Search results for ""Berenice""

Winner of the Matei Calinescu Prize In Unfinished Spirit, Rowena Kennedy-Epstein brings to light the extraordinary archive of Muriel Rukeyser's (1913–1980) unpublished and incomplete literary works, revealing the ways in which misogyny influences the kinds of texts we read and value. Despite her status today as an influential poet, much of Rukeyser's critical and feminist writing remained unfinished, suppressed by the sexism of editors, political censure, the withdrawal of funding and publishing contracts, as well the conditions of single motherhood and economic precarity. From Savage Coast, her novel of the Spanish Civil War (which Kennedy-Epstein recovered, edited, and published to great acclaim in 2013) to her photo-text collaboration with Berenice Abbott, essays on women writers, radio scripts, and biographies, Unfinished Spirit traces the creation, reception, and rejection of Rukeyser's most ambitious texts—works that continued the radical, avant-garde project of modernism and challenged an increasingly hegemonic Cold War culture. Bound together by Rukeyser's radical vision of artistic creation and political engagement, these incomplete texts open a space to theorize the politics of the unfinished for understanding women's artistic production, reasserting the importance of the archive as a primary site of feminist criticism.

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Now enlarged and updated, this introduction to the greatest and famous women photographers of all time features the most important works of sixty artists, along with in-depth biographical and critical assessments. Since the inception of photography as an art form nearly two hundred years ago, women have played an important role in the development of the genre, often pushing boundaries and defying social convention. This comprehensive volume features sixty of the most important women photographers-including, new to this edition, Annette Kelm, Miho Kajioka, and Ming Smith. Every artistic style and genre is represented here: moody and haunting portraits by Julia Margaret Cameron and Diane Arbus; highly personal images from Nan Goldin and Sally Mann; world- changing documentary photographs by Dorothea Lange and Berenice Abbot; scenes of everyday life from Lisette Model and Helen Levitt; fashion shoots from Lillian Bassman and Ellen von Unwerth. Splendid reproductions of key works and an in-depth overview of each artist's career and their contributions to the art of photography are featured along with biographical information and a contextual essay focusing on the impact of women in the history of the medium, which makes this an excellent illustrated reference.

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The latest, thoroughly revised edition of Phaidon's award-winning and globally-bestselling art survey, featuring works from more than 600 of the world's greatest artistsThe Art Book is beloved throughout the world and has been translated into 20 languages, introducing millions of readers to great art and artists. Each of the more than 600 artists included, dating from medieval to modern times, is represented by a key work and an informative, explanatory text on the piece and its creator.Breaking with traditional classifications, The Art Book is organised by artist name, throwing together brilliant examples from all periods, schools, visions, and techniques in a vibrant A-Z sequence to create an unparalleled visual sourcebook and a celebration of our rich, multifaceted culture. This latest revised and updated edition includes 40 works new to this book and includes many overlooked historical and cutting-edge contemporary artists, including: Berenice Abbott, Hilma af Klint, El Anatsui, Romare Bearden, Mark Bradford, Cao Fei, Cecily Brown, Judy Chicago, John Currin, Guerrilla Girls, Lee Krasner, Jacob Lawrence, Kerry James Marshall, Joan Mitchell, Zanele Muholi, Takashi Murakami, Louise Nevelson, Clara Peeters, Jenny Saville, Wolfgang Tillmans, and more.

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Harlem’s 125th Street is a marker of 20th century urban experience, a thoroughfare that encapsulates powerful stories of business and consumption, real estate and gentrification, glamour and entertainment, and political uprising. The book explores works and themes from a large roster of photographers and performance artists who have engaged with the constant mutation of this street-life. The photographs in this book represent narratives of resilience and poems of survival against a rapid and sweeping movement of history across 125th street, where buildings and communities are periodically destroyed and built anew. The works shape a sense of belonging and identity that goes against the stereotyping and mystification of this neighborhood. It contributes to the writing of a new history of photography that is collective and collaborative. Among the artists featured are Dawoud Bey, Khalik Allah, Kwame Brathwaite, Jamel Shabazz, Hiram Maristany, Ming Smith, Ruben Natal San Miguel, Isaac Diggs & Edward Hillel, Lorraine O’Grady, and William Pope.L. Artists include: Berenice Abbott, Khalik Allah, Alice Attie, Dawoud Bey, Kwame Brathwaite Isaac Diggs & Edward Hillel, Lola Flash, Hiram Maristany, Ozier Muhammad, Katsu Naito Marilyn Nance, Ruben Natal-San Miguel, Lorraine O’Grady, Gordon Parks, Pope.L, Jamel Shabazz, Coreen Simpson, Beuford Smith, Ming Smith, Morgan and Marvin Smith, Shawn Walker Hai Zhang.

