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Books > Arts & Architecture > History of art / art & design styles > From 1900
This is the first study in any language to trace the emergence of
the art historical interest in icon painting in the nineteenth
century with its evident impact on the course of Russian modernism
in the twentieth century. Given the surge in popularity of the
Russian avant-garde, a book devoted to the gradual awareness of the
artistic value of icons and their effect on Russian aesthetics is
timely. The discoveries, the false starts, the incompetence, the
interaction of dilettantes and academics, the meddling of tsars and
church officials, all make for a fascinating tale of growing
cultural awarenss. It is a story that prepares the ground for the
explosioin of Russian cultural creativity and acceptability in the
early twentieth century.
Terence between Late Antiquity and the Age of Printing investigates
the Medieval and Early Renaissance reception of Terence in highly
innovative ways, combining the diverse but interrelated strands of
textual criticism, illustrative tradition, and performance. The
plays of Terence seem to have remained unperformed until the
Renaissance, but they were a central text for educators in Western
Europe. Manuscripts of the plays contained scholarship and
illustrations which were initially inspired by Late Antique models,
and which were constantly transformed in response to contemporary
thought. The contributions in this work deal with these topics, as
well as the earliest printed editions of Terence, theatrical
revivals in Northern Italy, and the readership of Terence
throughout the Early Middle Ages.
Art for the workers explores the mythology and reality of
post-revolutionary proletarian art in Russia as well as its
expression in the festive decorations of Petrograd between 1917 and
1920. It covers this brief period chronologically, and so permits a
close inspection of the development of artistic policies in Russia
under the Provisional Government followed by the Bolsheviks.
Specifically, this book focuses on the pre-and post-revolutionary
debate about the nature of proletarian art and its role in the new
Socialist society, particularly focusing on festive decorations,
parades and mass performances as expressions of proletarian art and
forms of propaganda.
How was the modernist movement understood by the general public
when it was first emerging? This question can be addressed by
looking at how modernist literature and art were interpreted by
journalists in daily newspapers, mainstream magazines like Punch
and Vanity Fair, and literary magazines. In the earliest decades of
the movement - before modernist artists were considered important,
and before modernism's meaning was clearly understood - many of
these interpretations took the form of parodies. Mock Modernism is
an anthology of these amusing pieces, the overwhelming majority of
which have not been in print since the first decades of the
twentieth century. They include Max Beerbohm's send-up of Henry
James; J.C. Squire's account of how a poet, writing deliberately
incomprehensible poetry as a hoax, became the poet laureate of the
British Bolshevist Revolution; and the Chicago Record-Herald's
account of some art students' "trial" of Henri Matisse for "crimes
against anatomy." An introduction and headnotes by Leonard
Diepeveen highlight the usefulness of these pieces for
comprehending media and public perceptions of a form of art that
would later develop an almost unassailable power.
Melanie Smith: Farce and Artifice is the publication that takes up
the idea of the exhibition organised by the MACBA, jointly with the
MUAC Museo Universitario Arte Contemporaneo and UNAM, in Mexico
City, and the Museo Amparo, in Puebla, Mexico. It is the largest
organised to date in Europe about the work of an artist who defies
easy classification, born in England (Poole, 1965) but active on
the Mexican art scene since the nineties.
Design and the Question of History is not a work of Design History.
Rather, it is a mixture of mediation, advocacy and polemic that
takes seriously the directive force of design as an historical
actor in and upon the world. Understanding design as a shaper of
worlds within which the political, ethical and historical character
of human being is at stake, this text demands radically transformed
notions of both design and history. Above all, the authors posit
history as the generational site of the future. Blindness to
history, it is suggested, blinds us both to possibility, and to the
foreclosure of possibilities, enacted through our designing. The
text is not a resolved, continuous work, presented through one
voice. Rather, the three authors cut across each other, presenting
readers with the task of disclosing, to themselves, the
commonalities, repetitions and differences within the deployed
arguments, issues, approaches and styles from which the text is
constituted. This is a work of friendship, of solidarity in
difference, an act of cultural politics. It invites the reader to
take a position - it seeks engagement over agreement.
