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Affiche du document Futurist Files — Futurist Files
Iva Glisic
2h53min15
Littérature & Beaux Arts
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231 pages. Temps de lecture estimé 2h53min.
Futurism was Russia''s first avant-garde movement. Gatecrashing the Russian public sphere in the early twentieth century, the movement called for the destruction of everything old, so that the past could not hinder the creation of a new, modern society. Over the next two decades, the protagonists of Russian Futurism pursued their goal of modernizing human experience through radical art. The success of this mission has long been the subject of scholarly debate. Critics have often characterized Russian Futurism as an expression of utopian daydreaming by young artists who were unrealistic in their visions of Soviet society and naïve in their comprehension of the Bolshevik political agenda. By tracing the political and ideological evolution of Russian Futurism between 1905 and 1930, Iva Glisic challenges this view, demonstrating that Futurism took a calculated and systematic approach to its contemporary socio-political reality. This approach ultimately allowed Russia''s Futurists to devise a unique artistic practice that would later become an integral element of the distinctly Soviet cultural paradigm. Drawing upon a unique combination of archival materials and employing a theoretical framework inspired by the works of philosophers such as Lewis Mumford, Karl Mannheim, Ernst Bloch, Fred Polak, and Slavoj Žižek, The Futurist Files presents Futurists not as blinded idealists, but rather as active and judicious participants in the larger project of building a modern Soviet consciousness. This fascinating study ultimately stands as a reminder that while radical ideas are often dismissed as utopian, and impossible, they did—and can—have a critical role in driving social change. It will be of interest to art historians, cultural historians, and scholars and students of Russian history.

Futurist Files
Iva Glisic
2h53min15
Littérature & Beaux Arts
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231 pages. Temps de lecture estimé 2h53min.
Futurism was Russia''s first avant-garde movement. Gatecrashing the Russian public sphere in the early twentieth century, the movement called for the destruction of everything old, so that the past could not hinder the creation of a new, modern society. Over the next two decades, the protagonists of Russian Futurism pursued their goal of modernizing human experience through radical art. The success of this mission has long been the subject of scholarly debate. Critics have often characterized Russian Futurism as an expression of utopian daydreaming by young artists who were unrealistic in their visions of Soviet society and naïve in their comprehension of the Bolshevik political agenda. By tracing the political and ideological evolution of Russian Futurism between 1905 and 1930, Iva Glisic challenges this view, demonstrating that Futurism took a calculated and systematic approach to its contemporary socio-political reality. This approach ultimately allowed Russia''s Futurists to devise a unique artistic practice that would later become an integral element of the distinctly Soviet cultural paradigm. Drawing upon a unique combination of archival materials and employing a theoretical framework inspired by the works of philosophers such as Lewis Mumford, Karl Mannheim, Ernst Bloch, Fred Polak, and Slavoj Žižek, The Futurist Files presents Futurists not as blinded idealists, but rather as active and judicious participants in the larger project of building a modern Soviet consciousness. This fascinating study ultimately stands as a reminder that while radical ideas are often dismissed as utopian, and impossible, they did—and can—have a critical role in driving social change. It will be of interest to art historians, cultural historians, and scholars and students of Russian history.

Accès libre

Affiche du document Trial of Gustav Graef — Trial of Gustav Graef
Barnet Hartston
3h48min45
Littérature & Beaux Arts
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305 pages. Temps de lecture estimé 3h49min.
Although largely forgotten now, the 1885 trial of German artist Gustav Graef was a seminal event for those who observed it. Graef, a celebrated sixty-four-year-old portraitist, was accused of perjury and sexual impropriety with underage models. On trial alongside him was one of his former models, the twenty-one-year-old Bertha Rother, who quickly became a central figure in the affair. As the case was being heard, images of Rother, including photographic reproductions of Graef''s nude paintings of her, began to flood the art shops and bookstores of Berlin and spread across Europe. Spurred by this trade in images and by sensational coverage in the press, this former prostitute was transformed into an international sex symbol and a target of both public lust and scorn. Passionate discussions of the case echoed in the press for months, and the episode lasted in public memory for far longer. The Graef trial, however, was much more than a salacious story that served as public entertainment. The case inspired fierce political debates long after a verdict was delivered, including disputes about obscenity laws, the moral degeneracy of modern art and artists, the alleged pernicious effects of Jewish influence, legal restrictions on prostitution, the causes of urban criminality, the impact of sensationalized press coverage, and the requirements of bourgeois masculine honor. Above all, the case unleashed withering public criticism of a criminal justice system that many Germans agreed had become entirely dysfunctional. The story of the Graef trial offers a unique perspective on a German Empire that was at the height of its power, yet riven with deep political, social, and cultural divisions. This compelling study will appeal to historians and students of modern German and European history, as well as those interested in obscenity law and class and gender relations in nineteenth-century Europe.