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Presence is a thrilling immersion into the personal collection of photographer and humanitarian Judy Glickman Lauder. Nearly 160 images by some eighty photographers, selected from Judy Glickman Lauder’s collection of over 650 prints, explore the idea of “presence” of the human spirit. This stunningly designed album showcases the imagery of beloved and influential photographers of the twentieth century, such as Berenice Abbott, Richard Avedon, Henri Cartier-Bresson, Imogen Cunningham, Nan Goldin, Susan Meiselas, Gordon Parks, Sebastião Salgado, Weegee, and James Van Der Zee. Spanning Pictorialism, portraiture, and fashion, to documentary and photojournalism, and featuring iconic figures from the fields of art, politics, entertainment, and social justice, Presence: The Photography Collection of Judy Glickman Lauder celebrates photography’s ability to capture the human experience. Essays by Anjuli Lebowitz and Adam D. Weinberg provide historical and artistic context, while an autobiographical essay by Glickman Lauder tells the story of her collection. This book accompanies an exhibition drawn from the Judy Glickman Lauder Collection at the Portland Museum of Art, to which the Collection has been gifted. Published by Aperture in partnership with the Portland Museum of Art, Maine

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In this volume, the Sheldon Museum of Art presents more than one hundred examples from its distinguished photography collection, which contains nearly twenty-five hundred objects. Encompassing the full range of photographic history, Encounters showcases recognized masterpieces, recent acquisitions, and rarely seen treasures by a diverse range of artists, including Berenice Abbott, Manuel Álvarez Bravo, Julia Margaret Cameron, Gertrude Käsebier, André Kertész, Robert Mapplethorpe, Yinka Shonibare, Paul Strand, William Henry Fox Talbot, and Carrie Mae Weems. Encounters explores photography through the lens of transnationalism, highlighting the artistic, cultural, geographic, scientific, and technological conflicts and concurrences that have shaped the modern photographic image. Arranged thematically rather than chronologically, the catalog addresses issues such as tourism, souvenir production, and the search for authenticity in the face of increasing industrialization; the transmission of American, European, and Mexican forms of modernism; gender identity and sexuality; the real and perceived tensions between nature and the built environment; and the convergences of art and science, craft and technology. Images are set within their context by the catalog’s principal author, Brandon K. Ruud, and are accompanied by lively, thought-provoking essays by a team of scholars that includes Zeynep Çelik, Keith F. Davis, Gregory Nosan, Robert G. O’Meally, Britt Salveson, and the museum’s director, Jorge Daniel Veneciano.

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A close look at Man Ray’s interwar portraiture, as well as the friendships between the photographer and his subjects: the international avant garde in Paris Shortly after his arrival in Paris in July 1921, Man Ray (1890–1976)—the pseudonym of Emmanuel Radnitzky—embarked on a sustained campaign to document the city’s international avant-garde in a series of remarkable portraits that established his reputation as one of the leading photographers of his era. Man Ray’s subjects included cultural luminaries such as Berenice Abbott, André Breton, Jean Cocteau, Marcel Duchamp, Ernest Hemingway, Miriam Hopkins, Aldous Huxley, James Joyce, Lee Miller, Méret Oppenheim, Pablo Picasso, Alice Prin (Kiki de Montparnasse), Elsa Schiaparelli, Erik Satie, and Gertrude Stein. As this lavishly illustrated publication demonstrates, Man Ray’s portraits went beyond recording the mere outward appearance of the person depicted and aimed instead to capture the essence of his sitters as creative individuals, as well as the collective nature and character of Les Années folles (the crazy years) of Paris between the two world wars, when the city became famous the world over as a powerful and evocative symbol of artistic freedom and daring experimentation. Distributed for the Virginia Museum of Fine ArtsExhibition Schedule:Virginia Museum of Fine Arts, Richmond (October 30, 2021–February 21, 2022)

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Man Ray, surrealist master and exponent of the Dada movement, managed to reinvent not only the photographic language, but also the representation of the body and face, as well as the genres of the nude and the portrait themselves. This book brings together around 200 photographs produced from the 1920s right up to his death in 1976, all featuring female subjects.Through rayographs, solarisations and double exposures, the female body undergoes a continual metamorphosis of forms and meanings, becoming an abstract form, an object of seduction, classical memory or realistic portrait, in endless playful and refined variations. Among the protagonists of his shots are Lee Miller, Berenice Abbott, Dora Maar and Juliet, a lifelong companion, to whom is dedicated the amazing The Fifty Faces of Juliet portfolio (1943-1944). But these women were, in turn, great artists: as evidence is presented here a corpus of works dating back to the time - between the 1930s and '40s - of their most direct association with Man Ray and with the environment of the Dada avant-garde and Parisian surrealism. This volume offers a wide survey of one of the most exuberant periods of the 20th century, with authentic masterpieces of photographic art such as the Electricité portfolios (1931) and the very rare Les mannequins. Résurrection des mannequins (1938). Text in English and Italian.

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The Addison Gallery of American Art, located at Phillips Academy in Andover, Massachusetts, is internationally recognized for its outstanding collection of paintings, sculpture, prints, drawings, and photography. When its founder, Thomas Cochran, opened the Addison to the public in 1931, it was one of the few museums in this country devoted solely to American art. Cochran initially donated four hundred significant works of art, commissioned a building, and provided generous endowments. Today the holdings total over 12,000 objects that span the history of American art from the seventeenth century to the present. Among the some 240 notable examples from the collection included in this tiny tour are paintings from the eighteenth century by Gilbert Stuart and John Singleton Copley; from the nineteenth century by Thomas Eakins, Winslow Homer, James McNeill Whistler, John Singer Sargent, and F. Childe Hassam; and from the early twentieth century by John Sloan, Georgia O'Keeffe, Jackson Pollock, and Andrew Wyeth; and contemporary works by Frank Stella, Sol Lewitt, and Brice Marden. Also featured here are images from such masters of photography as Walker Evans, Eadward Muybridge, Berenice Abbott, and Robert Frank. In addition, there are outstanding works of sculpture from Paul Manship and Elie Nadelman to Alexander Calder and Martin Puryear.

