DOCSLIB.ORG

University of Cincinnati

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
University of Cincinnati U UNIVERSITY OF CINCINNATI Date: May 22, 2009 I, Abigail Carlin , hereby submit this original work as part of the requirements for the degree of: M.A. in Art History It is entitled: Let Us Now Praise Famous Women: Deborah Kass's "The Warhol Project" (1992-2000) Abigail Carlin Student Signature: This work and its defense approved by: Kimberly Paice, Ph.D. Committee Chair: Gila Safran-Naveh, Ph.D Mikiko Hirayama, Ph.D. Approval of the electronic document: I have reviewed the Thesis/Dissertation in its final electronic format and certify that it is an accurate copy of the document reviewed and approved by the committee. Committee Chair signature: Kimberly Paice Let Us Now Praise Famous Women: Deborah Kass’s The Warhol Project (1992-2000) A thesis presented to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Art History of the College of Design, Architecture, Art, and Planning by Abigail Carlin B.A. University of Cincinnati 2007 Committee Chair: Kimberly Paice, Ph.D. ABSTRACT This study examines contemporary American artist Deborah Kass’s (b. 1952) series entitled The Warhol Project (1992-2000) in which she draws formal inspiration and stylistic cues from Pop artist and icon Andy Warhol (1928-1987) and creates portraits of Jewish women who had an affect on Kass directly. The main subject of the project is Barbra Streisand (b. 1942), an individual who Kass identified with and idolized. Kass’s work is directly linked to both her experience growing up Jewish, and her identity as a lesbian. Her varied and ultimately minority point of view enables her to question orthodox standards of beauty and subjective normalcy. She creates stark contradictions within emphatic popular imagery by depicting strong, independent Jewish women centrally positioned as iconic symbols, who replace typical Pop icons championed by Warhol. Thus, Kass attempts to open the discourse of painting and make it serve as a means of representing herself. iii iv ACKNOWLEDGEMENTS I am extremely grateful to my entire thesis committee; Dr. Mikiko Hirayama, Dr. Gila Safran-Naveh, and especially my committee chair, Dr. Kimberly Paice. They each brought something special to the discussion, and I feel that this work grew out of the classes I was fortunate enough to take with all of them. I especially appreciate Kim’s willingness to consider all of my ideas, no matter how crazy they seemed (male figure skating costumes come to mind). Her help in working through and fleshing out my ideas was so beneficial, and she always made herself available and gave me a thorough and thoughtful critique, regardless of her busy schedule. Credit is also due to Deborah Kass for taking the time to answer my questions and provide me with invaluable, previously unpublished, material, and her own personal insight. v TABLE OF CONTENTS List of Illustrations vii Introduction 1 Chapter 1: Revisionist Art History: The Early Work of Deborah Kass 8 Chapter 2: The Personal is Political: Deconstructing Andy Warhol through The Warhol Project 23 Chapter 3: The Way She Is: The Significance of Barbra Streisand 39 Conclusion 53 Illustrations 56 Bibliography 76 vi LIST OF ILLUSTRATIONS 1. Pablo Picasso, Gertrude Stein, 1906. Oil on canvas, 39 3/8 x 32 in. The Metropolitan Museum of Art. 2. Deborah Kass, La Dee Doo Da (In the Field), 1972. Acrylic on canvas, 54 x 60 in. 3. Deborah Kass, Emissions Control, 1990. Oil, enamel, and flashe on canvas, 65 x 135 in. 4. Deborah Kass, How Do I Look, 1991. Mixed media on canvas, 50 x 100 in. 5. Gustave Courbet, Les Dormeuses, 1886. Oil on canvas, 53 1/8 x 78 3/4 in. Musee du Petit Palais, Paris. 6. Jasper Johns, The Critic Sees, 1961. Sculptmetal on plaster with glass, 3 1/8 x 6 1/2 x 2 1/4 in. The collection of Mr. and Mrs. Robert Scull, New York. 7. Deborah Kass, Before and Happily Ever After, 1991. Oil and acrylic on canvas, 72 x 60 in. Collection of Susan Rice and Susan Shaffer, New York. 8. Andy Warhol, Before and After 3, 1962. Synthetic polymer and graphite on canvas, 72 x 99 5/8 in. Collection of Whitney Museum of American Art, New York. Purchase, with funds from Charles Simon. ARS, New York. 9. Andy Warhol, Gertrude Stein, from Ten Portraits of Jews of the Twentieth Century, 1980. Screen print on Lenox Museum Board, 40 x 32 in., The Jewish Museum, New York, Gift of Lorraine and Martin Beitler, 2006-64.2. 