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Affiche du document Style — Style
Taylor Black
2h05min15
Littérature & Beaux Arts
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167 pages. Temps de lecture estimé 2h05min.
Assembles texts, performances, and personae from American culture to assert the elemental natureof styleWhile “style” is equated with fashion or convention in common parlance, Style: A Queer Cosmology defines the term as a mode of expression that makes us more like ourselves and less like everyone else. Taylor Black’s interdisciplinary conceptual analysis assembles texts, performances, and personae from American culture that engage in ethical, creative, and performative modes of what he terms “abundant revelation.” Moving back and forth through time, this book sketches American cosmologies cultivated by iconic and subterranean American artists like Edgar Allan Poe, Flannery O’Connor, Nikki Giovanni, and Bob Dylan. Presiding throughout is the book’s conceptual guide: latter-day American and notorious homosexual Quentin Crisp, resurrected here as a philosopher of style.As a scholarly intervention, Style participates in the critical work of revival and attunement—revitalizing figures, terms, and ideas that have become too familiar. Returning to viewing the critic as a stylist, Style: A Queer Cosmology leans into the study of things and qualities that are immanent and elude paraphrase or social scientific categorization. Style is about the possible rather than the probable, singularity over universals, personality instead of identity, the emergent and not the new—the mystery of becoming.

Style
Taylor Black
2h05min15
Littérature & Beaux Arts
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167 pages. Temps de lecture estimé 2h05min.
Assembles texts, performances, and personae from American culture to assert the elemental natureof styleWhile “style” is equated with fashion or convention in common parlance, Style: A Queer Cosmology defines the term as a mode of expression that makes us more like ourselves and less like everyone else. Taylor Black’s interdisciplinary conceptual analysis assembles texts, performances, and personae from American culture that engage in ethical, creative, and performative modes of what he terms “abundant revelation.” Moving back and forth through time, this book sketches American cosmologies cultivated by iconic and subterranean American artists like Edgar Allan Poe, Flannery O’Connor, Nikki Giovanni, and Bob Dylan. Presiding throughout is the book’s conceptual guide: latter-day American and notorious homosexual Quentin Crisp, resurrected here as a philosopher of style.As a scholarly intervention, Style participates in the critical work of revival and attunement—revitalizing figures, terms, and ideas that have become too familiar. Returning to viewing the critic as a stylist, Style: A Queer Cosmology leans into the study of things and qualities that are immanent and elude paraphrase or social scientific categorization. Style is about the possible rather than the probable, singularity over universals, personality instead of identity, the emergent and not the new—the mystery of becoming.

Accès libre

Affiche du document Streaming Video — Streaming Video
Amanda D. Lotz and Ramon Lobato
4h42min45
Cinéma
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377 pages. Temps de lecture estimé 4h43min.
An international team of experts explores how streaming services are disrupting traditional storytelling.The rise of streaming has dramatically transformed how audiences consume media. Over the last decade, subscription video-on-demand (SVOD) services, including Netflix, Prime Video, and Disney+, have begun commissioning and financing their own original movies and TV shows, changing the way and the rate at which content is produced across the globe, from Mexico City to Mumbai. Streaming Video maps this international production boom and what it means for producers, audiences, and storytellers. Through eighteen richly textured case studies, ranging from original Korean dramas on Netflix to BluTV’s experimental Turkish series, the book investigates how streaming services both disrupt and maintain storytelling traditions in specific national contexts. To what extent, and how, are streamers expanding norms of television and film storytelling in different parts of the world? Are streamers enabling the creation of content that would not otherwise exist? What are the implications for different viewers, in different countries, with different tastes? Together, the chapters critically assess the impacts of streaming on twenty-first century audiovisual storytelling and rethink established understandings of transnational screen flows.

Streaming Video
Amanda D. Lotz and Ramon Lobato
4h42min45
Cinéma
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377 pages. Temps de lecture estimé 4h43min.
An international team of experts explores how streaming services are disrupting traditional storytelling.The rise of streaming has dramatically transformed how audiences consume media. Over the last decade, subscription video-on-demand (SVOD) services, including Netflix, Prime Video, and Disney+, have begun commissioning and financing their own original movies and TV shows, changing the way and the rate at which content is produced across the globe, from Mexico City to Mumbai. Streaming Video maps this international production boom and what it means for producers, audiences, and storytellers. Through eighteen richly textured case studies, ranging from original Korean dramas on Netflix to BluTV’s experimental Turkish series, the book investigates how streaming services both disrupt and maintain storytelling traditions in specific national contexts. To what extent, and how, are streamers expanding norms of television and film storytelling in different parts of the world? Are streamers enabling the creation of content that would not otherwise exist? What are the implications for different viewers, in different countries, with different tastes? Together, the chapters critically assess the impacts of streaming on twenty-first century audiovisual storytelling and rethink established understandings of transnational screen flows.

Accès libre

Affiche du document Sanctuary of Hermes and Aphrodite at Syme Viannou VII, Vol. 1 — Sanctuary of Hermes and Aphrodite at Syme Viannou VII, Vol. 1
Antonis Kotsonas
4h31min30
Littérature & Beaux Arts
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362 pages. Temps de lecture estimé 4h31min.
New insights from the archaeology and pottery of the sanctuary of Hermes and Aphrodite at Syme Viannou, Crete The Sanctuary of Hermes and Aphrodite at Syme Viannou VII: The Greek and Roman Pottery presents in two volumes the Greek and Roman pottery recovered from the excavation of the sanctuary of Syme Viannou, one of the most long-lived and important cult sites of ancient Crete and the Aegean. The site, which is known as the Cretan Delphi, was dedicated to Hermes and Aphrodite for much of its history. The present study analyzes and catalogs 865 pieces, dating from across the early first millennium BCE to the mid-first millennium CE. Kotsonas integrates traditional typological and chronological inquiries with contextual considerations, macroscopic and petrographic analyses of ceramic fabrics, and quantitative studies. The resulting work provides detailed documentation of the pottery from Syme Viannou and explores its ritual and other roles within the diachronic panorama of cultic and other activities at the site. It also supports a broader understanding of the role of ceramics in sanctuary contexts by introducing systematically comparative perspectives on the evidence of pottery from other Cretan and Greek sanctuaries.Volume 1 provides an introduction to the site of the sanctuary of Syme Viannou and its history, and contains an analytical catalog of the ceramic remains.