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An in-depth look at the many ways women around the world helped shape modern photography from the 1920s to the 1950s as they captured images of a radically changing world During the 1920s the New Woman was easy to recognize but hard to define. Hair bobbed and fashionably dressed, this iconic figure of modernity was everywhere, splashed across magazine pages or projected on the silver screen. A global phenomenon, she embodied an ideal of female empowerment based on real women making revolutionary changes in life and art—including photography. This groundbreaking, richly illustrated book looks at those “new women” who embraced the camera as a mode of expression and made a profound impact on the medium from the 1920s to the 1950s. Thematic chapters explore how women emerged as a driving force in modern photography, bringing their own perspective to artistic experimentation, studio portraiture, fashion and advertising work, scenes of urban life, ethnography and photojournalism. Featuring work by 120 photographers, this volume expands the history of photography by critically examining an international array of canonical and less well-known women photographers, from Berenice Abbott, Dorothea Lange and Lola Álvarez Bravo to Germaine Krull, Tsuneko Sasamoto and Homai Vyarawalla. Against the odds, these women produced invaluable visual testimony that reflects both their personal experiences and the extraordinary social and political transformations of the era.

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Once, Sancia Grado was just a thief with a grudge and a rare talent. Then she learned how to use that talent, and beat the great merchant houses of Tevanne at their own game. With Clef and Berenice, she even saw off an immortal hierophant - but the war they're fighting now is one they know they can't win.'Absolutely riveting . . . A magnificent, mind-blowing start to a series I'm hungry for' - Amal El-Mohtar, co-author of This is How You Lose the Time War, in the New York Times on FoundrysideThis time, they're not facing robber-baron elites or an immortal hierophant, but an entity whose intelligence is spread over half the globe: a ghost in the machine using the magic of scriving to possess and control not just objects, but human minds.Despite all their efforts their enemy marches on, implacable, unstoppable - and it's closing in on its true prize: an ancient doorway that leads to the centre of creation itself. 'One of the best fantasy writers on the scene today' says Kirkus ReviewsSancia and her friends glimpse a last desperate opportunity to stop this unbeatable foe - but to do so, they'll have to unlock the centuries-old mystery of scriving's origins and pull off the most daring heist they've ever attempted.And as if that weren't enough, their adversary might just have a spy in their ranks - and a last trick up its sleeve . . .

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How design made America modern: masterpieces of furniture, metalware and plastics from the early 20th century During the 1920s and 1930s, the speed of modern life in the United States, accelerated by advances in transportation, communication, technology and advertising, changed how people lived their lives, and the objects they chose to live with. A new profession emerged to help American manufacturers and consumers navigate the overwhelming transitions of the era. Through the power of design—form, color, ornament and materials—the earliest industrial designers created a modern aesthetic that came to represent American hopes, dreams and fantasies. America Goes Modern explores these designers’ achievements through close examination of selected masterworks. Each of these exceptional objects offers a window into the social, cultural, technological and economic world in which they were made and used. The book features sleek furniture, vibrant ceramics, streamlined metalwares and innovative plastics from the leading designers of the era. Designers include: Norman Bel Geddes, Manning Bowman Company, Jules Buoy, Donald Deskey, Paul Frankl, Earl Harvey, Ianelli Studios, Belle Kogan, William Lescaze, Erik Magnussen, Peter Muller Munk, Gilbert Rhode, RumRill Art Pottery, Victor Schreckengost, Walter Dorwin Teague, The Hall China Company, Harold Van Doren, John Vassos, Kem Weber, Western Coil and Electric Company and Russel Wright. Photographers and painters include: Berenice Abbott, Arthur Dove, Archibald Motley, Alvin Langdon Coburn, M. Murray Lebowitz, Norman Lewis, Max Weber, Margaret Bourke-White, Henry Callahan and Alfred Stieglitz.

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'A fabulous closed-room mystery that will keep you guessing' - DENISE MINA 'Fabulous Dublin-based crime. Very much in the vein of Tana French' - JO SPAIN 'This creeps up on you until you're hooked' - HEAT THEY DID IT TO THEMSELVES BUT SOMEONE WAS WATCHING The Macnamara sisters hadn't been seen for months before anyone noticed. It was Father Timoney who finally broke down the door, who saw what had become of them. Berenice was sitting in her armchair, surrounded by religious tracts. Rosaleen had crawled under her own bed, her face frozen in terror. Both had starved themselves to death. Francesca Macnamara returns to Dublin after decades in the US to find her family in ruins. Meanwhile, Detectives Vincent Swan and Gina Considine are convinced that there is more to the deaths than suicide. Because what little evidence there is, shows that someone was watching the sisters die... A compelling mystery that will keep you reading late into the night, perfect for readers of Val McDermid, Denise Mina, Tana French and Jo Spain. ________________________________________ *** SUNDAY TIMES CRIME CLUB STAR PICK *** *** AN IRISH TIMES CRIME BOOK OF THE YEAR *** 'A terrific new gem of Irish noir, written with a light touch' - SUNDAY TIMES 'Sombre, psychological nuanced and compassionate... gripping' - IRISH TIMES 'Intriguing, compelling and highly entertaining. Formidably impressive' - LIZ NUGENT 'Thrilling... will keep you guessing until the very end' - MY WEEKLY 'Infused with depth, darkness and acute psychological drama' - HERALD

