The Araygnement of Paris', Louis Adrian Montrose; The triumph of chastity: form and meaning in The Arraignment of Paris, Andrew von Hendy; Pastoral poetry: the vitality and versatility of a convention, Hallett Smith; Elizabethan epideictic drama: praise and blame in the plays of Peele and Lyly, R. Headlam Wells. Part III The Old Wives Tale: The Protestant context of George Peele's 'pleasant conceited' 'Old Wives Tale', Frank Ardolino; Homely matter and multiple plots in Peele's 'Old Wives Tale', John D. Cox; 'Seeing is believing': action and narration in 'The Old Wives Tale' and 'The Winter's Tale', Philip Edwards; Old wives' tales, George Peele, and narrative abjection, Mary Ellen Lamb; 'Soft, who have we here?': the dramatic technique of 'The Old Wives Tale', Joan C. Marx; The hearth and the cell: art in 'The Old Wives Tale', Susan T. Viguers. Part IV The Battle of Alcazar: 'Alcazar': the text and the sources, David Bradley; Moors, villainy and 'The Battle of Alcazar', Peter Hyland; The Battle of Alcazar, Eldred Jones. Part V Edward I: 'Edward I': in peace triumphant, fortunate in wars, A.R. Braunmuller. Part VI David and Bathsheba: Peele's 'David and Bethsabe': reconsidering Biblical drama of the long 1590s, Annaliese Connolly; The House of David in Renaissance drama: a comparative study, Inga-Stina Ewbank; 'What words, what looks, what wonders?': language and spectacle in the theatre of George Peele, Inga-Stina Ewbank. Part VII Peele and Titus Andronicus: Mutius: an obstacle removed in Titus Andronicus, Brian Boyd; Name index.

Read more less

Book SynopsisIn uncovering the origin of the designation 'University Wits', Bob Logan examines the characteristics of the Wits and their influence on the course of Elizabethan drama. For the first time, Christopher Marlowe is placed in the context of the six University Wits, where his reputation stands out as the most prominent, and the impact of his university education on his works is clarified. The essays selected for reprinting assess the most significant scholarship written about Marlowe, including biographical studies, challenges to familiar assumptions about the poet/playwright and his works, compositions on groupings of his works, on individual works, and on subjects particular to Marlowe. Unique in its perspective and in the collection of essays, this book will interest all students and scholars of Renaissance poetry, drama, and specialized cultural contexts.Trade Review'..a particularly careful selection... this work is an excellent Marlowe resource for academic libraries and Marlowe enthusiasts.’ Reference Reviews 'While most obviously beneficial as an introduction to the field or a contextualization of the masses of criticism that abound on its subject, this volume also has much to offer the seasoned veteran of early modern scholarship.' Sixteenth Century JournalTable of ContentsContents: Introduction; Part I Biography of Marlowe: Marlowe's Life and Career: Chronology and Introduction, Constance B. Kuriyama; Christopher Marlowe, Matthew N. Proser. Part II Initiating Controversy: Challenges to Familiar Assumptions about Marlowe: Christopher Marlowe, T.S. Eliot; Biography, mythography, and criticism: the life and works of Christopher Marlowe, Lukas Erne; 'Writ in blood': Marlowe and the new historicists, Richard Wilson. Part III Essays on More Than a Single Work: Marlowe and the 'comic distance', J.R. Mulryne and S. Fender; Marlowe and the will to absolute play, Stephen Greenblatt. Part IV Essays on Individual Works: Dido, Queen of Carthage: Errant Eros: transgressions of sex, gender, and desire in 'Dido, Queene of Carthage', Sarah Munson Deats; Tamburlaine, 1 & 2: The structure of 'Tamburlaine', Clifford Leech; The contemporary perception of Marlowe's Tamburlaine, Richard Levin; Dr Faustus: 'The forme of Faustus fortunes good or bad', C.L. Barber; Marlowe and God, David Bevington; The Jew of Malta: Innocent Barabas, Alfred Harbage; Marlowe as experimental dramatist: the role of the audience in 'The Jew of Malta', Edward L. Rocklin; The Massacre at Paris: Mirrors for foolish princes, Judith Weil; 'The Massacre at Paris': Marlowe's messy consensus narrative, Rick Bowers; Edward II: History without morality: Edward II, Wilbur Sanders; The eye of the beholder, Stephen Orgel; Hero and Leander: Marlowe, 'Hero and Lander', and the art of leaping in poetry, Jane Adamson; Marlowe's Other Poetry: 'On the Death of Sir Roger Manwood', Ovid's Elegies 'The Passionate Shepherd', Hero and Leander, and Lucan's First Book: Marlowe's poems and classicism, Georgia E. Brown. Part V Essays on Particularized Interests: Marlowe's boy actors, Evelyn Tribble; Marlowe reruns: repertorial commerce and Marlowe's plays in revival, Roslyn L. Knutson; Name Index.

Read more less

Book SynopsisWhile Robert Greene was the most prolific and perhaps the most notorious professional writer in Elizabethan England, he continues to be best known for his 1592 quip comparing Shakespeare to an upstart crow. In his short twelve-year career, Greene wrote dozens of popular pamphlets in a variety of genres and numerous professional plays. At his premature death in 1592, he was a bonafide London celebrity, simultaneously maligned as Grub-Street profligate and celebrated as literary prodigy. The present volume constitutes the first collection of Greene''s reception both in the early modern period and in our present era, offering in its poems, prose passages, essays, and chapters that which is most singular among what has been written about Greene and his work. It also includes a complete list of Greene''s contemporary reception until 1640. Kirk Melnikoff''s wide-ranging and revisionist introduction organizes this reception generically while at the same time situating it in the context of recTrade Review'excellent critical anthology...' Sixteenth Century Journal 'Melnikoff has done the scholarly community a great service by assembling a substantial and coherent collection of essays that illustrate the positive treatments of Greene’s prose contrasted with the shabby treatment of the drama'. Marlowe Society of America NewsletterTable of ContentsContents: Introduction; Part I Greene's Life: Greene's life, Charles Crupi; Robert Greene and his classmates at Cambridge, Johnstone Parr. Part II Early Reception: Roger Portington Esquier, in commendation of the booke, Roger Portington; In praise of the author and his booke, G.B. [William Boston]; Richard Stapleton gentleman to the courteous and courtlie ladies of England, Richard Stapleton; Au R. Greene gentilhome, sonnet, John Eliot; In Roberi Greni metamorphosin, carmen enkomiastikon, G.B. [William Boston]; In laudem Roberti Greni Cantab. In artibus margistri, Unsigned; Thomas Brabine gent. In praise of the author, Thomas Brabine; From 'To the gentlemen students of both uniuersities', Thomas Nashe; From Greene's Never Too Late, Richard Hake; [Untitled] from 'Francesco's Fortunes', R.S.; From 'Four Letters and Certain Sonnets', Gabriel Harvey; The printer to the gentlemen readers, Cuthbert Burby; From 'Strange News', Thomas Nashe; From 'Kind-Harts Dream', Henry Chettle; From 'Greene's News both from Heaven and Hell', Barnabe Rich; Sonnet IIII, Sonnet VIII, Sonnet IX and Sonnet X, Richard Barnfield; From 'To the Christian Reader', Thomas Bowes; From Have with You to Saffron-Walden, Thomas Nashe; An aduertisement to the reader, John Dickenson; From Palladis Tamia, Francis Meres. Part III Greene, Print Culture and Authorship: From The Marketplace of Print: Pamphlets and the Public Sphere in Early Modern England, Alexandra Halasz; Anti-epic traditions: Greene's romances, Steve Mentz; 'Social things': the production of popular culture in the reception of Robert Greene's 'Pandosto', Lori Humphrey Newcomb. Part IV Greene's Early and Mid-Career Fiction: Rhetorical romance: the 'frivolous toyes' of Robert Greene, W.W. Barker; Robert Greene and Greek romance, Walter R. Davis; Humanist poetics and Elizabethan fiction, Arthur F. Kinney. Part V Greene, Romance and Gender: 'Silenced but for the word': the discourse of incest in Greene's 'Pandosto' and 'Menaphon', Brenda Cantar; Homosociality, imitation, and gendered reading in Robert Greene's 'Ciceronis Amor', Kevin L. Gustafson; Penelope and the politics of woman's place in the Renaissance, Georgianna Ziegler. Part VI Greene and Drama: The serious comedy of Greene's 'James IV', A.R. Braunmuller; Robert Greene's 'Friar Bacon and Friar Bungay': the commonwealth of the present moment, Kent Cartwright; Masculinity and magic in 'Friar Bacon and Friar Bungay', Ian McAdam; Greene's attack on Marlowe: some light on 'Alphonsus' and 'Selimus', Irving Ribner; The comedy of Greene and Shakespeare, Norman Sanders. Part VII Greene's True Crime: Greene discovering, Reid Barbour; 'Masters of their occupation': labor and fellowship in the cony-catching pamphlets, Karen Helfand Bix; Cony-catching: anatomy of anatomy, Lawrence Manley. Part VIII Greene and Repentance: Gower, Chaucer, and the art of repentance in Robert Greene's 'Vision', Jeremy Dimmick; Greene, Richard Helgerson. Appendix: a bibliography of further Greene references to 1700. Name index.

