Of the six Impressionist painters whose first exhibition scandalized and fascinated Paris in 1874, Berthe Morisot was the only woman. She reached a pinnacle of artistic achievement despite the restraints society placed on her sex, adroitly combining her artistic ambitions with a rewarding family life. Anne Higonnet brings fully to life an accomplished artist and her world.
Three women led a fashion revolution and turned themselves into international style celebrities. Joséphine Bonaparte, future Empress of France; Térézia Tallien, the most beautiful woman in Europe; and Juliette Récamier, muse of intellectuals, had nothing left to lose. After surviving incarceration and forced incestuous marriage during the worst violence of the French Revolution of 1789, they dared sartorial revolt. Together, Joséphine and Térézia shed the underwear cages and massive, rigid garments that women had been obliged to wear for centuries. They slipped into light, mobile dresses, cropped their hair short, wrapped themselves in shawls, and championed the handbag. Juliette made the new style stand for individual liberty. The erotic audacity of these fashion revolutionaries conquered Europe, starting with Napoleon. Everywhere a fashion magazine could reach, women imitated the news coming from Paris. It was the fastest and most total change in clothing history. Two centuries ahead of its time, it was rolled back after only a decade by misogynist rumors of obscene extravagance. New evidence allows the real fashion revolution to be told. This is a story for our time: of a revolution that demanded universal human rights, of self-creation, of women empowering each other, and of transcendent glamor
The ideal of childhood innocence is perhaps the most cherished concept of modern Western culture, all the more so because it seems to be under siege. Pictures have always been crucial to that ideal, and now they promise to transform it.Pictures of Innocence begins by tracing the visual history of ideal childhood: the pictorial invention of childhood innocence in eighteenth-century portraits, its diffusion in nineteenth-century popular paintings and illustration, and its culmination in today's best-selling and most widely practiced forms of photography. It deals with pictures of many sorts, ranging from eighteenth-century portraits by Sir Joshua Reynolds to greeting cards by Anne Geddes, from the controversial photographs of Lewis Carroll to those of Sally Mann.The book then turns to the crisis in the ideal of childhood innocence. Ever since its invention, photography has unsettled the certainties of ideal childhood, not only by revealing its inherent tensions, but also by showing how the uses and interpretations of photography can eroticize children. These increasingly acute difficulties have recently provoked a dramatic reaction in the form of sweeping child pornography laws.At an intersection between the history of ideas, art, popular culture, censorship, and law, Pictures of Innocence shows how we are in the midst of a radical redefinition of childhood itself, a turbulent change in fundamental cultural values inaugurated by images.
Published on occasion of the exhibition Goddess, Heroine, Beast: Anna Hyatt Huntington's New York Sculpture, 1902-1936, this exhibition catalogue celbrates the life and work of New York City sculptor, Anna Hyatt Huntington (1876-1973). Hyatt Huntington's work is displayed in many of New York's leading institutions and outdoor spaces, including Columbia University, the Metropolitan Museum of Art, the National Academy of Design, the New-York Historical Society, the Hispanic Society, the Cathedral of St. John the Divine, Central Park, Riverside Park, and the Bronx Zoo. Despite the presence of her sculptures throughout the city, Hyatt Huntington is not well-recognized today. This publication aims to redress that by focusing on her noted New York career, including the first public monument in New York City by a woman: her Joan of Arc on Riverside Drive and 93rd street. Over thirteen feet high, her martial equestrian heroine, clad in armor from head to toe and cast in bronze, was also the city's first public monument to a historical woman. Meanwhile, Hyatt Huntington had become famous for her animal sculptures that combined ferocious spirit with skillful realism, many of which are included in this exhibition catalogue.
Of the six Impressionist painters whose first exhibition scandalized and fascinated Paris in 1874, Berthe Morisot was the only woman. She reached a pinnacle of artistic achievement despite the restraints society placed on her sex, adroitly combining her artistic ambitions with a rewarding family life. Anne Higonnet brings fully to life an accomplished artist and her world.