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Once, Sancia Grado was just a thief with a grudge and a rare talent. Then she learned how to use that talent, and beat the great merchant houses of Tevanne at their own game. With Clef and Berenice, she even saw off an immortal hierophant - but the war they're fighting now is one they know they can't win.'Absolutely riveting . . . A magnificent, mind-blowing start to a series I'm hungry for' - Amal El-Mohtar, co-author of This is How You Lose the Time War, in the New York Times on FoundrysideThis time, they're not facing robber-baron elites or an immortal hierophant, but an entity whose intelligence is spread over half the globe: a ghost in the machine using the magic of scriving to possess and control not just objects, but human minds.Despite all their efforts their enemy marches on, implacable, unstoppable - and it's closing in on its true prize: an ancient doorway that leads to the centre of creation itself. 'One of the best fantasy writers on the scene today' says Kirkus ReviewsSancia and her friends glimpse a last desperate opportunity to stop this unbeatable foe - but to do so, they'll have to unlock the centuries-old mystery of scriving's origins and pull off the most daring heist they've ever attempted.And as if that weren't enough, their adversary might just have a spy in their ranks - and a last trick up its sleeve . . .

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A flâneur and photographer at once, Eugène Atget (1857–1927) was obsessed with walking the streets. After trying his hand at painting and acting, the native of Libourne turned to photography and moved to Paris. He supplied studies for painters, architects, and stage designers, but became enraptured by what he called “documents” of the city and its environs. His scenes rarely included people, but rather the architecture, landscape, and artifacts that made up the societal and cultural stage. Atget was not particularly renowned during his lifetime but in the 1920s came to the attention of the Dada and Surrealist avant-garde through Man Ray. Four of his images, with their particular fusion of mimesis and mystery, appeared in the surrealist journal, La Révolution Surréaliste, while Ray and much of his artistic circle purchased Atget prints. Atget’s fame grew after his death, with several articles and a monograph by Berenice Abbott. Several leading photographers, including Walker Evans and Bill Brandt, have since acknowledged their debt to Atget. This fresh TASCHEN edition gathers some 500 photographs from the Atget archives at Musée Carnavalet and the Bibliothèque Historique de la Ville de Paris to celebrate his outstanding eye for the urban environment and evocation of a Paris gone by. Down main streets and side streets, past shops and churches, through courtyards and arcades and the 20 arrondissements, we find a unique portrait of a beloved city and the making of a modern photographic master.

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The contributors to Negotiated Moments explore how subjectivity is formed and expressed through musical improvisation, tracing the ways the transmission and reception of sound occur within and between bodies in real and virtual time and across memory, history, and space. They place the gendered, sexed, raced, classed, disabled, and technologized body at the center of critical improvisation studies and move beyond the field's tendency toward celebrating improvisation's utopian and democratic ideals by highlighting the improvisation of marginalized subjects. Rejecting a singular theory of improvisational agency, the contributors show how improvisation helps people gain hard-won and highly contingent agency. Essays include analyses of the role of the body and technology in performance, improvisation's ability to disrupt power relations, Pauline Oliveros's ideas about listening, flautist Nicole Mitchell's compositions based on Octavia Butler's science fiction, and an interview with Judith Butler about the relationship between her work and improvisation. The contributors' close attention to improvisation provides a touchstone for examining subjectivities and offers ways to hear the full spectrum of ideas that sound out from and resonate within and across bodies. Contributors. George Blake, David Borgo, Judith Butler, Rebecca Caines, Louise Campbell, Illa Carrillo Rodríguez, Berenice Corti, Andrew Raffo Dewar, Nina Eidsheim, Tomie Hahn, Jaclyn Heyen, Christine Sun Kim, Catherine Lee, Andra McCartney, Tracy McMullen, Kevin McNeilly, Leaf Miller, Jovana Milovic, François Mouillot, Pauline Oliveros, Jason Robinson, Neil Rolnick, Simon Rose, Gillian Siddall, Julie Dawn Smith, Jesse Stewart, Clara Tomaz, Sherrie Tucker, Lindsay Vogt, Zachary Wallmark, Ellen Waterman, David Whalen, Pete Williams, Deborah Wong, Mandy-Suzanne Wong