Read more less

Book SynopsisSince 1978, the 300th anniversary of Vivaldi''s death, there has been an explosion of serious writing about his music, life and times. Much of this has taken the form of articles published in academic journals or conference proceedings, some of which are not easy to obtain. The twenty-two articles selected by Michael Talbot for this volume form a representative selection of the best writing on Vivaldi from the last 30 years, featuring such major figures in Vivaldi research as Reinhard Strohm, Paul Everett, Gastone Vio and Federico Maria Sardelli. Aspects covered include biography, Venetian cultural history, manuscript studies, genre studies and musical analysis. The intention is to serve as a ''first port of call'' for those wishing to learn more about Vivaldi or to refresh their existing knowledge. An introduction by Michael Talbot reviews the state of Vivaldi scholarship past and present and comments on the significance of the articles.Table of ContentsContents: Introduction; Part I Biographical Studies: The fortunes of Vivaldi biography, from Pincherle to the present, Michael Talbot; Antonio Vivaldi e i Vivaldi, Gastone Vio; Antonio Vivaldi prete, Gastone Vio; Vivaldi dagli archivi di Mantova, Claudio Gallico; I nove 'principi di altezza' corrispondenti di Vivaldi e la dedica enigmatica del Concerto RV 574. Alla ricerca dell'indirizzario perduto, Carlo Vitali; Documenti inediti su Vivaldi a Roma, Fabrizio Della Seta; Wenzel von Morzin as a patron of Antonio Vivaldi, Michael Talbot; Vivaldi e il Teatro La Pergola a Firenzi: nuove fonti, William C. Holmes. Part II Source Studies: Towards a Vivaldi chronology, Paul Everett; Vivaldi's marginal markings: clues to sets of instrumental works and their chronology, Paul Everett; Vivaldi at work: the autograph of the 'Gloria' RV 589, Paul Everett; Vivaldi's Quadro? The case of RV Anh. 66 reconsidered, Michael Talbot; La famosa mano di Monsieur Roger: Antonio Vivaldi and his Dutch publishers, Rudolf Rasch; Vivaldi and Lotti: two unknown borrowings in Vivaldi's music, Kees Vlaardingerbroek. Part III Analytical and Genre Studies: Le opere giovanili di Antonio Vivaldi, Federico Maria Sardelli; Vivaldi's 'Crucifixus' in its descriptive and rhetorical context, Jasmin Cameron; Formal structure in Vivaldi's variation sets, Nicholas Lockey; 'Die schwarze Gredel', or the parallel minor key in Vivaldi's instrumental music, Bella Brover-Lubovsky; Ueber die Beziehungen zwischen einigen Concerto- und Sinfonia-Sätzen Vivaldis, Karl Heller; The dramatic in Vivaldi's cantatas, Colin Timms; Vivaldi's Serenatas: long cantatas or short operas?, Michael Talbot; Antonio Vivaldi's setting of Teuzzone: dramatic speech and musical image, Reinhard Strohm; Name Index.

Read more less

Book SynopsisThis anthology represents scholarly literature devoted to Handel over the last few decades, and contains different kinds of studies of the composer''s biography, operatic career, singers, librettists, and his relationship with the music of other composers. Case studies range from recent research that transforms our knowledge of large-scale English works to an interdisciplinary exploration of an individual opera aria. Designed to bring easy and convenient access to students, performers and music lovers, the wide-ranging articles are selected by David Vickers (co-editor of the recent Cambridge Handel Encyclopedia) from diverse sources - not only familiar important journals, but also specialist yearbooks, festschrifts, not easily accessible newsletters, conference proceedings and exhibition catalogues. Many of these represent an up-to-date understanding of modern Handel studies, deal with fascinating biographical issues (such as the composer''s art collection, his chronic health problems,Table of ContentsContents: Introduction; Part I Biographical Aspects: Mythistorica Handeliana, Charles Cudworth; Organ playing in the Lateran and other remembrances on Handel: a report in the Voiage Historique of 1737, Ursula Kirkendale; Handel and the feuding royals, Thomas McGeary; Handel's art collection, Alison Meyric Hughes and Martin Royalton-Kisch; Joseph Goupy and George Frideric Handel: from professional triumphs to personal estrangement, Ellen T. Harris; Handel's ill health: documents and diagnoses, David Hunter. Part II Handel and the Opera House: Handel's Haymarket Theater, Mark W. Stahura; Box office reports for five operas mounted by Handel in London, 1732-1734, Judith Milhous and Robert D. Hume; Handel's 1736 performances of Ariodante, Donald Burrows. Part III Case Studies of Handel's Compositions: Benedetto Pamphilj as librettist: Mary Magdalene and the harmony of the spheres in Handel's Il trionfo del Tempo e del Disinganno, Huub van der Linden; Psychological realism in Il trionfo del Tempo e del Disinganno, Ruth Smith; A newly discovered Water Music source, Terence Best; Handel and the confus’d shepherdess: a case study of stylistic eclecticism, Graham Cummings; Handel, Jennens and Saul: aspects of a collaboration, Anthony Hicks; From Milton to Handel: the transformation of Milton's L'Allegro and Il Penseroso into a musical work for concert performance in the London theatres, Donald Burrows; Some thoughts on musical organization in L'Allegro il Penseroso ed il Moderato, Graydon Beeks. Part IV Handel's Performers: The unpublished Senesino, Elisabetta Avanzati; From Rinaldo to Orlando, or Senesino's path to madness, Melania Bucciarelli; Francesca Cuzzoni and Faustina Bordoni: the rival queens?, Suzana OgrajenÅ¡ek; Marie Sallé as muse: Handel's music for mime, Sarah McCleave; John Beard: the tenor voice that inspired Handel, Neil Jenkins. Part V Librettists: Handel's relations with the librettists of his operas, Winton Dean; The achievements of Charles Jennens (1

Read more less

Book SynopsisFor nearly two centuries Johann Sebastian Bach has been regarded as a cornerstone of Western musical culture. His music inspired subsequent generations of composers and philosophers alike, and continues to capture our imaginations in many ways. Bach studies is part of this picture, often seen as providing excellent examples of musicological scholarship. The volume editor has chosen thirty-one published articles which, in his view, not only represent a broad spectrum of the scholarly discussions on Bach''s life and works, but will also facilitate the on-going study of Bach''s creative genius. The articles have been selected to ensure that this volume will be considered useful for not only those students who are currently engaging in Bach studies at universities but also for more seasoned Bach scholars as they consider the future direction of Bach studies.Table of ContentsContents: Introduction; Part I Life and Context: Johann Christoph Bach (1671-1721), 'Organist und Schul Collega in Ohrdruf', Johann Sebastian Bachs erster Lehrer, Hans-Joachim Schulze; Johann Sebastian Bach als Schüler der Partikularschule zu St Michaelis in Lüneburg, oder Lüneburg eine Pflegstätte kirchlicher Musik, Wilhelm C. Junghans; The musician versus the grammarian: an early storm warning, Paul S. Minear; In defence of J.A. Scheibe against J.S. Bach, George J. Buelow; J.S. Bach: new light on his faith, Christoph Trautmann; Motive and motif in the church music of Johann Sebastian Bach, Robin A. Leaver. Part II Source Studies: Zum Wandel des Bach-Bildes. Zu Friedrich Blumes Mainzer Vortrag, Alfred Dürr; Antwort von Friedrich Blume, Friedrich Blume; Persönliches zur Geschichte der Jüngeren Bach-Forschung ( A personal message concerning the history of recent Bach scholarship), Arthur Mendel; Yoshitake Kobayashi's article On the Chronology of the Last Phase of Bach's Work - Compositions and Performances: 1736 to 1750 - an analysis with translated portions of the original text, Gerhard Herz. Part III Genre Studies: Bach's chorale cantatas, Alfred Dürr; Neue 'Texte zur Leipziger Kirchen-Music', Wolf Hobohm; Der Picander-Jahrgang, Klaus Häfner; Bach und der Picander-Jahrgang - Eine Erwiderung, William H. Scheide; Picander, der Textdichter von Bachs viertem Kantatenjahrgang. Ein neuer Hinweis, Klaus Häfner; Eindeutigkeit und Mehrdeutigkeit in Picanders Kantatenjahrgangs-Vorbemerkung und im Werkverzeichnis des Nekrologs auf Johann Sebastian Bach, William H. Scheide; Traces of the pre-history of Bach's St John and St Matthew Passions, Arthur Mendel; 'Et Incarnatus' and 'Crucifixus': the earliest and the latest settings of Bach's B-minor Mass, Christoph Wolff; Friedrich Smend's edition of the B-minor Mass by J.S. Bach, Georg von Dadelsen; Universality in Bach's B Minor Mass: a portrait of Bach in his final years, Yoshitake Kobayashi; Zur Parodiefrage in

