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Affiche du document Traces in the Way — Traces in the Way
J. Pinnington Noel
3h36min00
Littérature & Beaux Arts
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288 pages. Temps de lecture estimé 3h36min.
Traces in the Way is simultaneously a critical interpretation of the writings of noh playwright and thinker Komparu Zenchiku (1407–1470); a refutation of received views of Japanese traditional arts (michi); and an analysis of medieval Japanese uses of texts. The disciplinary approach is broadly that of cultural studies, combining close reading, social contextualization, and drawing on multiple fields. The study is organized through the five elements that Konishi Jin''ichi''s identified as essential to michi: specialization, transmission, conformity, universality and authority. Each of these is examined critically and revised, providing a basis from which Zenchiku''s works can be elucidated. This new approach makes it possible to solve much that in conventional studies has remained puzzling about Zenchiku''s works including the principles behind the works of classification, the purposes that resulted in the rokurin ichiro works, and the ideology present in the fragmentary work: Meishukushu. It becomes clear that Zenchiku, far from being a docile recipient of his teacher Zeami''s legacy, combined Zeami''s texts with those of other michi to radically reposition his own practice in the cultural fields of his day. Zenchiku drew on a range of legitimating styles to fashion a new rationale for performance, one adequate to changing patronage requirements, and appropriate to the circumstances of his troupe. In this position-taking, Zenchiku was strikingly successful, as is witnessed by the survival of the Komparu line through the chaotic century after his death. With this book we come to know a good deal about sarugaku''s transmission in the fifteenth century; enough to remedy a facile idealization of Japanese michi.

Traces in the Way
J. Pinnington Noel
3h36min00
Littérature & Beaux Arts
Youscribe plus
288 pages. Temps de lecture estimé 3h36min.
Traces in the Way is simultaneously a critical interpretation of the writings of noh playwright and thinker Komparu Zenchiku (1407–1470); a refutation of received views of Japanese traditional arts (michi); and an analysis of medieval Japanese uses of texts. The disciplinary approach is broadly that of cultural studies, combining close reading, social contextualization, and drawing on multiple fields. The study is organized through the five elements that Konishi Jin''ichi''s identified as essential to michi: specialization, transmission, conformity, universality and authority. Each of these is examined critically and revised, providing a basis from which Zenchiku''s works can be elucidated. This new approach makes it possible to solve much that in conventional studies has remained puzzling about Zenchiku''s works including the principles behind the works of classification, the purposes that resulted in the rokurin ichiro works, and the ideology present in the fragmentary work: Meishukushu. It becomes clear that Zenchiku, far from being a docile recipient of his teacher Zeami''s legacy, combined Zeami''s texts with those of other michi to radically reposition his own practice in the cultural fields of his day. Zenchiku drew on a range of legitimating styles to fashion a new rationale for performance, one adequate to changing patronage requirements, and appropriate to the circumstances of his troupe. In this position-taking, Zenchiku was strikingly successful, as is witnessed by the survival of the Komparu line through the chaotic century after his death. With this book we come to know a good deal about sarugaku''s transmission in the fifteenth century; enough to remedy a facile idealization of Japanese michi.

Accès libre

Affiche du document Réflexions sur et autour de l'Indépendance camerounaise — Réflexions sur et autour de l'Indépendance camerounaise
2h07min30
Littérature & Beaux Arts
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170 pages. Temps de lecture estimé 2h07min.
Au lieu de gloser et de polémiquer sur le bilan des "cinquante ans" de notre "Indépendance", il nous semble plus constructif de poursuivre l'effort d'intégration nationale, mais encore plus urgent de réajuster notre stratégie de développement à l'aune de nos propres repères historiques et culturels. Le lancement de cette revue, en cette année symbolique du cinquantenaire de l'indépendance camerounaise, est une nécessité pour susciter une prise de conscience culturelle et historique devant aboutir à une refondation politique.

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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 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.

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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.

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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

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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 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 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.

Accès libre

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.

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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.

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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 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.