10. Deborah Kass, Chairman Ma (Gertrude Stein #1), 1993. Silkscreen ink and acrylic on canvas, 46 x 42 in. 11. Andy Warhol, Mao, 1972. Synthetic polymer paint and silkscreen on canvas, 82 x 61 in. The Andy Warhol Museum, Pittsburgh. Founding Collection, Contribution Dia Center for the Arts/ARS, New York. 12. Deborah Kass, Altered Image #2, 1994-1995. Gelatin silver print, 60 x 40 in. Private Collection. 13. Christopher Makos, Altered Image, 1981. 14. Deborah Kass, 12 Barbras (The Jewish Jackie Series), 1993. Silkscreen ink and acrylic on canvas, 60 x 54 in. Private collection. 15. Andy Warhol, 16 Jackies, 1964. Acrylic and silkscreen enamel on canvas, 80 x 64 in. Collection Walker Art Center, Art Center Acquisition Fund, 1968/ARS, New York. vii 16. Deborah Kass, Single Red Yentl (My Elvis), 1997. Silkscreen ink and acrylic on canvas, 73 x 36 in. Collection of Alice and Marvin Kosmin, New York. 17. Deborah Kass, Triple Silver Yentl (My Elvis), 1992. Silkscreen ink and acrylic on canvas, 72 x 94 in. Collection of William Erlich and Ruth Lloyds. 18. Andy Warhol, Elvis, 1963. Synthetic polymer paint screenprinted onto canvas, 82 x 36 in. © Andy Warhol, 1963/ARS. 19. Andy Warhol, Triple Elvis, 1964. Aluminum paint and printer’s ink silkscreened on canvas, 82 x 71. Collection, © Virginia Museum of Fine Art, Richmond, VA, Gift of Sydney and Frances Lewis. 20. Deborah Kass, Nobody Puts Baby in the Corner, 2006. Oil and acrylic on canvas, 72 x 72 in. viii Introduction Let Us Now Praise Famous Women: Deborah Kass’s The Warhol Project (1992-2000) In my thesis I examine how the American artist Deborah Kass (b. 1952) confronts and challenges cultural stereotypes forced on ethnic identities due to the patriarchal nature of the world of art with a series entitled The Warhol Project (1992-2000). The Project features Warhol- inspired portraits primarily of prominent Jewish women (and a few men) who had an affect on Kass directly. Kass has rendered portraits of Barbra Streisand (b. 1942), Linda Nochlin (b. 1931), Gertrude Stein (1874-1946), and even her own grandmother. While she draws formal inspiration and stylistic cues from Pop artist and icon Andy Warhol (1928-1987) with images in The Warhol Project directly modeled on Warhol’s pop-art silk screens, Kass does not glorify the cult of celebrity the same way Warhol did in his work. Instead, she features her own personal cultural heroines, relying heavily on her experiences as a gay Jewish woman. After receiving her undergraduate degree from Carnegie-Mellon University in Pittsburgh in 1974, Kass moved to New York City and subsequently came out, openly identifying herself as a lesbian to friends and colleagues. On the experience, she wrote, “When I came back to New York in 1975… it was the height of second-wave feminism. For me, at age 23 and right out of school, it was extremely encouraging.”1 Later in her life Kass wrote about her admiration for Streisand, observing that, “She was really in touch with her difference as an attribute. It was fantastic. For me it was as if she was saying: ‘I’m me; I’m not changing my nose… I’m not 1 Holland Cotter, “Art After Stonewall: 12 Artists Interviewed.” Art in America 82, no. 6 (1994): 57. 1 changing my ethnicity…’ I figured if she could do it, so could I.”2 Comments such as these hint at the ways that Kass’ work is directly linked to both her experience growing up Jewish, and her identity as a lesbian. Her varied and ultimately minority point of view enables her to question orthodox standards of beauty and subjective normalcy as well as anti-Semitism in American culture.3 In the current study of Kass’s work, I consider the ways in which art and culture can challenge female stereotypes. Kass creates stark contradictions within emphatic popular imagery by depicting strong, independent Jewish women centrally positioned as iconic symbols who replace typical Pop icons. Thus, Kass signals cultural change and offers lessons about the construction of identity and meaningful individual art. In 1972, prior to receiving her undergraduate degree from Carnegie Mellon University in Pittsburgh, Pennsylvania, Kass was a student in the Whitney Museum Independent Studies Program (New York, NY) and earlier, from 1968-70, she studied at the Art Students League, also in New York City. Her work can be