Sanctuary of Hermes and Aphrodite at Syme Viannou VII, Vol. 1
Antonis Kotsonas
4h31min30
Littérature & Beaux Arts
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362 pages. Temps de lecture estimé 4h31min.
New insights from the archaeology and pottery of the sanctuary of Hermes and Aphrodite at Syme Viannou, Crete The Sanctuary of Hermes and Aphrodite at Syme Viannou VII: The Greek and Roman Pottery presents in two volumes the Greek and Roman pottery recovered from the excavation of the sanctuary of Syme Viannou, one of the most long-lived and important cult sites of ancient Crete and the Aegean. The site, which is known as the Cretan Delphi, was dedicated to Hermes and Aphrodite for much of its history. The present study analyzes and catalogs 865 pieces, dating from across the early first millennium BCE to the mid-first millennium CE. Kotsonas integrates traditional typological and chronological inquiries with contextual considerations, macroscopic and petrographic analyses of ceramic fabrics, and quantitative studies. The resulting work provides detailed documentation of the pottery from Syme Viannou and explores its ritual and other roles within the diachronic panorama of cultic and other activities at the site. It also supports a broader understanding of the role of ceramics in sanctuary contexts by introducing systematically comparative perspectives on the evidence of pottery from other Cretan and Greek sanctuaries.Volume 1 provides an introduction to the site of the sanctuary of Syme Viannou and its history, and contains an analytical catalog of the ceramic remains.

Accès libre

Affiche du document Sanctuary of Hermes and Aphrodite at Syme Viannou VII, Vol. 2 — Sanctuary of Hermes and Aphrodite at Syme Viannou VII, Vol. 2
Antonis Kotsonas
2h58min30
Littérature & Beaux Arts
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238 pages. Temps de lecture estimé 2h58min.
New insights from the archaeology and pottery of the sanctuary of Hermes and Aphrodite at Syme Viannou, Crete The Sanctuary of Hermes and Aphrodite at Syme Viannou VII: The Greek and Roman Pottery presents in two volumes the Greek and Roman pottery recovered from the excavation of the sanctuary of Syme Viannou, one of the most long-lived and important cult sites of ancient Crete and the Aegean. The site, which is known as the Cretan Delphi, was dedicated to Hermes and Aphrodite for much of its history. The present study analyzes and catalogs 865 pieces, dating from across the early first millennium BCE to the mid-first millennium CE. Kotsonas integrates traditional typological and chronological inquiries with contextual considerations, macroscopic and petrographic analyses of ceramic fabrics, and quantitative studies. The resulting work provides detailed documentation of the pottery from Syme Viannou and explores its ritual and other roles within the diachronic panorama of cultic and other activities at the site. It also supports a broader understanding of the role of ceramics in sanctuary contexts by introducing systematically comparative perspectives on the evidence of pottery from other Cretan and Greek sanctuaries.Volume 2 presents synthetic studies of the material, exploring the use of different ceramic fabrics, the relationship between the form and function of the vessels, and the place of ceramic items in the cultic practice and daily life at the sanctuary in Greek and Roman antiquity.

Sanctuary of Hermes and Aphrodite at Syme Viannou VII, Vol. 2
Antonis Kotsonas
2h58min30
Littérature & Beaux Arts
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238 pages. Temps de lecture estimé 2h58min.
New insights from the archaeology and pottery of the sanctuary of Hermes and Aphrodite at Syme Viannou, Crete The Sanctuary of Hermes and Aphrodite at Syme Viannou VII: The Greek and Roman Pottery presents in two volumes the Greek and Roman pottery recovered from the excavation of the sanctuary of Syme Viannou, one of the most long-lived and important cult sites of ancient Crete and the Aegean. The site, which is known as the Cretan Delphi, was dedicated to Hermes and Aphrodite for much of its history. The present study analyzes and catalogs 865 pieces, dating from across the early first millennium BCE to the mid-first millennium CE. Kotsonas integrates traditional typological and chronological inquiries with contextual considerations, macroscopic and petrographic analyses of ceramic fabrics, and quantitative studies. The resulting work provides detailed documentation of the pottery from Syme Viannou and explores its ritual and other roles within the diachronic panorama of cultic and other activities at the site. It also supports a broader understanding of the role of ceramics in sanctuary contexts by introducing systematically comparative perspectives on the evidence of pottery from other Cretan and Greek sanctuaries.Volume 2 presents synthetic studies of the material, exploring the use of different ceramic fabrics, the relationship between the form and function of the vessels, and the place of ceramic items in the cultic practice and daily life at the sanctuary in Greek and Roman antiquity.

Accès libre

Affiche du document Redface — Redface
Bethany Hughes
2h17min15
Littérature & Beaux Arts
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183 pages. Temps de lecture estimé 2h17min.
Considers the character of the “Stage Indian” in American theater and its racial and political impact Redface unearths the history of the theatrical phenomenon of redface in nineteenth- and twentieth-century America. Like blackface, redface was used to racialize Indigenous peoples and nations, and even more crucially, exclude them from full citizenship in the United States. Arguing that redface is more than just the costumes or makeup an actor wears, Bethany Hughes contends that it is a collaborative, curatorial process through which artists and audiences make certain bodies legible as “Indian.” By chronicling how performances and definitions of redface rely upon legibility and delineations of race that are culturally constructed and routinely shifting, this book offers an understanding of how redface works to naturalize a very particular version of history and, in doing so, mask its own performativity.Tracing the “Stage Indian” from its early nineteenth-century roots to its proliferation across theatrical entertainment forms and turn of the twenty-first century attempts to address its racist legacy, Redface uses case studies in law and civic life to understand its offstage impact. Hughes connects extensive scholarship on the “Indian” in American culture to the theatrical history of racial impersonation and critiques of settler colonialism, demonstrating redface’s high stakes for Indigenous and non-Indigenous alike. Revealing the persistence of redface and the challenges of fixing it, Redface closes by offering readers an embodied rehearsal of what it would mean to read not for the “Indian” but for Indigenous theater and performance as it has always existed in the US.

