Presents biographies by the acclaimed caricaturist Edward Sorel, who has long believed, that next to composers, writers are the craziest people in the world.
Edward Sorel is widely recognized as America's premier illustrator. But when he wasn't painting covers and doing drawings for The New Yorker, The Atlantic, Time, Rolling Stone, and many other mass circulation magazines, he was indulging, over the last 30 years, in his first love—making comic strips. Sorel's strips are iconoclastic, cynical, and universally excoriating. No target escapes his watchful wrath: politicians, theological dynasties, ideologues left and right, lawyers, publishers, and the usual gang of movers and shakers—panderers, philistines, money-grubbers. (Nor does he spare himself.) Culled from the pages of The Nation, The Village Voice, Penthouse, and other magazines, Sorel proves he is that most dangerous of creatures—a cartoonist with a chip on his shoulder, an inveterate troublemaker, a burner of bridges. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 13.9px Arial; color: #424242}
The fabulous life and times of one of our wittiest, most endearing and enduring caricaturists—in his own words and inimitable art. Sorel has given us "some of the best pictorial satire of our time ... [his] pen can slash as well as any sword” (The Washington Post). Alongside more than 172 of his drawings, cartoons, and caricatures—and in prose as spirited and wickedly pointed as his artwork—Edward Sorel gives us an unforgettable self-portrait: his poor Depression-era childhood in the Bronx (surrounded by loving Romanian immigrant grandparents and a clan of mostly left-leaning aunts and uncles); his first stabs at drawing when pneumonia kept him out of school at age eight; his time as a student at New York’s famed High School of Music and Art; the scrappy early days of Push Pin Studios, founded with fellow Cooper Union alums Milton Glaser and Seymour Chwast, which became the hottest design group of the 1960s; his two marriages and four children; and his many friends in New York’s art and literary circles. As the “young lefty” becomes an “old lefty,” Sorel charts the highlights of his remarkable life, by both telling us and showing us how in magazines and newspapers, books, murals, cartoons, and comic strips, he steadily lampooned—and celebrated—American cultural and political life. He sets his story in the parallel trajectory of American presidents, from FDR’s time to the present day—with the candor and depth of insight that could come only from someone who lived through it all. In Profusely Illustrated, Sorel reveals the kaleidoscopic ways in which the personal and political collide in art—a collision that is simultaneously brilliant in concept and uproarious and beautiful in its representation.
This book traces the origins and evolution of extreme-right wing thought in France from the end of the nineteenth century to the present day. It establishes the presence of an ideological tradition or organicist, exclusive nationalism initiated at the end of the nineteenth century, which adapts itself to the post-First World War and re-emerges forcibly during the Occupation. Elements of this same tradition are present in the modern discourse of the extreme right in post-war France. This helps the student of modern French politics to see movements like the Front National in their historical perspective.
This book argues that the introduction of popular sovereignty as the basis for government in France facilitated a dramatic transformation in international law in the eighteenth century.
The first book on historiography to adopt a global and comparative perspective on the topic, A Global History of Modern Historiography looks not just at developments in the West but also at the other great historiographical traditions in Asia, the Middle East, and elsewhere around the world over the course of the past two and a half centuries. This second edition contains fully updated sections on Latin American and African historiography, discussion of the development of global history, environmental history, and feminist and gender history in recent years, and new coverage of Russian historical practices. Beginning in the mid-eighteenth century, the authors analyse historical currents in a changing political, social and cultural context, examining both the adaptation and modification of the Western influence on historiography and how societies outside Europe and America found their own ways in the face of modernization and globalization. Supported by online resources including a selection of excerpts from key historiographical texts, this book offers an up-to-date account of the status of historical writing in the global era and is essential reading for all students of modern historiography.
Presenting four titles in the Quest Biography series profiling prominent figures in Canada’s history. In these four books, we explore the cultural heritage at the roots of Canada’s present-day multicultural society. In the lives of abolitionist Underground Railway hero Harriet Tubman, Metis revolutionary Louis Riel, frontiersman Simon Girty, and aboriginal elder stateswoman Molly Brant, we discover that the struggle for inclusion and human rights has existed since the dawn of Canada’s modern history. Includes: Harriet Tubman Louis Riel Simon Girty Molly Brant
Judgment and Sensibility is the second volume of the collected essays of E. Digby Baltzell, one of the keenest observers and analysts of America's upper classes since Thorstein Veblen. Spanning four decades of writing, these essays cover a wide range of topics, including contemporary politics, democratic elitism, Puritanism, Judaism, higher education, urbanization, and the U.S. Supreme Court, among others.