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How artists from Paul Klee and Mierle Laderman Ukeles to Faith Ringgold and Deborah Roberts have explored childhood themes of innocence, spontaneity and storytelling Artists have long been inspired by children—by their imagination, creativity and unique ways of seeing and being in the world—and have made work that depicts and involves children as collaborators, that represents or mimics their ways of drawing or telling stories, that highlights their unique cultures, and that addresses ideas of innocence and spontaneity closely associated with children. To Begin Again: Artists and Childhood surveys how artists have reflected on and contributed to notions of childhood from the early 20th century to the present. The works in To Begin Again offer distinctive viewpoints and experiences, revealing how time and place, economics and race, and representation and aesthetics fundamentally shape how we experience and understand early development. The catalog underscores that while there is no single, uniform idea of childhood, it is nevertheless the ground upon which so much of society is built, negotiated and imagined. Artists include: Ann Agee, John Ahearn, Njideka Akunyili Crosby, Francis Alÿs, Jean-Michel Basquiat, Brian Belott, Jordan Casteel, Lenka Clayton, Allan Rohan Crite, Henry Darger, Karon Davis, Robert Gober, Jay Lynn Gomez, Trenton Doyle Hancock, Duane Hanson, Mona Hatoum, Sharon Hayes, Ekua Holmes, Mary Kelly, Paul Klee, Justine Kurland, Helen Levitt, Tau Lewis, Glenn Ligon, Oscar Murillo, Rivane Neuenschwander, Berenice Olmedo, Charles Ray, Faith Ringgold, Deborah Roberts, Tim Rollins and K.O.S., Rachel Rose, Heji Shin, Sable Elyse Smith, Becky Suss, Mierle Laderman Ukeles, Cathy Wilkes and Carmen Winant.

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Esteemed as a literary critic and poet, Edgar Allan Poe was most highly acclaimed for his tales and sketches. He transformed the short story from anecdote to art, virtually created the detective story, and perfected the psychological thriller. This volume is the first of two, edited by the consummate Poe scholar Thomas Ollive Mabbott, collecting all the tales of this master of the uncanny, the unnerving, and the terrifying. Poe's stories reflect his professed method of "writing as if the author were firmly impressed with the truth, yet astonished at the immensity of the wonders he related." Marrying grotesque inventiveness with superb plot construction, Poe's strikingly original tales often use only one main character and one main incident. In many of them, horror and suspense, revenge and torture, are laced with hilarious satire. Each volume is enriched with Mabbott's detailed and authoritative notes on sources, the history and collation of all known texts authorized by Poe, and variants of Poe's "final" version. Volume 1 includes Poe's earliest parodies, beginning in 1831, and gathers his gothic tales written through 1842. The stories collected in this volume include "Ms. Found in a Bottle," the horrific "Berenice," "Ligeia" (which Poe considered his finest tale), "The Murders in the Rue Morgue," and one of his most famous stories, "The Fall of the House of Usher." Promising spine-tingling delights and sleepless nights, this annotated edition of Tales and Sketches is a treasure trove for scholars and general readers alike, confirming Poe's status as one of literary art's "most brilliant but erratic stars."

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The contributors to Negotiated Moments explore how subjectivity is formed and expressed through musical improvisation, tracing the ways the transmission and reception of sound occur within and between bodies in real and virtual time and across memory, history, and space. They place the gendered, sexed, raced, classed, disabled, and technologized body at the center of critical improvisation studies and move beyond the field's tendency toward celebrating improvisation's utopian and democratic ideals by highlighting the improvisation of marginalized subjects. Rejecting a singular theory of improvisational agency, the contributors show how improvisation helps people gain hard-won and highly contingent agency. Essays include analyses of the role of the body and technology in performance, improvisation's ability to disrupt power relations, Pauline Oliveros's ideas about listening, flautist Nicole Mitchell's compositions based on Octavia Butler's science fiction, and an interview with Judith Butler about the relationship between her work and improvisation. The contributors' close attention to improvisation provides a touchstone for examining subjectivities and offers ways to hear the full spectrum of ideas that sound out from and resonate within and across bodies. Contributors. George Blake, David Borgo, Judith Butler, Rebecca Caines, Louise Campbell, Illa Carrillo Rodríguez, Berenice Corti, Andrew Raffo Dewar, Nina Eidsheim, Tomie Hahn, Jaclyn Heyen, Christine Sun Kim, Catherine Lee, Andra McCartney, Tracy McMullen, Kevin McNeilly, Leaf Miller, Jovana Milovic, François Mouillot, Pauline Oliveros, Jason Robinson, Neil Rolnick, Simon Rose, Gillian Siddall, Julie Dawn Smith, Jesse Stewart, Clara Tomaz, Sherrie Tucker, Lindsay Vogt, Zachary Wallmark, Ellen Waterman, David Whalen, Pete Williams, Deborah Wong, Mandy-Suzanne Wong

