The storybook history of the American West is a male-dominated narrative of drifters, dreamers, hucksters, and heroes—a tale that relegates women, assuming they appear at all, to the distant background. Home Lands: How Women Made the West upends this view to remember the West as a place of homes and habitations brought into being by the women who lived there. Virginia Scharff and Carolyn Brucken consider history’s long span as they explore the ways in which women encountered and transformed three different archetypal Western landscapes: the Rio Arriba of northern New Mexico, the Front Range of Colorado, and the Puget Sound waterscape. This beautiful book, companion volume to the Autry National Center’s pathbreaking exhibit, is a brilliant aggregate of women’s history, the history of the American West, and studies in material culture. While linking each of these places’ peoples to one another over hundreds, even thousands, of years, Home Lands vividly reimagines the West as a setting in which home has been created out of differing notions of dwelling and family and differing concepts of property, community, and history. Copub: Autry National Center of the American West
The storybook history of the American West is a male-dominated narrative of drifters, dreamers, hucksters, and heroes—a tale that relegates women, assuming they appear at all, to the distant background. Home Lands: How Women Made the West upends this view to remember the West as a place of homes and habitations brought into being by the women who lived there. Virginia Scharff and Carolyn Brucken consider history’s long span as they explore the ways in which women encountered and transformed three different archetypal Western landscapes: the Rio Arriba of northern New Mexico, the Front Range of Colorado, and the Puget Sound waterscape. This beautiful book, companion volume to the Autry National Center’s pathbreaking exhibit, is a brilliant aggregate of women’s history, the history of the American West, and studies in material culture. While linking each of these places’ peoples to one another over hundreds, even thousands, of years, Home Lands vividly reimagines the West as a setting in which home has been created out of differing notions of dwelling and family and differing concepts of property, community, and history. Copub: Autry National Center of the American West
Poetry is ecstatic speech. It is intended to be spoken aloud, not simply read silently from the page. D.H. Lawrence's poetry is ecstatic in nature, particularly his poems which are concerned with issues of human wholeness. The Author's vision for writing this book has been simply to introduce some of D.H. Lawrence's magnificent poems in such a way that others might come to love and appreciate them as deeply as he does. People from every gender and walk of life can find enjoyment and inspiration from Lawrence's poetry in "Hunger For Wholeness".
Over a chasm darkened by Washington’s war chronicles, corrupt leadership and warped values, the author of BREAKDOWN this time builds a bridge of global activism challenging flawed precedent and shining light on progressive possibility. At the heart of Same Ole or Something New is the belief that we can and must do better — the way it “is” is wrong and it does not have to be this way. A world multifaceted in cultures, traditions and histories, issues and insight, experiences and contributions requires unconventional thought, multi-diverse input, consent and competence in a process of re-recreation. The regressive ̄is” must be undone. Same Ole’s second half brings light to global voices and ideas outside the mainstream, which are eminently capable of uprooting power entrenchment. They personify Something New.
In a globalizing world, frontiers may be in flux but they remain as significant as ever. New borders are established even as old borders are erased. Beyond lines on maps, however, borders are spatial zones in which distinctive architectural, graphic, and other design elements are deployed to signal the nature of the space and to guide, if not actually control, behaviour and social relations within it. This volume unpacks how manipulations of space and design in frontier zones, historically as well as today, set the stage for specific kinds of interactions and convey meanings about these sites and the experiences they embody. Frontier zones organize an array of functions to facilitate the passage of goods, information, and people, and to define and control access. Bringing together studies from Asia, Africa, the Middle East, Europe, and North America, this collection of essays casts a wide net to consider borders of diverse sorts. Investigations of contemporary political frontiers are set within the context of examinations of historical borders, borders that have existed within cities, and virtual borders. This range allows for reflection on shifts in how frontier zones are articulated and the impermanence of border emplacements, as well as on likely scenarios for future frontiers. This text is unique in bringing together a number of scholarly perspectives in the arts and humanities to examine how spatial and architectural design decisions convey meaning, shape or abet specific social practices, and stage memories of frontier zones that no longer function as such. It joins and expands discussions in social science disciplines, in which considerations of border practices tend to overlook the role of built form and material culture more broadly in representing social practices and meanings.
In this new study of art in fin-de-siècle Hamburg, Carolyn Kay examines the career of the city's art gallery director, Alfred Lichtwark, one of Imperial Germany's most influential museum directors and a renowned cultural critic. A champion of modern art, Lichtwark stirred controversy among the city's bourgeoisie by commissioning contemporary German paintings for the Kunsthalle by secession artists and supporting the formation of an independent art movement in Hamburg influenced by French impressionism. Drawing on an extensive amount of archival research, and combining both historical and art historical approaches, Kay examines Lichtwark's cultural politics, their effect on the Hamburg bourgeoisie, and the subsequent changes to the cultural scene in Hamburg. Kay focuses her study on two modern art scandals in Hamburg and shows that Lichtwark faced strong public resistance in the 1890s, winning significant support from the city's bourgeoisie only after 1900. Lichtwark's struggle to gain acceptance for impressionism highlights conflicts within the city's middle class as to what constituted acceptable styles and subjects of German art, with opposition groups demanding a traditional and 'pure' German culture. The author also considers who within the Hamburg bourgeoisie supported Lichtwark, and why. Kay's local study of the debate over cultural modernism in Imperial Germany makes a significant contribution both to the study of modernism and to the history of German culture.
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.