Read more less

Book SynopsisClaudio Monteverdi is now recognized as the towering figure of a critical transitional moment of Western music history: relentless innovator in every genre within chamber, church and theatre music; self-proclaimed leader of a ''new dispensation'' between words and their musical expression; perhaps even ''Creator of Modern Music''. During recent years, as his arrestingly attractive music has been brought back to life in performance, so too have some of the most outstanding musicologists focussed intensely on Monteverdi as they worked through the ''big'' questions in the historiography and hermeneutics of early Baroque music, including musical representation of language; compositional theory; social, institutional, cultural and gender history; performance practices and more. The 17 articles in this volume have been selected by Richard Wistreich to exemplify the best scholarship in English and because each, in retrospect, turns out to have been a ground-breaking contribution to one or morTable of ContentsContents: Introduction; Part I Text and Music: Monteverdi's poetic choices, Nino Pirrotta; Madrigal, monody, and Monteverdi's 'via naturale alla immitatione', Gary Tomlinson; Monteverdi's mimetic art: 'L'incoronazione di Poppea', Ellen Rosand; Resemblance and representation: towards a new aesthetic in the music of Monteverdi, Tim Carter. Part II Theory and Genre: Artusi, Monteverdi, and the poetics of modern music, Tim Carter; Gendering modern music: thoughts on the Monteverdi-Artusi controversy, Suzanne G. Cusick; Claudio Monteverdi's Ordine novo, bello et gustevole: the canzonetta as dramatic module and formal archetype, Massimo Ossi; Monteverdi's three genera: a study in terminology, Barbara Russano Hanning. Part III Criticism, Analysis and History: Constructions of gender in Monteverdi's dramatic music, Susan McClary; The Platonic agenda of Monteverdi’s Seconda Pratica: a case study from the 8th Book of Madrigals, Geoffrey Chew; Monteverdi, two sonnets and a letter, Anthony Pryer; Tacitus incognito: opera as history in L'incoronazione di Poppea, Wendy Heller. Part IV Institutional, Source and Performance Issues: Musicians at the court of Mantua during Monteverdi's time: evidence from the payrolls, Susan Parisi; Monteverdi's Mantuan 'Orfeo': some new documentation, Iain Fenlon; Transposition in Monteverdi's Vespers of 1610: an 'aberration' defended, Andrew Parrott; La Poppea Impasticciata or, who wrote the music to L'incoronazione (1643)?, Alan Curtis; Monteverdi's 'Mass of Thanksgiving' revisited, Jeffrey G. Kurtzman; Name index.

Read more less

Book SynopsisSecular music of the fifteenth and sixteenth centuries encompasses an extraordinarily wide range of works and practices: courtly love songs, music for civic festivities, instrumental music, entertainments provided by minstrels, the unwritten traditions of solo singing, and much else. This collection of essays addresses many of these practices, with a focus on polyphonic settings of vernacular texts, examining their historical and stylistic contexts, their transmission in written and printed sources, questions of performance, and composers' approaches to text setting. Essays have been selected to reflect the wide range of topics that have occupied scholars in recent decades, and taken together, they point to the more general significance of secular music within a broad complex of cultural practices and institutions.Table of ContentsContents: Introduction; Part I Sources and Transmission: The Vatican manuscript Urb. Lat. 1411: an undervalued source?, James Haar; Embellishment and urtext in the 15th-century song repertories, David Fallows; Pietrequin Bonnel and Ms. 2794 of the Biblioteca Riccardiana, Joshua Rifkin; Petrucci's Canti volumes: scope and repertory, David Fallows; Composition - copying: performance - recreation: the matrix of stemmatic problems for early music, Stanley Boorman; The salon as marketplace in the 1550s: patrons and collectors of Lasso's secular music, Donna G. Cardamone. Part II Genres: The constitution of the 15th-century German tenor lied: drafting the history of a musical genre, Martin Staehelin; Ockeghem and the motet-chanson in 15th-century France, Honey Meconi; Josquin's chansons as generic paradigms, Lawrence F. Bernstein; The frottola and the unwritten tradition, William F. Prizer; The early madrigal: a re-appraisal of its sources and its character, James Haar; Chanson and air, Kate van Orden; Lied and madrigal, 1580-1600, Ludwig Finscher. Part III Composers and Contexts: 'Trained and immersed in all musical delights': towards a new picture of Busnoys, David Fallows; Seigneur Leon's papal sword: Ferrara, Du Fay, and his songs of the 1440s, Sean Gallagher; Heinrich Isaac among the Florentines, Blake Wilson; Willaert and the canzone villanesca, Nino Pirrotta; Monteverdi, Marenzio, and Battista Guarini's 'cruda amarilli', Massimo Ossi. Part IV Performers and Performance Issues: The a capella heresy in Spain: an inquisition into the performance of the cancionero repertory, Tess Knighton; Psyche's Lament: some music for the Medici wedding in 1565, Howard Mayer Brown; From minstrel to courtier - the royal musique de chambre and courtly ideals in 16th-century France, Jeanice Brooks; Courtesans, muses, or musicians? Professional women musicians in 16th-century Italy, Anthony Newcomb. Part V Instrumental Music: The use of borrowed material in 16th-century instrumental music, John Ward; Innovation in instrumental music 1450-1510: the role of German performers within European culture, Keith Polk; Songs without words by Josquin and his contemporaries, Warwick Edwards. Part VI Music and Poetry: Ricercare and variations on O Rosa Bella, Nino Pirrotta; The composer as exegete: interpretations of Petrarchan syntax in the Venetian madrigal, Martha Feldman; Name index.

Read more less

Book SynopsisWe know what, say, a Josquin mass looks likebut what did it sound like? This is a much more complex and difficult question than it may seem. Kenneth Kreitner has assembled twenty articles, published between 1946 and 2009, by scholars exploring the performance of music from the fifteenth and sixteenth centuries. The collection includes works by David Fallows, Howard Mayer Brown, Christopher Page, Margaret Bent, and others covering the voices-and-instruments debate of the 1980s, the performance of sixteenth-century sacred and secular music, the role of instrumental ensembles, and problems of pitch standards and musica ficta. Together the papers form not just a comprehensive introduction to the issues of renaissance performance practice, but a compendium of clear thinking and elegant writing about a perpetually intriguing period of music history.Table of ContentsContents: Introduction; Part I Method: On 'instrumental style' in early melody, Lloyd Hibberd; Specific information on the ensembles for composed polyphony, 1400-1474, David Fallows. Part II Songs: Going beyond the limits: experiments with vocalization in the French chanson, 1340-1440, Christopher Page; Performance practices in the frottola, William F. Prizer; The a capella heresy in Spain: an inquisition into the performance of the cancionero repertory, Tess Knighton; Tenorleid, discantleid, polyphonic lied: voices and instruments in German secular polyphony of the Renaissance, Stephen Keyl; Performance practice in the seconda pratticca madrigal, Rinaldo Alessandrini. Part III Sacred Music: The performing ensembles in Josquin's sacred music, David Fallows; Performance practice in the Papal chapel during the 16th century, Richard Sherr; The performance of Palestrina: some questions, but fewer answers, Graham Dixon; The performance of Palestrina: some further observations, Noel O'Regan; What can the organ Partitura to Tomás Luis de Victoria's Missae, Magnificat, motecta, psalmi et alia quam plurima of 1600 tell us about performance practice?, Noel O'Regan; Minstrels in Spanish churches, 1400-1600, Kenneth Kreitner. Part IV Instrumental Music: Voices and instruments: soloists and ensembles in the 15th century, Keith Polk; A Cook's tour of Ferrara in 1529, Howard Mayer Brown; Notes (and transposing notes) on the transverse flute in the early 16th century, Howard Mayer Brown. Part V Notation: Diatonic ficta, Margaret Bent; 'High' clefs in composition and performance, Andrew Johnstone. Part VI Perspective: Sight-readings: notes on a capella performance practice, Donald Greig; For whom do the singers sing?, Bonnie J. Blackburn; Series Bibliography; Name index.