Three women led a fashion revolution and turned themselves into international style celebrities. Joséphine Bonaparte, future Empress of France; Térézia Tallien, the most beautiful woman in Europe; and Juliette Récamier, muse of intellectuals, had nothing left to lose. After surviving incarceration and forced incestuous marriage during the worst violence of the French Revolution of 1789, they dared sartorial revolt. Together, Joséphine and Térézia shed the underwear cages and massive, rigid garments that women had been obliged to wear for centuries. They slipped into light, mobile dresses, cropped their hair short, wrapped themselves in shawls, and championed the handbag. Juliette made the new style stand for individual liberty. The erotic audacity of these fashion revolutionaries conquered Europe, starting with Napoleon. Everywhere a fashion magazine could reach, women imitated the news coming from Paris. It was the fastest and most total change in clothing history. Two centuries ahead of its time, it was rolled back after only a decade by misogynist rumors of obscene extravagance. New evidence allows the real fashion revolution to be told. This is a story for our time: of a revolution that demanded universal human rights, of self-creation, of women empowering each other, and of transcendent glamor
An expansive collection of texts providing insight into the inner life, creativity, and practice of the innovative American artist Anne Truitt Spanning more than fifty years, this comprehensive volume collects the letters, journal entries, interviews, lectures, reviews, and remembrances of the groundbreaking twentieth-century artist Anne Truitt (1921–2004). Alexandra Truitt, the artist’s daughter and a leading expert on her work, has carefully selected these writings, most of which are previously unpublished, from the artist’s papers at Bryn Mawr College as well as private holdings. Revelations about the artist’s life abound. Among Truitt’s earliest writings are excerpts from journals written more than a decade before her first artistic breakthrough, in which she establishes themes that would occupy her for decades. In later texts she shares uncommon insights into the practices of other artists and writers, both predecessors and peers. Like Truitt’s published journals, these writings offer a compelling narrative of her development as an artist and efforts to find her voice as a writer. They show that Truitt’s creative impulse to translate the inner workings of her mind into a symbolic language, so important to understanding her sculpture, predates her art.
Since 2006, the United Nations and Cambodian Government have participated in the Extraordinary Chambers in the Courts of Cambodia, a hybrid tribunal created to try key Khmer Rouge officials for crimes of the Pol Pot era. In Hybrid Justice, John D. Ciorciari and Anne Heindel examine the contentious politics behind the tribunal’s creation, its flawed legal and institutional design, and the frequent politicized impasses that have undermined its ability to deliver credible and efficient justice and leave a positive legacy. They also draw lessons and principles for future hybrid and international courts and proceedings.
This study demonstrates that such literary divisions as war novel and domestic novel limit readers' understanding of the ways these categories rely on and respond to each other. Haytock argues that gender creates an ideological context through which both domesticity and war are viewed and understood; issues of home and violence are intricately related for U.S. authors who wrote about the First World War. Haytock explores what war and domestic texts represent in light of the deconstructionist said in its cultural and historical context and seeing what is not said. Readers take food, shelter, and clothing for granted, and yet the way we treat them is part of what allows us to define ourselves as civilized. In war novels and domestic novels by Temple Beiley, Ellen, Glasgow, Edith Wharton, Willa Cather, John Dos Passons, Thomas Boyd, Ernest Hemingway, William Faulkner, and Eudora Welty, the idea of home and domestic rituals contribute to the creation of war propaganda, the soldier's experience of war, and the home front's ability to confront the war after the fact. This approach helps literary criticism reject the separation of men's and women's writing, particularly but not only their writing about war.
Nurses and midwives, both qualified and in training, have a lively interest in how their professions have developed. A stimulating collection of research-based essays, this book explores and compares the distinct histories of nursing and midwifery in Britain from the beginning of the eighteenth century to the modern day.
