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Cervantes and the Fictions of Identity
Passing for Spain charts the intersections of identity, nation, and literary representation in early modern Spain. Barbara Fuchs analyzes the trope of passing in Don Quijote and other works by Cervantes, linking the use of disguise to the broader historical and social context of Counter-Reformation Spain and the religious and political dynamics of the Mediterranean Basin._x000B_In five lucid and engaging chapters, Fuchs examines what passes in Cervantess fiction: gender and race in Don Quijote and Las dos doncellas?; religion in El amante liberal? and La gran sultana; national identity in the Persiles and La espaÃ±ola inglesa.? She argues that Cervantes represents cross-cultural impersonation -- or characters who pass for another gender, nationality, or religion -- as challenges to the states attempts to assign identities and categories to proper Spanish subjects. _x000B_Fuchs demonstrates the larger implications of this challenge by bringing a wide range of literary and political texts to bear on Cervantess representations. Impeccably researched, Passing for Spain examines how the fluidity of individual identity in early modern Spain undermined a national identity based on exclusion and difference. _x000B_
Gender, Narrative, and Violence in Clarice Lispector
Passionate Fictions was first published in 1994. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
"Clarice Lispector is the premiere Latin American woman prose writer of this century," Suzanne Ruta noted in the New York Times Book Review, "but because she is a woman and a Brazilian, she has remained virtually unknown in the United States." Passionate Fictions provides American readers with a critical introduction to this remarkable writer and offers those who already know Lispector's fiction a deeper understanding of its complex workings.
Twentieth-Century Postcard Art from Chicago to Cairo
The American picture postcard debuted around the start of the twentieth century, creating an enthusiasm for sending and collecting postcard art that continued for decades. In this gloriously illustrated history of the picture postcard in Illinois, John A. Jakle and Keith A. Sculle study a rich and diverse set of images that chronicle what Illinoisans considered attractive, intriguing, and memorable. They also discuss how messages written on postcards reveal the sender's personal interpretation of local geography and scenery._x000B__x000B_The most popularly depicted destination was Chicago, America's great boomtown. Its portraits are especially varied, showing off its high-rise architecture, its teeming avenues, and the vitality of its marketplaces and even slaughterhouses. Postcards featuring downstate locales, however, elaborated and reinforced stereotypes that divided the state, portraying the rest of Illinois as the counterpoint to Chicago's urban bustle. Scores of cards from Springfield, Peoria, Bloomington-Normal, Urbana-Champaign, Quincy, and Vandalia emphasize wide-open prairies, modest civic edifices, and folksy charm._x000B__x000B_Jakle and Sculle follow this dialogue between urban Chicago and rural downstate as it is illustrated on two hundred vintage postcards, observing both their common conventions and their variety. Providing rich historical and geographical context, Picturing Illinois: Twentieth-Century Postcard Art from Chicago to Cairo illustrates the picture postcard's significance in American popular culture and the unique ways in which Illinoisans pictured their world._x000B__x000B_
From Earliest Times to the Nineteenth Century
Although the history of technological and scientific illustrations is a well-established field in the West, scholarship on the much longer Chinese experience is still undeveloped. This work by Peter Golas is a short, illustrated overview tracing the subject to pre-Han inscriptions but focusing mainly on the Song, Yuan, Ming, and Qing dynasties. His main theme is that technological drawings developed in a different way in China from in the West largely because they were made by artists rather than by specialist illustrators or practitioners of technology. He examines the techniques of these artists, their use of painting, woodblock prints and the book, and what their drawings reveal about changing technology in agriculture, industry, architecture, astronomical, military, and other spheres. The text is elegantly written, and the images, about 100 in all, are carefully chosen. This is likely to appeal to both scholars and general readers. "Picturing Technology develops a rich and convincing analysis of technology's place in the material, intellectual and aesthetic traditions of Chinese civilisation. This pathbreaking work by one of the leading historians of technology in China also challenges us to rethink a key question about the rise of the modern world: how closely do skills in technological illustration relate to mechanical understanding, invention or technological achievement?" —Francesca Bray, University of Edinburgh "Providing a comprehensive and splendidly illustrated survey of premodern China's tradition of picturing technology, Peter J. Golas excels in carefully exploring and weighing all of its aspects and avoids anachronistic pitfalls as well as Western-centric condescension or Sino-centric glorification." —Wolfgang Lefèvre, Max Planck Institute for the History of Science, Berlin "This is the first monograph dealing critically with the depiction of technology throughout China's long history. Based on wide reading in primary sources as well as secondary literature in major Western and Eastern languages, Golas's analysis gives due consideration to such disparate yet interrelated factors as technology, society, economics, politics, philosophy, and art, thereby revealing the complex inner mechanisms of China's developments." —Hans Ulrich Vogel, University of Tübingen
Originally written for an exhibition Jean-Luc Nancy curated at the Museum of Fine Arts in Lyon in 2007, this book addresses the medium of drawing in light of the question of form--of form in its formation, as a formative force, as a birth to form. In this sense, drawing opens less toward its achievement, intention, and accomplishment than toward a finality without end and the infinite renewal of ends, toward lines of sense marked by tracings, suspensions, and permanent interruptions. Recalling that drawing and design were once used interchangeably, Nancy notes that "drawing" designates a design that remains without project, plan, or intention. His argument offers a way of rethinking a number of historical terms (sketch, draft, outline, plan, mark, notation), which includes rethinking drawing in its graphic, filmic, choreographic, poetic, melodic, and rhythmic sense. If drawing is not reducible to any form of closure, it never resolves a tension specific to drawing but allows the pleasure of drawing to come into appearance, which is also the pleasure in drawing, the gesture of a desire that remains in excess of all knowledge. Situating drawing in these terms, Nancy engages a number of texts in which Freud addresses the force of desire in the rapport between aesthetic and sexual pleasure, texts that also turn around the same questions concerning form in its formation, form as a formative force. Between the sections of the text, Nancy has placed a series of "sketchbooks" on drawing, composed of a broad range of quotations on art from different writers, artists, or philosophers.
This broadranging exploration argues that there was a special preoccupation with the nature and limits of poetry in early modern Spain and Europe, as well as especially vigorous poetic activity in this period. Contrary to what one might read in Hegel, the "prosification" of the world has remained an unfinished affair.
Spain and Latin America's Southern Cone
This volume explores the role played by culture in the transition to democracy in Latin America's Southern Cone (Argentina, Uruguay, Chile) and Spain, with a focus on opposing stances of acceptance and defiance by artists and intellectuals in post-authoritarian regimes.
Romantic Spain, Modern Europe, and the Legacies of Empire
Michael Iarocci traces the ways in which Spain went from being central to European history and identity during the early modern period to being marginalized and displaced by England, France, and Germany during the Romantic period. He points out that it has long been an unspoken assumption tainting much of literary criticism that Spain did not have a strong Romantic movement even though Spain itself had come to be viewed by the "new" Europe as the location of all that was romantic. Through a close study of Cadalso, Saavedra, and Larra, Iarocci argues that Spanish writers were intensely concerned with the same issues taken up by more famous Romantics and that the ways in which they address these issues provides us with a richer notion, not only of Spain, but of all of Europe.
Discurso prostibulario en la picaresca femenina
Zafra considers legal measures and moral treatises that define the boundaries of sin. Her analysis discusses the lesser evil that the presence of prostitutes represents for society, as well as, the concern for the public good that led to its legal eradication in 1623. Zafra's research demonstrates that the discourse on early modern prostitution present in literary and extra-literary sources informs us of more than the sexual practices allowed to prostitutes, and therefore, is part of a larger discourse on the regulation of women's behavior. She points out that moralists, preachers, legislators, and writers participated in this on-going discourse on prostitution, women, and sex.
Traité sur la manœuvre de la résine en sculpture
Par son livre, l’artiste Laurent Pilon rend compte de l’immense potentiel de composition matérielle de la résine de polyester et de la variété des techniques qu’il est possible d’utiliser. La résine, comme le montre la centaine de photos accompagnant le texte, est en effet avide d’imprégnation, ouverte à une quasi infinie étendue de conversions matérielles.