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Mitchell Final4print.Pdf
VICTORIAN CRITICAL INTERVENTIONS Donald E. Hall, Series Editor VICTORIAN LESSONS IN EMPATHY AND DIFFERENCE Rebecca N. Mitchell THE OHIO STATE UNIVERSITY PRESS Columbus Copyright © 2011 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Mitchell, Rebecca N. (Rebecca Nicole), 1976– Victorian lessons in empathy and difference / Rebecca N. Mitchell. p. cm. — (Victorian critical interventions) Includes bibliographical references and index. ISBN-13: 978-0-8142-1162-5 (cloth : alk. paper) ISBN-10: 0-8142-1162-3 (cloth : alk. paper) ISBN-13: 978-0-8142-9261-7 (cd) 1. English literature—19th century—History and criticism. 2. Art, English—19th century. 3. Other (Philosophy) in literature. 4. Other (Philosophy) in art. 5. Dickens, Charles, 1812–1870— Criticism and interpretation. 6. Eliot, George, 1819–1880—Criticism and interpretation. 7. Hardy, Thomas, 1840–1928—Criticism and interpretation. 8. Whistler, James McNeill, 1834– 1903—Criticism and interpretation. I. Title. II. Series: Victorian critical interventions. PR468.O76M58 2011 820.9’008—dc22 2011010005 This book is available in the following editions: Cloth (ISBN 978-0-8142-1162-5) CD-ROM (ISBN 978-0-8142-9261-7) Cover design by Janna Thompson Chordas Type set in Adobe Palatino Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materi- als. ANSI Z39.48-1992. 9 8 7 6 5 4 3 2 1 CONTENTS List of Illustrations • vii Preface • ix Acknowledgments • xiii Introduction Alterity and the Limits of Realism • 1 Chapter 1 Mysteries of Dickensian Literacies • 27 Chapter 2 Sawing Hard Stones: Reading Others in George Eliot’s Fiction • 49 Chapter 3 Thomas Hardy’s Narrative Control • 70 Chapter 4 Learning to See: Whister's Visual Averstions • 88 Conclusion Hidden Lives and Unvisited Tombs • 113 Notes • 117 Bibliography • 137 Index • 145 ILLUSTRATIONS Figure 1 James McNeill Whistler, The Miser (1861). -
Act Like a Lady, Think Like a Man: What Men Really Think About Love
ACT LIKE A Lady, THINK LIKE A MAN Steve Harvey * WHAT MEN REALLY THINK A'BOUT LOVE, RELATIONSHIPS, INTIMACY, AND COMMITMENT I 've made a living for more than twenty years making people laugh about themselves, about each other, about family, and friends, and, most certainly, about love, sex, and relationships. My humor is always rooted in truth and full of wisdom the kind that comes from living, watching, learning, and knowing. I'm told my jokes strike chords with people be cause they can relate to them, especially the ones that explore the dynamics of relationships between men and women. It never ceases to amaze me how much people talk about relationships, think about them, read about them, ask about them even get in them without a clue how to move them forward. For sure, if there's anything I've discovered during my journey here on God's earth, it's this: (a) too many women are clueless about men, (b) men get away with a whole lot of stuff in relationships because women have never understood how men think, and (c) I've got some valuable information to change all of that. I discovered this when my career transitioned to radio with the Steve Harvey Morning Show. Back when my show was based in Los Angeles, I created a segment called Ask Steve, during which women could call in and ask anything they wanted to about relationships. Anything. At the very least, I thought Ask Steve would lead to some good comedy, and at .rst, that's pretty much what it was all about for me getting to the jokes. -
H-France Review Vol. 12 (November 2012), No. 158 Therese Dolan, Ed., Perspectives On
