This is the story of Paris from the Reformation to the Religious Wars. Through the works of François Le Picart, the most popular preacher from 1530-1556, the book delineates the increasing tensions sparked by Reformation ideas. Targeted by Calvin and Beza, Le Picart was considered the reason Paris remained in the Catholic fold. Exiled by Francis I for his incendiary preaching, he would later serve as a professor and lecturer coming into close contact with the first Jesuits. A fierce opponent of heresy, he helped compile the Articles of Faith, read heretical books, lectured on scripture, and presided at executions. His 270 sermons, the only substantial preaching source for this period, offer glimpses of life during these increasingly troubled times that challenge works by Denis Crouzet suggesting that France was in the grip of eschatological anguish.
A trailblazing look at the historical emergence of a global field in contemporary art and the diverse ways artists become valued worldwide Prior to the 1980s, the postwar canon of “international” contemporary art was made up almost exclusively of artists from North America and Western Europe, while cultural agents from other parts of the world often found themselves on the margins. The Global Rules of Art examines how this discriminatory situation has changed in recent decades. Drawing from abundant sources—including objective indicators from more than one hundred countries, multiple institutional histories and discourses, extensive fieldwork, and interviews with artists, critics, curators, gallerists, and auction house agents—Larissa Buchholz examines the emergence of a world-spanning art field whose logics have increasingly become defined in global terms. Deftly blending comprehensive historical analyses with illuminating case studies, The Global Rules of Art breaks new ground in its exploration of valuation and how cultural hierarchies take shape in a global context. The book’s innovative global field approach will appeal to scholars in the sociology of art, cultural and economic sociology, interdisciplinary global studies, and anyone interested in the dynamics of global art and culture.
The concept of a 'return to Europe' has been integral to the movement for Ukrainian national rebirth since the nineteenth century. While the goal of a more fully reformed politics remains elusive, numerous expressions of Ukrainian culture continue to develop in the European spirit. This wide-ranging book explores Ukraine's European cultural connection, especially as it has been reestablished since the country achieved independence in 1991. The contributors discusses many aspects of Ukraine's contemporary culture - history, politics, and religion in Part I; literary culture in Part II; and language, popular culture, and the arts in Part III. What emerges is a fascinating picture of a young country grappling with its divided past and its colonial heritage, yet asserting its voice and preferences amid the diverse and at times conflicting realities of the contemporary political scene. Europe becomes a powerful point of reference, a measure against which the situation in post-independence Ukraine is gouged and debated. This framework allows for a better understanding of the complexities deeply ingrained in the social fabric of Ukrainian society.
Ari Larissa Heinrich examines transnational Chinese aesthetic production--from the earliest appearance of Frankenstein in China to the more recent phenomenon of "cadaver art"-- to demonstrate how representations of the medically commodified body can illuminate the effects of biopolitical violence and postcolonialism in contemporary life.
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