World War I gave colonial migrants and French women unprecedented access to the workplaces and nightlife of Paris. After the war they were expected to return without protest to their homes?either overseas or metropolitan. Neither group, however, was willing to be discarded. ø Between the world wars, the mesmerizing capital of France?s colonial empire attracted denizens from Africa, the Caribbean, and the United States. Paris became not merely their home but also a site for political engagement. Colonial Metropolis tells the story of the interactions and connections of these black colonial migrants and white feminists in the social, cultural, and political world of interwar Paris and of how both were denied certain rights lauded by the Third Republic such as the vote, how they suffered from sensationalist depictions in popular culture, and how they pursued parity in ways that were often interpreted as politically subversive. ø This compelling book maps the intellectual and physical locales that the disenfranchised residents of Paris frequented, revealing where their stories intersected and how the personal and local became political and transnational. With a focus on art, culture, and politics, this study reveals how both groups considered themselves inhabitants of a colonial metropolis and uncovers the strategies they used to colonize the city. Together, through the politics of anti-imperialism, communism, feminism, and masculinity, these urbanites connected performances of colonial and feminine tropes, such as Josephine Baker?s, to contestations of the colonial system. ø
Marshalling historical materials to make a descriptive argument in social theory, this wide-ranging book compares the liberal revolution in France to the liberal revolutions in England and America and argues that the causes and outcomes of these upheavals were decisive in shaping later patterns of politics. "Conflict is the stuff of politics," writes Anne Sa'adah, and liberal politics, because of its emphasis on the individual and its legitimation of self-interest, complicates the task of creating political community in a particularly interesting way. In England and America, the tension between conflict and community was resolved in a manner consistent with political stability. In France, the tension produced an instability that has surfaced periodically throughout subsequent French history. Why this is so is the subject of a work that treats the making of the modern political world in an unusually systematic way. In France, England, and America, the relationship of the state to society under the prerevolutionary regime limited revolutionary options. Sa'adah focuses on how this relationship created a politics of exclusion in France, while allowing a politics of transaction in England and America. 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 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.
A sweeping argument that from the mid-seventeenth century until the mid-twentieth, the English-language novel encoded ideas equating race with liberty.
Environmental patriotism, the belief that the national environment defines a country’s greatness, is a significant strand in twentieth century American environmentalism. This book is the first to explore the history of environmental patriotism in America through the intriguing stories of environmental patriots and the rhetoric of their speeches and propaganda, The See America First movement began in 1906 with the aim of protecting and promoting the landscapes of the American West. In 1908, Gifford Pinchot and President Theodore Roosevelt hosted the White House Conservation Conference to promote the wise use of natural resources for generations of Americans. In 1912, Pittsburgh’s smoke investigation condemned the effects of coal smoke on the city’s environment. In World War II, a massive propaganda effort mobilized millions of Americans to plant victory gardens to save resources for the war abroad. While these may not seem like crucial moments for the American environmental movement, this new history of American environmentalism shows that they are linked by patriotism. The book offers a provoking critique of environmentalists’ communication strategies and suggests patriotism as a persuasive hook for new ways to make environmental issues a national priority. This original research should be of interest to scholars of environmental communication, environmental history, American history and environmental philosophy.
The Drowned Muse is a study of the extraordinary destiny, in the history of European culture, of an object which could seem, at first glance, quite ordinary in the history of European culture. It tells the story of a mask, the cast of a young girl's face entitled "L'Inconnue de la Seine," the Unknown Woman of the Seine, and its subsequent metamorphoses as a cultural figure. Legend has it that the "Inconnue" drowned herself in Paris at the end of the nineteenth century. The forensic scientist tending to her unidentified corpse at the Paris Morgue was supposedly so struck by her allure that he captured in plaster the contours of her face. This unknown girl, also referred to as "The Mona Lisa of Suicide", has since become the object of an obsessive interest that started in the late 1890s, reached its peak in the 1930s, and continues to reverberate today. Aby Warburg defines art history as "a ghost story for grown-ups." This study is similarly "a ghost story for grown-ups", narrating the aura of a cultural object that crosses temporal, geographical, and linguistic frontiers. It views the "Inconnue" as a symptomatic expression of a modern world haunted by the earlier modernity of the nineteenth century. It investigates how the mask's metamorphoses reflect major shifts in the cultural history of the last two centuries, approaching the "Inconnue" as an entry point to understand a phenomenon characteristic of 20th- and 21st-century modernity: the translatability of media. Doing so, this study mobilizes discourses surrounding the "Inconnue", casting them as points of negotiation through which we may consider the modern age.
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