Trial of Gustav Graef
Barnet Hartston
3h48min45
Littérature & Beaux Arts
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305 pages. Temps de lecture estimé 3h49min.
Although largely forgotten now, the 1885 trial of German artist Gustav Graef was a seminal event for those who observed it. Graef, a celebrated sixty-four-year-old portraitist, was accused of perjury and sexual impropriety with underage models. On trial alongside him was one of his former models, the twenty-one-year-old Bertha Rother, who quickly became a central figure in the affair. As the case was being heard, images of Rother, including photographic reproductions of Graef''s nude paintings of her, began to flood the art shops and bookstores of Berlin and spread across Europe. Spurred by this trade in images and by sensational coverage in the press, this former prostitute was transformed into an international sex symbol and a target of both public lust and scorn. Passionate discussions of the case echoed in the press for months, and the episode lasted in public memory for far longer. The Graef trial, however, was much more than a salacious story that served as public entertainment. The case inspired fierce political debates long after a verdict was delivered, including disputes about obscenity laws, the moral degeneracy of modern art and artists, the alleged pernicious effects of Jewish influence, legal restrictions on prostitution, the causes of urban criminality, the impact of sensationalized press coverage, and the requirements of bourgeois masculine honor. Above all, the case unleashed withering public criticism of a criminal justice system that many Germans agreed had become entirely dysfunctional. The story of the Graef trial offers a unique perspective on a German Empire that was at the height of its power, yet riven with deep political, social, and cultural divisions. This compelling study will appeal to historians and students of modern German and European history, as well as those interested in obscenity law and class and gender relations in nineteenth-century Europe.

Accès libre

Affiche du document Developing Mission — Developing Mission
W. Ho Joseph
4h00min45
Littérature & Beaux Arts
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321 pages. Temps de lecture estimé 4h1min.
In Developing Mission, Joseph W. Ho offers a transnational cultural history of US and Chinese communities framed by missionary lenses through time and space—tracing the lives and afterlives of images, cameras, and visual imaginations from before the Second Sino-Japanese War through the first years of the People''s Republic of China. When American Protestant and Catholic missionaries entered interwar China, they did so with cameras in hand. Missions principally aimed at the conversion of souls and the modernization of East Asia, became, by virtue of the still and moving images recorded, quasi-anthropological ventures that shaped popular understandings of and formal foreign policy toward China. Portable photographic technologies changed the very nature of missionary experience, while images that missionaries circulated between China and the United States affected cross-cultural encounters in times of peace and war. Ho illuminates the centrality of visual practices in the American missionary enterprise in modern China, even as intersecting modernities and changing Sino-US relations radically transformed lives behind and in front of those lenses. In doing so, Developing Mission reconstructs the almost-lost histories of transnational image makers, subjects, and viewers across twentieth-century China and the United States.

Developing Mission
W. Ho Joseph
4h00min45
Littérature & Beaux Arts
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321 pages. Temps de lecture estimé 4h1min.
In Developing Mission, Joseph W. Ho offers a transnational cultural history of US and Chinese communities framed by missionary lenses through time and space—tracing the lives and afterlives of images, cameras, and visual imaginations from before the Second Sino-Japanese War through the first years of the People''s Republic of China. When American Protestant and Catholic missionaries entered interwar China, they did so with cameras in hand. Missions principally aimed at the conversion of souls and the modernization of East Asia, became, by virtue of the still and moving images recorded, quasi-anthropological ventures that shaped popular understandings of and formal foreign policy toward China. Portable photographic technologies changed the very nature of missionary experience, while images that missionaries circulated between China and the United States affected cross-cultural encounters in times of peace and war. Ho illuminates the centrality of visual practices in the American missionary enterprise in modern China, even as intersecting modernities and changing Sino-US relations radically transformed lives behind and in front of those lenses. In doing so, Developing Mission reconstructs the almost-lost histories of transnational image makers, subjects, and viewers across twentieth-century China and the United States.

Accès libre

Affiche du document Developing Mission — Developing Mission
W. Ho Joseph
2h27min45
Littérature & Beaux Arts
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197 pages. Temps de lecture estimé 2h28min.
In Developing Mission, Joseph W. Ho offers a transnational cultural history of US and Chinese communities framed by missionary lenses through time and space—tracing the lives and afterlives of images, cameras, and visual imaginations from before the Second Sino-Japanese War through the first years of the People''s Republic of China. When American Protestant and Catholic missionaries entered interwar China, they did so with cameras in hand. Missions principally aimed at the conversion of souls and the modernization of East Asia, became, by virtue of the still and moving images recorded, quasi-anthropological ventures that shaped popular understandings of and formal foreign policy toward China. Portable photographic technologies changed the very nature of missionary experience, while images that missionaries circulated between China and the United States affected cross-cultural encounters in times of peace and war. Ho illuminates the centrality of visual practices in the American missionary enterprise in modern China, even as intersecting modernities and changing Sino-US relations radically transformed lives behind and in front of those lenses. In doing so, Developing Mission reconstructs the almost-lost histories of transnational image makers, subjects, and viewers across twentieth-century China and the United States.

Developing Mission
W. Ho Joseph
2h27min45
Littérature & Beaux Arts
Youscribe plus
197 pages. Temps de lecture estimé 2h28min.
In Developing Mission, Joseph W. Ho offers a transnational cultural history of US and Chinese communities framed by missionary lenses through time and space—tracing the lives and afterlives of images, cameras, and visual imaginations from before the Second Sino-Japanese War through the first years of the People''s Republic of China. When American Protestant and Catholic missionaries entered interwar China, they did so with cameras in hand. Missions principally aimed at the conversion of souls and the modernization of East Asia, became, by virtue of the still and moving images recorded, quasi-anthropological ventures that shaped popular understandings of and formal foreign policy toward China. Portable photographic technologies changed the very nature of missionary experience, while images that missionaries circulated between China and the United States affected cross-cultural encounters in times of peace and war. Ho illuminates the centrality of visual practices in the American missionary enterprise in modern China, even as intersecting modernities and changing Sino-US relations radically transformed lives behind and in front of those lenses. In doing so, Developing Mission reconstructs the almost-lost histories of transnational image makers, subjects, and viewers across twentieth-century China and the United States.