H-France Review Volume 12 (2012) Page 1 H-France Review Vol. 12 (November 2012), No. 158 Therese Dolan, ed., Perspectives on Manet. Surrey, U.K. and Burlington, Vt.: Ashgate Publishing Company, 2012. xiii +230 pp. Illustrations, bibliography and index. $119.95 U.S. (cl). ISBN 978-1- 4094-2074-3. Review by Hollis Clayson, Northwestern University. A collection of essays on the work of the French and thoroughly Parisian artist, Édouard Manet (1832- 1883), has a built-in significance for art history that is somewhat concealed, even belied, by the unassuming “perspectives on” title of, and the neutral cast of the introduction to, Therese Dolan’s splendid anthology of nine new texts.[1] The interpretive stakes are high ipso facto because the history of modern art is rooted in Manet studies. As the influential scholar, Michael Fried, put it: “Manet is by common agreement the pivotal figure in the modern history of painting.”[2] Thus museum exhibitions of his art attract crowds as well as passionate scrutiny and debate, and pacesetting monographic studies are thick on the ground, appearing with increasing frequency since the centenary of the artist’s death.[3] Once upon a time not long ago (the 1980s), the axis of methodological range in Manet studies extended from radical formalism, at one end, to Marxist- and feminist-inflected social art history at the opposite pole. The history of that antipathy is too complex to delve into in an abbreviated review. Suffice it to note that that spectrum and its antitheses are not the principal hermeneutic frameworks of the scholarship gathered in the new anthology. -
Scissor Sisters by Claude J
Scissor Sisters by Claude J. Summers Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2010 glbtq, Inc. Reprinted from http://www.glbtq.com The American pop band Scissor Sisters was spawned in New York City's gay club scene and has cultivated a large glbtq fan base around the world, especially in the United Kingdom and the United States. With four of its current five members openly gay men; with the lyrics of their songs regularly addressing transgressive sexuality and glbtq subjects, such as transsexual prostitutes and coming out to one's family; and with the group's music and flamboyant presentation drawing on the rich heritage of gay dance music, especially disco and Scissor Sisters lead glam rock: it is not a stretch to suggest that the band expresses a contemporary gay singers Ana Matronic artistic vision, notwithstanding its consistent rejection of the label "gay band." and Jake Shears. Image of Ana Matronic by Wikimedia Commons Although co-founder Jake Shears has said that "I don't believe sexuality really matters contributor HD. Image of when it comes to music," he has nevertheless expressed the desire for the band to be Jake Shears by "openly gay" in a way that other bands have not been in the past, without coyness or Wikimedia Commons apology. Contributor Ames. Both images appear under the Creative Commons Whatever label one attaches to the group, there is no doubt that the band seems to Attribution 2.0 Generic crystallize the joyful energy and genderbending campiness, as well as the sardonic license. poses, tender yearning, and uninhibited eroticism, of many glbtq young people. -
Ilistung Spec:131
-FEBRUARY 28,1981 s Po, (tZtoo 4)0 1. .(1 C06/24,a402-(7/2,4 tE0 ic . ilistung SPeC:131.. SLEEPERS ND JEFFREYS, "96 TEARS" (prod. EMMYLOU HARRIS, -MISTER SAM' by Jeffreys-Clearmountain) (writ- (prod. by Ahern) (writer..f' er: Martinez) (ABKO, BMI) (3:06). (EdwinH.Morris&" The unforgettable organ riff intro ASCAP)(2:20).Putifr`!- forewarns of somethi-hg .special watch your speakers flo about to happen and Jeffreys' Emmylou's luscious voc vocal fever doesn't disappoint. .4 age to recreate the Ch marvelous update of the '67 hit full sound. Great for any to Epic 19-51008. WB 49684. RAY PARKER JR. & RAYDIO, "A WOMAN THE FOOLS, "RUNNING SCARED" (prod. GAHLANu NEEDS LOVE (JustLike You by Poncia) (writers: Orbison-Mel- ARTIST." From tha *Sr Do)" (prod. by Parker Jr.) (writer: son: (Acuff -Rose,BMI)(2:28). "Modern Lovers," it's obvious,k ParkerJr.)(Raydiola,ASCAP;, Roy Orbison is a hot commodity this prolific songwrte- and dramat (3:46). A velvet -smooth chorus these days and the Fools make a performerhasmeldedthetwo adorns Ray's loving tenor on the wise choice withthis cover of talents into his ideal album. Reggae classy hook, giviig st-ong multi - his'61 hit.Mike Girard's poplike"Christine" andchilling format appeal. From theJpco m- vocal captures the drama of the finales like "Mystery Kids" will cor- in g "Just Love" LP. A-ista 0592 original. EMI -America 8072. ner airplay. Epic JE 36983 (7.98) DAN HARTMAN, "HEAVEN IN YOUR HAWKS, "RIGHT AWAY" (prod. by Wer- PHIL COLLINS, "FACE VALUE." At ARMS" (prod. -