found in collections of the Cincinnati Art Museum (Cincinnati, OH), The Solomon R. Guggenheim Museum (New York, NY), The Jewish Museum (New York, NY), The Museum of Modern Art (New York, NY), The Whitney Museum of American Art (New York, NY), and the Museum of Fine Arts (Boston, MA) as well as several private collections. Vincent Fremont and the Paul Kasmin Gallery, both in New York City, currently represent Kass. In order to understand Kass’ work within a larger context of art and cultural history, I look to information from a variety of area studies, namely interdisciplinary texts dealing with Jewish identity, feminist art theory, Jewish feminism, gender politics, modern and contemporary 2 Mary Anne Staniszewski, “First Person Plural: The Paintings of Deborah Kass,” in Deborah Kass: The Warhol Project, ed.
Load more

Recommended publications
  • Modern Painters William J. Simmons December 2015
    BY WILLIAM J. SIMMONS TRUE PORTRAIT BY KRISTINE LARSEN TO FORM DEBORAH KASS SHAKES UP THE CANON 60 MODERN PAINTERS DECEMBER 2015 BLOUINARTINFO.COM FORM DEBORAH KASS SHAKES UP Deborah Kass in her Brooklyn THE CANON studio, 2015. BLOUINARTINFO.COM DECEMBER 2015 MODERN PAINTERS 61 intensity of her social and art historical themes. The result is a set of tall, sobering, black-and-blue canvases adorned with “THE ONLY ART THAT MATTERS equally hefty neon lettering, akin, perhaps, to macabre monuments or even something more sinister in the tradition of IS ABOUT THE WORLD. pulp horror movies. This is less a departure than a fearless statement that affirms and illuminates her entire oeuvre—a tiny retrospective, perhaps. Fueled by an affinity for the medium AUDRE LORDE SAID IT. TONI and its emotive and intellectual possibilities, Kass has created a template for a disruptive artistic intervention into age-old MORRISON SAID IT. EMILY aesthetic discourses. As she almost gleefully laments, “All these things I do are things that people denigrate. Show tunes— so bourgeois. Formalism—so retardataire. Nostalgia—not a real DICKINSON SAID IT. I’M emotion. I want a massive, fucked-up, ‘you’re not sure what it means but you know it’s problematic’ work of art.” At the core of INTERESTED IN THE WORLD.” Kass’s practice is a defiant rejection of traditional notions of taste. For example, what of Kass’s relationship to feminism, queer- Deborah Kass is taking stock—a moment of reflection on what ness, and painting? She is, for many, a pioneer in addressing motivates her work, coincidentally taking place in her issues of gender and sexuality; still, the artist herself is ambivalent Gowanus studio the day before the first Republican presidential about such claims, as is her right.
    [Show full text]
  • The Charismatic Leadership and Cultural Legacy of Stan Lee
    REINVENTING THE AMERICAN SUPERHERO: THE CHARISMATIC LEADERSHIP AND CULTURAL LEGACY OF STAN LEE Hazel Homer-Wambeam Junior Individual Documentary Process Paper: 499 Words !1 “A different house of worship A different color skin A piece of land that’s coveted And the drums of war begin.” -Stan Lee, 1970 THESIS As the comic book industry was collapsing during the 1950s and 60s, Stan Lee utilized his charismatic leadership style to reinvent and revive the superhero phenomenon. By leading the industry into the “Marvel Age,” Lee has left a multilayered legacy. Examples of this include raising awareness of social issues, shaping contemporary pop-culture, teaching literacy, giving people hope and self-confidence in the face of adversity, and leaving behind a multibillion dollar industry that employs thousands of people. TOPIC I was inspired to learn about Stan Lee after watching my first Marvel movie last spring. I was never interested in superheroes before this project, but now I have become an expert on the history of Marvel and have a new found love for the genre. Stan Lee’s entire personal collection is archived at the University of Wyoming American Heritage Center in my hometown. It contains 196 boxes of interviews, correspondence, original manuscripts, photos and comics from the 1920s to today. This was an amazing opportunity to obtain primary resources. !2 RESEARCH My most important primary resource was the phone interview I conducted with Stan Lee himself, now 92 years old. It was a rare opportunity that few people have had, and quite an honor! I use clips of Lee’s answers in my documentary.