Accès libre

Affiche du document L'inspiration — L'inspiration
Claire Kappler
5h48min45
Littérature & Beaux Arts
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465 pages. Temps de lecture estimé 5h49min.
L'inspiration est une expérience très répandue, elle concerne tout le monde, mais elle est exceptionnelle et puissante. Depuis l'Invisible, jaillissent une voix, une vision, une idée fulgurante... d'où vont naître une oeuvre, une forme, une parole inspirées. Quelles visions du monde et de la personne se dégagent de ce rapport entre inspiration et création ? Quels sont les rapports entre inspiration et travail ? Ce livre explore cette expérience singulière dans les grandes traditions et cultures du Moyen Age latin, byzantin, musulman.

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Affiche du document Didactique de l'éducation musicale — Didactique de l'éducation musicale
Kouakou Kanga
1h11min15
Musique
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95 pages. Temps de lecture estimé 1h11min.
Conçu pour tous les niveaux d'enseignement de l'Education musicale, ce manuel est élaboré sur une méthodologie éprouvée de pratique d'enseignement, d'encadrement et nourri de notions théoriques fondamentales. Il est destiné aux enseignants et aux professeurs stagiaires des différents ordres d'enseignement: périscolaire, primaire, secondaire et supérieur. Ce manuel est également un guide qui vient combler un vide documentaire relatif à l'enseignement de l'Education musicale tant en Côté d'Ivoire que dans la sous-région ouest-africaine.

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Affiche du document Didactique de l'éducation musicale — Didactique de l'éducation musicale
Kouakou Kanga
36min00
Musique
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48 pages. Temps de lecture estimé 36min.
L'enseignement de l'Education musicale repose sur trois rubriques: le chant, le solfège et l'audition d'oeuvres. Chacune de ces rubriques requiert une pratique didactique particulière qui constitue l'objet de ce tome 2. Le contenu de celui-ci présente des outils pédagogiques indispensables à l'enseignement-apprentissage de l'Education musicale.

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Affiche du document History of Plague in Java, 1911-1942 — History of Plague in Java, 1911-1942
Bastiaan Meerwijk Maurits
1h28min30
Architecture et design
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118 pages. Temps de lecture estimé 1h28min.
In A History of Plague in Java, 1911–1942, Maurits Bastiaan Meerwijk demonstrates how the official response to the 1911 outbreak of plague in Malang led to one of the most invasive health interventions in Dutch colonial Indonesia. Eager to combat disease, Dutch physicians and officials integrated the traditional Javanese house into the "rat-flea-man" theory of transmission. Hollow bamboo frames and thatched roofs offered hiding spaces for rats, suggesting a material link between rat plague and human plague. Over the next thirty years, 1.6 million houses were renovated or rebuilt, millions more were subjected to periodic inspection, and countless Javanese were exposed to health messaging seeking to "rat-proof" their beliefs along with their houses.The transformation of houses, villages, and people was documented in hundreds of photographs and broadcast to overseas audiences as evidence of the "ethical" nature of colonial rule, proving so effective as propaganda that the rebuilding continued even as better alternatives, such as inoculation, became available. By systematically reshaping the built environment, the Dutch plague response dramatically expanded colonial oversight and influence in rural Java.

History of Plague in Java, 1911-1942
Bastiaan Meerwijk Maurits
1h28min30
Architecture et design
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118 pages. Temps de lecture estimé 1h28min.
In A History of Plague in Java, 1911–1942, Maurits Bastiaan Meerwijk demonstrates how the official response to the 1911 outbreak of plague in Malang led to one of the most invasive health interventions in Dutch colonial Indonesia. Eager to combat disease, Dutch physicians and officials integrated the traditional Javanese house into the "rat-flea-man" theory of transmission. Hollow bamboo frames and thatched roofs offered hiding spaces for rats, suggesting a material link between rat plague and human plague. Over the next thirty years, 1.6 million houses were renovated or rebuilt, millions more were subjected to periodic inspection, and countless Javanese were exposed to health messaging seeking to "rat-proof" their beliefs along with their houses.The transformation of houses, villages, and people was documented in hundreds of photographs and broadcast to overseas audiences as evidence of the "ethical" nature of colonial rule, proving so effective as propaganda that the rebuilding continued even as better alternatives, such as inoculation, became available. By systematically reshaping the built environment, the Dutch plague response dramatically expanded colonial oversight and influence in rural Java.

Accès libre

Affiche du document History of Plague in Java, 1911-1942 — History of Plague in Java, 1911-1942
Bastiaan Meerwijk Maurits
3h13min30
Architecture et design
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258 pages. Temps de lecture estimé 3h13min.
In A History of Plague in Java, 1911–1942, Maurits Bastiaan Meerwijk demonstrates how the official response to the 1911 outbreak of plague in Malang led to one of the most invasive health interventions in Dutch colonial Indonesia. Eager to combat disease, Dutch physicians and officials integrated the traditional Javanese house into the "rat-flea-man" theory of transmission. Hollow bamboo frames and thatched roofs offered hiding spaces for rats, suggesting a material link between rat plague and human plague. Over the next thirty years, 1.6 million houses were renovated or rebuilt, millions more were subjected to periodic inspection, and countless Javanese were exposed to health messaging seeking to "rat-proof" their beliefs along with their houses.The transformation of houses, villages, and people was documented in hundreds of photographs and broadcast to overseas audiences as evidence of the "ethical" nature of colonial rule, proving so effective as propaganda that the rebuilding continued even as better alternatives, such as inoculation, became available. By systematically reshaping the built environment, the Dutch plague response dramatically expanded colonial oversight and influence in rural Java.