Redface
Bethany Hughes
2h17min15
Littérature & Beaux Arts
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183 pages. Temps de lecture estimé 2h17min.
Considers the character of the “Stage Indian” in American theater and its racial and political impact Redface unearths the history of the theatrical phenomenon of redface in nineteenth- and twentieth-century America. Like blackface, redface was used to racialize Indigenous peoples and nations, and even more crucially, exclude them from full citizenship in the United States. Arguing that redface is more than just the costumes or makeup an actor wears, Bethany Hughes contends that it is a collaborative, curatorial process through which artists and audiences make certain bodies legible as “Indian.” By chronicling how performances and definitions of redface rely upon legibility and delineations of race that are culturally constructed and routinely shifting, this book offers an understanding of how redface works to naturalize a very particular version of history and, in doing so, mask its own performativity.Tracing the “Stage Indian” from its early nineteenth-century roots to its proliferation across theatrical entertainment forms and turn of the twenty-first century attempts to address its racist legacy, Redface uses case studies in law and civic life to understand its offstage impact. Hughes connects extensive scholarship on the “Indian” in American culture to the theatrical history of racial impersonation and critiques of settler colonialism, demonstrating redface’s high stakes for Indigenous and non-Indigenous alike. Revealing the persistence of redface and the challenges of fixing it, Redface closes by offering readers an embodied rehearsal of what it would mean to read not for the “Indian” but for Indigenous theater and performance as it has always existed in the US.

Accès libre

Affiche du document This is Not New — This is Not New
David Balzer
1h12min00
Littérature & Beaux Arts
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96 pages. Temps de lecture estimé 1h12min.
Praise for Curationism: “Balzer writes with zest, scepticism and sly humour” Sheila Heti, author of Pure ColourWhat does it mean to call something “new”? Why is Western art and culture, even after postmodernism, still so obsessed with the concept? What are the consequences of relying on culture to bring about social change?In this provocative book, David Balzer argues that Western culture was never designed to produce truly new or original artefacts. Rather, we move from fixation to fixation, trend to trend—a cycle of creation and destruction with deep origins in Judeo-Christianity and the paganism that preceded it. The culture industry promises its own form of change while preserving existing systems of power exactly as they are.From the New Jerusalem to the New Left, from Vannevar Bush to Kate Bush, This is Not New asks difficult questions about the role of culture not in making change, but in delaying—even preventing—it. David Balzer is a writer, lawyer, editor, and educator. He is the author of Contrivances and Curationism: How Curating Took Over the Art World and Everything Else. His critical writing has appeared in the Globe and Mail, the Guardian, Artforum, and Frieze. He lives in Canada.PrefacePrologue: Some Radicals1. Culture Industry, Culture Wars2. Natural Supernatural3. The Whole EarthEpilogue: Deeper UnderstandingNotes

This is Not New
David Balzer
1h12min00
Littérature & Beaux Arts
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96 pages. Temps de lecture estimé 1h12min.
Praise for Curationism: “Balzer writes with zest, scepticism and sly humour” Sheila Heti, author of Pure ColourWhat does it mean to call something “new”? Why is Western art and culture, even after postmodernism, still so obsessed with the concept? What are the consequences of relying on culture to bring about social change?In this provocative book, David Balzer argues that Western culture was never designed to produce truly new or original artefacts. Rather, we move from fixation to fixation, trend to trend—a cycle of creation and destruction with deep origins in Judeo-Christianity and the paganism that preceded it. The culture industry promises its own form of change while preserving existing systems of power exactly as they are.From the New Jerusalem to the New Left, from Vannevar Bush to Kate Bush, This is Not New asks difficult questions about the role of culture not in making change, but in delaying—even preventing—it. David Balzer is a writer, lawyer, editor, and educator. He is the author of Contrivances and Curationism: How Curating Took Over the Art World and Everything Else. His critical writing has appeared in the Globe and Mail, the Guardian, Artforum, and Frieze. He lives in Canada.PrefacePrologue: Some Radicals1. Culture Industry, Culture Wars2. Natural Supernatural3. The Whole EarthEpilogue: Deeper UnderstandingNotes

Accès libre

Affiche du document Parentés électives — Parentés électives
Lisa Cornali
2h54min45
Littérature & Beaux Arts
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233 pages. Temps de lecture estimé 2h55min.
Dans sa biographie de Piero di Cosimo, Giorgio Vasari nous apprend que le peintre florentin, fils d’un orfèvre nommé Lorenzo, était élève de Cosimo Rosselli « dont il porta toujours le nom, parce qu’il regardait plutôt comme son véritable père celui qui avait procuré l’indépendance et le talent, par ses leçons, que celui dont il n’avait reçu que la vie ». Aux liens du sang, Piero préfère donc une filiation artistique et l’égide d’un maître. Par cette substitution, il se présente en héritier d’un illustre prédécesseur et valorise son propre travail.À l’instar de Piero di Cosimo, nombre d’artistes se choisissent des figures tutélaires – ou désignent des disciples – dans un objectif d’autopromotion ou de légitimation. Les historiennes et historiens de l’art comme les critiques établissent également des parentés artistiques pour saisir ou construire les rapports de proximité entre personnalités créatrices ou entre mouvances plus larges. Omniprésente en histoire de l’art, la notion de filiation n’a pourtant jamais fait l’objet d’un examen terminologique. À travers l’Europe, du Moyen Âge au XXe siècle, au croisement d’une multitude de techniques – peinture, sculpture, architecture, gravure, dessin, enluminure, orfèvrerie –, les textes rassemblés ici étudient les figures et les pratiques de la filiation artistique. Cet ouvrage initie ainsi une réflexion sur le sens et les enjeux de ces parentés électives.