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Since the early 1990s, while mainland China’s state-owned movie studios have struggled with financial and ideological constraints, an exciting alternative cinema has developed. Dubbed the “Urban Generation,” this new cinema is driven by young filmmakers who emerged in the shadow of the events at Tiananmen Square in 1989. What unites diverse directors under the “Urban Generation” rubric is their creative engagement with the wrenching economic and social transformations underway in China. Urban Generation filmmakers are vanguard interpreters of the confusion and anxiety triggered by the massive urbanization of contemporary China. This collection brings together some of the most recent original research on this emerging cinema and its relationship to Chinese society.The contributors analyze the historical and social conditions that gave rise to the Urban Generation, its aesthetic innovation, and its ambivalent relationship to China’s mainstream film industry and the international film market. Focusing attention on the Urban Generation’s sense of social urgency, its documentary impulses, and its representations of gender and sexuality, the contributors highlight the characters who populate this new urban cinema—ordinary and marginalized city dwellers including aimless bohemians, petty thieves, prostitutes, postal workers, taxi drivers, migrant workers—and the fact that these “floating urban subjects” are often portrayed by non-professional actors. Some essays concentrate on specific films (such as Shower and Suzhou River) or filmmakers (including Jia Zhangke and Zhang Yuan), while others survey broader concerns. Together the thirteen essays in this collection give a multifaceted account of a significant, ongoing cinematic and cultural phenomenon.Contributors. Chris Berry, Yomi Braester, Shuqin Cui, Linda Chiu-han Lai, Charles Leary, Sheldon H. Lu, Jason McGrath, Augusta Palmer, Bérénice Reynaud, Yaohua Shi, Yingjin Zhang, Zhang Zhen, Xueping Zhong

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Since the early 1990s, while mainland China’s state-owned movie studios have struggled with financial and ideological constraints, an exciting alternative cinema has developed. Dubbed the “Urban Generation,” this new cinema is driven by young filmmakers who emerged in the shadow of the events at Tiananmen Square in 1989. What unites diverse directors under the “Urban Generation” rubric is their creative engagement with the wrenching economic and social transformations underway in China. Urban Generation filmmakers are vanguard interpreters of the confusion and anxiety triggered by the massive urbanization of contemporary China. This collection brings together some of the most recent original research on this emerging cinema and its relationship to Chinese society.The contributors analyze the historical and social conditions that gave rise to the Urban Generation, its aesthetic innovation, and its ambivalent relationship to China’s mainstream film industry and the international film market. Focusing attention on the Urban Generation’s sense of social urgency, its documentary impulses, and its representations of gender and sexuality, the contributors highlight the characters who populate this new urban cinema—ordinary and marginalized city dwellers including aimless bohemians, petty thieves, prostitutes, postal workers, taxi drivers, migrant workers—and the fact that these “floating urban subjects” are often portrayed by non-professional actors. Some essays concentrate on specific films (such as Shower and Suzhou River) or filmmakers (including Jia Zhangke and Zhang Yuan), while others survey broader concerns. Together the thirteen essays in this collection give a multifaceted account of a significant, ongoing cinematic and cultural phenomenon.Contributors. Chris Berry, Yomi Braester, Shuqin Cui, Linda Chiu-han Lai, Charles Leary, Sheldon H. Lu, Jason McGrath, Augusta Palmer, Bérénice Reynaud, Yaohua Shi, Yingjin Zhang, Zhang Zhen, Xueping Zhong

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Bestselling author Douglas Jackson expertly brings the Roman Empire to life in this riveting historical adventure of fire, blood and battle. Perfect for fans of Simon Scarrow, Ben Kane and Conn Iggulden. Readers are loving Gaius Valerius Verrens! "Storytelling of the highest order" - 5 STARS"Glorious Roman adventure." - 5 STARS"The drama never lets up - it is gripping" - 5 STARS"I'm just gutted to have finished it!" - 5 STARS"Verrens rules, ok?" - 5 STARS************************************************************BETRAYED, BANISHED BUT NOT BROKEN...70 AD: Disgraced, dishonoured and banished on pain of execution if he ever returns to Rome, Gaius Valerius Verrens makes his way East through the death and destruction of the savage Judaean rebellion. He knows his only hope of long term survival lies with his friend Titus, commander of the Army of Judaea and son of the newly crowned Emperor Vespasian.But when he reaches the Roman camps that surround the seemingly impregnable city of Jerusalem he finds Titus a changed man. Gone is the cheerful young officer he knew; in his place, a tough, ruthless soldier under pressure from his father to end the insurrection at any cost. Soon, Valerius finds himself at the centre of a web of intrigue spun by Titus' lover, Queen Berenice of Cilicia, and her sometime ally, the general's turncoat adviser, Flavius Josephus, who together have an ulterior motive for wanting the siege to end quickly.Yet the laurels Valerius needs in order to regain his honour cannot be won in the tunnels that run beneath Jerusalem. Only in the heat and blood of battle can he find the glory that brought him the title Hero of Rome.Gaius Valerius Verrens' adventures continue in Saviour of Rome.