History of Plague in Java, 1911-1942
Bastiaan Meerwijk Maurits
3h13min30
Architecture et design
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258 pages. Temps de lecture estimé 3h13min.
In A History of Plague in Java, 1911–1942, Maurits Bastiaan Meerwijk demonstrates how the official response to the 1911 outbreak of plague in Malang led to one of the most invasive health interventions in Dutch colonial Indonesia. Eager to combat disease, Dutch physicians and officials integrated the traditional Javanese house into the "rat-flea-man" theory of transmission. Hollow bamboo frames and thatched roofs offered hiding spaces for rats, suggesting a material link between rat plague and human plague. Over the next thirty years, 1.6 million houses were renovated or rebuilt, millions more were subjected to periodic inspection, and countless Javanese were exposed to health messaging seeking to "rat-proof" their beliefs along with their houses.The transformation of houses, villages, and people was documented in hundreds of photographs and broadcast to overseas audiences as evidence of the "ethical" nature of colonial rule, proving so effective as propaganda that the rebuilding continued even as better alternatives, such as inoculation, became available. By systematically reshaping the built environment, the Dutch plague response dramatically expanded colonial oversight and influence in rural Java.

Accès libre

Affiche du document Our Lady of the World's Fair — Our Lady of the World's Fair
D. Nelson Ruth
3h18min00
Littérature & Beaux Arts
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264 pages. Temps de lecture estimé 3h18min.
Our Lady of the World''s Fair reveals the remarkable story of how two of New York''s most influential leaders persuaded the Vatican to allow one of the world''s greatest works of art to leave Europe for the first and only time. Driven by different motives, Robert Moses and Francis Cardinal Spellman had the same vision: to display Michelangelo''s masterpiece, the Pietà, in the Vatican''s pavilion at the 1964 World''s Fair in New York City.As Ruth D. Nelson gracefully showcases, Moses believed this blockbuster would guarantee the fair''s financial success. At the same time, Spellman, Cardinal of New York and the spiritual leader of Cold War America''s Catholic community, hoped that at a time of domestic strife and global conflict, the Pietà''s presence would have a positive spiritual impact on the nation. Although the fair did not turn out to be the financial bonanza that Moses expected, the Pietà drew record crowds of the faithful, art lovers, and the curious.Nelson''s fascinating uncovering of the intensive planning that went into designing the pavilion, transporting the art piece across the Atlantic, and coordinating Pope Paul VI''s visit to New York in 1965—the first papal visit to the Western Hemisphere—demonstrates the sheer scale and opportunity of the two men''s endeavors. Our Lady of the World''s Fair depicts the skepticism and fierce criticism that faced the two New York power brokers. Rather than letting the negative weigh them down, they united and called on every resource at their disposal to make this unlikely cultural coup possible.

Our Lady of the World's Fair
D. Nelson Ruth
3h18min00
Littérature & Beaux Arts
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264 pages. Temps de lecture estimé 3h18min.
Our Lady of the World''s Fair reveals the remarkable story of how two of New York''s most influential leaders persuaded the Vatican to allow one of the world''s greatest works of art to leave Europe for the first and only time. Driven by different motives, Robert Moses and Francis Cardinal Spellman had the same vision: to display Michelangelo''s masterpiece, the Pietà, in the Vatican''s pavilion at the 1964 World''s Fair in New York City.As Ruth D. Nelson gracefully showcases, Moses believed this blockbuster would guarantee the fair''s financial success. At the same time, Spellman, Cardinal of New York and the spiritual leader of Cold War America''s Catholic community, hoped that at a time of domestic strife and global conflict, the Pietà''s presence would have a positive spiritual impact on the nation. Although the fair did not turn out to be the financial bonanza that Moses expected, the Pietà drew record crowds of the faithful, art lovers, and the curious.Nelson''s fascinating uncovering of the intensive planning that went into designing the pavilion, transporting the art piece across the Atlantic, and coordinating Pope Paul VI''s visit to New York in 1965—the first papal visit to the Western Hemisphere—demonstrates the sheer scale and opportunity of the two men''s endeavors. Our Lady of the World''s Fair depicts the skepticism and fierce criticism that faced the two New York power brokers. Rather than letting the negative weigh them down, they united and called on every resource at their disposal to make this unlikely cultural coup possible.

Accès libre

Affiche du document Méthodes et techniques de planification urbaine par approche croissance verte au Sénégal — Méthodes et techniques de planification urbaine par approche croissance verte au Sénégal
Amadou Sadio Dia
2h21min00
Architecture et design
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188 pages. Temps de lecture estimé 2h21min.
Cet ouvrage propose un cadre conceptuel et opérationnel pour la mise en place de projets urbains dans le contexte du développement territorial au Sénégal. Il établit un équilibre entre réflexion théorique, inspirée par les recherches universitaires, et les pratiques concrètes sur le terrain des paysages urbains. Le concept clé développé est celui de la « ville secondaire verte », qui sert d’interface entre urbanisme et développement territorial. Cette notion permet de concilier les enjeux du développement urbain et l’aménagement des territoires, tout en intégrant les espaces ruraux et urbains à l’échelle régionale, en lien avec l’Afrique de l’Ouest.L’ouvrage propose des méthodes et techniques de planification urbaine fondées sur une approche de « croissance verte », qui inclut des aspects de programmation, gestion foncière, construction et équipement d’infrastructures.