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Affiche du document Hear My Sad Story — Hear My Sad Story
Richard Polenberg
2h29min15
Musique
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199 pages. Temps de lecture estimé 2h29min.
In 2015, Bob Dylan said, "I learned lyrics and how to write them from listening to folk songs. And I played them, and I met other people that played them, back when nobody was doing it. Sang nothing but these folk songs, and they gave me the code for everything that''s fair game, that everything belongs to everyone." In Hear My Sad Story, Richard Polenberg describes the historical events that led to the writing of many famous American folk songs that served as touchstones for generations of American musicians, lyricists, and folklorists. Those events, which took place from the early nineteenth to the mid-twentieth centuries, often involved tragic occurrences: murders, sometimes resulting from love affairs gone wrong; desperate acts borne out of poverty and unbearable working conditions; and calamities such as railroad crashes, shipwrecks, and natural disasters. All of Polenberg''s account of the songs in the book are grounded in historical fact and illuminate the social history of the times. Reading these tales of sorrow, misfortune, and regret puts us in touch with the dark but terribly familiar side of American history.On Christmas 1895 in St. Louis, an African American man named Lee Shelton, whose nickname was "Stack Lee," shot and killed William Lyons in a dispute over seventy-five cents and a hat. Shelton was sent to prison until 1911, committed another murder upon his release, and died in a prison hospital in 1912. Even during his lifetime, songs were being written about Shelton, and eventually 450 versions of his story would be recorded. As the song—you may know Shelton as Stagolee or Stagger Lee—was shared and adapted, the emotions of the time were preserved, but the fact that the songs described real people, real lives, often fell by the wayside. Polenberg returns us to the men and women who, in song, became legends. The lyrics serve as valuable historical sources, providing important information about what had happened, why, and what it all meant. More important, they reflect the character of American life and the pathos elicited by the musical memory of these common and troubled lives.

Hear My Sad Story
Richard Polenberg
2h29min15
Musique
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199 pages. Temps de lecture estimé 2h29min.
In 2015, Bob Dylan said, "I learned lyrics and how to write them from listening to folk songs. And I played them, and I met other people that played them, back when nobody was doing it. Sang nothing but these folk songs, and they gave me the code for everything that''s fair game, that everything belongs to everyone." In Hear My Sad Story, Richard Polenberg describes the historical events that led to the writing of many famous American folk songs that served as touchstones for generations of American musicians, lyricists, and folklorists. Those events, which took place from the early nineteenth to the mid-twentieth centuries, often involved tragic occurrences: murders, sometimes resulting from love affairs gone wrong; desperate acts borne out of poverty and unbearable working conditions; and calamities such as railroad crashes, shipwrecks, and natural disasters. All of Polenberg''s account of the songs in the book are grounded in historical fact and illuminate the social history of the times. Reading these tales of sorrow, misfortune, and regret puts us in touch with the dark but terribly familiar side of American history.On Christmas 1895 in St. Louis, an African American man named Lee Shelton, whose nickname was "Stack Lee," shot and killed William Lyons in a dispute over seventy-five cents and a hat. Shelton was sent to prison until 1911, committed another murder upon his release, and died in a prison hospital in 1912. Even during his lifetime, songs were being written about Shelton, and eventually 450 versions of his story would be recorded. As the song—you may know Shelton as Stagolee or Stagger Lee—was shared and adapted, the emotions of the time were preserved, but the fact that the songs described real people, real lives, often fell by the wayside. Polenberg returns us to the men and women who, in song, became legends. The lyrics serve as valuable historical sources, providing important information about what had happened, why, and what it all meant. More important, they reflect the character of American life and the pathos elicited by the musical memory of these common and troubled lives.

Accès libre

Affiche du document Virtuosi Abroad — Virtuosi Abroad
Kiril Tomoff
3h27min45
Musique
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277 pages. Temps de lecture estimé 3h28min.
In the 1940s and 1950s, Soviet musicians and ensembles were acclaimed across the globe. They toured the world, wowing critics and audiences, projecting an image of the USSR as a sophisticated promoter of cultural and artistic excellence. In Virtuosi Abroad, Kiril Tomoff focuses on music and the Soviet Union''s star musicians to explore the dynamics of the cultural Cold War. He views the competition in the cultural sphere as part of the ongoing U.S. and Soviet efforts to integrate the rest of the world into their respective imperial projects. Tomoff argues that the spectacular Soviet successes in the system of international music competitions, taken together with the rapturous receptions accorded touring musicians, helped to persuade the Soviet leadership of the superiority of their system. This, combined with the historical triumphalism central to the Marxist-Leninist worldview, led to confidence that the USSR would be the inevitable winner in the global competition with the United States. Successes masked the fact that the very conditions that made them possible depended on a quiet process by which the USSR began to participate in an international legal and economic system dominated by the United States. Once the Soviet leadership transposed its talk of system superiority to the economic sphere, focusing in particular on consumer goods and popular culture, it had entered a competition that it could not win.

Virtuosi Abroad
Kiril Tomoff
3h27min45
Musique
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277 pages. Temps de lecture estimé 3h28min.
In the 1940s and 1950s, Soviet musicians and ensembles were acclaimed across the globe. They toured the world, wowing critics and audiences, projecting an image of the USSR as a sophisticated promoter of cultural and artistic excellence. In Virtuosi Abroad, Kiril Tomoff focuses on music and the Soviet Union''s star musicians to explore the dynamics of the cultural Cold War. He views the competition in the cultural sphere as part of the ongoing U.S. and Soviet efforts to integrate the rest of the world into their respective imperial projects. Tomoff argues that the spectacular Soviet successes in the system of international music competitions, taken together with the rapturous receptions accorded touring musicians, helped to persuade the Soviet leadership of the superiority of their system. This, combined with the historical triumphalism central to the Marxist-Leninist worldview, led to confidence that the USSR would be the inevitable winner in the global competition with the United States. Successes masked the fact that the very conditions that made them possible depended on a quiet process by which the USSR began to participate in an international legal and economic system dominated by the United States. Once the Soviet leadership transposed its talk of system superiority to the economic sphere, focusing in particular on consumer goods and popular culture, it had entered a competition that it could not win.

