Adverbs of love" is one of those books full of both philosophy and romance aspects, explained through the eyes of one character, Christine. A young woman in her 20's, Christine is trying to figure out the mysteries of love and the secret of a healthy and happy relationship, teaching her readers something with every story she is going through. Eventually, she proves the world that all it's theories are based on wrong concepts and the true meaning of love is more present in our lives than we are willing to admit.
Peruvian novelist, poet, and anthropologist Jose Maria Arguedas (1911-1969) was a highly conflicted figure. As a mestizo, both European and Quechua blood ran through his veins and into his cosmology and writing. Arguedas's Marxist influences and ethnographic work placed him in direct contact with the subalterns he would champion in his stories. His exposes of the conflicts between Indians and creoles, and workers and elites were severely criticized by his contemporaries, who sought homogeneity in the nation-building project of Peru. In Rethinking Community from Peru, Irina Alexandra Feldman examines the deep political connotations and current relevance of Arguedas's fiction to the Andean region. Looking principally to his most ambitious and controversial work, All the Bloods, Feldman analyzes Arguedas's conceptions of community, political subjectivity, sovereignty, juridical norm, popular actions, and revolutionary change. She deconstructs his particular use of language, a mix of Quechua and Spanish, as a vehicle to express the political dualities in the Andes. As Feldman shows, Arguedas's characters become ideological speakers and the narrator's voice is often absent, allowing for multiple viewpoints and a powerful realism. Feldman examines Arguedas's other novels to augment her theorizations, and grounds her analysis in a dialogue with political philosophers Walter Benjamin, Jean-Luc Nancy, Carl Schmitt, Jacques Derrida, Ernesto Laclau, and çlvaro Garcia-Linera, among others. In the current political climate, Feldman views the promise of Arguedas's vision in light of Evo Morales's election and the Bolivian plurality project recognizing indigenous autonomy. She juxtaposes the Bolivian situation with that of Peru, where comparatively limited progress has been made towards constitutional recognition of the indigenous groups. As Feldman demonstrates, the prophetic relevance of Arguedas's constructs lie in their recognition of the sovereignty of all ethnic groups and their coexistence in the modern democratic nation-state, in a system of heterogeneity through autonomy—not homogeneity through suppression. Tragically for Arguedas, it was a philosophy he could not reconcile with the politics of his day, or from his position within Peruvian society.
The touch and movement senses have a large place in the modern arts. This is widely discussed and celebrated, often enough as if it represents a breakthrough in a primarily visual age. This book turns to history to show just how significant movement and the sense of movement were to pioneers of modernism at the turn of the 20th century. It makes this history vivid through a picture of movement in the lives of an extraordinary generation of Russian artists, writers, theatre people and dancers bridging the last years of the tsars and the Revolution. Readers will gain a new perspective on the relation between art and life in the period 1890-1920 in great innovators like the poets Mayakovsky and Andrei Bely, the theatre director Meyerhold, the dancer Isadora Duncan and the young men and women in Russia inspired by her lead, and esoteric figures like Gurdjieff. Movement, and the turn to the body as a source of natural knowledge, was at the centre of idealistic creativity and hopes for a new age, for a 'new man', and this was true both for those who looked forward to the technology of the future and those who looked back to the harmony of Ancient Greece. The book weaves history and analysis into a colourful, thoughtful affirmation of movement in the expressive life.
This book aims at exploring the reciprocal interaction between art and culture, and specifically how the literary and artistic images of mid nineteenth-century Jewish female artists are interwoven with their factual lifestyles, self-representations, and the reception of their work. By analyzing the reciprocal relationship between the dominant culture in which they are embedded and their work, I show how the literary and artistic images of Jewish female artists (as depicted by Jews and non-Jews) are interwoven with the factual lifestyles, culture, and self-representations of real Jewish artists. Moreover, my research reveals how those representations are related to society’s centuries-long ambivalence towards Jews, and specifically towards Jewish female artists, as it is revealed in literature and art.
A Comprehensive Bibliography Volume I: Southeastern and East Central Europe (Edited by Irina Livezeanu with June Pachuta Farris) Volume II: Russia, the Non-Russian Peoples of the Russian
A Comprehensive Bibliography Volume I: Southeastern and East Central Europe (Edited by Irina Livezeanu with June Pachuta Farris) Volume II: Russia, the Non-Russian Peoples of the Russian
This is the first comprehensive, multidisciplinary, and multilingual bibliography on "Women and Gender in East Central Europe and the Balkans (Vol. 1)" and "The Lands of the Former Soviet Union (Vol. 2)" over the past millennium. The coverage encompasses the relevant territories of the Russian, Hapsburg, and Ottoman empires, Germany and Greece, and the Jewish and Roma diasporas. Topics range from legal status and marital customs to economic participation and gender roles, plus unparalleled documentation of women writers and artists, and autobiographical works of all kinds. The volumes include approximately 30,000 bibliographic entries on works published through the end of 2000, as well as web sites and unpublished dissertations. Many of the individual entries are annotated with brief descriptions of major works and the tables of contents for collections and anthologies. The entries are cross-referenced and each volume includes indexes.
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