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Affiche du document Monuments for Posterity — Monuments for Posterity
Antony Kalashnikov
1h21min00
Architecture et design
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108 pages. Temps de lecture estimé 1h21min.
Monuments for Posterity challenges the common assumption that Stalinist monuments were constructed with an immediate, propagandistic function, arguing instead that they were designed to memorialize the present for an imagined posterity. In this respect, even while pursuing its monument-building program with a singular ruthlessness and on an unprecedented scale, the Stalinist regime was broadly in step with transnational monument-building trends of the era and their undergirding cultural dynamics. By integrating approaches from cultural history, art criticism, and memory studies, along with previously unexplored archival material, Antony Kalashnikov examines the origin and implementation of the Stalinist monument-building program from the perspective of its goal to "immortalize the memory" of the era. He analyzes how this objective affected the design and composition of Stalinist monuments, what cultural factors prompted the sudden and powerful yearning to be remembered, and most importantly, what the culture of self-commemoration revealed about changing outlooks on the future—both in the Soviet Union and beyond its borders. Monuments for Posterity shifts the perspective from monuments'' political-ideological content to the desire to be remembered and prompts a much-needed reconsideration of the supposed uniqueness of both Stalinist aesthetics and the temporal culture that they expressed. Many Stalinist monuments still stand prominently in postsocialist cityscapes and remain the subject of continual heated political controversy. Kalashnikov makes manifest monuments'' intentional attempts to seduce us—the "posterity" for whom they were built.

Monuments for Posterity
Antony Kalashnikov
1h21min00
Architecture et design
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108 pages. Temps de lecture estimé 1h21min.
Monuments for Posterity challenges the common assumption that Stalinist monuments were constructed with an immediate, propagandistic function, arguing instead that they were designed to memorialize the present for an imagined posterity. In this respect, even while pursuing its monument-building program with a singular ruthlessness and on an unprecedented scale, the Stalinist regime was broadly in step with transnational monument-building trends of the era and their undergirding cultural dynamics. By integrating approaches from cultural history, art criticism, and memory studies, along with previously unexplored archival material, Antony Kalashnikov examines the origin and implementation of the Stalinist monument-building program from the perspective of its goal to "immortalize the memory" of the era. He analyzes how this objective affected the design and composition of Stalinist monuments, what cultural factors prompted the sudden and powerful yearning to be remembered, and most importantly, what the culture of self-commemoration revealed about changing outlooks on the future—both in the Soviet Union and beyond its borders. Monuments for Posterity shifts the perspective from monuments'' political-ideological content to the desire to be remembered and prompts a much-needed reconsideration of the supposed uniqueness of both Stalinist aesthetics and the temporal culture that they expressed. Many Stalinist monuments still stand prominently in postsocialist cityscapes and remain the subject of continual heated political controversy. Kalashnikov makes manifest monuments'' intentional attempts to seduce us—the "posterity" for whom they were built.

Accès libre

Affiche du document Futurist Files — Futurist Files
Iva Glisic
1h47min15
Littérature & Beaux Arts
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143 pages. Temps de lecture estimé 1h47min.
Futurism was Russia''s first avant-garde movement. Gatecrashing the Russian public sphere in the early twentieth century, the movement called for the destruction of everything old, so that the past could not hinder the creation of a new, modern society. Over the next two decades, the protagonists of Russian Futurism pursued their goal of modernizing human experience through radical art. The success of this mission has long been the subject of scholarly debate. Critics have often characterized Russian Futurism as an expression of utopian daydreaming by young artists who were unrealistic in their visions of Soviet society and naïve in their comprehension of the Bolshevik political agenda. By tracing the political and ideological evolution of Russian Futurism between 1905 and 1930, Iva Glisic challenges this view, demonstrating that Futurism took a calculated and systematic approach to its contemporary socio-political reality. This approach ultimately allowed Russia''s Futurists to devise a unique artistic practice that would later become an integral element of the distinctly Soviet cultural paradigm. Drawing upon a unique combination of archival materials and employing a theoretical framework inspired by the works of philosophers such as Lewis Mumford, Karl Mannheim, Ernst Bloch, Fred Polak, and Slavoj Žižek, The Futurist Files presents Futurists not as blinded idealists, but rather as active and judicious participants in the larger project of building a modern Soviet consciousness. This fascinating study ultimately stands as a reminder that while radical ideas are often dismissed as utopian, and impossible, they did—and can—have a critical role in driving social change. It will be of interest to art historians, cultural historians, and scholars and students of Russian history.

Futurist Files
Iva Glisic
1h47min15
Littérature & Beaux Arts
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143 pages. Temps de lecture estimé 1h47min.
Futurism was Russia''s first avant-garde movement. Gatecrashing the Russian public sphere in the early twentieth century, the movement called for the destruction of everything old, so that the past could not hinder the creation of a new, modern society. Over the next two decades, the protagonists of Russian Futurism pursued their goal of modernizing human experience through radical art. The success of this mission has long been the subject of scholarly debate. Critics have often characterized Russian Futurism as an expression of utopian daydreaming by young artists who were unrealistic in their visions of Soviet society and naïve in their comprehension of the Bolshevik political agenda. By tracing the political and ideological evolution of Russian Futurism between 1905 and 1930, Iva Glisic challenges this view, demonstrating that Futurism took a calculated and systematic approach to its contemporary socio-political reality. This approach ultimately allowed Russia''s Futurists to devise a unique artistic practice that would later become an integral element of the distinctly Soviet cultural paradigm. Drawing upon a unique combination of archival materials and employing a theoretical framework inspired by the works of philosophers such as Lewis Mumford, Karl Mannheim, Ernst Bloch, Fred Polak, and Slavoj Žižek, The Futurist Files presents Futurists not as blinded idealists, but rather as active and judicious participants in the larger project of building a modern Soviet consciousness. This fascinating study ultimately stands as a reminder that while radical ideas are often dismissed as utopian, and impossible, they did—and can—have a critical role in driving social change. It will be of interest to art historians, cultural historians, and scholars and students of Russian history.