The letters of Amiri Baraka and Edward Dorn offer a vivid picture of American lives connecting around poetry during a tumultuous time of change and immense creativity.
There has probably not been a person more maligned by the powerful forces of the Roman Catholic Church than Maria Monk. In 1836 she published the famous book, Awful Disclosures of the Hotel Dieu Nunnery of Montreal. In that book, she told of murder, rape, and torture behind the walls of the cloistered nunnery. Because the evidence was verifiably true, the Catholic hierarchy found it necessary to fabricate evidence and suborn perjury in an attempt to destroy the credibility of Maria Monk. The Catholic Church has kept up the character assassination of Maria Monk now for over 175 years. Edward Hendrie has examined the evidence and set it forth for the readers to decide for themselves whether Maria Monk was an impostor or a brave victim. An objective view of the evidence leads to the ineluctable conclusion that Maria Monk told the truth about what happened behind the walls of the Hotel Dieu Nunnery of Montreal. The Roman Catholic Church, which is the most powerful religious and political organization in the world, has engaged in an unceasing campaign of vilification against Maria Monk. Its crusade against Maria Monk, however, can only affect the opinion of the uninformed. It cannot change the evidence. The evidence speaks clearly to those who will look at the case objectively. The evidence reveals that the much maligned Maria Monk was a reliable witness who made awful but accurate disclosures about life in a cloistered nunnery.
This book, first published in 1962, is a collection of essays on the ideological origins of the European revolutionary movement. The first essay in the collection is devoted to Saint-Simon who, though not a revolutionary in the ordinary sense, was the begetter of the many ideas which became stock-in-trade of the nineteenth century revolutionaries. The essays that follow are on Marx and the Communist Manifesto, Proudhon, Herzen, Lassalle and Sorel; on the foundation and early history of the Russian Communist Party; on the histories of the British and German Communist Parties; and on Lenin and Stalin.
Edward Shils was one of the giants of sociological theory in the period after World War II. In this autobiography, written three years before his death in 1995, Shils reflects on the remarkable range of his life's work and activities, including founding and editing the journal "Minerva", being a central figure in the Congress of Cultural Freedom, serving as a founding member of the editorial board of "The Bulletin of Atomic Scientists", and being a member of the International Council on the Future of the University. Shils recognizes that a unity of concern runs through his many theoretical writings and activities. Early in his life, the concern was expressed as understanding the character of consensus. During the last fifteen years of his life, he refined his understanding of consensus through investigation of the nature of "collective self-consciousness." That concern was the structure and character of the moral order of a society, and, in particular, liberal, democratic society. Accompanying the autobiography are two unpublished essays, "Society, Collective Self-Consciousness and Collective Self-Consciousnesses" and "Collective Self-Consciousness and Rational Choice," two areas of intellectual concern discussed in the autobiography. The book contains fascinating discussion of many of the people Shils knew throughout his illustrious career: Robert Park, Louis Wirth, Talcott Parsons, Karl Mannheim, Michael Polanyi, Audrey Richards, Karl Popper, Robert Merton, and many others. They represent Shils' final formulations on the character of society and its moral order. As such, it is a most important contribution both to the history of the social sciences in the twentieth century and to sociological theory.
The authors have structured five centuries of utopian invention by identifying successive constellations, groups of thinkers joined by common social and moral concerns. Within this framework they analyze individual writings, in the context of the author's life and of the socio-economic, religious, and political exigencies of his time.
The 'ballet d'action' was one of the most successful and controversial forms of theatre in the early modern period. A curious hybrid of dance, mime and music, its overall and overriding intention was to create drama. It was danced drama rather than dramatic dance, musical drama rather than dramatic music. Most modern critical studies of the ballet d'action treat it more narrowly as stage dance and very few view it as part of the history of mime. Little use has previously been made of the most revealing musical evidence. This innovative book does justice to the distinctive hybrid nature of the ballet d'action by taking a comparative approach, using contemporary literature and literary criticism, music, mime and dance from a wide range of English and European sources. Edward Nye presents a fascinating study of this important and influential part of eighteenth-century European theatre.
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