While James Van Der Zee is widely known and praised for his studio portraits from the Harlem Renaissance era, much of the diversity and expansive reach of his work has been overlooked. From the major role his studio played for decades photographing ordinary people and events in the Harlem community to the inclusion of his photographs in the landmark Harlem on My Mind exhibition at the Metropolitan Museum of Art in 1969, Van Der Zee was a foundational Black photographer whose work illustrates the shifting ways photography serves as a constitutive force within Black life. In A Nimble Arc, Emilie Boone considers Van Der Zee’s photographic work over the course of the twentieth century, showing how it foregrounded aspects of Black daily life in the United States and in the larger African diaspora. Boone argues that Van Der Zee’s work exists at the crossroads of art and the vernacular, challenging the distinction between canonical art photographs and the kind of output common to commercial photography studios. Boone’s account recasts our understanding not only of this celebrated figure but of photography within the arc of quotidian Black life.
John Geometres (10th century) is a key figure in the history of Byzantine poetry. His poems were first published in 1841 by J.A. Cramer, whose edition is based on a single manuscript and contains a large number of inaccuracies. Nonetheless, all the subsequent editors of John Geometres' poems have used this edition without consulting the manuscript(s) themselves. This book presents a new edition of his poems in hexameters and elegiacs, with critical apparatus, commentary and translation. It is a reference book not only for scholars of Byzantine literature, but also for historians and art historians of the Middle Byzantine period, enabling them to arrive at a better formed judgement of the poet and the cultural history of his time. à la mémoire de mon père, Scato, et à ma mère, Marijke
Presents the reader with an intimate picture of life in Zanzibar between 1850-1865, and with an intelligent observer's reactions to life in Germany in the Bismarck period. Emily Ruete's writings describe her attempts to recover her Zanzibar inheritance and her homesickness.
Proclus' commentary on Plato's "Timaeus" is perhaps the most important surviving Neoplatonic commentary. In it Proclus contemplates nature's mysterious origins and at the same time employs the deductive rigour required to address perennial philosophical questions. Nature, for him, is both divine and mathematically transparent. He renders theories of Time, Eternity, Providence, Evil, Soul and Intellect and constructs an elaborate ontology that includes mathematics and astronomy. He gives ample play to pagan theology too, frequently lapsing into the arcane language of the "Chaldaean Oracles". "Ten Gifts of the Demiurge" is an essential companion to this rich but complex and densely wrought text, providing an analysis of its arguments and showing that it, like the cosmos Proclus reveres, is a living coherent whole. The book provides aides to understanding Proclus' work within the complex background of Neoplatonic philosophy, familiarising the reader with the political context of the Athenian school, analysing Proclus' key terminology, and giving background to the philosophical arguments and ancient sciences upon which Proclus draws.Above all, it helps the reader appreciate the varicoloured light that Proclus sheds on the secrets of nature.
The traditional relationship between painting and literature underwent a profound change in nineteenth-century France. Painting progressively asserted its independence from literature as it liberated itself from narrative obligations whilst interrogating the concept of subject matter itself. Simultaneously the influence of art on the writing styles of authors increased and the character of the artist established itself as a recurring motif in French literature. This book offers a panoramic review of the relationship between art and literature in nineteenth-century France. By means of a series of case studies chosen from key moments throughout the nineteenth century, the aim of this study is to provide a focused analysis of specific examples of this relationship, revealing both its multifaceted nature as well as offering a panorama of the development of this on-going and increasingly complex cultural relationship. From Jacques Louis David’s irreverence for classical texts to Victor Hugo’s graphic works, from Edouard Manet’s illustrations to Vincent Van Gogh’s paintings of books, from Honoré de Balzac’s Unknown Masterpiece to Joris-Karl Huysmans’s A Rebours, this interdisciplinary investigation of the links between literature and art in France throws new light on both fields of creative endeavour during a critical phase of France’s cultural history.
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