Accès libre

Affiche du document La Ville aux fromagers — La Ville aux fromagers
Souleymane Diallo
1h05min15
Architecture et design
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87 pages. Temps de lecture estimé 1h05min.
Dans une approche métaphorique, l’auteur revient sur trente ans d’histoire politique contemporaine de Dagana (1994-2024). Il y présente les dynamiques politiques, les changements sociaux et économiques, les acteurs, leurs implications, leurs stratégies, leurs génies, mais aussi leurs tares qui tous font l’histoire contemporaine de la ville de Dagana.Ce livre a la particularité de montrer la vision politique de son auteur, ses envies, ses projets, sa compréhension des enjeux et des solutions qu’il envisage pour contribuer au développement de sa localité. Le parcours académique et professionnel de son auteur lui confère toute la légitimité pour ouvrir des perspectives.

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Affiche du document I Try Not to Think of Afghanistan — I Try Not to Think of Afghanistan
Anna Reich
1h48min45
Photographie
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145 pages. Temps de lecture estimé 1h49min.
I Try Not to Think of Afghanistan includes photographs and commentaries from Lithuanian veterans of the Soviet War in Afghanistan (1979–89), addressing the lasting realities of war and its effects on those conscripted to fight. Unflinching first-person accounts give details of training, combat, and the often difficult return to society for military conscripts within the Soviet system. Anna Reich gives insight into the experiences of not only the Lithuanian veterans from the Soviet War in Afghanistan but also veterans from all countries who face similar struggles and challenges.For three months, Reich interacted with twenty-two veterans in their homes and meeting halls and throughout their daily routines to produce portraits that provide intimate and unvarnished portrayals of their lives and the lasting effects of forced military service in the Soviet army. Often ostracized socially because of their involvement with the Soviet army, the veterans frequently feel invisible: there are no social programs to assist them in their attempts to address post-traumatic stress disorder and assimilate into society, their cause is largely unknown, and the government responsible for their conscriptions no longer exists.I Try Not to Think of Afghanistan is the culmination of eight years of investigation into the psychological toll of war and trauma. In providing a rarely seen perspective of life after combat, the book intersects with contemporary discourse, specifically the way the US experience in Afghanistan closely mirrors that of the Soviets and the Russian Federation''s forced conscription of young men to fight in Ukraine.

I Try Not to Think of Afghanistan
Anna Reich
1h48min45
Photographie
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145 pages. Temps de lecture estimé 1h49min.
I Try Not to Think of Afghanistan includes photographs and commentaries from Lithuanian veterans of the Soviet War in Afghanistan (1979–89), addressing the lasting realities of war and its effects on those conscripted to fight. Unflinching first-person accounts give details of training, combat, and the often difficult return to society for military conscripts within the Soviet system. Anna Reich gives insight into the experiences of not only the Lithuanian veterans from the Soviet War in Afghanistan but also veterans from all countries who face similar struggles and challenges.For three months, Reich interacted with twenty-two veterans in their homes and meeting halls and throughout their daily routines to produce portraits that provide intimate and unvarnished portrayals of their lives and the lasting effects of forced military service in the Soviet army. Often ostracized socially because of their involvement with the Soviet army, the veterans frequently feel invisible: there are no social programs to assist them in their attempts to address post-traumatic stress disorder and assimilate into society, their cause is largely unknown, and the government responsible for their conscriptions no longer exists.I Try Not to Think of Afghanistan is the culmination of eight years of investigation into the psychological toll of war and trauma. In providing a rarely seen perspective of life after combat, the book intersects with contemporary discourse, specifically the way the US experience in Afghanistan closely mirrors that of the Soviets and the Russian Federation''s forced conscription of young men to fight in Ukraine.

Accès libre

Affiche du document Italian Forgers — Italian Forgers
Carol Helstosky
3h14min15
Littérature & Beaux Arts
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259 pages. Temps de lecture estimé 3h14min.
Italian Forgers takes an unorthodox approach to the fascinating topic of art forgery, focusing not on art forgery per se, but on the major forgery scandals that shifted the Italian art market in response to constant, and often intense, demand for Italian objects. By focusing on power dynamics that both precipitated forgery scandals and forged Italian cultural identities, this book connects the debates and discussions about three well-known Italian forgers—Giovanni Bastianini, Icilio Joni, and Alceo Dossena—to anchor and investigate the mechanics of the Italian art market from unification through the fascist era.Carol Helstosky examines foreign accounts of transactions and Italian writings about the art market. The actions and words of Italian dealers illustrate how the Italian art and antiquities market was an undeniably modern industry, on par with tourism in terms of its contribution to the Italian economy and to understandings of Italian identity. These accounts also reveal how dealers, artists, go-betweens, guides, and restorers worked to not only meet the intense demand for Italian products but also to develop highly sophisticated business practices to maintain financial stability and respond to shifts in demand consciously (but not always conscientiously).Italian Forgers weaves a compelling narrative about the history of Italian identity, forgery, and the value of the past. As a result, Helstosky brings historical perspective to the study of art forgery and art fraud. She reveals how historical circumstances and structural imbalances of cultural power shaped the market for art and antiquities and amplified incidents of art deception and forgery scandals.