Read more less

Book SynopsisThe ''beauties'' - women of note - who were welcomed to the National Portrait Gallery''s early collection were those whose lives and portraits were recognized as significant to the ''civil, ecclesiastical and literary history of the nation''. This brief was interpreted to include figures as diverse as the devout Lady Margaret Beaufort, and the entertaining Lady Emma Hamilton. History''s Beauties, the first detailed study of this collection, maps a culture of femininity that reframes the Victorian fascination with women''s domestic and sentimental presence by locating it within a Parliament-centred ''national'' culture. Including an essay on the Gallery''s Trustees, the book traces the translation of their governors'' culture to a public institution through discussions of three themes in the National Portrait Gallery''s collection of women''s portraits: portraits of the Royal family and the cult of legitimacy in antiquities and in national identity; the educated woman as model of domestTrade Review'Lara Perry's interdisciplinary approach weaves together in a complex pattern many ideas, topics, and strands of thought. ... This is a stimulating book, offering much to provoke further studies.’ Reviews in History ’... provides readers with a renewed glimpse into the relationship between gender and culture in the Victorian era.’ Victorian Studies ’... [a] fascinating and thoughtful book...’ Museum and Society ’... a refreshing addition to the literature of museum studies.’ The Art BookTable of ContentsContents: Introduction: The nation's beauties: women in the nineteenth-century museum; Women, the National, and the Portrait Gallery; Victoria and her predecessors; Sentimental histories; Beauty; The arts of women; Conclusion: The varieties of the public woman; Appendix 1: The trustees of the National Portrait Gallery; Appendix 2: List of women's portraits acquired by the National Portrait Gallery between 1856 and 1900; Notes; Bibliography, Index.

Read more less

Book SynopsisThe essays collected here investigate art made by women in South Africa between 1910, the year of Union, and 1994, the year of the first democratic election. During this period, complex political circumstances and the impact of modernism in South Africa affected the production of images and objects. The essays explore the ways in which the socio-political circumstances associated with twentieth-century modernity had a paradoxical impact on women. If some were empowered, others were disadvantaged: while some were able to further their social and cultural development and expression, the advancement of others was impeded. The contributors study the lives and achievements of women - named and un-named, black and white, and from different cultural groups and social contexts - and consider objects and images that are historically associated with both 'art' and 'craft'. In all the essays, gender theory is related to South African circumstances. The volume explores gender theory in relation tTrade Review'This is a remarkable celebration of the creative endeavours of women artists in south Africa from 1910 to 1994' Women's History Magazine ’Between Union and Liberation is an admirable book and fulfils its task competently within its specified parameters... it makes a constructive contribution to the discourse.’ De Art April 2006 ’This is an important book and its essays make significant contributions to the field of art history in South Africa. They bring forth new material and offer fresh insights into old material. Gathered here, they confront gender biases and sexism within art historical discourse and social practice. We can only benefit from such a book.’ H-New Book Review, Feb 06 ’Between Union and Liberation: Women Artists in South Africa 1910-1994 is a valuable book for several reasons...The book underscores tensions among people with similar skin colors, thus it counters the popular notion (troublingly prevalent outside of South Africa) that identity in the twentieth century was reduced to black and white.’ African ArtsTable of ContentsContents: Visual culture in context: the implications of Union and Liberation, Marion Arnold; Florence Phillips, patronage and the arts at the time of Union, Jillian Carman; European modernism and African domicile: women painters and the search for identity, Marion Arnold; Constance Stuart Larrabee's photographs of the Ndzundza Ndebele: performance and history beyond the modernist frame, Brenda Danilowitz; Art, gender ideology and Afrikaner nationalism - a case study, Liese van der Watt; Technologies and transformations: baskets, women and change in 20th-century KwaZulu-Natal, Nessa Leibhammer; Breaking the mould: women ceramists in KwaZulu-Natal, Wilma Cruise; On pins and needles: gender politics and embroidery projects before the first democratic election, Brenda Schmahmann; Narratives of migration in the works of Noria Mabasa and Mmakgabo Sebidi, Jacqueline Nolte; Representing regulation - rendering resistance: female bodies in the art of Penny Siopis, Brenda Schmahmann; Index.

Read more less

Book SynopsisVisualizing Research guides postgraduate students in art and design through the development and implementation of a research project, using the metaphor of a 'journey of exploration'. For use with a formal programme of study, from masters to doctoral level, the book derives from the creative relationship between research, practice and teaching in art and design. It extends generic research processes into practice-based approaches more relevant to artists and designers, introducing wherever possible visual, interactive and collaborative methods. The Introduction and Chapter 1 'Planning the Journey' define the concept and value of 'practice-based' formal research, tracking the debate around its development and explaining key concepts and terminology. âMapping the Terrainâ then describes methods of contextualizing research in art and design (the contextual review, using reference material); âLocating Your Positionâ and âCrossing the Terrainâ guide the reader through the stages of identifying an appropriate research question and methodological approach, writing the proposal and managing research information. Methods of evaluation and analysis are explored, and of strategies for reporting and communicating research findings are suggested. Appendices and a glossary are also included. Visualizing Research draws on the experience of researchers in different contexts and includes case studies of real projects. Although written primarily for postgraduate students, research supervisors, managers and academic staff in art and design and related areas, such as architecture and media studies, will find this a valuable research reference. An accompanying website www.visualizingresearch.info includes multimedia and other resources that complement the book.Trade Review'At last we have a book making sense of practice-based approaches to research in art and design. This should be essential reading for all masters and doctoral students in the field.' Professor Rachel Cooper, Director, Adelphi Research Institute for Creative Arts and Sciences, University of Salford, UK. 'It is written in a warm, refreshing and stimulating style...the writing style employed by the authors is very readable and, throughout the book, illustrations are used to good effect...The six chapters that make up this book cover a wide range of issues...A number of different techniques for data reduction and data presentation are considered...Although this book is intended to be a support aid for research students in Art and Design, there is a considerable amount of generic material embedded within it...it would make useful reading for other students embarking on research projects in other disciplines. It would also form a useful resource for people who are new to research supervision - it abounds with good advice and many useful references!' UKCGE (United Kingdom Council for Graduate Education) NewsletterTable of ContentsIntroduction; Chapter 1 Planning the journey: introduction to research in Art and Design; Chapter 2 Mapping the terrain: methods of contextualizing research; Chapter 3 Locating your position: orienting and situating research; Chapter 4 Crossing the terrain: establishing appropriate research methodologies; Chapter 5 Interpreting the map: methods of evaluation and analysis; Chapter 6 Recounting the journey: recognizing new knowledge and communicating research findings;