    [Show full text]
  • Annual Report 2018–2019 Artmuseum.Princeton.Edu
    Image Credits Kristina Giasi 3, 13–15, 20, 23–26, 28, 31–38, 40, 45, 48–50, 77–81, 83–86, 88, 90–95, 97, 99 Emile Askey Cover, 1, 2, 5–8, 39, 41, 42, 44, 60, 62, 63, 65–67, 72 Lauren Larsen 11, 16, 22 Alan Huo 17 Ans Narwaz 18, 19, 89 Intersection 21 Greg Heins 29 Jeffrey Evans4, 10, 43, 47, 51 (detail), 53–57, 59, 61, 69, 73, 75 Ralph Koch 52 Christopher Gardner 58 James Prinz Photography 76 Cara Bramson 82, 87 Laura Pedrick 96, 98 Bruce M. White 74 Martin Senn 71 2 Keith Haring, American, 1958–1990. Dog, 1983. Enamel paint on incised wood. The Schorr Family Collection / © The Keith Haring Foundation 4 Frank Stella, American, born 1936. Had Gadya: Front Cover, 1984. Hand-coloring and hand-cut collage with lithograph, linocut, and screenprint. Collection of Preston H. Haskell, Class of 1960 / © 2017 Frank Stella / Artists Rights Society (ARS), New York 12 Paul Wyse, Canadian, born United States, born 1970, after a photograph by Timothy Greenfield-Sanders, American, born 1952. Toni Morrison (aka Chloe Anthony Wofford), 2017. Oil on canvas. Princeton University / © Paul Wyse 43 Sally Mann, American, born 1951. Under Blueberry Hill, 1991. Gelatin silver print. Museum purchase, Philip F. Maritz, Class of 1983, Photography Acquisitions Fund 2016-46 / © Sally Mann, Courtesy of Gagosian Gallery © Helen Frankenthaler Foundation 9, 46, 68, 70 © Taiye Idahor 47 © Titus Kaphar 58 © The Estate of Diane Arbus LLC 59 © Jeff Whetstone 61 © Vesna Pavlovic´ 62 © David Hockney 64 © The Henry Moore Foundation / Artists Rights Society (ARS), New York 65 © Mary Lee Bendolph / Artist Rights Society (ARS), New York 67 © Susan Point 69 © 1973 Charles White Archive 71 © Zilia Sánchez 73 The paper is Opus 100 lb.
    [Show full text]
  • Scholarship Art History (93301) 2015
    Scholarship Art History (93301) 2015 — page 1 of 8 Assessment Schedule – 2015 Subject: Scholarship Art History (93301) Candidate answers TWO questions, one from Section A and one from Section B. Each response is marked out of 8 against the descriptors for the Art History Scholarship Standard. A third mark out of 8 is awarded across both responses for communication of arguments. • Schedule 1 relates to the quality required for the two candidate responses. • Schedule 2 relates to the quality required for communication of argument. • Schedule 3 gives, for each question, examples of evidence that might be included in a candidate’s response. Schedule 1: Quality of candidate response (marked separately for each of TWO responses) Outstanding 8 marks 7 marks Scholarship Response shows, in a sustained manner, highly Response fulfils most of the requirements for developed knowledge and understanding of the Outstanding Scholarship, but: discipline through aspects of: visual analysis / critical response level is less perception and insight through highly developed even visual analysis of specific art works and critical or depth and breadth of knowledge is less response to contexts and ideas consistent and sophisticated integration of evidence or independent reflection and extrapolation is demonstrating comprehensive depth and breadth more limited of knowledge relevant to the question or the response is less comprehensive / original. and independent reflection and extrapolation on evidence from varied sources. And the response is original in approach.