Italian Forgers
Carol Helstosky
3h14min15
Littérature & Beaux Arts
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259 pages. Temps de lecture estimé 3h14min.
Italian Forgers takes an unorthodox approach to the fascinating topic of art forgery, focusing not on art forgery per se, but on the major forgery scandals that shifted the Italian art market in response to constant, and often intense, demand for Italian objects. By focusing on power dynamics that both precipitated forgery scandals and forged Italian cultural identities, this book connects the debates and discussions about three well-known Italian forgers—Giovanni Bastianini, Icilio Joni, and Alceo Dossena—to anchor and investigate the mechanics of the Italian art market from unification through the fascist era.Carol Helstosky examines foreign accounts of transactions and Italian writings about the art market. The actions and words of Italian dealers illustrate how the Italian art and antiquities market was an undeniably modern industry, on par with tourism in terms of its contribution to the Italian economy and to understandings of Italian identity. These accounts also reveal how dealers, artists, go-betweens, guides, and restorers worked to not only meet the intense demand for Italian products but also to develop highly sophisticated business practices to maintain financial stability and respond to shifts in demand consciously (but not always conscientiously).Italian Forgers weaves a compelling narrative about the history of Italian identity, forgery, and the value of the past. As a result, Helstosky brings historical perspective to the study of art forgery and art fraud. She reveals how historical circumstances and structural imbalances of cultural power shaped the market for art and antiquities and amplified incidents of art deception and forgery scandals.

Accès libre

Affiche du document Milwaukee in Stone and Clay — Milwaukee in Stone and Clay
Raymond Wiggers
2h00min00
Architecture et design
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160 pages. Temps de lecture estimé 2h00min.
Milwaukee in Stone and Clay follows directly in the footsteps of Raymond Wiggers''s previous award-winning book, Chicago in Stone and Clay. It offers a wide-ranging look at the fascinating geology found in the building materials of Milwaukee County''s architectural landmarks. And it reveals the intriguing and often surprising links between science, art, and engineering. Laid out in two main sections, the book first introduces the reader to the fundamentals of Milwaukee''s geology and its amazing prehuman history, then provides a site-by-site tour guide. Written in an engaging, informal style, this work presents the first in-depth exploration of the interplay among the region''s most architecturally significant sites, the materials they''re made of, and the sediments and bedrock they''re anchored in. Raymond Wiggers crafted Milwaukee in Stone and Clay as an informative and exciting overview of this city. His two decades of experience leading architectural-geology tours have demonstrated the popularity of this approach and the subject matter.

Milwaukee in Stone and Clay
Raymond Wiggers
2h00min00
Architecture et design
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160 pages. Temps de lecture estimé 2h00min.
Milwaukee in Stone and Clay follows directly in the footsteps of Raymond Wiggers''s previous award-winning book, Chicago in Stone and Clay. It offers a wide-ranging look at the fascinating geology found in the building materials of Milwaukee County''s architectural landmarks. And it reveals the intriguing and often surprising links between science, art, and engineering. Laid out in two main sections, the book first introduces the reader to the fundamentals of Milwaukee''s geology and its amazing prehuman history, then provides a site-by-site tour guide. Written in an engaging, informal style, this work presents the first in-depth exploration of the interplay among the region''s most architecturally significant sites, the materials they''re made of, and the sediments and bedrock they''re anchored in. Raymond Wiggers crafted Milwaukee in Stone and Clay as an informative and exciting overview of this city. His two decades of experience leading architectural-geology tours have demonstrated the popularity of this approach and the subject matter.

Accès libre

Affiche du document Milwaukee in Stone and Clay — Milwaukee in Stone and Clay
Raymond Wiggers
3h27min45
Architecture et design
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277 pages. Temps de lecture estimé 3h28min.
Milwaukee in Stone and Clay follows directly in the footsteps of Raymond Wiggers''s previous award-winning book, Chicago in Stone and Clay. It offers a wide-ranging look at the fascinating geology found in the building materials of Milwaukee County''s architectural landmarks. And it reveals the intriguing and often surprising links between science, art, and engineering. Laid out in two main sections, the book first introduces the reader to the fundamentals of Milwaukee''s geology and its amazing prehuman history, then provides a site-by-site tour guide. Written in an engaging, informal style, this work presents the first in-depth exploration of the interplay among the region''s most architecturally significant sites, the materials they''re made of, and the sediments and bedrock they''re anchored in. Raymond Wiggers crafted Milwaukee in Stone and Clay as an informative and exciting overview of this city. His two decades of experience leading architectural-geology tours have demonstrated the popularity of this approach and the subject matter.

Milwaukee in Stone and Clay
Raymond Wiggers
3h27min45
Architecture et design
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277 pages. Temps de lecture estimé 3h28min.
Milwaukee in Stone and Clay follows directly in the footsteps of Raymond Wiggers''s previous award-winning book, Chicago in Stone and Clay. It offers a wide-ranging look at the fascinating geology found in the building materials of Milwaukee County''s architectural landmarks. And it reveals the intriguing and often surprising links between science, art, and engineering. Laid out in two main sections, the book first introduces the reader to the fundamentals of Milwaukee''s geology and its amazing prehuman history, then provides a site-by-site tour guide. Written in an engaging, informal style, this work presents the first in-depth exploration of the interplay among the region''s most architecturally significant sites, the materials they''re made of, and the sediments and bedrock they''re anchored in. Raymond Wiggers crafted Milwaukee in Stone and Clay as an informative and exciting overview of this city. His two decades of experience leading architectural-geology tours have demonstrated the popularity of this approach and the subject matter.

