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Performance Art and Audience
The changing role of the spectator in contemporary performance art At a moment when performance art and performance generally are at the center of the international art world, Frazer Ward offers us insightful readings of major performance pieces by the likes of Acconci, Burden, Abramović, and Hsieh, and confronts the twisting and troubled relationship that performance art has had with the spectator and the public sphere. Ward contends that the ethical challenges with which performance art confronts its viewers speak to the reimagining of the audience, in terms that suggest the collapse of notions like “public” and “community.” A thoughtful, even urgent discussion of the relationship between art and the audience that will appeal to a broad range of art historians, artists, and others interested in constructions of the public sphere.
Sestinas in the Twenty-First Century
The sestina (of medieval French origin) is a complex poetic form of 39 lines (six sestets and a three-line "envoy") in which the six end-words (teleutons) of the lines of the first sestet stanza are repeated in a specific order as teleutons in the five succeeding sestets. In the envoy, the six teleutons are again picked up, one of them being buried in, and one finishing, each line.
Because of the complexity of the form, the sestina fell out of favor with poets for several decades. However, a twenty-first century revival of the form is underway. This is the first anthology of sestinas that showcases both traditional and innovative examples of the form by modern and contemporary poets, award winners, and emerging writers alike. Organized by such themes as Americana; Art; Love and Sex; and Memory, Contemplation, Retrospection, and Death, the collection also includes sestinas with irregular teleutons and unconventional sestinas. An evocative introduction by Marilyn Krysl acquaints readers with the form. The volume concludes with useful indexes of first lines and teleutons, increasing access to the poems beyond the poets' names.
Pathways to Healing and Health
Currently in medicine, theories of pain regard pain and suffering as one and the same. It is assumed that if pain ceases, suffering stops. These theories are not substantiated in clinical practice, where some patients report little pain and extreme suffering and other individuals have a lot of pain and virtually no suffering.
Based on the results of a scientific questionnaire, as well as evidence from and conversations with hundreds of patients, Beverley M. Clarke argues convincingly that suffering is often separate from pain, has universal measurable characteristics, and requires suffering-specific treatments that are sensitive to the patient's individual psychology and cultural background. According to Clarke, suffering occurs when individuals who have experienced a life change because of medical issues perceive a threat to their idea of self and personhood. This kind of suffering, based on a lost "dream of self," affects every aspect of an individual's life. Treating the patient as a whole person--an approach that Clarke strongly advocates--is an issue overlooked in the majority of chronic care and traumatic injury treatments, focused as they are on pain reduction.
Clarke believes passionately that the management of suffering in medicine is the responsibility of all health care practitioners. Until they come to identify and understand suffering as distinct from pain, the entire health care system will continue to carry the financial and moral burden of incomplete diagnoses, inappropriate referrals for care, ineffective treatment interventions, and lost human potential.
Race as Face Value
In this landmark work of critical theory, black studies, and visual culture studies, Alessandra Raengo boldly reads race as a theory of the image. By placing emphasis on the surface of the visual as the repository of its meaning, race presents the most enduring ontological approach to what images are, how they feel, and what they mean. Having established her theoretical concerns, the author's eclectic readings of various artifacts of visual culture, fine arts, cinema, and rhetorical tropes provoke and destabilize readers' visual comfort zone, forcing them to recognize the unstated racial aspects of viewing and the foundational role of race in informing the visual.
Art, Advertising, Design, and Collecting, 1860s–1900s
The Poster: Art, Advertising, Design, and Collecting, 1860s–1900s is a cultural history that situates the poster at the crossroads of art, design, advertising, and collecting. Though international in scope, the book focuses especially on France and England. Ruth E. Iskin argues that the avant-garde poster and the original art print played an important role in the development of a modernist language of art in the 1890s, as well as in the adaptation of art to an era of mass media. She moreover contends that this new form of visual communication fundamentally redefined relations between word and image: poster designers embedded words within the graphic, rather than using images to illustrate a text. Posters had to function as effective advertising in the hectic environment of the urban street. Even though initially commissioned as advertisements, they were soon coveted by collectors. Iskin introduces readers to the late nineteenth-century “iconophile”—a new type of collector/curator/archivist who discovered in poster collecting an ephemeral archaeology of modernity. Bridging the separation between the fields of art, design, advertising, and collecting, Iskin’s insightful study proposes that the poster played a constitutive role in the modern culture of spectacle.
