This is the first single-authored book in English on the photographer Claude Cahun, whose work was rediscovered in the 1980s. Doy moves beyond standard postmodern approaches, instead repositioning the artist, born Lucy Schwob, in the context of the turbulent times in which she lived and seeing the photographs as part of Cahun's wider life as an artist and writer, a woman and lesbian and as a political activist in the early twentieth century. Doy rethinks Cahun's approach to dress and masquerade, looking at the images in light of the situation of women at the time and within the prevailing 'beauty' culture. Addressing Cahun's ambivalent relationship with Symbolism and later relationship with Surrealism, this highly readable book also looks at Cahun's unusual approach to the domestic object.
Through its provocative examination of feminist and Marxist approaches to women's art and female representations, this book challenges the widespread belief that Marxism has nothing valuable to contribute to women's studies. The author argues that, from the French Revolution through to the present, gender and class have shaped visual imagery. She shows how Marxist theory can function to question some of the premises of feminist art histories and to provide a more accurate understanding of the meaning(s) of visual imagery.
Gen Doy investigates the hitherto neglected meanings of drapery and the draped body in visual culture. The baroque and the classical are her subjects, as are Freud's "Gravida", Clerambault's writings and photographs of draped figures, the fetishistic play between veiling and revealing and the meanings of drapery in recent art, from Christo's wrapped Reichstag to the impact of the modern women's movement on fine art practice. Yet she also finds and focuses on the draped body now in places like Algeria and Kosovo where drapery's connotations are no longer those of purity and civilized elegance but of barbarism, poverty, and savage death.
The numerical, discrete element, Discontinuous Deformation Analysis (DDA) method was developed by Dr. Gen-hua Shi while he was working at the University of California, Berkeley, under the supervision of Prof. Richard E. Goodman in the late 1980s. Two-dimensional DDA was published in 1993 and three-dimensional DDA in 2001. Since its publication DDA has been verified, validated and applied in numerous studies worldwide and is now considered a powerful and robust method to address both static and dynamic engineering problems in discontinuous rock masses. In this book Yossef H. Hatzor and Guowei Ma, co-chairs of the International Society for Rock Mechanics (ISRM) Commission on DDA, join Dr. Shi in authoring a monograph that presents the state of the art in DDA research. A comprehensive discussion of DDA development since its publication is provided in Chapter 1, followed by concise reviews of 2D and 3D DDA in chapters 2 and 3. Procedures to select geological and numerical input parameters for DDA are discussed in Chapter 4, and DDA validation and verification is presented in Chapter 5. Applications of DDA in underground and rock slope engineering projects are discussed in chapters 6 and 7. In Chapter 8 the novel contact theory recently developed by Dr. Shi is published in its complete form, for the first time. This book is published within the framework of the ISRM Book Series and is the contribution of the ISRM DDA Commission to the international rock mechanics community.
Gen Doy investigates the hitherto neglected meanings of drapery and the draped body in visual culture around the world. She looks at areas such as the changes in drapery's connotations from purity to barbarity in holy war torn countries.
Through its provocative examination of feminist and Marxist approaches to women's art and female representations, this book challenges the widespread belief that Marxism has nothing valuable to contribute to women's studies. The author argues that, from the French Revolution through to the present, gender and class have shaped visual imagery. She shows how Marxist theory can function to question some of the premises of feminist art histories and to provide a more accurate understanding of the meaning(s) of visual imagery.
Ideas of selfhood, from Descartes' theory of "I think therefore I am" to postmodern notions of the fragmented and de-centred self, have been crucial to the visual arts. Gen Doy explores this relationship, from Holbein's "Ambassadors" and the early modern period up to and beyond Marc Quinn's "Self" (Blood Head). Arguing that the importance of subjectivity for art goes far beyond self-portraits, she explores such topics as self-expression; the self, work and consumption; self-presentation; photography and the theatre of the self; the marginalized - beggars and asylum seekers - and "the real me". A wide range of artists, including Tracey Emin, Jeff Wall, Eugene Palmer and Karen Knorr, are discussed, as well as historical material from earlier periods.
The first full-length title in English on the celebrated photographer Claude Cahun whose work was rediscovered in the 1980s. This lively and original book looks at Cahun and her oeuvre in the contexts of the turbulent times in which she lived. Surveying standard postmodernist approaches to Cahun, born Lucy Schwob, Doy goes further, positioning Cahun's photographs as part of her life as a woman, lesbian and political activist in the early twentieth century. Doy considers Cahun's relationships with Symbolism and then Surrealism and her approach to dress and masquerade, assessing the images in the context of the situation of women at the time and within the prevailing fashion and beauty culture. She also pays attention to her curious images of constructed objects and re-evaluates the status of Cahun's small-scale snapshots as photographs. Enormously readable, 'Claude Cahun' at last provides a fuller picture of this important artist's life and work.
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