Read more less

Book SynopsisThe premise of Anna Green''s timely and original book, is that nineteenth-century representations of childhood and adolescence-in paintings, but also in other forms of visual culture and in diverse written discourses of the period-are critical for understanding modernity. Whilst such well-worn signifiers for modernity as the city, the dandy and the prostitute have been well mined, childhood and adolescence have not. Paintings of the young produced in France from 1848 to 1886, Green contends, inform not only our understanding of modern life but also our perception of modernist or avant-garde painting. Figuring largely are Manet and the Impressionists, as well as a gamut of more traditional painters of children who are crucial in providing context for the avant garde. Because modernity is an essentially urban phenomenon, Green''s focus is primarily on the city, usually Parisian, child. The painted youth of her study are organized initially by class and gender. Then the chapters are struTrade Review'Green deals systematically with the emerging categories of childhood and youth, examined according to variables of gender and class. Never content with easy cultural and art historical clichés, she shows throughout a refreshing penchant for turning the tables and complicating expected revisionist readings. Her intelligent, original, and well-written and researched book makes an extremely important contribution to our field.' Norma Broude, American University 'Starting with the bold and convincingly argued thesis that childhood was as critical a sign of modernity as other better known tropes, Anna Green moves skillfully between images and texts. Her book is conceptually sophisticated and deeply researched, both in terms of contemporary theoretical writings and historical material'. Susan Sidlauskas, Rutgers University, USA ’... [a] rigorous, provocative study... Throughout French Paintings of Childhood and Adolescence, Green clearly demonstrates that although later nineteenth-century Paris has been heavily mapped and minutely charted by art historians, the city and the period have had their areas of scholarly neglect. While adding to the interpretations of works by familiar painters such as Manet and Renoir, she also brings forward the works of countless lesser-knowns. In doing so, she avoids an art history that cleaves artists into modernist or reactionary figures, and the breadth of her approach is such that the boundaries between the two groups often lose clear-cut demarcation. In some cases, works by canonical modernists prove to have their reactionary elements, while images by dust-bin reactionaries prove to be informed by modernist attitudes. This is yet one more aspect of Green’s study that makes it such a valuable read.’ Caa.ReviewsTable of ContentsContents: Introduction; Manet's Music in the Tuileries Gardens: childhood - modernity - Paris; Working children, dangerous children; Spectacular girls: young Parisiennes of the streets and stage; 'Good little girls': 'eternal immaturity'; 'To make men of her sons': constructs of masculinity; Boys will be boys: childhood, sex, and adolescence; 'Inside the dark continent': hysterical pleasures; Conclusion: 'the child is father of the man'; Bibliography; Index.

Read more less

Book SynopsisA study of the ways landscape was perceived in nineteenth-century Britain and France, this book draws on evidence from poetry, landscape gardens, spectacular public entertainments, novels and scientific works as well as paintings in order to develop its basic premise that landscape and the processes of perceiving it cannot be separated. Vision embraces panoramic seeing from high places, but also the seeing of ghosts and spectres when madness and hallucination impinge upon landscape. The rise of geology and the spread of empires upset the existing comfortable orders of comprehension of landscape. Reverie and imagination produced powerful interpretive actions, while landscape in French culture proved central to the rejection of conservative classicism in favour of perceptual questioning of experience. The experience of subjectivity proved central to the perception of landscape while the visual culture of landscape became of paramount importance to modernity during the period in question.Trade Review'...a consistently illuminating and eloquent study of landscape perception and its metaphoric resonances throughout the visual and literary arts of nineteenth-century Europe. The remarkable breadth of reference and the inter-media range of the book will engage a wide academic audience concerned with the prevailing and interwoven tropes of nature, the visual imagination, and cultural identity during this period...' Brian Lukacher, Vassar College, USA ’In shuttling across the field of landscape and visual culture, Charlesworth does not restrict himself to landscape painting, but rather widens his view, developing, as a result, a highly inter-textual treatment of the field of landscape and visual culture. The resulting volume is a rich exploration of the intersections across the registers of cultural media, taking in painting, literature novels, gardens and public entertainments. ...the result of reading this volume is a sense of time well spent and of many things having been learned, the sort of polymathical education that too few contemporary volumes manage to deliver.’ Landscape HistoryTable of ContentsContents: Preface; Panorama; Ghosts and visions; Into the abyss of time; Reverie and imagination; Cythera and the loss of Venus in France; The 'new Cythera': Bougainville, Hodges, Gaugin in Tahiti; Monet re-states and Mallarmé suggests the subject matter; Bibliography; Index.

Read more less

Book SynopsisOffering original analysis of the convergence between ''sacred'' and ''secular'' in medieval works of art and architecture, this collection explores both the usefulness and limitations of these terms for describing medieval attitudes. The modern concepts of ''sacred'' and ''secular'' are shown to be effective as scholarly tools, but also to risk imposing false dichotomies. The authors consider medieval material culture from a broad perspective, addressing works of art and architecture from England to Japan, and from the seventh to the fifteenth century. Although the essays take a variety of methodological approaches they are unified in their emphasis on the continuing and necessary dialectic between sacred and secular. The contributors consciously frame their interpretations in terms and perspectives derived from the Middle Ages, thereby demonstrating how the present art-historical terminology and conceptual frameworks can obscure the complexity of medieval life and material culture.Trade Review'Overall, the editors have produced a noteworthy collection both in its structure and scope, supported by a lavish and relevant iconographic corpus. I enjoyed reading all of the essays, and I appreciated the editorial description of the central issue and framing of new critical approaches. I also liked the fact that Walker and Luyster point out the "work-in-progress" quality of their anthology. Far from simply providing new terms to supplant the old dichotomous opposition between sacred and secular, their reading essentially highlights the limits of too strict a distinction while at the same time acknowledging the existence and even the relevance of the two categories (1-2). And the essays included in the collection reiterate this critical stance since they all, in very different ways, are not limited to an essential, trite dismantlement but engage in a much more difficult task: the conscious reconstruction of more fluid, morphemic terms to designate differing trends in objects which were not simply the result of the skillful handling of chisels and brushes, but derived from a multitude of social, historical, political, economic, literary, geographic and artistic trends.' The Medieval ReviewTable of ContentsContents: Introduction: Mapping the heavens and treading the earth: negotiating secular and sacred in medieval art, Alicia Walker and Amanda Luyster; Chivalric narratives and devotional experience in the Taymouth Hours, Kathryn A. Smith; Merging heavenly court and earthly council in trecento Venice, Caroline A. Wamsler; Divine images and earthly authority at the Chora parekklesion in Constantinople, Galina Tirnanic; Classical constellations in Carolingian codices: investigating the celestial imagery of Madrid, Biblioteca Nacional, MS 3307, Eric Ramírez-Weaver; Spaces of convergence: Christian monasteries and Umayyad architecture in Greater Syria, Lara Tohme; Challenging the sacred landscape of Byzantine Cappadocia, Veronica Kalas; Pilgrimage for pleasure: time and space in late-medieval Japanese painting, Samuel Crowell Morse; Select bibliography; Index.

Read more less

Book SynopsisFocusing on W.B. Yeats's ideal of mutual support between the arts, Karen Brown sheds new light on how collaborations and differences between members of the Yeats family circle contributed to the metamorphosis of the Irish Cultural Revival into Irish Modernism. Making use of primary materials and fresh archival evidence, Brown delves into a variety of media including embroidery, print, illustration, theatre, costume design, poetry, and painting. Tracing the artistic relationships and outcome of W.B. Yeats's vision through five case studies, Brown explores the poet's early engagement with artistic tradition, contributions to the Dun Emer and Cuala Industries, collaboration between W.B. Yeats and Norah McGuinness, analysis of Thomas MacGreevy's pictorial poetry, and a study of literary influence and debt between Jack Yeats and Samuel Beckett. Having undertaken extensive archival research relating to word and image studies, Brown considers her findings in historical context, with particTable of ContentsContents: Introduction; W.B. Yeats and the Fraternité des Arts tradition; The Dun Emer and Cuala industries during the Irish cultural revival; W.B. Yeats, Norah McGuinness and Irish modernism; The pictorialist poetics of Thomas MacGreevy; Word and image relations in the later career of Jack Yeats; Bibliography; Index.