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Exploring occultist, magician, poet, painter, and writer Aleister Crowley’s longstanding and intimate association with Paris, Tobias Churton provides the first detailed account of Crowley’s activities in the City of Light. Using previously unpublished letters and diaries, Churton explores how Crowley was initiated into the Golden Dawn’s Inner Order in Paris in 1900 and how, in 1902, he relocated to Montparnasse. Soon engaged to Anglo-Irish artist Eileen Gray, Crowley pontificates and parties with English, American, and French artists gathered around sculptor Auguste Rodin: all keen to exhibit at Paris’s famed Salon d’Automne. In 1904--still dressed as “Prince Chioa Khan” and recently returned from his Book of the Law experience in Cairo--Crowley dines with novelist Arnold Bennett at Paillard’s. In 1908 Crowley is back in Paris to prove it’s possible to attain Samadhi (or “knowledge and conversation of the Holy Guardian Angel”) while living a modern life in a busy metropolis. In 1913 he organizes a demonstration for artistic and sexual freedom at Oscar Wilde’s tomb. Until war spoils all in 1914, Paris is Crowley’s playground. The author details how, after returning from America in 1920, and though based at his “Abbey of Thelema” in Sicily, Crowley can’t leave Paris alone. When Mussolini expels him from Italy, Paris becomes home from 1924 until 1929. Churton reveals Crowley’s part in the jazz-age explosion of modernism, as the lover of photographer Berenice Abbott, and many others, and how he enjoyed camaraderie with Man Ray, Nancy Cunard, André Gide, and Aimée Crocker. The author explores Crowley’s adventures in Tunisia, Algeria, the Riviera, his battle with heroin addiction, his relationship with daughter Astarte Lulu--raised at Cefalù--and finally, a high-level ministerial conspiracy to get him out of Paris. Reconstructing Crowley’s heyday in the last decade and a half of France’s Belle Époque and the “roaring Twenties,” this book illuminates Crowley’s place within the artistic, literary, and spiritual ferment of the great City of Light.

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This book presents the epic story of New York on nearly 600 pages of emotional, atmospheric photographs, from the mid-19th century to the present day. Supplementing this treasure trove of images are over a hundred quotations and references from seminal books, movies, shows, and songs. The city’s fluctuating fortunes are all represented, from the wild nights of the Jazz Age to the hedonistic disco era, from to the grim days of the Depression to the devastation of 9/11 and its aftermath, as its brokenhearted but unbowed citizens picked up the pieces. New York’s remarkable rise, reinvention, and growth are not just the tale of a city, but the story of a nation, From the building of the Brooklyn Bridge to the immigrants arriving at Ellis Island; from the slums of the Lower East Side to the magnificent art deco skyscrapers. The urban beach of Coney Island and the sleaze of Times Square; the vistas of Central Park and the crowds on Fifth Avenue. The streets, the sidewalks, the chaos, the energy, the ethnic diversity, the culture, the fashion, the architecture, the anger, and the complexity of the city are all laid out in this kaleidoscopic book. This is the greatest city in the world after all and great are its extremes, contradictions, and attitude. More than just a remarkable tribute to the metropolis and its civic, social, and photographic heritage, New York: Portrait of a City pays homage to the indomitable spirit of those who call themselves New Yorkers: full of hope and strength, resolute in their determination to succeed among its glass and granite towers. Features hundreds of iconic images, sourced from dozens of archives and private collections—many never before published—and the work of over 150 celebrated photographers, including Victor Prevost, Jacob Riis, Lewis Hine, Alfred Stieglitz, Paul Strand, Berenice Abbott, Walker Evans, Weegee, Margaret Bourke-White, Saul Leiter, Esther Bubley, Arnold Newman, William Claxton, Ralph Gibson, Ryan McGinley, Mitch Epstein, Steve Schapiro, Marvin Newman, Joel Meyerowitz, Andreas Feininger, Charles Cushman, Joseph Rodriguez, Garry Winogrand, Larry Fink, Jamel Shabazz, Allan Tannenbaum, Bruce Davidson, Helen Levitt, Eugene de Salignac, Ruth Orkin, Joel Sternfeld, Keizo Kitajima, and many more.

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Literary historians and critics who have written on the influence of Racine in England during the neoclassical period apparently have assumed that the English translators and adapters of Racine’s plays in general succeeded in presenting the real Racine to the English public.Katherine Wheatley here reveals the wide discrepancy between avowed intentions and actual results. Among the English plays she compares with their French originals are Otway’s Titus and Berenice, Congreve’s The Mourning Bride, and Philips’s The Distrest Mother. These comparisons, fully supported by quoted passages, reveal that those among the English public and contemporary critics who could not themselves read French had no chance whatever to know the real Racine: “The adapters and translators, so-called, had eliminated Racine from his tragedies before presenting them to the public.” Unacknowledged excisions and additions, shifts in plot, changes in dénouement, and frequent mistranslation turned Racine’s plays into “wretched travesties.” Two translations of Britannicus, intended for reading rather than for acting, are especially revealing in that they show which Racinian qualities eluded the British translators even when they were not trying to please an English theatergoing audience.Why it is, asks the author, that no English dramatist could or would present Racine as he is to the English public of the neoclassical period? To answer this question she traces the development of Aristotelian formalism in England, showing the relation of the English theory of tragedy to French classical doctrine and the relation of the English adaptations of Racine to the English neoclassical theory of tragedy. She concludes that “deliberate alterations made by the English, far from violating classical tenets, bring Racine’s tragedies closer to the English neoclassical ideal than they were to begin with, and this despite the fact that some tenets of English doctrine came from parallel tenets widely accepted in France.” She finds that “in the last analysis, French classical doctrine was itself a barrier to the understanding of Racinian tragedy in England and an incentive to the sort of change English translators and adapters made in Racine.” This paradox she explains by the fact that Racine himself had broken with the classical tradition as represented by Corneille.