Eastern Progress 1980-1981 Eastern Progress
Eastern Kentucky University Encompass Eastern Progress 1980-1981 Eastern Progress 1-15-1981 Eastern Progress - 15 Jan 1981 Eastern Kentucky University Follow this and additional works at: http://encompass.eku.edu/progress_1980-81 Recommended Citation Eastern Kentucky University, "Eastern Progress - 15 Jan 1981" (1981). Eastern Progress 1980-1981. Paper 17. http://encompass.eku.edu/progress_1980-81/17 This News Article is brought to you for free and open access by the Eastern Progress at Encompass. It has been accepted for inclusion in Eastern Progress 1980-1981 by an authorized administrator of Encompass. For more information, please contact [email protected]. ' • ■ . OHteW SOKW PuMtenton of iMn. Kantueky IMWrtty Vol. SO/No 17 10 Thursday. Jmwv 16. 1M1 NWmM4. K y. «047B High parking ticket fines, abundance of tickets provoke questions Editor's note: all statistics quoted in Even though the University had and carried her luggage into the dor- the following story were obtained from fewer cars registered last semester mitory. When she returned there was a Tom Lindquist, director of Public than either UK or Western, the ticket on her car. Reyes looked at her Safety at Eastern, Ruth Hastie, University issued many more tickets. watch - it was 10:42 a.m. She looked at manager of the parking department at The parking department at Western the ticket ... it had been written at UK and Sgt Janet Kirby, parking and issued 7,348 parking decals from the 10:41 a.m. traffic supervisor at Western. first week in June through the first week in December. The department "I was extremely angry," said By BETTY MALKIN wrote 7,929 parking tickets for the same Reyes. -
L-G-0000349593-0002314995.Pdf
Manet Page 4: Self-Portrait with a Palette, 1879. Oil on canvas, 83 x 67 cm, Mr et Mrs John L. Loeb collection, New York. Designed by: Baseline Co Ltd 127-129A Nguyen Hue, Floor 3, District 1, Ho Chi Minh City, Vietnam © Sirrocco, London, UK (English version) © Confidential Concepts, worldwide, USA All rights reserved No part of this publication may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified, copyrights on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case we would appreciate notification ISBN 978-1-78042-029-5 2 “He was greater than we thought he was.” — Edgar Degas 3 Biography 1832: Born Edouard Manet 23 January in Paris, France. His father is Director of the Ministry of Justice. Edouard receives a good education. 1844: Enrols into Rollin College where he meets Antonin Proust who will remain his friend throughout his life. 1848: After having refused to follow his family’s wishes of becoming a lawyer, Manet attempts twice, but to no avail, to enrol into Naval School. He boards a training ship in order to travel to Brazil. 1849: Stays in Rio de Janeiro for two years before returning to Paris. 1850: Returns to the School of Fine Arts. He enters the studio of artist Thomas Couture and makes a number of copies of the master works in the Louvre. 1852: His son Léon is born. He does not marry the mother, Suzanne Leenhoff, a piano teacher from Holland, until 1863. -
Manet the Modern Master