Read more less

Book SynopsisRetrieving the term 'baroque' from the margins of art history, where it has been sidelined as 'anachronistic', scholars from a range of disciplines reconsider the usefulness of the term 'baroque'. This book attempts re-engagement with the term 'baroque' - its promise, its limits, and its overlooked potential - in relation to the visual arts.Trade ReviewWinner, Paul Mellon Centre Publication Grant 'The baroque - the concept, not the period - has had a paradoxical destiny in the last few decades. Prudently shunned by academic historians of seventeenth-century European art and culture, it reemerges regularly - if uncritically - in textbooks and art exhibitions, on the one hand, and as an adjective in discussions of contemporary, postmodern culture on the other. Rethinking the Baroque from a serious, scholarly point of view, is thus a well-needed enterprise, and this collection of essays by some of the most important thinkers of our time marvelously tackles the task.' Renaissance Quarterly '... this book’s greatest contribution is that it prompts historians of Baroque art and architecture to look again at the term and its implications, and with the aid of Deleuze’s "fold" reassess the period through the prism of its very construction and history as an archive worthy of study.' The Burlington Magazine 'Perhaps we sympathize with the baroque today because, as participants in a postmodern world, we are painfully aware of being suspended between the epistemological and the ontological-that is, between the way things seem and the way they are. We can no longer speak of the past in confident positivist terms and are only too cognizant that, like Walter Benjamin, we are blindly collecting shards of history for our own use. The question of what we as scholars, educators, and students do with these fragments is one of the many perplexing ones raised by this stimulating volume.' CAA Reviews 'Hill's purpose in assembling such a vibrant and diffuse collection of essays on the baroque was to 'trouble the smooth waters of a linear historicism' (p. 91), and this collection certainly succeeds in doing that ... Together, the essays offer a stimulating demonstration of the breadth of approach currently being taken in relation to the baroque.' Seventeenth CenturyTable of ContentsContents: Section I Rethinking the Baroque: Introduction: Introduction: rethinking the Baroque, Helen Hills; The Baroque: the grit in the oyster of art history, Helen Hills. Section II Baroque as Style: On sculptural relief: malerisch, the autonomy of artistic media and the beginnings of Baroque studies, Alina Payne; Ottoman Baroque: the limits of style, Howard Caygill. Section III Rethinking Baroque Art History: Discomfited by the Baroque: a personal journey, Thomas DaCosta Kaufmann; Reframing the Baroque: on idolatry and the threshold of humanity, Claire Farago. Section IV Baroque Traditions: Nicholas Hawksmoor's drawing technique of the 1690s and John Locke's Essay Concerning Human Understanding, Anthony Geraghty; The real in the Rococo, Glenn Adamson. Section V Benjamin's Baroque: Benjamin and the Baroque: posing the question of historical time, Andrew Benjamin. Section VI Baroque Folds: Baroque matters, Mieke Bal; The Baroque fold as map and as diagram, Tom Conley; Bibliography; Index.

Read more less

Book SynopsisTracing the history of St. Antoninus' cult and burial from the time of his death in 1459 until his remains were moved to their final resting place in 1589, this interdisciplinary study demonstrates that the saint's relic cult was a key element of Florence's sacred cityscape. The works of art created in his honor, as well as the rituals practiced at his fifteenth- and sixteenth-century places of burial, advertised Antoninus' saintly power and persona to the people who depended upon his intercessory abilities to negotiate life's challenges. Drawing on a rich variety of contemporary visual, literary, and archival sources, this volume explores the ways in which shifting political, familial, and ecclesiastical aims and agendas shaped the ways in which St. Antoninus' holiness was broadcast to those who visited his burial church. Author Sally Cornelison foregrounds the visual splendor of the St. Antoninus Chapel, which was designed, built, and decorated by Medici court artist Giambologna anTrade Review'In this finely produced, eloquent, and meticulously researched volume Sally J. Cornelison draws together a wealth of archival and rare materials to trace the development of Antoninus’s relic cult from his death to the completion of the St. Antoninus chapel in San Marco in 1591, designed by Giambologna and financed by the Salviati family, clients of the Medici.' Catholic Historical Review 'Overall, this is an admirably detailed and clearly-written account of a Florentine cult and monument that have long deserved monographic treatment; it will be a standard art-historical reference for anyone wanting to understand the saint's history and that of his legacy.' Meredith J. Gill, Associate Professor, Italian Renaissance, Art Department of Art History and Archaeology, University of Maryland, College Park 'Cornelison’s study admirably achieves its proposed objective of placing the commission of the Salviati chapel in the larger context of Renaissance devotion to Antoninus. In doing so, Art and the Relic Cult of St. Antoninus in Renaissance Florence brings new light to a deeply underestimated artistic complex and its interlaced figurative program.' Caa.Reviews 'One of the goals of the book was to rehabilitate the significance of St. Antoninus’ cult. In this it succeeds. Moreover, it gives us the most comprehensive and substantial description of the sixteenth century chapel until now. Even though Cornelison approaches the subject from the perspective of the Antoninus’ cult, she delivers a balanced story, considering all aspects, from the saint’s life and cult, to the patrons and the artists.' Journal für Kunstgeschichte 'The successful integration of the artistic, religious, and political components of the Antoninus cult and its display make this a most illuminating and satisfying work-it is recommended reading.' Sixteenth Century Journal '...excellent volume... The author achieves her objective through the perspicacious reading and interpretation of a wide variety of visual and textual sources, presented in the numerous illustrations and listed in the ample bibliography.' Burlington Magazine '... stunning book... a fine addition to Ashgate's Visual Culture in Early Modernity Series, and it will be an equally fine addition to the bookshelf of any serious art lover or anyone interested in exploring the power of myth and memory.' Jung Journal: Culture & PsycheTable of ContentsContents: Introduction; Part I: The humblest of men; Miracles, images , and St. Antoninus' first tomb; Nurturing the cult, c.1512-1579. Part II: Opus Iohannis Bolognae Belgae; A very rare thing; Sculpting the image of Antoninus; Ritual piety and Medici pomp; Epilogue; Bibliography; Index.

Read more less

Book SynopsisFocusing specifically on portraiture as a genre, this volume challenges scholarly assumptions that regard interior spaces as uniquely feminine. Contributors analyze portraits of men in domestic and studio spaces in France during the long nineteenth century; the preponderance of such portraits alone supports the book''s premise that the alignment of men with public life is oversimplified and more myth than reality. The volume offers analysis of works by a mix of artists, from familiar names such as David, Delacroix, Courbet, Manet, Rodin, and Matisse to less well-known image makers including Dominique Doncre, Constance Mayer, Anders Zorn and Lucien-Etienne Melingue. The essays cover a range of media from paintings and prints to photographs and sculpture that allows exploration of the relation between masculinity and interiority across the visual culture of the period. The home and other interior spaces emerge from these studies as rich and complex locations for both masculine self-expreTrade Review'The exploration of the theme of masculinity in relation to interiority is long overdue. This volume ameliorates some of the divisions that have haunted the scholarship of this period... a great addition to the roster of 19th century books.' Susan Sidlauskas, Rutgers University, USA 'Overall, the essays make case for the contingency of masculinity and the insufficiency of critical attention to that fact in modernism. While primarily of interest to historians of visual culture, the volume offers ways to understand articulations of masculinity beyond the public/private binary. The collection succeeds in giving shape to the case that understanding interiors, and the interiority expressed within them, has not just value but some urgency.' French History 'The twelve essays themselves cover a broad and exciting range of visual material across the period, from painting and sculpture to photography and fashion. Among fascinating discussions of topics such as family portraiture, the artist’s studio, and the cabinet de travail, the volume also offers engaging reflections on key nineteenth-century figures... All images are beautifully presented and meticulously set out, while an extensive bibliography provides an up-to-date resource for the fields discussed.' French StudiesTable of ContentsContents: Introduction, Temma Balducci, Heather Belnap Jensen and Pamela J. Warner; The revolution at home: masculinity, domesticity and political identity in family portraiture, 1789-1795, Amy Freund; Picturing paternity: the artist and father-daughter portraiture in post-Revolutionary France, Heather Belnap Jensen; Public and private identities in Delacroix's Portrait of Charles de Mornay and Anatole Demidoff, Jennifer W. Olmsted; At home with the camera: modeling masculinity in early French photography, Laurie Dahlberg; The artist in his studio: dress, milieu, and masculine identity, Heather McPherson; Cézanne, Manet, and the portraits of Zola, Andre Dombrowski; At home in the studio: two group portraits of artists by Bazille and Renoir, Alison Strauber; In bed with Marat: (un)doing masculinity, James Smalls; The competing dialectics of the cabinet de travail: masculinity at the threshold, Pamela J. Warner; Anders Zorn's etched portraits of American men, or the trouble with French masculinity, S. Hollis Clayson; Auguste Rodin, photography, and the construction of masculinity, Natasha Ruiz-Gómez; Matisse and self, the persistent interior, Temma Balducci; Selected bibliography; Index.