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Affiche du document Nouvelles créations africaines — Nouvelles créations africaines
1h39min45
Littérature & Beaux Arts
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133 pages. Temps de lecture estimé 1h40min.
Musique, théâtre, danse et cinéma : la critique de tous les spectacles du Masa d'Abidjan et des films du Fespaco de Ouagadougou. Un outil de connaissance et de débat. Face à la pensée unique, les artistes d'Afrique s'émancipent du regard occidental et explorent de plus en plus une intimité partagée, utilisant pour cela des formes épurées.

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Affiche du document The Power of darkness — The Power of darkness
Hash Blink
4h04min30
Littérature & Beaux Arts
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Livres audio
326 pages. Temps de lecture estimé 4h04min.
Embark on a Journey Where Darkness Meets Light, and Courage PrevailsIn a world where the line between good and evil blurs, three unlikely heroes are forced into a battle that will test their courage, challenge their beliefs, and push them to the brink of their abilities. Jame, Elena, and Lilith find themselves trapped in a sinister mansion, a place where darkness holds sway, and terror lurks in every shadow. Their journey for survival begins with a terrifying encounter with a grotesque creature, marking the start of an epic tale that intertwines fate, friendship, and the fight against darkness.Witness as Jame confronts his destiny, discovering a forbidden power that threatens to consume his very essence. With every moment, he teeters on the edge of becoming the very evil he fights against. Elena, with her profound knowledge of the mansion's secrets, brings hope to the despairing hearts of those entrapped within its walls. Lilith, wielding her supernatural abilities with unwavering bravery, challenges the darkness at every turn, proving that light can shine even in the darkest of places.Together, they encounter twisted forests, face down menacing shadows, and meet allies vested in their cause. As the power of darkness grows, so does their determination to banish it forever. But to do so, they must delve into the mansion's mysterious past, uncover ancient rituals, and confront their own inner demons. Will the bonds of friendship and the spirit of courage be enough to overcome the darkness that threatens to envelop not only the mansion but the world itself?This spellbinding saga weaves a tale of mystery, power, and the relentless pursuit of light in the face of overwhelming darkness. As Jame, Elena, and Lilith navigate through haunting challenges and discover the true extent of their powers, they learn that sometimes, the greatest strength lies in unity.

The Power of darkness
Hash Blink
4h04min30
Littérature & Beaux Arts
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Livres audio
326 pages. Temps de lecture estimé 4h04min.
Embark on a Journey Where Darkness Meets Light, and Courage PrevailsIn a world where the line between good and evil blurs, three unlikely heroes are forced into a battle that will test their courage, challenge their beliefs, and push them to the brink of their abilities. Jame, Elena, and Lilith find themselves trapped in a sinister mansion, a place where darkness holds sway, and terror lurks in every shadow. Their journey for survival begins with a terrifying encounter with a grotesque creature, marking the start of an epic tale that intertwines fate, friendship, and the fight against darkness.Witness as Jame confronts his destiny, discovering a forbidden power that threatens to consume his very essence. With every moment, he teeters on the edge of becoming the very evil he fights against. Elena, with her profound knowledge of the mansion's secrets, brings hope to the despairing hearts of those entrapped within its walls. Lilith, wielding her supernatural abilities with unwavering bravery, challenges the darkness at every turn, proving that light can shine even in the darkest of places.Together, they encounter twisted forests, face down menacing shadows, and meet allies vested in their cause. As the power of darkness grows, so does their determination to banish it forever. But to do so, they must delve into the mansion's mysterious past, uncover ancient rituals, and confront their own inner demons. Will the bonds of friendship and the spirit of courage be enough to overcome the darkness that threatens to envelop not only the mansion but the world itself?This spellbinding saga weaves a tale of mystery, power, and the relentless pursuit of light in the face of overwhelming darkness. As Jame, Elena, and Lilith navigate through haunting challenges and discover the true extent of their powers, they learn that sometimes, the greatest strength lies in unity.

Accès libre

Affiche du document Italian Forgers — Italian Forgers
Carol Helstosky
1h28min30
Littérature & Beaux Arts
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118 pages. Temps de lecture estimé 1h28min.
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
1h28min30
Littérature & Beaux Arts
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118 pages. Temps de lecture estimé 1h28min.
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 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.

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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.

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