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Biography 27.1 (2004) 250-304
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Contributing editors Patricia Angley, Judith Coullie, Michael Fassiotto, Marie-Christine Garneau, Théo Garneau, Corey Hollis, Noel Kent, John W. I. Lee, Gabriel Merle, Barbara Bennett Peterson, and George Simson provided the excerpts for this issue.
Publications reviewed include Albion, American Quarterly, Bryn Mawr Classical Review (BMCR), French Review, French Studies, Los Angeles Times Book Review (LATBR), Le Monde des Livres, The New Yorker, New York Review of Books (NYRB), New York Times Book Review (NYTBR), Le Nouvel Observateur, Pacific Historical Review, Romance Quarterly, Studi Francesi, Times Literary Supplement (TLS), Washington Post National Weekly Edition (WP), and the Women's Review of Books; and from South Africa: Cape Argus, Cape Times, Daily Dispatch, Grocott's Mail, The Herald, Mail & Guardian, The Natal Witness, The Sunday Independent, Sunday Times, andThis Day.
"While Allen's work seems to highlight a continuing struggle in dealing with death, he makes it clear in an interview with the film critic Richard Schickel in 'Woody Allen: A Life in Film' that he himself is not encumbered by existential gloom."
Richard Simon Chang. NYTBR, Sept. 7, 2003: 24.
Antonia Augusta (36 BC-AD 37)—younger daughter of Mark Antony
Of the original publication, Greg Rowe wrote (BMCR, May 14, 1994): "The [Roman] principate was the rule of a dynastic house in which the women were nearly as prominent and powerful as the men. . . . Yet historians continue to treat the principate as though it was the rule of a single person, the emperor. A volume devoted entirely to a woman of the house should provide a corrective. Livia was perhaps the more obvious choice for a subject, but Antonia, in addition to being the wife of Drusus the Elder, mother of Germanicus and Claudius, grandmother of Caligula, and great-grandmother of Nero, was the daughter of M. Antonius. . . . Kokkinos hopes his book will serve as a model for future studies of ancient figures, and it deserves to be used in this way. It will also stimulate thought on the nature and extent of women's power in the ancient world." [End Page 250]
"The new paperback edition affords an opportunity to the author for a review of the new evidence which has presented itself since the original work was completed; especially new finds in the field of epigraphy and iconography. Rather than undertake a major re-write of the book to include this new evidence the author, has, quite rightly, included a final Review Chapter (pp. 241-275) to the work. . . . This volume still remains a leader in the field of women's studies in the ancient world despite the more recent volumes on Imperial women that have emerged."
Susan Sorek. BMCR, Nov. 18, 2003.
"It [the San Francisco Museum of Modern Art's Arbus retrospective] is accompanied by an aptly titled compendium, 'Diane Arbus: Revelations,' which contains a critical appreciation by one of the curators, Sandra S. Phillips, and a technical discussion by the photographer Neil Selkirk, who has been the official printer of Arbus's work since her death. 'Revelations' has a number of pictures, and variants of pictures, that have never been seen before, though none of the new material significantly alters one's impression of the oeuvre. The real revelation is contained in a chronology compiled by the curator Elisabeth Sussman and Doon Arbus, the artist's eldest daughter and her executor. Their narrative punctuates an eloquent assemblage of previously unpublished writings and images: notebook entries, snapshots, contact sheets, passages from letters to family members and friends."
Judith Thurman. The New Yorker, Oct. 13, 2003: 109.
Ransby makes good use of manuscript collections, personal interviews...