Read more less

Book SynopsisExploring the concept of portrait as memoir, Women, Portraiture and the Crisis of Identity in Victorian England: My Lady Scandalous Reconsidered examines the images and lives of four prominent Victorian women who steered their way through scandal to forge unique identities. The volume shows the effect of celebrity, and even notoriety, on the lives of Mary Elizabeth Braddon, Lady Dilke, Millicent Garrett Fawcett, and Sarah Grand. For these women, their portraits were more than speaking likenesses-whether painted or photographic, they became crucial tools the women used to negotiate their controversial identities. Women, Portraiture and the Crisis of Identity in Victorian England shows that the fascinating power of celebrity - and specifically its effects on women - was as much of a phenomenon in Victorian times as it is today. Colleen Denney explores how these women used their portraits as tools of persuasion, performing a domestic masquerade to secure privacy and acceptance, or sitesTable of ContentsContents: Preface; Introduction: portraying smart women: scandalous revelations; Part 1 Victorian Scandals and Visual Tools of Persuasion: 'Sex, money and dirt': Mary Elizabeth Braddon, William Powell Frith, and the business of respectability; Victorian scandals and desperate political wives: a case study of Lady Dilke. Part 2 Challenging the Status Quo: A Woman's Modern Identity Formation as a Site of Resistance: 'Voiceless London': Millicent Garrett Fawcett's embodiment of the common cause or, resisting the scandal of the platform; Sarah Grand and the scandal of the new woman novelist; The scandal of the feminist woman at the fin de siècle: cultural critique in Oscar Wilde's play An Ideal Husband (1895); Bibliography; Index.

Read more less

Book SynopsisTitian, Colonna and the Renaissance Science of Procreation demonstrates that two major monuments of Italian Renaissance culture - Bellini''s and Titian''s famous series of mytho-poetical paintings for the camerino of Duke Alfonso d''Este of Ferrara, and Francesco Colonna''s Hypnerotomachia Poliphili - were conceived as mnemonic or pedagogical devices aimed at educating the reader/beholder in the medical science of reproductive physiology and the maintenance of sexual health. It is further argued that the learned courtier Mario Equicola, who conceived the pictorial program of Duke Alfonso''s camerino, had read Colonna''s text and was extensively inspired by its prior literary argument. The study is organized in two parts, intimately interrelated. The first part is a study of Alfonso d''Este''s camerino, with a general introduction, individual chapters on each of Bellini''s and Titian''s four pictorial bacchanals, and a conclusion proposing a new and more accurate reconstruction of thTrade ReviewRated as 'Research Essential' by Baker & Taylor 'This book sets a new standard for the analysis of Renaissance texts and for iconographic studies in art history. Rehearsing in compelling detail the process through which mytho-poetic inventions were conceived in Italy for courtly cabinet-paintings, Colantuono presents a fascinating re-reading of Bellini’s and Titian’s famous bacchanals, painted for Alfonso d’Este in the early sixteenth century. Informed by a neo-Aristotelian discourse on the natural (seasonal) causes of sexual desire, these paintings, we now understand, served to instruct the knowledgeable viewer on the healthful and productive management of the male libido, so important to the dynastic endurance of the d’Este and other Italian elites who constituted the paintings' viewing audience. Deftly combining erudite intellectual history with a situated excursus on the snares of libidinal desire and the efficacy of managing sex, this book presents a cogent interpretation of famously enigmatic pictorial texts and is a must read across the disciplines in early modern studies, offering a paradigmatic analysis of the production and reception of Renaissance art.' Karen-edis Barzman, Binghamton University, USA 'Any good book starts with a good question. In this case it’s a puzzle, involving a pseudo-Aristotelian text on the nature of the human libido, a series of celebrated Renaissance paintings and a riddle: how did Aristotle’s theories of procreation make it into Titian’s paintings and Colonna’s masterpiece? This book reads like a mystery with a philosophical, indeed Aristotelian, denouement. At one point I couldn't put it down... An extraordinary example of scholarship.' Cristina Perissinotto, University of Ottawa, Canada'In Titian, Colonna and the Renaissance Science of Procreation: Equicola's Seasons of Desire, Anthony Colantuono examines erotic images of seminal importance to Renaissance iconography and sensibility. His investigations encompass a wide-ranging spectrum of literary and artistic sources concerned with mythology, medicine, witchcraft, and astrology, many of which have not been previously explored in this context... while Colantuono's study is sometimes imperfectly argued, there are many intriguing iconographic nuggets to be mined from it.' CAA ReviewsTable of ContentsContents: Preface; Introduction; Part 1 Alfonso d'Este's Camerino, Mario Equicola and the Libidinal Seasons: Proemium: The libido in winter: Bellini's Feast of the Gods; The libido in spring: Titian's Bacchus and Ariadne; The libido in summer: Titian's Bacchanal of the Andrians; The libido in Autumn: Titian's Feast of Venus; Interpreting the camerino: the bacchanals as procreative pedagogy. Part 2 Colonna's Poliphilus - the Science and Season of Sexual Performance: Proemium: Duke Guidubaldo's dysfunction: Poliphilus and the diagnosis of love; Poliphilus's nightmare and erotic magic: an excursus on the bewitching of the male genitalia; Poliphilus's wet dream; A Venus in the bedroom; Coloring the roses: Colonna, Titan and the '3rd Venus'; A sacred/profane love: the Dodonian font and Poliphilus's wedding; Conclusion; Bibliography; Index.

Read more less

Book SynopsisOttonian Imperial Art and Portraiture represents the first art historical consideration of the patronage of the Ottonian Emperors Otto III (983-1002) and Henry II (1002-1024). Author Eliza Garrison analyzes liturgical artworks created for both rulers with the larger goal of addressing the ways in which individual art objects and the collections to which they belonged were perceived as elements of a material historical narrative and as portraits. Since these objects and images had the capacity to stand in for the ruler in his physical absence, she argues, they also performed political functions that were bound to their ritualized use in the liturgy not only during the ruler''s lifetime, but even after his death. Garrison investigates how treasury objects could relay officially sanctioned information in a manner that texts alone could not, offering the first full length exploration of this central phenomenon of the Ottonian era.Trade Review'The rare publication of an English monograph on Ottonian art is always cause for celebration. Still too little known, the art produced in the Germanic realms in the forty years on either side of 1000 CE is among the most sumptuous and complex of the entire Middle Ages. Although not a survey of the period, Eliza Garrison’s Ottonian Imperial Art and Portraiture is a fine demonstration of this claim, and Ashgate is to be congratulated on producing a handsome book whose mostly full-page illustrations do justice to the beauty and power of the objects under discussion.' caa.reviews '... an engaging and thoughtful analysis of the artistic patronage of the Holy Roman Emperors Otto III and Henry II... it will no doubt delight readers with its lucid presentation of some of the most complex and beautiful treasures to survive from the tenth and eleventh centuries. Highlights, to name just a few, include the Lothar Cross, the Gospels of Otto III, the Pericopes of Henry II, and the Bamberg Star Mantle; these works are often included in surveys, but too rarely discussed in depth. This new book is thus greatly welcome for two reasons: it engages with important objects that deserve more discussion, and it presents a well-written, up-to-date, yet accessible overview of scholarship on Ottonian treasury art... this is a welcome addition to the field of Ottonian art history, a subject that is finding increasing attention among North American scholars, and will do so even more thanks to the wonderful images, helpful bibliography, and engaging discussions presented in this book.' The Medieval Review 'Rarely does one encounter a study that attempts to associate this body of political art with the hard realities of contemporary politics. Garrison does not ignore the formal questions with which medieval art historians have been typically concerned, but such questions are supplemented by her methodology, which combines considerations of iconography, liturgy, political thought and source analyis, with a sense of the pragmatic aims and methods of Ottonian rulership.' Early Medieval EuropeTable of ContentsContents: Art and politics at the Imperial court: an introduction; Otto III at Aachen: the encounter with the divine; Henry II at Aachen: the remaking of the Aachen treasury; Henry II at Bamberg: picturing the ruler for all time; The use and reuse of the past: the cult of relics, the cult of spolia and the imperial image in the Ottonian period; Bibliography; Index.