Accès libre

Affiche du document Voir et savoir. De la peinture à la philosophie. — Voir et savoir. De la peinture à la philosophie.
Benjamin Orcajada
2h27min00
Littérature & Beaux Arts
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196 pages. Temps de lecture estimé 2h27min.
Quel monde la peinture nous fait-elle voir ? Comment comprendre la dialectique intime du voir et du savoir ? Quel fil peut conduire de l'introuvable beauté au jugement esthétique ? De quel ordre est vraiment le mystère de l'œuvre ? Contrairement aux savantes herméneutiques, qui risquent de nous conduire finalement à cesser de voir pour expliquer sans comprendre, l'analyse phénoménologique à laquelle nous sommes conviés nous révèle que « le peintre est seul à avoir droit de regard sur toutes choses sans aucun devoir d'appréciation ». Mais ne nous confronte-t-elle pas finalement à un nouveau mystère ? Et si notre saisie de la peinture participait d'un rapport constitutif de la vie elle-même ? Conjuguant élégance et connaissances, culture et réflexions, l'essai de B. Orcajada cerne, à tâtons, patiemment, ce qu'est la peinture, ce que renferme l'œuvre d'art pictural. Ses rapports à la représentation, au monde, au vivant, à celui qui la regarde, à la beauté... sont ainsi effleurés, interrogés et sondés au fil d'un texte placé sous le signe de la liberté. Liberté de l'écriture, liberté aussi accordée au lecteur d'emprunter ou non les mêmes chemins interprétatifs. Mais, quoi qu'il en soit, l'essayiste propose ici une belle et riche initiation à la peinture et ses enjeux.

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Affiche du document Histoire du cinéma de Hong Kong — Histoire du cinéma de Hong Kong
Yann Jegodtka
2h46min30
Cinéma
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222 pages. Temps de lecture estimé 2h46min.
Fort de ses différents succès, tant critiques que commerciaux, le cinéma de Hong Kong perturbe le monde occidental qui découvre cette nouvelle vision du septième art, pourtant née en 1909. En effet, ces dernières années, ce cinéma s'exporte de plus en plus en Occident, que ce soit en Europe, principalement par le biais de l'Angleterre et de la France, ou aux États-Unis. Comment peut-on expliquer une découverte si tardive, et les multiples réactions qui l'ont accompagnée ? C'est ce que cet ouvrage va tenter d'expliquer au travers de différentes réflexions et recherches, tout en essayant de démontrer que cet art est loin d'être aussi limité et caricatural que ce que certains préjugés laissent penser...

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Affiche du document Roman ciné — Roman ciné
André Nolat
1h40min30
Photographie
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134 pages. Temps de lecture estimé 1h40min.
Une même histoire pour deux traitements différents. Neuf films et huit romans qui les ont inspirés sont analysés et comparés dans ce livre : "L’Ange Bleu" (H. Mann – Sternberg), "Dr Jekyll et Mr Hyde" (Stevenson – Mamoulian et Fleming), "Pépé le Moko" (Ashelbé – Duvivier), "Panique" (Simenon – Duvivier), "Les Forbans de la nuit" (Kersh – Dassin), "L’Inconnu du Nord-Express" (Highsmith – Hitchcock), "Touchez pas au grisbi" (Simonin – Becker), "À l’est d’Éden" (Steinbeck – Kazan). Des œuvres qui, selon la formule de Malraux, "rusent avec le mythe".

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Affiche du document Religion in Vogue — Religion in Vogue
S. Neal Lynn
2h04min30
Littérature & Beaux Arts
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166 pages. Temps de lecture estimé 2h04min.
Shows how the fashion industry in the mid- to late twentieth century created a particular way of seeing religion as fashionableFrom cross necklaces to fashion designs inspired by nuns’ habits, how have fashion sources interpreted Christianity? And how, in turn, have these interpretations shaped conceptions of religion in the United States? Religion in Vogue explores the intertwined history of Christianity and the fashion industry. Using a diverse range of fashion sources, including designs, jewelry, articles in fashion magazines, and advertisements, Lynn S. Neal demonstrates how in the second half of the twentieth century the modern fashion industry created an aestheticized Christianity, transforming it into a consumer product. The fashion industry socialized consumers to see religion as fashionable and as a beautiful lifestyle accessory—something to be displayed, consumed, and experienced as an expression of personal identity and taste. Religion was something to be embraced and shown off by those who were sophisticated and stylish, and not solely the domain of the politically conservative. Neal ultimately concludes that, through aestheticizing Christianity, the fashion industry has offered Americans a means of blending traditional elements of religion—such as ritual practice, miraculous events, and theological concepts—with modern culture, revealing a new dimension to the personal experience of religion.

Religion in Vogue
S. Neal Lynn
2h04min30
Littérature & Beaux Arts
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166 pages. Temps de lecture estimé 2h04min.
Shows how the fashion industry in the mid- to late twentieth century created a particular way of seeing religion as fashionableFrom cross necklaces to fashion designs inspired by nuns’ habits, how have fashion sources interpreted Christianity? And how, in turn, have these interpretations shaped conceptions of religion in the United States? Religion in Vogue explores the intertwined history of Christianity and the fashion industry. Using a diverse range of fashion sources, including designs, jewelry, articles in fashion magazines, and advertisements, Lynn S. Neal demonstrates how in the second half of the twentieth century the modern fashion industry created an aestheticized Christianity, transforming it into a consumer product. The fashion industry socialized consumers to see religion as fashionable and as a beautiful lifestyle accessory—something to be displayed, consumed, and experienced as an expression of personal identity and taste. Religion was something to be embraced and shown off by those who were sophisticated and stylish, and not solely the domain of the politically conservative. Neal ultimately concludes that, through aestheticizing Christianity, the fashion industry has offered Americans a means of blending traditional elements of religion—such as ritual practice, miraculous events, and theological concepts—with modern culture, revealing a new dimension to the personal experience of religion.