Accès libre

Affiche du document Byzantine Media Subjects — Byzantine Media Subjects
A. Peers Glenn
2h54min45
Littérature & Beaux Arts
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233 pages. Temps de lecture estimé 2h55min.
Byzantine Media Subjects invites readers into a world replete with images—icons, frescoes, and mosaics filling places of worship, politics, and community. Glenn Peers asks readers to think themselves into a world where representation reigned and humans followed, and indeed were formed. Interrogating the fundamental role of representation in the making of the Byzantine human, Peers argues that Byzantine culture was (already) posthuman. The Byzantine experience reveals the extent to which media like icons, manuscripts, music, animals, and mirrors fundamentally determine humans. In the Byzantine world, representation as such was deeply persuasive, even coercive; it had the power to affect human relationships, produce conflict, and form self-perception. Media studies has made its subject the modern world, but this book argues for media having made historical subjects. Here, it is shown that media long ago also made Byzantine humans, defining them, molding them, mediating their relationship to time, to nature, to God, and to themselves.

Byzantine Media Subjects
A. Peers Glenn
2h54min45
Littérature & Beaux Arts
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233 pages. Temps de lecture estimé 2h55min.
Byzantine Media Subjects invites readers into a world replete with images—icons, frescoes, and mosaics filling places of worship, politics, and community. Glenn Peers asks readers to think themselves into a world where representation reigned and humans followed, and indeed were formed. Interrogating the fundamental role of representation in the making of the Byzantine human, Peers argues that Byzantine culture was (already) posthuman. The Byzantine experience reveals the extent to which media like icons, manuscripts, music, animals, and mirrors fundamentally determine humans. In the Byzantine world, representation as such was deeply persuasive, even coercive; it had the power to affect human relationships, produce conflict, and form self-perception. Media studies has made its subject the modern world, but this book argues for media having made historical subjects. Here, it is shown that media long ago also made Byzantine humans, defining them, molding them, mediating their relationship to time, to nature, to God, and to themselves.

Accès libre

Affiche du document Hip Hop Heresies — Hip Hop Heresies
Paradigm Smalls Shante
2h42min45
Musique
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217 pages. Temps de lecture estimé 2h43min.
Winner of the 2022-2023 New York City Book Awards!SPECIAL MENTION, 2023 IASPM Book Prize, given by the International Association for the Study of Popular MusicSHORTLISTED, 2023 Ralph J. Gleason Book Award, given by the Rock N Roll Hall of Fame/Clive Davis InstituteUnearths the queer aesthetic origins of NYC hip hopHip Hop Heresies centers New York City as a space where vibrant queer, Black, and hip hop worlds collide and bond in dance clubs, schools, roller rinks, basketball courts, subways, and movie houses. Using this cultural nexus as the stage, Shanté Paradigm Smalls attends to the ways that hip hop cultural production in New York City from the 1970s through the early twenty-first century produced film, visual art, and music that offer queer articulations of race, gender, and sexuality.To illustrate New York City as a place of experimental aesthetic collaboration, Smalls brings four cultural moments to the forefront: the life and work of the gay Chinese American visual and graffiti artist Martin Wong, who brokered the relationship between New York City graffiti artists and gallery and museum spaces; the Brooklyn-based rapper-singer-writer-producer Jean Grae, one of the most prolific and underrated emcees of the last two decades; the iconic 1980s film The Last Dragon, which exemplifies the experimental and queer Black masculinity possible in early formal hip hop culture; and finally queer- and trans-identified hip hop artists and groups like BQE, Deepdickollective, and Hanifah Walidah, and the documentary Pick Up the Mic.Hip Hop Heresies transforms the landscape of hip hop scholarship, Black studies, and queer studies by bringing together these fields through the hermeneutic of aesthetics. Providing a guidepost for future scholarship on queer, trans, and feminist hip hop studies, Hip Hop Heresies takes seriously the work that New York City hip hop cultural production has done and will do, and advocates a form of hip hop that eschews authenticity in favor of performativity, bricolage, and pastiche.

Hip Hop Heresies
Paradigm Smalls Shante
2h42min45
Musique
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217 pages. Temps de lecture estimé 2h43min.
Winner of the 2022-2023 New York City Book Awards!SPECIAL MENTION, 2023 IASPM Book Prize, given by the International Association for the Study of Popular MusicSHORTLISTED, 2023 Ralph J. Gleason Book Award, given by the Rock N Roll Hall of Fame/Clive Davis InstituteUnearths the queer aesthetic origins of NYC hip hopHip Hop Heresies centers New York City as a space where vibrant queer, Black, and hip hop worlds collide and bond in dance clubs, schools, roller rinks, basketball courts, subways, and movie houses. Using this cultural nexus as the stage, Shanté Paradigm Smalls attends to the ways that hip hop cultural production in New York City from the 1970s through the early twenty-first century produced film, visual art, and music that offer queer articulations of race, gender, and sexuality.To illustrate New York City as a place of experimental aesthetic collaboration, Smalls brings four cultural moments to the forefront: the life and work of the gay Chinese American visual and graffiti artist Martin Wong, who brokered the relationship between New York City graffiti artists and gallery and museum spaces; the Brooklyn-based rapper-singer-writer-producer Jean Grae, one of the most prolific and underrated emcees of the last two decades; the iconic 1980s film The Last Dragon, which exemplifies the experimental and queer Black masculinity possible in early formal hip hop culture; and finally queer- and trans-identified hip hop artists and groups like BQE, Deepdickollective, and Hanifah Walidah, and the documentary Pick Up the Mic.Hip Hop Heresies transforms the landscape of hip hop scholarship, Black studies, and queer studies by bringing together these fields through the hermeneutic of aesthetics. Providing a guidepost for future scholarship on queer, trans, and feminist hip hop studies, Hip Hop Heresies takes seriously the work that New York City hip hop cultural production has done and will do, and advocates a form of hip hop that eschews authenticity in favor of performativity, bricolage, and pastiche.

Accès libre

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