    [Show full text]
  • Missing from the Map: Feminist Theory and the Omission of Jewish Women Jennifer Roskies Researcher, ISGAP and Bar-Ilan Universit
    1 Missing from the Map: Feminist Theory and the Omission of Jewish Women Jennifer Roskies Researcher, ISGAP and Bar-Ilan University [email protected] The Working Papers Series is intended to initiate discussion, debate and discourse on a wide variety of issues as it pertains to the analysis of antisemitism, and to further the study of this subject matter. Please feel free to submit papers to the ISGAP working paper series. Contact the ISGAP Coordinator or the Editor of the Working Paper Series. Working Paper Roskies 2010 ISSN: 1940-610X © The Institute for the Study of Global Antisemitism and PolicyISBN: 978-0-9819058-6-0 Series Editor Charles Asher Small ISGAP 165 East 56th Street, Second Floor New York, NY 10022 United States www.isgap.org 2 ABSTRACT This paper examines an apparent omission within feminist theory. Feminists of diverse cultural backgrounds have developed theoretical models which articulate their respective standpoints in relation to the sexism of their racial/ethnic groups on the one hand, and what has been termed “mainstream” or “white” feminism on the other. This is not the case when it comes to multicultural and ethnographic research regarding Jewish women, notwithstanding the involvement of many Jewish women in the feminist movement generally, including as leading theorists. Would a body of scholarship which examines Jewish women’s experiences from this dual perspective uncover a distinct theoretical model? How would such a “feminist Jewish women’s standpoint” address their concerns within the Jewish world as well as within the world of mainstream feminism – such as expressions within the mainstream women’s movement that pertain to Jewish issues or Israel? In examining the possible origins of the existing asymmetry, as well as its implications, this paper explores the possibility of adding new dimensions to understanding of multicultural feminism, identity studies and the study of Jewish identity.
    [Show full text]
  • Art and Politics: a Small History of Art for Social Change Since 1945 Free
    FREE ART AND POLITICS: A SMALL HISTORY OF ART FOR SOCIAL CHANGE SINCE 1945 PDF Claudia Mesch | 224 pages | 15 Oct 2013 | I.B.Tauris & Co Ltd | 9781848851108 | English | London, United Kingdom 15 Influential Political Art Pieces | Widewalls What is political art? Is it different than the art itself and could it be the art beside the politics, as we know the political truth is the ruling mechanism over all aspects of humanity? From its beginnings, art is inseparable from the societies and throughout its history authors always reflected the present moment bringing the artistic truth to the general public. For Plato and Aristotle, mimesis - the act of artistic creation is inseparable from the notion of real world, in which art represents or rather disputes the various models of beauty, truth, and the good within the societal reality. Hence, position of the art sphere is semi- autonomous, as it is independent field of creation freed from the rules, function and norms, but on the other hand, art world is deeply connected and dependent from artistic productionways of curating and display as well as socio-economical conditions and political context. In times of big political changes, many art and cultural workers choose to reflect the context within their artistic practices and consequently to create politically and socially engaged art. Art could be connected to politics in many different ways, and the field of politically engaged art is rather broad and rich than a homogenous term reducible to political propaganda. There are many strategies to reach the state of political engagement in art and it includes the wide scale of artistic interventions from bare gestures to complex conceptual pieces with direct political engagement intended to factual political changes.
    [Show full text]
  • The Creative Arts at Brandeis by Karen Klein
    The Creative Arts at Brandeis by Karen Klein The University’s early, ardent, and exceptional support for the arts may be showing signs of a renaissance. If you drive onto the Brandeis campus humanities, social sciences, and in late March or April, you will see natural sciences. Brandeis’s brightly colored banners along the “significant deviation” was to add a peripheral road. Their white squiggle fourth area to its core: music, theater denotes the Creative Arts Festival, 10 arts, fine arts. The School of Music, days full of drama, comedy, dance, art Drama, and Fine Arts opened in 1949 exhibitions, poetry readings, and with one teacher, Erwin Bodky, a music, organized with blessed musician and an authority on Bach’s persistence by Elaine Wong, associate keyboard works. By 1952, several Leonard dean of arts and sciences. Most of the pioneering faculty had joined the Leonard Bernstein, 1952 work is by students, but some staff and School of Creative Arts, as it came to faculty also participate, as well as a be known, and concentrations were few outside artists: an expert in East available in the three areas. All Asian calligraphy running a workshop, students, however, were required to for example, or performances from take some creative arts and according MOMIX, a professional dance troupe. to Sachar, “we were one of the few The Wish-Water Cycle, brainchild of colleges to include this area in its Robin Dash, visiting scholar/artist in requirements. In most established the Humanities Interdisciplinary universities, the arts were still Program, transforms the Volen Plaza struggling to attain respectability as an into a rainbow of participants’ wishes academic discipline.” floating in bowls of colored water: “I wish poverty was a thing of the past,” But at newly founded Brandeis, the “wooden spoons and close friends for arts were central to its mission.
