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REMEX presents the first comprehensive examination of artistic responses and contributions to an era defined by the North American Free Trade Agreement (1994–2008). Marshaling over a decade’s worth of archival research, interviews, and participant observation in Mexico City and the Mexico–US borderlands, Amy Sara Carroll considers individual and collective art practices, recasting NAFTA as the most fantastical inter-American allegory of the turn of the millennium. Carroll organizes her interpretations of performance, installation, documentary film, built environment, and body, conceptual, and Internet art around three key coordinates—City, Woman, and Border. She links the rise of 1990s Mexico City art in the global market to the period’s consolidation of Mexico–US border art as a genre. She then interrupts this transnational art history with a sustained analysis of chilanga and Chicana artists’ remapping of the figure of Mexico as Woman. A tour de force that depicts a feedback loop of art and public policy—what Carroll terms the “allegorical performative”—REMEX adds context to the long-term effects of the post-1968 intersection of D.F. performance and conceptualism, centralizes women artists’ embodied critiques of national and global master narratives, and tracks post-1984 border art’s “undocumentation” of racialized and sexualized reconfigurations of North American labor pools. The book’s featured artwork becomes the lens through which Carroll rereads a range of events and phenomenon from California’s Proposition 187 to Zapatismo, US immigration policy, 9/11 (1973/2001), femicide in Ciudad Juárez, and Mexico’s war on drugs.
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A leading young Italian semiologist scrutinizes today's cultural phenomena and finds the prevailing taste to be "neo-baroque"--characterized by an appetite for virtuosity, frantic rhythms, instability, poly-dimensionality, and change. Omar Calabrese locates a "sign of the times" in an amazing variety of literary, philosophical, artistic, musical, and architectural forms, from the Venice Biennale through the "new science" to television series, video games, and "zapping" with the remote control device from channel to channel! Calabrese admits that he begins the book with a refusal to distinguish between "Donald Duck and Dante." Avoiding hierarchies or ghettos among works, he takes his readers on a fast-paced expedition through contemporary culture that closes with an elegant essay on evaluation and classical form. According to Calabrese, the enormous quantity of narrative now being produced has led to a new situation: everything has already been said, and everything has already been written. The only way of avoiding saturation has been to turn to a poetics of repetition. The author shows that pleasure in texts is now produced by tiny variations, and a certain kind of citation from other works has taken on a central importance that would have been unthinkable only a few years ago. In describing this development, and others shared by both avant-garde and mass media, he makes us aware of the rapid shrinkage in the once ample space between "highbrow" and "lowbrow."Originally published in 1992.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 editions preserve the original texts of these important books while presenting them in durable paperback and hardcover 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.
Arts, Modern --- Philosophy. --- Themes, motives.
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The centaur, a hybrid being with the body of horse and a human head and torso, first appeared in the mountains of Thessaly. This book is composed of a catalogue divided into nine chapters. Each chapter comprises catalogue entries for a number of black-figure and red-figure Attic vases.
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Architecture, Modern --- Themes, motives --- ArandaLasch (Firm).
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Les auteurs analysent l'absence du sentiment d'injustice dans la musique populaire, que ce soit dans les chansons traditionnelles, les chansons d'amour, le rap ou encore les chansons politiquement engagées. Electre 2018.
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Art, Minoan --- Art, Aegean --- Art, Egyptian --- Monkeys in art --- Apes in art --- Mural painting and decoration, Minoan --- Monkeys --- Themes, motives. --- Themes, motives. --- Themes, motives. --- Themes, motives. --- Religious aspects
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"In recent decades, the study of Roman art has shifted focus dramatically from issues of connoisseurship, typology, and chronology to analyses of objects within their contemporary contexts and local environments. Scholars challenge the notion, formerly taken for granted, that extant historical texts-the writings of Vitruvius, for example-can directly inform the study of architectural remains. Roman-era statues, paintings, and mosaics are no longer dismissed as perfunctory replicas of lost Greek or Hellenistic originals; they are worthy of study in their own right. Further, the scope of what constitutes Roman art has expanded to include the vast spectrum of objects used in civic, religious, funerary, and domestic contexts and from communities across the Roman Empire. The work gathered in Roman Artists, Patrons, and Public Consumption displays the breadth and depth of scholarship in the field made possible by these fundamental changes. The first five essays approach individual objects and artistic tropes, as well as their cultural contexts and functions, from fresh and dynamic angles. The latter essays focus on case studies in Pompeii, demonstrating how close visual analysis firmly rooted in local and temporal contexts not only strengthens understanding of ancient interactions with monuments but also sparks a reconsideration of long-held assumptions reinforced by earlier scholarship. These rigorous essays reflect and honor the groundbreaking scholarship of Elaine K. Gazda. In addition to volume editors Brenda Longfellow and Ellen E. Perry, contributors include Bettina Bergmann, Elise Friedland, Barbara Kellum, Diana Y. Ng, Jessica Powers, Melanie Grunow Sobocinski, Lea M. Stirling, Molly Swetnam-Burland, Elizabeth Wolfram Thill, and Jennifer Trimble."
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Testimonies about the Gulag use several recurring motives. Inspired by narratives of Western culture and their Russian counterparts such as hell or the fragmented body, these motives constitute a metatext on the rupture that the experience of the camp represents both in the life of the prisoner and in the "great text" of culture.
Literature --- Comparative literature --- Philosophy. --- Themes, motives.
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