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Sex, Hope, and Rock-and-Roll
From the New Yorker’s inimitable first pop music critic comes this pioneering collection of essays by a conscientious writer whose political realm is both radical and rational, and whose prime preoccupations are with rock ’n’ roll, sexuality, and above all, freedom. Here Ellen Willis assuredly captures the thrill of music, the disdain of authoritarian culture, and the rebellious spirit of the ’60s and ’70s.
The Visual Communication of Character and Culture
Beijing Opera Costumes is the first in-depth English-language book focused exclusively on the costumes of Jingju, the highest form of stage arts in China. This comprehensive volume provides both theory and analysis of the costumes and the method of their selection for the roles as well as technical information on embroidery, patterns, and construction. Extensive descriptions illuminate the use of colors and surface images derived from historical dress and modified for the stage. Details on makeup, hairstyles, and dressing techniques present a complete view of the Jingju performer from head to toe. Meticulously researched in Taipei and Beijing, this definitive work begins with an outline of the rich and complex history of Beijing opera and significant developments in design over the past millennium. Chapters on costume theory and design elements and their modification to create a wide variety of images are followed by presentations of individual costumes together with their historical background and use of color and pattern. A survey of the accessories and headdresses, makeup and hairstyles, accompanies the discussion of each costume. The intricacies of choosing costumes for a production and dressing actors are also discussed. Lavishly illustrated with more than 250 color and black-and-white photographs and pattern drafts, Beijing Opera Costumes is an indispensable record of and resource for Jingju as it is performed in China today. Textile artists will appreciate the beauty of the colors and designs as well as the information on embroidery techniques and symbolism of the images. China scholars will value the contextual analysis and theater specialists the explication of costumes in relation to performance. Finally, costume designers will relish the opportunity to examine in detail their art in another cultural setting and theatrical style.
A Life in the Young Republic
Poet, essayist, chemist, geologist, educator, entrepreneur, publisher--Benjamin Silliman (1779-1864) was one of the virtuosi of the Early Republic and a founder of the American scientific community. This absorbing biography is not only a study of the youth and early career of a complex and remarkable man but also a window on his times. In lively and often moving detail, Chandos Michael Brown opens the broad context of Silliman's life in his native Connecticut. From Silliman's father's disastrous captivity among the British during the Revolution to the intensities of New England religious revivals, from the international celebrity of the Weston Meteor to the economic hazards of introducing artificial mineral waters to the New York market, here is an engaging portrayal of the growth of an American scientist within his rich cultural setting. Brown tells how the young Silliman confronted the declining fortunes of his distinguished family and how he strove to invent a new career worthy of his ambition and social standing. He describes Silliman's education at Yale College and in Philadelphia, his European tour, and his subsequent activities as a professor of chemistry and mineralogy, founder of the Yale Medical School, and editor of the American Journal of Science. Throughout this cultural biography, Silliman appears as the concerned member of an often troubled family--a man who nonetheless managed to achieve that elusive quality, greatly admired by his contemporaries, that of the representative American.
Originally published in 1990.
The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
How an American Father and Son Changed the Printing Industry
The ease with which we can choose a typeface today from a plethora of options to fit a particular need is something we may take for granted, but it is possible only because of the tremendous amount of labor and ingenuity that came before. The story of the lives and work of Linn Boyd Benton and Morris Fuller Benton is an important chapter in the history of type, recalling a time in American history when men quietly worked at developing and improving mechanical technologies that they thought would continue evolving incrementally into the future.
Olmsted, Vaux, and the Buffalo Park System
Beginning in 1868, Frederick Law Olmsted and Calvert Vaux created a series of parks and parkways for Buffalo, New York, that drew national and international attention. The improvements carefully augmented the city’s original plan with urban design features inspired by Second Empire Paris, including the first system of “parkways” to grace an American city. Displaying the plan at the Centennial Exposition in Philadelphia, Olmsted declared Buffalo “the best planned city, as to streets, public places, and grounds, in the United States, if not in the world.” Olmsted and Vaux dissolved their historic partnership in 1872, but Olmsted continued his association with the Queen City of the Lakes, designing additional parks and laying out important sites within the growing metropolis. When Niagara Falls was threatened by industrial development, he led a campaign to protect the site and in 1885 succeeded in persuading New York to create the Niagara Reservation, the present Niagara Falls State Park. Two years later, Olmsted and Vaux teamed up again, this time to create a plan for the area around the Falls, a project the two grand masters regarded as “the most difficult problem in landscape architecture to do justice to.” In this book Francis R. Kowsky illuminates this remarkable constellation of projects. Utilizing original plans, drawings, photographs, and copious numbers of reports and letters, he brings new perspective to this vast undertaking, analyzing it as a cohesive expression of the visionary landscape and planning principles that Olmsted and Vaux pioneered.
