Previous studies of William Carlos Williams have tended to look only for the literary echoes in his verse. According to Bram Dijkstra, the new movements in the visual arts during the 1920s affected Williams's work as much as, if not more than, the new writing of the period. Dijkstra catches the excitement of this period of revolutionary art, reveals the interactions between writers and painters, and shows in particular the specific and general impact this world had on Williams's early writings.
Georgia O'Keeffe has long been recognized as one of America's most adventurous early modernist artists. But critics often suggest that she became a revolutionary despite her American background, not because of it. Bram Dijkstra challenges that point of view. In this searching reappraisal of O'Keeffe's work, the distinguished cultural historian shows that her art was decisively shaped by the America in which she grew up. In doing so, he casts new light on the facts of O'Keeffe's remarkable life and offers incisive new readings of many of her most important paintings. Art historians have largely accepted the view that O'Keeffe's art was shaped by Alfred Stieglitz and the work of the European modernists she encountered under his tutelage--a view actively encouraged by the famous photographer himself. Dijkstra counters this idea by taking us into the cultural environment of her childhood and by illuminating the details of her early education in art. He shows that O'Keeffe's mature style found its origin in such apparently unlikely sources as Edgar Allan Poe's speculations about the androgynous nature of the soul before industrialism, and in what Dijkstra calls the "transcendental materialism" of the tonalist movement in turn-of-the-century American art. Dijkstra also explores O'Keeffe's important--but until now widely neglected--identification with the feminist aims and artistic concerns of the radical periodicalThe Masses. And he shows that even the daring new styles of illustration featured there, and in other magazines of the period, significantly influenced her development of a personal style. Dijkstra argues, moreover, that O'Keeffe's very American search for an organic abstraction of form that would celebrate nature allowed her to develop a humanist style that deliberately challenged the early European modernists' emphasis on mechanistic constructions of formagainst nature. Beautifully written and painstakingly researched, Georgia O'Keeffe and the Eros of Placeis a major reassessment of O'Keeffe's place in American culture and a tribute to the artist's steadfast refusal to abandon her "provincial" belief in the shaping spirit of place.
Previous studies of William Carlos Williams have tended to look only for the literary echoes in his verse. According to Bram Dijkstra, the new movements in the visual arts during the 1920s affected Williams's work as much as, if not more than, the new writing of the period. Dijkstra catches the excitement of this period of revolutionary art, reveals the interactions between writers and painters, and shows in particular the specific and general impact this world had on Williams's early writings.
This book analyses different A/D-converter architectures with an emphasis on the maximum achievable power efficiency. It also provides an accessible overview of the state-of-the art in calibration techniques for Nyquist A/D converters. The calibration techniques presented are applicable to other analog-to-digital systems, such as those applied in integrated receivers. They allow implementation without introducing a speed or power penalty.
Fine Sediment in Open Water is mainly written for professional engineers working in estuaries and coastal systems. It provides the basis for a fundamental understanding of the physical, biological and chemical processes governing the transport and fate of fine sediment in open water and explains how this understanding can steer engineering studies with numerical models. This is a unique treatment of processes at a variety of spatial and temporal scales, from the micro-scale (colloid scale) to system-wide scales, and from intra-tidal time periods to decades.Beginning with the processes governing the transport and fate of fine sediment in shallow open water, the first eight chapters are dedicated to the hydrodynamic, soil mechanics and biological processes which determine fine sediment concentrations in the water column, in/on the bed and the exchange of sediment between bed and water column. The next two chapters treat the net fluxes of fine sediment as a function of asymmetries in forcing and sediment properties. These fundamental processes form the basis for the subsequent chapters on modeling in which the governing equations are presented, and tools are provided to aggregate and parameterize the various processes elaborated in the first eight chapters. Further, any numerical model study should be based on a conceptual model, as illustrated in the final five chapters, which provide examples of numerical modeling studies on the transport and fate of fine sediment in a coastal sea, an estuary, a tidal river, a lake, and around and within a harbor basin.Related Link(s)
Although Bram Stoker is best known for his world-famous novel Dracula, he also wrote many shorter works on the strange and the macabre. This collection, comprising Dracula's Guest and Other Weird Stories, a volume of spine-chilling short stories collected and published by Stoker's widow after his death, and The Lair of the White Worm, an intensely intriguing novel of myths, legends and unspeakable evil, demonstrate the full range of his horror writing. From the petrifying open tomb in 'Dracula's Guest' to the mental breakdown depicted in 'The Judge's House' and 'Crooken Sands', these terrifying tales of the uncanny explore the boundaries between life and death, known and unknown, animal and human, dream and reality.
Bram Stoker’s gothic horror masterpiece pits good against evil and life against death, all under the thrall of the original vampire.... “Listen to them—the children of the night. What music they make!” He is a creature of darkness. His face deathly pale, his eyes ablaze with the fires of hell. He has been dead for centuries, yet he may never die. He waits in his crumbling castle in the mountains of Transylvania, as his prey draws closer and closer to destruction.... Here begins one of the most celebrated horror stories in history, the tale of an undead monster who craves the blood of his victims and relishes his dominance over mankind. With its delicious mix of action, suspense, and looming dread, Bram Stoker’s Dracula has terrified and inspired readers for more than a hundred years. With an Introduction by Leonard Wolf and an Afterword by Jeffrey Meyers
And Dijkstra shows how these distortions have been reflected in painting; in popular and literary fiction, from Bram Stoker's Dracula to the novels of Conrad, Fitzgerald, Hemingway, and Faulkner; and in cinema's femmes fatales, from Louise Brooks, Garbo, and Dietrich to the fatal women of the 1990s.
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