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In 1973, Michael Lesy was a young scholar whose first book had just been published. In the soon-legendary Wisconsin Death Trip he combined 1890s photographs and newspaper clippings to evoke a devastatingly tragic epoch, the real-world antithesis of the fanciful "Gay Nineties." It startled readers then and remains a touchstone of modern photographic interpretation.That year Lesy met and became close friends with the great photographer Walker Evans, who in the 1930s had collaborated with writer James Agee to create another towering landmark in the American photo-essay, Let Us Now Praise Famous Men. Old, frail, with just two years left to live, Evans was still urgently and obsessively photographing. "Outside the rooms he inhabited," Lesy writes, "the world was scattered with objects on their way to oblivion. He photographed them in their passage." Brief as their friendship was, it was intense and rewarding. Each admired the other; each saw himself reflected in the other: aesthetic visionaries who shared a radical belief that photographs were not flat and static documents—that "the plain truth of the images . . . wasn’t as plain as it seemed," Lesy explains. "Meanings, beliefs, and emotions lay crisscrossed under the surface of the most plainspoken photographs." Throughout his career in the classroom and in more than a dozen books, Lesy has continually inspired us to open our eyes, our minds, and our hearts to those many layers of meaning and feeling in photos, from seemingly ordinary snapshots to majestic landscapes.In this unconventional, lyrical biography, Lesy traces Evans’s intimate, idiosyncratic relationships with men and women—the circle of friends who made Walker Evans who he was. "Wonder and scrutiny produced the portraits Walker made in his prime," Lesy writes. Evans’s photographs of Agee, Berenice Abbott, Lady Caroline Blackwood, and Ben Shahn, among others, accompany Lesy’s telling of Evans’s life stories."Wonder and scrutiny, suffused with desire and dread, produced the portraits he made in his last years," Lesy notes. In the 1970s, Evans became enthralled with the Polaroid SX-70 and its colorful instant images, and he used it to take his last photographs—portraits of people, in extreme close up, and portraits of objects."Good clothes and good conversation, wit and erudition, originality and inventiveness, the charms of smart and pretty women—Walker took pleasure in being alive," Lesy writes. "He photographed objects as if they were people and people as if they were souls. All the while, he never forgot Blind Joe Death. The annihilations of the First War, the extinctions of the epidemic that followed it, the pyres and the pits—these he never forgot. The still silence of his images was, to the very last, transcendental, and always he remembered the skull beneath the skin."

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"A courageous analysis of Arab writers, addressing the connections between masculinity, violence, and nationalism." —Robin Morgan, Ms.. "Rarely have sexuality and war been treated with such poignancy and historical concreteness .... The force of these often intertwined phenomena endemic to the human condition are considered with incisive and wrenching specificity from within one of the most baneful convergences of sexuality and war in recent history." —Djelal Kadir, editor, World Literature Today. "Personal, powerful, passionate, uncensored." —Fedwa Malti-Douglas, The Journal of Women's History. A welcome departure from stereotypical nationalist conceptions from which no solutions to the current impasse can possibly emerge." —Joel Benin, The Middle East Report. Accad's extraordinary pacifism is deeply compelling to women as it is deeply challenging to men." —Andrea Dworkin. A splendid book. Drawing on interviews with Lebanon's village women and her close readings of Lebanon's contemporary novelists, Accad manages to pull back the veil that has shrouded so many conventional nationalisms, revealing their roots in men's effort to control women's sexuality." —Cynthia Enloe, author of Does Khaki Become You? "Extraordinary in weaving together literature, feminist theory, and theories of war and violence. Her analysis of the relationships between sexuality, war, and nationalism is stunning in its frankness and importance." —Berenice A. Carroll, Purdue University. "It is in the women's writings on the Lebanese civil war that Accad discerns alternative visions that could shape a non- violent reality." —Miriam Cooke, The Middle East Studies. This book should remind us how patriarchies can operate similarly in societies we most often define through difference .... [Accad's] forthright, critically respectful, caring treatment of Lebanese lives and worlds resonates as we engage with the longterm repercussions of the Gulf War. —Marilyn Booth, Women's Review of Books.This compelling book offers an exploration of the indissoluble link between war and sexuality based on over twelve years of interviews by the well-known Lebanese expatriate teacher, critic, and writer. Evelyne Accad explores what she calls the indissoluble link between war and sexualtiy. She refers to sexuality as the physical and psychological relations of men and women, and examines Middle Eastern customs involved in defining such relationships. She argues that many of the problems faced by societies at war stem from the way male sexuality is viewed and imposed and from the oppression of women within cultural parameters. For twelve years Professor Accad interviewed women throughout the Middle East about their sexuality and relationships with men. On the basis of these interviews and a close study of six novels written by both men and women on the subject of the Lebanese war, she explores the connection between sexualtity and war and contrasts the reactions of male authors with those of their female counterparts. Each author views war as having roots in sexuality. Evelyne Accad concludes that "there is a need for a new rapport between men and women, women and women, and men and men: there is a ned for relationshops based on trust, recognition of the other, tenderness, equal sharing, and love devoid of jealousy and possession. Since the personal is the political, changes in relationshops traditionally based on domination, oppression, and power games will inevitably rebound in other spheres of life.

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