Archaeological Replicas and Cultural Production in Oaxaca, Mexico
An innovative ethnographic study of tourist art markets in Oaxaca, Mexico, where making and selling replicas of pre-Hispanic archaeological pieces is sometimes met with disdain, despite the artisanal quality and rich heritage associated with the practice
Stories of Cloth, Lives and Travels from Sumba
Textiles have long been integral to the social life and cosmology of the people of East Sumba, Indonesia. In recent decades, Sumbanese have entered a larger world economy as their textiles have joined the commodity flow of an international “ethnic arts” market stimulated by Indonesia’s tourist trade. Through the individual stories of those involved in the contemporary production and trade of local cloth—including animists, Christians, and Moslems; Sumbanese, Indonesian Chinese, and Westerners; inventive geniuses, master artisans, and exploited weavers; rogues, entrepeneurs, nobles, and servants—a vivid account emerges of the inner workings of a so-called “traditional” society and its arts responding inventively to decades of international collecting.
Twelve German Cities Confront the Nazi Past
Beyond Berlin breaks new ground in the ongoing effort to understand how memorials, buildings, and other spaces have figured in Germany's confrontation with its Nazi past. The contributors challenge reigning views of Germany's postwar memory work by examining how specific urban centers apart from the nation's capital have wrestled with their respective Nazi legacies. A wide range of West and East German cities is profiled in the volume: prominent metropolises like Hamburg, dynamic regional centers like Dresden, gritty industrial cities like Wolfsburg, and idyllic rural towns like Quedlinburg. In employing historical, art historical, anthropological, and geographical methodologies to examine these and other important urban centers, the volume's case studies shed new light upon the complex ways in which the confrontation with the Nazi past has directly shaped the German urban landscape since the end of the Second World War. "Beyond Berlin is one of the most fascinating, deeply probing collections ever published on Germany's ongoing confrontation with its Nazi past. Its editors, Gavriel Rosenfeld and Paul Jaskot, have taken the exploration of Germany's urban memorial landscape to its highest level yet." ---James E. Young, Professor and Chair, Department of Judaic and Near Eastern Studies, University of Massachusetts Amherst, and author of The Texture of Memory and At Memory's Edge "This is a top-notch collection of essays that positions itself in the populated field of memory studies by bringing together original contributions representing the best of new scholarship on architecture, urban design, monuments, and memory in East and West Germany. Taken together, the essays remind readers that the Nazi past is always present when German architects, urban planners, and politicians make decisions to tear down, rebuild, restore, and memorialize." ---S. Jonathan Wiesen, Department of History, Southern Illinois University, Carbondale
Each of the five volumes in the Stone Art Theory Institutes series—and the seminars on which they are based—brings together a range of scholars who are not always directly familiar with one another’s work. The outcome of each of these convergences is an extensive and “unpredictable conversation” on knotty and provocative issues about art. This fourth volume in the series, Beyond the Aesthetic and the Anti-Aesthetic focuses on questions revolving around the concepts of the aesthetic, the anti-aesthetic, and the political. The book is about the fact that now, almost thirty years after Hal Foster defined the anti-aesthetic, there is still no viable alternative to the dichotomy between aesthetics and anti- or non-aesthetic art. The impasse is made more difficult by the proliferation of identity politics, and it is made less negotiable by the hegemony of anti-aesthetics in academic discourse on art. The central question of this book is whether or not artists and academicians are free of this choice, in practice, in pedagogy, and in theory. Aside from the editor, the contributors are, Stéphanie Benzaquen, J. M. Bernstein, Karen Busk-Jepsen, Luis Camnitzer, Diarmuid Costello, Joana Cunha Leal, Angela Dimitrakaki, Alexander Dumbadze, T. Brandon Evans, Geng Youzhuang, Boris Groys, Beata Hock, Gordon Hughes, Michael Kelly, Grant Kester, Meredith Kooi, Cary Levine, Sunil Manghani, William Mazzarella, Justin McKeown, Andrew McNamara, Eve Meltzer, Nadja Millner-Larsen, Maria Filomena Molder, Carrie Noland, Gary Peters, Aaron Richmond, Lauren Ross, Toni Ross, Eva Schürmann, Gregory Sholette, Noah Simblist, Jon Simons, Robert Storr, Martin Sundberg, Timotheus Vermeulen, and Rebecca Zorach.
The Iconography of Black Consciousness
“When you say, ‘Black is Beautiful,’ what in fact you are saying . . . is: Man, you are okay as you are; begin to look upon yourself as a human being.” With such statements, Stephen Biko became the voice of Black Consciousness. And with Biko’s brutal death in the custody of the South African police, he became a martyr, an enduring symbol of the horrors of apartheid. Through the lens of visual culture, Biko’s Ghost reveals how the man and the ideology he promoted have profoundly influenced liberation politics and race discourse—in South Africa and around the globe—ever since.
Tracing the linked histories of Black Consciousness and its most famous proponent, Biko’s Ghost explores the concepts of unity, ancestry, and action that lie at the heart of the ideology and the man. It challenges the dominant historical view of Black Consciousness as ineffectual or racially exclusive, suppressed on the one side by the apartheid regime and on the other by the African National Congress.
Engaging theories of trauma and representation, and icon and ideology, Shannen L. Hill considers the martyred Biko as an embattled icon, his image portrayals assuming different shapes and political meanings in different hands. So, too, does she illuminate how Black Consciousness worked behind the scenes throughout the 1980s, a decade of heightened popular unrest and state censorship. She shows how—in streams of imagery that continue to multiply nearly forty years on—Biko’s visage and the ongoing life of Black Consciousness served as instruments through which artists could combat the abuses of apartheid and unsettle the “rainbow nation” that followed.