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Affiche du document Archiving an Epidemic — Archiving an Epidemic
Robb Hernandez
2h27min45
Littérature & Beaux Arts
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197 pages. Temps de lecture estimé 2h28min.
Honorable Mention, 2021 Latinx Studies Section Outstanding Book Award, given by the Latin American Studies AssociationWinner, 2020 Latino Book Awards in the LGBTQ+ Themed SectionFinalist, 2019 Lambda Literary Award in LGBTQ StudiesCritically reimagines Chicanx art, unmasking its queer afterlife Emboldened by the boom in art, fashion, music, and retail culture in 1980s Los Angeles, the iconoclasts of queer Aztlán—as Robb Hernández terms the group of artists who emerged from East LA, Orange County, and other parts of Southern California during this period—developed a new vernacular with which to read the city in bloom. Tracing this important but understudied body of work, Archiving an Epidemic catalogs a queer retelling of the Chicana and Chicano art movement, from its origins in the 1960s, to the AIDS crisis and the destruction it wrought in the 1980s, and onto the remnants and legacies of these artists in the current moment. Hernández offers a vocabulary for this multi-modal avant-garde—one that contests the heteromasculinity and ocular surveillance visited upon it by the larger Chicanx community, as well as the formally straight conditions of traditional archive-building, museum institutions, and the art world writ large. With a focus on works by Mundo Meza (1955–85), Teddy Sandoval (1949–1995), and Joey Terrill (1955– ), and with appearances by Laura Aguilar, David Hockney, Robert Mapplethorpe, and even Eddie Murphy, Archiving an Epidemic composes a complex picture of queer Chicanx avant-gardisms. With over sixty images—many of which are published here for the first time—Hernández’s work excavates this archive to question not what Chicanx art is, but what it could have been.

Archiving an Epidemic
Robb Hernandez
2h27min45
Littérature & Beaux Arts
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197 pages. Temps de lecture estimé 2h28min.
Honorable Mention, 2021 Latinx Studies Section Outstanding Book Award, given by the Latin American Studies AssociationWinner, 2020 Latino Book Awards in the LGBTQ+ Themed SectionFinalist, 2019 Lambda Literary Award in LGBTQ StudiesCritically reimagines Chicanx art, unmasking its queer afterlife Emboldened by the boom in art, fashion, music, and retail culture in 1980s Los Angeles, the iconoclasts of queer Aztlán—as Robb Hernández terms the group of artists who emerged from East LA, Orange County, and other parts of Southern California during this period—developed a new vernacular with which to read the city in bloom. Tracing this important but understudied body of work, Archiving an Epidemic catalogs a queer retelling of the Chicana and Chicano art movement, from its origins in the 1960s, to the AIDS crisis and the destruction it wrought in the 1980s, and onto the remnants and legacies of these artists in the current moment. Hernández offers a vocabulary for this multi-modal avant-garde—one that contests the heteromasculinity and ocular surveillance visited upon it by the larger Chicanx community, as well as the formally straight conditions of traditional archive-building, museum institutions, and the art world writ large. With a focus on works by Mundo Meza (1955–85), Teddy Sandoval (1949–1995), and Joey Terrill (1955– ), and with appearances by Laura Aguilar, David Hockney, Robert Mapplethorpe, and even Eddie Murphy, Archiving an Epidemic composes a complex picture of queer Chicanx avant-gardisms. With over sixty images—many of which are published here for the first time—Hernández’s work excavates this archive to question not what Chicanx art is, but what it could have been.

Accès libre

Affiche du document Disability Works — Disability Works
Patrick McKelvey
4h15min45
Littérature & Beaux Arts
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341 pages. Temps de lecture estimé 4h16min.
Finalist, 2025 PROSE Awards: Music and the Performing ArtsA cultural history of disability, performance, and work in the modern United StatesIn 1967, the US government funded the National Theatre of the Deaf, a groundbreaking rehabilitation initiative employing deaf actors. This project aligned with the postwar belief that transforming bodies, minds, aesthetics, and institutions could liberate disabled Americans from economic reliance on the state, and demonstrated the growing optimism that performance could provide job opportunities for people with disabilities.Disability Works offers an original cultural history of disability and performance in modern America, exploring rehabilitation’s competing legacies. The book highlights an unexpected alliance of rehabilitation professionals, deaf teachers, policy makers, disability activists, queer artists, and religious leaders who championed performance’s rehabilitative potential. At the same time, some disabled artists imagined a different political itinerary for theatrical practice. Rather than acquiescing to the terms of productive citizenship, these artists recuperated rehabilitation as a creative resource for imagining and building a world beyond work. Using previously unexplored archives, Disability Works portrays the history of disabled Americans’ performance labor as both a national aspiration and a national problem. The book reveals how disabled artists and activists ingeniously used rehabilitative resources to fuel their performance practices, breaking free from the grasp of rehabilitation and fostering more just institutions.From state-funded “sign-mime” to Black modern dance, community theatre to Stanislavskian actor training, speculative activism to epistolary performance, Disability Works recovers an expansive repertoire of aesthetic and infrastructural investigations into the terms of how disability works in modern American culture.