Read more less

Book SynopsisWomen Artists in Interwar France: Framing Femininities illuminates the importance of the SociÃtà des Femmes Artists Modernes, more commonly known as FAM, and returns this group to its proper place in the history of modern art. In particular, this volume explores how FAM and its most famous membersâSuzanne Valadon, Marie Laurencin, and Tamara de Lempickaâbrought a new approach to the most prominent themes of female embodiment: the self-portrait, motherhood, and the female nude. These women reimagined art's conventions and changed the direction of both art history and the politics of their contemporary art world. FAM has been excluded from histories of modern art despite its prominence during the interwar years. Paula Birnbaum's study redresses this omission, contextualizing the group's legacy in light of the conservative politics of 1930s France. The group's artistic response to the reactionary views and images of women at the time is shown to be a key element in the narratiTrade ReviewA Yankee Book Peddler UK Core Title for 2011 'Ambitious and uniquely thorough in scope... a valuable contribution to the literature on motherhood and artistic production by women.' Anna Novakov, St. Mary's College of California, USA 'Drawing heavily on archival resources and feminist scholarship, Paula Birnbaum brings to light a rich cultural history of the interwar period often overlooked in histories of the avant-garde. The fact that the majority of artists will be unfamiliar to contemporary readers in no way undermines the importance of their collective endeavor, one that - carefully elucidated and beautifully illustrated in this handsome publication - sheds new light on issues of gender, modernity, female embodiment and diasporic identity during the interwar period.' Whitney Chadwick, author of Women Artists and the Surrealist Movement 'This book is an important contribution not only to a broader understanding of interwar French art, but also to the continuing need to research such hidden feminist histories.' Burlington Magazine 'The book provides the first history of Femmes Artistes Modernes (FAM), an exhibiting society established in 1930 and directed until its demise in 1938 by the artist Marie-Anne Camax-Zoegger. The Appendix, listing the names and biographical information of 181 FAM artists, is in itself a considerable contribution to scholarship. Moreover, the book is extensively illustrated, enabling analysis and comparison of previously unpublished works.' French Studies 'Women Artists in Interwar France not only restores to cultural visibility a number of women painters and sculptors who have been largely overlooked by historians of early-twentieth-century avant-gardist art, but also provides a critical framework through which to read a substantial body of art practice that does not readily conform to the stylistic and theoretical concerns of modernism as it has been canonically constituted. Informed by both primary archival research and key concepts in feminist scholarship, in this lavishly illustrated volume Paula Birnbaum illuminates the diverse representational strategies deployed by those women artists who exhibited with the Societe des femmes artistes modernes in their negotiation of both social and art critical constraints in the interwar period. The sustained interrogation of questions of femininity, modernity and (self-)representation in the work of these artists is made to seem all the more startling when set against a backdrop of rising nationalism and the resultant desire for state control over the female body in France during the 1920s and 1930s.' Woman's Art Journal 'Women Artists in Interwar France, by Paula J. Birnbaum, is an ambitious project aiming to recover the artistic lives and cultural achievements of members of a group called the Societe des Femmes Artistes Modernes (FAM), who exhibited in Paris between 1931 and 1938. By reconstructing this "little-known chapter in the history of French modernism," Birnbaum brings to light a rich socio-cultural history largely overlooked in histories of the avant-garde (p. xvii). Joining scholars working over the past four decades in gender and modernism studies, Birnbaum offers a fresh critique of women's contributions to visual culture between the wars, and attempts to unravel why so many of them have been excluded from the canon of art history. Her new book adds to a growing literature in this area.' H-France '... abundantly demonstrate[s] the importance of going beyond well-known artists, probing instead the social, economic and political contexts that defined what was and what was not available to women artists in general at particular places and times.' Art HistoryTable of ContentsContents: Preface; Framing femininities; FAM: modern women artists; Modern madonnas; Masquerade; Self-effacement; Negotiating the nude; Painting the perverse; Conclusion: what became of the FAM?; Appendix; Bibliography; Index.

Read more less

Book SynopsisAs a ''biography'' of the fourteenth-century illustrated Bible of Clement VII, an opposition pope in Avignon from 1378-94, this social history traces the Bible''s production in Naples (c. 1330) through its changing ownership and meaning in Avignon (c. 1340-1405) to its presentation as a gift to Alfonso, King of Aragon (c. 1424). The author''s novel approach, based on solid art historical and anthropological methodologies, allows her to assess the object''s evolving significance and the use of such a Bible to enhance the power and prestige of its princely and papal owners. Through archival sources, the author pinpoints the physical location and privileged treatment of the Clement Bible over a century. The author considers how the Bible''s contexts in the collection of a bishop, several popes, and a king demonstrate the value of the Bible as an exchange commodity. The Bible was undoubtedly valued for the aesthetic quality of its 200+ luxurious images. Additionally, the author argues thaTrade Review'Fleck‘s solid historical research draws upon papal archives, library inventories, church history, and artists workshop practices. By tracking the manuscript‘s biography and its career as a cultural commodity, Fleck makes an innovative contribution to manuscript studies that will have a broad appeal not only to scholars and students of papal history and manuscript studies, but also to those who study the connections between art and politics, the court cultures of Angevin Naples and Avignon, patronage practices of the popes, and the history of medieval libraries.' Janis Elliott, Texas Tech University, USA 'Fleck‘s study is a model for other scholars of manuscript illumination in its combination of recent theory with traditional analysis, as it reaches beyond problems of attribution and motif source that easily consume scholars working on thirteenth- and fourteenth-century Italian art. She couples her archival research and careful iconographic and stylistic analysis with recent historical and anthropological methodology... Fleck‘s The Clement Bible at the Medieval Courts of Naples and Avignon provides an important model for future studies of individual manuscripts. She brings to manuscript studies methodologies that provide fascinating insights into the appearance of objects, their lives, and the social and political contexts in which they have functioned. But she skillfully joins them to her extensive art-historical and codicological experience and knowledge. While this combination is essential to contemporary manuscript studies, it remains rare.' caa.reviews 'Tracing the Clement Bible‘s first century, Cathleen A. Fleck‘s well-researched and revealingbiography shows that its extraordinary journey began in the milieu of the royal court of Naples and moved next to the ancient Benedictine abbey of Monte Cassino from where it travelled to the papal palace of the Avignon popes and then to Spain.' Sharp NewsTable of ContentsContents: Introduction: what is a biography of a Bible?; Illuminated Bibles at the court of Naples: the creation of the Clement Bible (c. 1325-1362); A courtier and a bishop at the king's court: the first known owners of the Clement Bible (c. 1326-1340); The artist at court in Naples: the stylistic meaning of Pietro Cavallini and the Clement Bible (c. 1308-1330); Vision and artistic translation in Naples: iconographic meaning and the Clement Bible under King Robert the Wise (1309-1343); Court play: the Clement Bible and the papal library in Avignon (c. 1341-1377); The court in exile: the Clement Bible and art in Avignon during the 'Babylonian captivity' (1341-1377); The divided court of the popes: the Clement Bible and Clement VII (1378-1394); The court's triumph and defeat: the Clement Bible beyond Clement VII (1394-1424); Epilogue: the Clement Bible after the Middle Ages; Appendix; Bibliography; Indexes.

Read more less

Book SynopsisMuch as art history is in the process of being transformed by new information communication technologies, often in ways that are either disavowed or resisted, art practice is also being changed by those same technologies. One of the most obvious symptoms of this change is the increasing numbers of artists working in universities, and having their work facilitated and supported by the funding and infrastructural resources that such institutions offer. This new paradigm of art as research is likely to have a profound effect on how we understand the role of the artist and of art practice in society. In this unique book, artists, art historians, art theorists and curators of new media reflect on the idea of art as research and how it has changed practice. Intrinsic to the volume is an investigation of the advances in creative practice made possible via artists engaging directly with technology or via collaborative partnerships between practitioners and technological experts, ranging thrTrade Review'Digital technologies are disruptive technologies; transforming everything in their wake. Art Practice in a Digital Culture both demonstrates and explains the impact of digital technologies on the art of our time. A stellar line up of artists, curators and historians explore the issues that dominate and define 21st century art creation. These include interdisciplinary, collaborative, research and process based practice. The book will inform and excite anyone interested in contemporary art. The chapters included within it will serve both to mark a point in time and propel the discussion about art forward'. Jemima Rellie, Director of Publishing and New Media at the Royal CollectionTable of ContentsContents: Research as art, Charlie Gere; Triangulating artworlds: gallery, new media and academy, Stephen Scrivener and Wayne Clements; The artist as researcher in a computer mediated culture, Janis Jefferies; A conversation about models and prototypes, Jane Prophet and Nina Wakeford; Not intelligent by design, Paul Brown and Phil Husbands; Excess and indifference: alternate body architectures, Stelarc; The garden of hybrid delights: looking at the intersection of art, science and technology, Gordana Novakovic; Limited edition - unlimited image: can a science/art fusion move the boundaries of visual and audio interpretation? Elaine Shemilt; Telematic practice and research discourses: 3 practice-based research project case studies, Paul Sermon; Tools, methods, practice, process ... and curation, Beryl Graham; Bibliography; Index.

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book SynopsisPottery making among the Pueblo Indians.

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less