Danish Modern explores the development of mid-century modernist
design in Denmark from historical, analytical and theoretical
perspectives. Mark Mussari explores the relationship between Danish
design aesthetics and the theoretical and cultural impact of
Modernism, particularly between 1930 and 1960. He considers how
Danish designers responded to early Modernist currents: the
Stockholm Exhibition of 1930, their rejection of Bauhaus aesthetic
demands, their early fealty to wood and materials, and the tension
between cabinetmaker craft and industrial production as it
challenged and altered their aesthetic approach. Tracing the
theoretical foundations for these developments, Mussari discusses
the writings and works of such figures as Poul Henningsen, Arne
Jacobsen, Hans Wegner, Nanna Ditzel, and Finn Juhl.
Applying the same perceptive wit that made "Blimey!" such a success, Matthew Collings turns his attention to the New York art scene covering the critics, artists and dealers from the 1960s through to the present day. From Warhol to the super-brats of the eighties like Koons and Schnabel right up to the young players of the nineties, they are all brought to life in this readable but thoughtful book.
Contemporary theatre is going through a period of unparalleled
excitement and challenge. Terms like 'postmodern' and
'postdramatic' have their own contested and defended histories,
while notions of truth in verbatim theatre are open to serious
critical challenge. Theatre writing can result in no words being
spoken and nothing appearing on the page, and productions are
stretching the boundaries of space, place and context like never
before. This revised and significantly expanded edition of New
Performance/New Writing explores immersive and solo theatre,
autoethnography, applied drama, performance writing, plot, story,
narrative and devising. It presents an invaluable response to
questions that arise from new theatre, prompting active reading
that enhances classroom and workshop learning, and improves
productivity in rehearsal. Each chapter explores a key aspect of
theatre study, while an extensive timeline of theatre events gives
a broad overview of its evolution. Case studies on practitioners as
diverse as Kneehigh, Punchdrunk, Mark Ravenhill and Forced
Entertainment are scattered throughout the book, along with
detailed suggestions for workshops, which encourage readers to test
some of the book's ideas in practice.
Art is a multi-faceted part of human society, and often is used for
more than purely aesthetic purposes. When used as a narrative on
modern society, art can actively engage citizens in cultural and
pedagogical discussions. Convergence of Contemporary Art, Visual
Culture, and Global Civic Engagement is a pivotal reference source
for the latest scholarly material on the relationship between
popular media, art, and visual culture, analyzing how this
intersection promotes global pedagogy and learning. Highlighting
relevant perspectives from both international and community levels,
this book is ideally designed for professionals, upper-level
students, researchers, and academics interested in the role of art
in global learning.
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The Code
(Hardcover)
Jacqueline Ruby, Marcellus Moses
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R761
Discovery Miles 7 610
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Ships in 18 - 22 working days
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Winner of the MLA Aldo and Jeanne Scaglione Prize for Italian
Studies 2016 Winner of the American Association for Italian Studies
Book Prize 2016 This book is available as open access through the
Bloomsbury Open Access programme and is available on
www.bloomsburycollections.com. Written by one of Europe's leading
critics, Ecocriticism and Italy reads the diverse landscapes of
Italy in the cultural imagination. From death in Venice as a
literary trope and petrochemical curse, through the volcanoes of
Naples to wine, food and environmental violence in Piedmont,
Serenella Iovino explores Italy as a text where ecology and
imagination meet. Examining cases where justice, society and
politics interlace with stories of land and life, pollution and
redemption, the book argues that literature, art and criticism are
able to transform the unexpressed voices of these suffering worlds
into stories of resistance and practices of liberation.
Human Rights and the Arts: Perspectives on Global Asia approaches
human rights issues from the perspective of artists and writers in
global Asia. By focusing on the interventions of writers, artists,
filmmakers, and dramatists, the book moves toward a new
understanding of human rights that shifts the discussion of
contexts and subjects away from the binaries of cultural relativism
and political sovereignty. From Ai Wei Wei and Michael Ondaatje, to
Umar Kayam, Saryang Kim, Lia Zixin, and Noor Zaheer, among others,
this volume takes its lead from global Asian artists, powerfully
re-orienting thinking about human rights subjects and contexts to
include the physical, spiritual, social, ecological, cultural, and
the transnational. Looking at a range of work from Tibet,
Indonesia, Sri Lanka, India, China, Bangladesh, Japan, Korea,
Vietnam, and Macau as well as Asian diasporic communities, this
book puts forward an understanding of global Asia that underscores
"Asia" as a global site. It also highlights the continuing
importance of nation-states and specific geographical entities,
while stressing the ways that the human rights subject breaks out
of these boundaries. Many of these works are included in the
companion volume Human Rights and the Arts in Global Asia: An
Anthology, also published by Lexington Books.
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