    [Show full text]
  • A Classification of Feminist Theories Karen Wendling
    Document généré le 28 sept. 2021 15:45 Les ateliers de l'éthique The Ethics Forum A Classification of Feminist Theories Karen Wendling Volume 3, numéro 2, automne 2008 Résumé de l'article Une analyse critique de la description des théories politiques féministes révèle URI : https://id.erudit.org/iderudit/1044593ar qu’une classification alternative à celle de Jaggar permettrait de répertorier DOI : https://doi.org/10.7202/1044593ar plus adéquatement les différents courants féministes qui ont évolués au cours des dernières décennies. La nouvelle cartographie que nous proposons Aller au sommaire du numéro comprend deux familles de féminisme : activiste et académique. Cette nouvelle manière de localiser et situer les féminismes aide à comprendre pourquoi il n’y a pas de féminisme radical à l’extérieur de l’Amérique du Nord et aussi Éditeur(s) pourquoi il y a si peu de féministes socialistes en Amérique du Nord. Dans ce nouveau schème, le féminisme de la « différence » devient une sous-catégorie Centre de recherche en éthique de l’Université de Montréal du féminisme activiste car ce courant a eu une influence importante sur le féminisme activiste. Même si les courants de féminisme académique n’ont pas ISSN de rapports directs avec les mouvements activistes, ils jouent un rôle important dans l’énonciation et l’élaboration de certaines problématiques qui, ensuite, 1718-9977 (numérique) peuvent s’avérer cruciales pour les activistes. Nous concluons en démontrant que cette nouvelle classification représente plus clairement les différents Découvrir la revue féminismes et facilite la compréhension de l’évolution du féminisme et des enjeux qui ont influencé le féminisme.
    [Show full text]
  • To Consignors Hip Color & No
    Index to Consignors Hip Color & No. Sex Sire Dam Dam's Sire Barn 27 Property of The Acorn LLC 809 dk. b./br. f. Old Trieste Pride of Yoda Time for a Change Barn 27 Consigned by The Acorn LLC, Agent for White Oaks 548 b. f. Fusaichi Pegasus Word o' Ransom Red Ransom 688 gr/ro. c. Spinning World Grab the Green Cozzene 820 b. f. War Chant Reach the Top Cozzene Barn 35 Consigned by Ballinswood Sales (Bill Murphy), Agent for Creston Farms 669 dk. b./br. c. Dynaformer Footy Topsider 751 dk. b./br. c. Old Trieste Marchtothemine Mining Barn 46 Consigned by Bedouin Bloodstock, Agent I 1029 ch. c. Forest Wildcat Erstwhile Arts and Letters 1161 dk. b./br. c. Awesome Again Naked Glory Naked Sky Barn 42 Consigned by Blackburn Farm (Michael T. Barnett), Agent 1009 dk. b./br. f. Touch Gold Deep Enough Raise a Native Barn 42 Consigned by Blackburn Farm (Michael T. Barnett), Agent for Classic Run Farm 1063 dk. b./br. c. Menifee Hail the Queen Danzatore 1100 ch. f. Belong to Me Kris Is It Kris S. Barn 42 Consigned by Blackburn Farm (Michael T. Barnett), Agent for Longleaf Pine Farm 971 dk. b./br. c. Chester House Bittersweet Hour Seattle Slew Barn 29 Consigned by Blake Agency, Agent 589 b. f. Thunder Gulch Bet Birdie Bet Twice 819 b. c. Summer Squall Rainbow Promise Known Fact 870 ch. c. Distorted Humor Slick Delivery Topsider Barn 44 Consigned by Blandford Stud (Padraig Campion), Agent 957 dk. b./br. c. Giant's Causeway Aunt Pearl Seattle Slew 1185 ch.