Disability Works
Patrick McKelvey
4h15min45
Littérature & Beaux Arts
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341 pages. Temps de lecture estimé 4h16min.
Finalist, 2025 PROSE Awards: Music and the Performing ArtsA cultural history of disability, performance, and work in the modern United StatesIn 1967, the US government funded the National Theatre of the Deaf, a groundbreaking rehabilitation initiative employing deaf actors. This project aligned with the postwar belief that transforming bodies, minds, aesthetics, and institutions could liberate disabled Americans from economic reliance on the state, and demonstrated the growing optimism that performance could provide job opportunities for people with disabilities.Disability Works offers an original cultural history of disability and performance in modern America, exploring rehabilitation’s competing legacies. The book highlights an unexpected alliance of rehabilitation professionals, deaf teachers, policy makers, disability activists, queer artists, and religious leaders who championed performance’s rehabilitative potential. At the same time, some disabled artists imagined a different political itinerary for theatrical practice. Rather than acquiescing to the terms of productive citizenship, these artists recuperated rehabilitation as a creative resource for imagining and building a world beyond work. Using previously unexplored archives, Disability Works portrays the history of disabled Americans’ performance labor as both a national aspiration and a national problem. The book reveals how disabled artists and activists ingeniously used rehabilitative resources to fuel their performance practices, breaking free from the grasp of rehabilitation and fostering more just institutions.From state-funded “sign-mime” to Black modern dance, community theatre to Stanislavskian actor training, speculative activism to epistolary performance, Disability Works recovers an expansive repertoire of aesthetic and infrastructural investigations into the terms of how disability works in modern American culture.

Accès libre

Affiche du document Enthusiast — Enthusiast
Cook Miller William
1h31min30
Littérature & Beaux Arts
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122 pages. Temps de lecture estimé 1h31min.
The Enthusiast tells the story of a character type that was developed in early modern Britain to discredit radical prophets during an era that witnessed the dismantling of the Church of England''s traditional means for punishing heresy. As William Cook Miller shows, the caricature of fanaticism here called the Enthusiast began as propaganda against religious dissenters, especially working-class upstarts, but was adopted by a range of writers as a literary vehicle for exploring profound problems of spirit, soul, and body and as a persona for the ironic expression of their own prophetic illuminations. Taking shape through the public and private writings of some of the most insightful authors of seventeenth-century Britain—Henry More, John Locke, the Third Earl of Shaftesbury, Mary Astell, and Jonathan Swift, among others—the Enthusiast appeared in various guises and literary modes. By attending to this literary being and its animators, The Enthusiast establishes the figure of the fanatic as a bridge between the Reformation and the Enlightenment, showing how an incipient secular modernity was informed by not the rejection of religion but the transformation of the prophet into something sparkling, witty, ironic, and new.

Enthusiast
Cook Miller William
1h31min30
Littérature & Beaux Arts
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122 pages. Temps de lecture estimé 1h31min.
The Enthusiast tells the story of a character type that was developed in early modern Britain to discredit radical prophets during an era that witnessed the dismantling of the Church of England''s traditional means for punishing heresy. As William Cook Miller shows, the caricature of fanaticism here called the Enthusiast began as propaganda against religious dissenters, especially working-class upstarts, but was adopted by a range of writers as a literary vehicle for exploring profound problems of spirit, soul, and body and as a persona for the ironic expression of their own prophetic illuminations. Taking shape through the public and private writings of some of the most insightful authors of seventeenth-century Britain—Henry More, John Locke, the Third Earl of Shaftesbury, Mary Astell, and Jonathan Swift, among others—the Enthusiast appeared in various guises and literary modes. By attending to this literary being and its animators, The Enthusiast establishes the figure of the fanatic as a bridge between the Reformation and the Enlightenment, showing how an incipient secular modernity was informed by not the rejection of religion but the transformation of the prophet into something sparkling, witty, ironic, and new.

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Affiche du document Taking the Soviet Union Apart Room by Room — Taking the Soviet Union Apart Room by Room
Kateryna Malaia
1h22min30
Architecture et design
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110 pages. Temps de lecture estimé 1h22min.
Taking the Soviet Union Apart Room by Room investigates what happens to domestic spaces, architecture, and the lives of urbanites during a socioeconomic upheaval. Kateryna Malaia analyzes how Soviet and post-Soviet city dwellers, navigating a crisis of inadequate housing and extreme social disruption between the late 1980s and 2000s, transformed their dwellings as their countries transformed around them. Soviet infrastructure remained but, in their domestic spaces, urbanites transitioned to post-Soviet citizens. The two decades after the collapse of the USSR witnessed a major urban apartment remodeling boom. Malaia shows how, in the context of limited residential mobility, those remodeling and modifying their homes formed new lifestyles defined by increased spatial privacy. Remodeled interiors served as a material expression of a social identity above the poverty line, in place of the outdated Soviet signifiers of well-being. Connecting home improvement, self-reinvention, the end of state socialism, and the lived experience of change, Malaia puts together a comprehensive portrait of the era. Malaia shows both the stubborn continuities and the dramatic changes that accompanied the collapse of the USSR. Making the case for similarities throughout the former Soviet empire, this study is based on interviews and fieldwork done primarily in Kyiv and Lviv, Ukraine. Many of the buildings described are similar to those damaged or destroyed by Russian bombings or artillery fire following the invasion of Ukraine on February 24, 2022. A book about major historic events written through the lens of everyday life, Taking the Soviet Union Apart Room by Room is also about the meaning of home in a dramatically changing world.