Manet the Modern Master ‘Portrait of Mademoiselle Claus’ Edouard Manet (1832-1883) oil on canvas, 111 x 70 cm Painted in 1868, the subject of the portrait is Fanny Claus, a close friend of Manet’s wife Suzanne Leenhoff. It was a preparatory study for ‘Le Balcon’ which now hangs in Musée d’Orsay. Originally the canvas was much larger, but Manet cut it up so that Berthe Morisot appears truncated on the right. He kept the painting in his studio during his lifetime. The artist John Singer Sargent then bought it at the studio sale following the artist’s death in 1884 and brought it to England. It stayed in the family until 2012 when it was put up for sale and The Ashmolean launched a successful fundraising campaign to save the painting from leaving the country. © Ashmolean Museum A modern portrait? Use of family and friends as models Manet’s ‘Portrait of Mlle Claus’ has an Manet broke new ground by defying traditional enigmatic quality that makes it very modern. techniques of representation and by choosing The remote and disengaged look on Fanny’s subjects from the events and circumstances face suggests a sense of isolation in urban of his own time. He also wanted to make society. The painting tells no story and its very a commentary on contemporary life and lack of narrative invites the viewer to construct frequently used family and friends to role play their own interpretations. It is a painting that has everyday (genre) scenes in his paintings. the ability to speak to us across the years. -
Black Country Music(S) and The
Jost Hendrik Cornelius Burfeind Wilhelmplatz 6 24116 Kiel E-Mail: [email protected] Telefon: 01520–2667189 Matrikelnummer: 1014350 “THAT BLACK SPECK SOUND JUST LIKE A REDNECK”: BLACK COUNTRY MUSIC(S) AND THE (RE-)MAKING OF RACE AND GENRE MASTERARBEIT im Fach „English and American Literatures, Cultures, and Media” mit dem Abschlussziel Master of Arts der Philosophischen Fakultät der Christian-Albrechts-Universität zu Kiel vorgelegt von Hendrik Burfeind Erstgutachter: Prof. Dr. Christian Huck Zweitgutachter: Dr. Dennis Büscher-Ulbrich Kiel im April 2020 TABLE OF CONTENTS 1. Introduction 1 2. Theoretical Framework 2.1 Race, Racialization, and Ideology 8 2.2 Genre and Crossover 10 2.3 Articulation and Genre 15 2.4 On Hijacks, Covers, and Versions 16 3. “Just Out of Reach”: Locating the Soul/Country Binary 3.1 The South and the Geography of Genre(s) 19 3.2 Richard Nixon, “Okie from Muskogee,” and the Politics of Country Music 22 3.3 The ‘Segregation of Sound’ and the ‘Common Stock’ 25 3.4 Charting Success; Or, the Segregation of Sound, Continued 28 4. Analysis, Pt. 1: Rhythm and Country 4.1 “I’ve Always Been Country”: The Making of an Alternative Tradition 31 4.2 Country Music and the Birth of Soul 35 4.3 The Impossibility of Black Country 37 4.4 Modern Sounds and the Same Old Song 39 4.5 Interlude: Race and Genre in the Early 1960s 44 4.6 Country-Soul Flourishes 46 5. Analysis, Pt. 2: Country-Soul 5.1 “Country Music Now Interracial” 48 5.2 Crossover at the Outskirts of Town 50 5.3 Introducing Soul Country 53 5.4 “The Chokin’ Kind” Explores New Territory 57 5.5 “Blacks Sing Country Music” 60 5.6 “Wherever You Go, It’s Simon Country” 64 6. -
Page 70 H-France Review Vol. 3 (March 2003), No. 18 Carol
H-France Review Volume 3 (2003) Page 70 H-France Review Vol. 3 (March 2003), No. 18 Carol Armstrong, Manet Manette. New Haven and London: Yale University Press, 2002. xviii, 400 pp. Figures, notes, and index. $50 U.S. (hb). ISBN 0-300-09658-5. Review by James Smalls, University of Maryland, Baltimore County. Just when you thought that everything has been said about the creative magnificence of Edouard Manet, a book such as Manet Manette by Carol Armstrong appears and provides a fresh approach and outlook. This hefty volume of 315 pages of text, in addition to sixty-three pages of explanatory endnotes, is intelligently illustrated and rich in art-historical and critical detail. Armstrong has not only harnessed and unpacked a great deal of information on Manet and his unique brand of modernism but also has done so with the art of many of his contemporaries. The book is ambitious in scope and divided into three interrelated parts, each of which has a successful outcome. Armstrong opens her text with a discussion of, what Clement Greenberg described as Manet’s “inconsistency,” that is, his