    [Show full text]
  • Global Feminism, Comparatism, and the Master's Tools
    15 Compared to What? Global Feminism, Comparatism, and the Master's Tools SUSAN SNIADER LANSER And rain is the very thing that you, just now, do not want, for you are thinking of the hard and cold and dark and long days you spent working in North America (or, worse, Europe), earning some money so that you could stay in this place (Antigua) where the sun always shines and where the climate is deliciously hot and dry ...and since you are on your holiday, since you are a tourist, the thought of what it might be like for someone who had to live day in, day out in a place that suffers constantly from drought ...must never cross your mind. And you leave, and from afar you watch as we do to ourselves the very things you used to do to us. And you might feel that there was more to you than that, you might feel that you had understood the meaning of the Age of Enlightenment (though, as far as I can see, it has done you very little good); you loved knowl­ edge, and wherever you went you made sure to build a school, a library (yes, and in both of these places you distorted or erased my history and glorified your own). As for what we were like before we met you, I no longer care. No periods of time over which my ancestors held sway, no doc­ umentation of complex civilisations, is any comfort to me. Even if I really came from people who were living like monkeys in trees, it was better to be that than what happened to me, what I became after I met you.
    [Show full text]
  • Elvis Quarterly 89 Ned
    UEPS QUARTERLY 89 Driemaandelijks / Trimestriel januari-februari-maart 2009 / Afgiftekantoor Antwerpen X - erk. nr.: 708328 januari-februari-maart 2009 / Afgiftekantoor Antwerpen X - erk. nr.: Driemaandelijks / Trimestriel The United Elvis Presley Society is officieel erkend door Elvis en Elvis Presley Enterprises (EPE) sedert 1961 The United Elvis Presley Society Elvis Quarterly Franstalige afdeling: Driemaandelijks tijdschrift Jean-Claude Piret - Colette Deboodt januari-februari-maart 2009 Rue Lumsonry 2ème Avenue 218 Afgiftekantoor: Antwerpen X - 8/1143 5651 Tarcienne Verantwoordelijk uitgever: tel/fax 071 214983 Hubert Vindevogel e.mail: [email protected] Pijlstraat 15 2070 Zwijndrecht Rekeningnummers: tel/fax: 03 2529222 UEPS (lidgelden, concerten) e-mail: [email protected] 068-2040050-70 www.ueps.be TCB (boetiek): Voorzitter: 220-0981888-90 Hubert Vindevogel Secretariaat: Nederland: Martha Dubois Giro 2730496 (op naam van Hubert Vindevogel) IBAN: BE34 220098188890 – BIC GEBABEBB (boetiek) Medewerkers: IBAN: BE60 068204005070 – BIC GCCCBEBB (lidgelden – concerten) Tina Argyl Cecile Bauwens Showroom: Daniel Berthet American Dream Leo Bruynseels Dorp West 13 Colette Deboodt 2070 Zwijndrecht Pierre De Meuter tel: 03 2529089 (open op donderdag, vrijdag en zaterdag van 10 tot 18 uur Marc Duytschaever - Eerste zondag van elke maand van 13 tot 18 uur) Dominique Flandroit Marijke Lombaert Abonnementen België Tommy Peeters 1 jaar lidmaatschap: 18 € (vier maal Elvis Quarterly) Jean-Claude Piret 2 jaar: 32 € (acht maal Elvis Quarterly) Veerle
    [Show full text]
  • Coversheet for Thesis in Sussex Research Online
    A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details I hereby declare that this thesis has not been and will not be, submitted in whole or in part to another University for the award of any other degree. However, the thesis incorporates, to the extent indicated below, material already submitted as part of required coursework and/ or for the degree of: Masters in English Literary Studies, which was awarded by Durham University. Sign ature: Incorporated material: Some elements of chapter three, in particular relating to the discussion of teeth and dentistry, formed part of an essay submitted for my MA at Durham CniYersiry. This material has, however, been significantly reworked and re,,ised srnce then. Dismantling the face in Thomas Pynchon’s Fiction Zachary James Rowlinson Submitted for the award of Doctor of Philosophy University of Sussex November 2015 i Summary Thomas Pynchon has often been hailed, by those at wont to make such statements, as the most significant American author of the past half-century.
    [Show full text]