Taking the Soviet Union Apart Room by Room
Kateryna Malaia
1h22min30
Architecture et design
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110 pages. Temps de lecture estimé 1h22min.
Taking the Soviet Union Apart Room by Room investigates what happens to domestic spaces, architecture, and the lives of urbanites during a socioeconomic upheaval. Kateryna Malaia analyzes how Soviet and post-Soviet city dwellers, navigating a crisis of inadequate housing and extreme social disruption between the late 1980s and 2000s, transformed their dwellings as their countries transformed around them. Soviet infrastructure remained but, in their domestic spaces, urbanites transitioned to post-Soviet citizens. The two decades after the collapse of the USSR witnessed a major urban apartment remodeling boom. Malaia shows how, in the context of limited residential mobility, those remodeling and modifying their homes formed new lifestyles defined by increased spatial privacy. Remodeled interiors served as a material expression of a social identity above the poverty line, in place of the outdated Soviet signifiers of well-being. Connecting home improvement, self-reinvention, the end of state socialism, and the lived experience of change, Malaia puts together a comprehensive portrait of the era. Malaia shows both the stubborn continuities and the dramatic changes that accompanied the collapse of the USSR. Making the case for similarities throughout the former Soviet empire, this study is based on interviews and fieldwork done primarily in Kyiv and Lviv, Ukraine. Many of the buildings described are similar to those damaged or destroyed by Russian bombings or artillery fire following the invasion of Ukraine on February 24, 2022. A book about major historic events written through the lens of everyday life, Taking the Soviet Union Apart Room by Room is also about the meaning of home in a dramatically changing world.

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Affiche du document Le portrait au naturel — Le portrait au naturel
Jérémy Guillaume
57min00
Photographie
76 pages. Temps de lecture estimé 57min.
VOICI UN GUIDE DÉCOMPLEXANT, ULTRAMOTIVANT ET REMPLI D’ASTUCES POUR PRENDRE CONFIANCE EN SOI ET APPRENDRE À PHOTOGRAPHIER SON MODÈLE TEL QU’IL EST ! Jérémy Guillaume a conçu ce guide pour partager de manière résolument simple et pratique sa vision du portrait et son expérience en séance auprès d’un large public de photographes. Dans cet ouvrage, vous découvrirez qu’opter pour un matériel sophistiqué n’est pas gage de portrait réussi, que savoir décrypter la lumière naturelle et identifier les plans d’éclairage valorisants est bien plus important, que quel que soit le lieu de prise de vue, votre modèle rayonnera à condition que vous sachiez le mettre à l’aise et que vous le soyez vous-même ! Car un portrait est avant tout le fruit de la rencontre et de la connexion entre deux personnes. Chapitre 1 : Les essentiels pour bien démarrerVotre séance idéaleLe matérielLes réglagesLa lumièreLa préparation de la séance Chapitre 2 : La prise de vueDe l’organisation dans la spontanéitéUn regard pour casser les barrièresLa musiqueLes petites attentionsComment avoir des portraits naturels ?Les 4 plans universels pour gérer la lumièreL’heure de la prise de vueLa paroleGuider plus que dirigerLe cadre et la compositionLes posesVoir sa séance comme une sérieUn portrait en moins de 3 minutes Chapitre 3 : Donner un style et une identité à ses imagesLe triPost-traitement Annexe : Un portrait, des portraits…Le portrait corporate pour les petites et grandes entreprisesLe portrait d’enfants

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Affiche du document Enthusiast — Enthusiast
Cook Miller William
3h13min30
Littérature & Beaux Arts
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258 pages. Temps de lecture estimé 3h13min.
The Enthusiast tells the story of a character type that was developed in early modern Britain to discredit radical prophets during an era that witnessed the dismantling of the Church of England''s traditional means for punishing heresy. As William Cook Miller shows, the caricature of fanaticism here called the Enthusiast began as propaganda against religious dissenters, especially working-class upstarts, but was adopted by a range of writers as a literary vehicle for exploring profound problems of spirit, soul, and body and as a persona for the ironic expression of their own prophetic illuminations. Taking shape through the public and private writings of some of the most insightful authors of seventeenth-century Britain—Henry More, John Locke, the Third Earl of Shaftesbury, Mary Astell, and Jonathan Swift, among others—the Enthusiast appeared in various guises and literary modes. By attending to this literary being and its animators, The Enthusiast establishes the figure of the fanatic as a bridge between the Reformation and the Enlightenment, showing how an incipient secular modernity was informed by not the rejection of religion but the transformation of the prophet into something sparkling, witty, ironic, and new.

Enthusiast
Cook Miller William
3h13min30
Littérature & Beaux Arts
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258 pages. Temps de lecture estimé 3h13min.
The Enthusiast tells the story of a character type that was developed in early modern Britain to discredit radical prophets during an era that witnessed the dismantling of the Church of England''s traditional means for punishing heresy. As William Cook Miller shows, the caricature of fanaticism here called the Enthusiast began as propaganda against religious dissenters, especially working-class upstarts, but was adopted by a range of writers as a literary vehicle for exploring profound problems of spirit, soul, and body and as a persona for the ironic expression of their own prophetic illuminations. Taking shape through the public and private writings of some of the most insightful authors of seventeenth-century Britain—Henry More, John Locke, the Third Earl of Shaftesbury, Mary Astell, and Jonathan Swift, among others—the Enthusiast appeared in various guises and literary modes. By attending to this literary being and its animators, The Enthusiast establishes the figure of the fanatic as a bridge between the Reformation and the Enlightenment, showing how an incipient secular modernity was informed by not the rejection of religion but the transformation of the prophet into something sparkling, witty, ironic, and new.

Accès libre

Affiche du document Les démocraties modernes à l'épreuve — Les démocraties modernes à l'épreuve
Claude Offe
4h24min45
Architecture et design
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353 pages. Temps de lecture estimé 4h25min.
Quelles sont les limites du système politique institutionnel dans les sociétés modernes ? Loin de poser la question pour se livrer à une apologie du marché comme mode de régulation global de la société, Claus Offe met en valeur l'importance de l'action collective et de l'éthique de la responsabilité des citoyens « ordinaires » dans les sociétés modernes. Les nouveaux mouvements sociaux en Europe de l'Ouest ont ainsi répondu aux carences de l'État-providence et du système marchand. Dans un contexte différent, cette thématique se retrouve dans l'étude comparative des sociétés en transition d'Europe de l'Est, confrontées au dilemme structurel qu'implique l'introduction simultanée du capitalisme et de la démocratie représentative.

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