sustained tendency not to paint in “connected series but in large ambitious singles.” This "inconsistency," according to Greenberg, is what sets him apart from other modernists who came before and after him (p. xvii) and was the significant aspect of his status as a unique modern artist. The first section of Armstrong’s book sets out to measure Manet’s “inconsistency” through the politics and poetics of his exhibition strategies. For the most part, Armstrong agrees with Greenberg and considers the “inconsistency,” “undecidability,” “irreducibility,” and the non-unified aspects of Manet’s brand of modernism as what makes him unique among his contemporaries. -
Issue Print Test | Nonsite.Org
ISSUE #14: NINETEENTH- CENTURY FRANCE NOW 14 nonsite.org is an online, open access, peer-reviewed quarterly journal of scholarship in the arts and humanities affiliated with Emory College of Arts and Sciences. 2015 all rights reserved. ISSN 2164-1668 1 EDITORIAL BOARD Bridget Alsdorf Ruth Leys James Welling Jennifer Ashton Walter Benn Michaels Todd Cronan Charles Palermo Lisa Chinn, editorial assistant Rachael DeLue Robert Pippin Michael Fried Adolph Reed, Jr. Oren Izenberg Victoria H.F. Scott Brian Kane Kenneth Warren FOR AUTHORS ARTICLES: SUBMISSION PROCEDURE Please direct all Letters to the Editors, Comments on Articles and Posts, Questions about Submissions to [email protected]. Potential contributors should send submissions electronically via nonsite.submishmash.com/Submit. Applicants for the B-Side Modernism/Danowski Library Fellowship should consult the full proposal guidelines before submitting their applications directly to the nonsite.org submission manager. Please include a title page with the author’s name, title and current affiliation, plus an up-to-date e-mail address to which edited text and correspondence will be sent. Please also provide an abstract of 100-150 words and up to five keywords or tags for searching online (preferably not words already used in the title). Please do not submit a manuscript that is under consideration elsewhere. ARTICLES: MANUSCRIPT FORMAT Accepted essays should be submitted as Microsoft Word documents (either .doc or .rtf), although .pdf documents are acceptable for initial submissions.. Double-space manuscripts throughout; include page numbers and one-inch margins. All notes should be formatted as endnotes. Style and format should be consistent with The Chicago Manual of Style, 15th ed. -
Tribune 25 Template V2009
C M C M Y K Y K WEATHER TINGS TOUGH McDOUBLE FOR $3.79 HIGH 70F ANY TIME...ANY PLACE, WE’RE #1 LOW 57F The Tribune SUNNY AND BREEZY BAHAMAS EDITION www.tribune242.com Volume: 106 No.42 WEDNESDAY, JANUARY 13, 2010 PRICE – 75¢ (Abaco and Grand Bahama $1.25) CARS FOR SALE, Bennett Davis S Spirits E S E R T D HELP WANTED adjusting well U I R T S O A N P I to Utah Flash E rejoice AND REAL ESTATE S F SEE ‘THE ARTS’ SECTION BAHAMAS BIGGEST SEE PAGE NINE PM ‘determined’ to have marital rape law debated in House By ALISON LOWE Tribune Staff Reporter [email protected] Tsunami scare THE Prime Minister is “deter- mined” to have parliamentarians debate the controversial amendment to the Sexual Offences and Domestic Violence Act that would make rape within marriage illegal, a source close to him has revealed. The future of the controversial proposal to outlaw rape within mar- riage had been the subject of some uncertainty given the government’s decision not to move ahead with the amendment since it was introduced for Bahamas SEE page eight P A / Panic in Inagua after n e n i G e Haiti devastated by l e T o i d 7.0 scale earthquake a R By NOELLE NICOLLS Tribune Staff Reporter [email protected] INAGUA residents endured two hours of panic last night when the Bahamas was issued a tsunami watch just after 5pm yesterday. Res- Strong quake idents reported feeling strikes Haiti tremors from a major earth- quake occurring 10-miles vertigo, but nothing was rat- south-west of Haiti’s capital tling.