This stunningly illustrated book will appeal to art historians and students of visual culture, as well as social and cultural history, media, and advertising.
Seduction, Visual Culture, and the Tokyo Art Directors Club
In a study driven by stunning images of Japanese advertisements and the artworks they quote from, Ory Bartal offers a first-of-its-kind interpretation of the “postmodern” genre of advertising in Japan, which both shaped and reflected the new consumer-driven culture that arose during the bubble era of the 1980s and 1990s. Through a fascinating tale of art directors and their works and influences, Bartal shows how this postmodern visual language, like postmodernism in other streams, is distinguished by its mélange of styles, blurring of boundaries between art and design, and reliance on visual and textual quotations from sources past and present, domestic and foreign. Although this advertising culture partakes of global trends, Bartal draws attention to the varied local artistic sensibilities, structures of thought, and underlying practices, challenging the often-simplistic characterization of “Japaneseness” as being rooted in a Zen tradition of aesthetic indirectness and ambiguity.
Combining multilingual scholarship with a wealth of information gleaned through years of personal interviews with the principals involved, this is a truly original contribution to the discussion of Japanese art and advertising as well as an insightful reading of more general issues in the study of visual culture and media.
This volume is the outcome of a transatlantic conversation on the topic "Transnational America," in which more than sixty scholars from universities in the United States and Germany gathered to assess the historical significance of and examine the academic prospects for the "transnational turn" in American studies.
This development has brought about the most significant re-imagining of the field since its inception. The "transnational" has subsumed competing spatial and temporal orientations to the subject and has dismantled the foundational tenets and premises informing the methodology, periodization, pedagogy, and geographical locations of U.S. American studies, but transnational American studies scholars have not yet provided a coherent portrait of their field. This volume constitutes an effort to produce this needed portrait. The editors have gathered work from a host of senior and up-and-coming Americanists to compile a field-defining project that will influence both scholars and students of American studies for many years to come.
One of Rousseau's later and most puzzling works and never before available in English, this neglected autobiographical piece was the product of the philosopher's old age and sense of persecution. Long viewed simply as evidence of his growing paranoia, it consists of three dialogues between a character named "Rousseau" and one identified only as "Frenchman" who discuss the bad reputation and works of an author named "Jean-Jacques." Dialogues offers a fascinating retrospective of his literary career.
American Exceptionalism and the Imperatives of the Spectacle in Mark Twain's A Connecticut Yankee in King Arthur's Court
Inspired by the foreign policy entanglements of recent years, William V. Spanos offers a dramatic interpretation of Twain's classic A Connecticut Yankee in King Arthur's Court, offering a heretofore unexplored assessment of American exceptionalism and the place of a global America in the American imaginary. Spanos insists that Twain identifies with his protagonist, particularly in his defining use of the spectacle, and thus with an American exceptionalism that uncannily anticipates the George W. Bush administration's normalization of the state of exception and the imperial policy of "preemptive war," unilateral "regime change," and "shock and awe" tactics. Equally stimulating is Spanos's thoroughly original ontology of American exceptionalism and imperialism and his tracing of these forces through a chronological examination of Twain studies and criticism over the past century.
As an examination of an overlooked text and a critical history of American studies from its origins in the nation-oriented "Myth and Symbol" school of the Cold War era into its present globalizing or transnationalizing perspective, Shock and Awe will appeal to a broad audience of American literature scholars and beyond.