We are surrounded with portraits: from the cipher-like portrait of a president on a bank note to security pass photos; from images of politicians in the media to Facebook; from galleries exhibiting Titian or Leonardo to contemporary art deploying the self-image, as with Jeff Koons or Cindy Sherman. In antiquity portraiture was of major importance in the exercise of power. Today it remains not only a part of everyday life, but also a crucial way for artists to define themselves in relation to their environment and their contemporaries. In Portrayal and the Search for Identity, Marcia Pointon investigates how we view and understand portraiture as a genre and how portraits function as artworks within social and political networks. Likeness is never a straightforward matter, as we rarely have the subject of a portrait as a point of comparison. Featuring familiar canonical works and little-known portraits, Portrayal seeks to unsettle notions of portraiture as an art of convention, a reassuring reflection of social realities. Pointon invites readers to consider how identity is produced pictorially and where likeness is registered apart from in a face. In exploring these issues, she addresses wide-ranging problems such as the construction of masculinity in dress, representations of slaves, and self-portraiture in relation to mortality.
The feature these fifteen diverse stories have in common is the humor that comes of pushing the reality of ordinary life just a few inches over the edge. In the first story, Duke Drunk in the Driveway, a family funeral turns into a double funeral seen through the eyes of a little girl, Gwennie, who also tells the story in Webs. Family shames and secrets are observed by a sharp-eyed child whose parents each try to win her allegiance against the other. The Knitting Nancy and Pastures White with Clover are both told by women at the other end of life, one celebrating her 80th birthday by imagining inviting people from all her old address books to a party, the other wheeling out of the nursing home to go searching for her Own True Love. The real world looks familiar enough in Ephesus, New Jersey. Here a young wife, cowed by the moral correctness of her husband, gets help from the ancient Greek philosopher, Heraclitus, as she takes her own stand. In Gorgonzola Suns a painter is encouraged by her husband through a bad day at an art fair. A letter carrier visists Alaska, in The Frontier, where his dream of eagles helps him break his attachment to a fickle woman. A grieving father in Concordia awaits the arrival of his paranoid son, trying desperately to stay in the present moment and not be overcome by memories of the past and worries of the future. Reality begins to escape the envelope in When the Gift Fits, when a young man finds himself the recipient of a mysterious gift that will teach him something he needs to know as he discovers its meaning. The mother of an endless brood of children escapes her family in Amelioration to live in a mini-warehouse. The next two stories in this collection are written as though the world were perfectly ordinary, but is it? A young man in The Almost Perfect Flaw discovers that his attraction to the perfect woman, who is "frail and light enough to carry in his arms with her long, dark hair swinging down over his elbow-- stricken down in youth by a death that did not leave marks." Longing to be respectable, he has to settle for a woman who is only almost perfect. The heroine of Change at the Fortune Cookie Factory inherits the family business and enhances both divisions, dough and fortunes, far beyond what her parents had accomplished. In the last two stories we move into a more altered realm. The Other Real World begins when a woman gives birth to twins, one of which is a bear cub. Raising the twins carries her into a realm of possibility other than city government and shopping malls. And the narrator of Melanchthon and the Process Server tries to save her numerous babies from disappearing from a house with sixty-five people living in it. "I can believe that there are already sixty-five only by counting them as they leave each morning to forage for their contributions to the daily soup. It is not possible. I compared the area of the house with the area of a person lying down multiplied by sixty-five; it is not possible. But there they go, out the door with their foraging implements: knives, hooks, nets, ropes, a Bible, a can of Dog-Away by which we snatch choice bones, and a ragged five-dollar bil. Sixty-three, sixty-four, sixty-five." These stories deal with life's tough issues, but always the humor rescues them from heavy solemnity.
An entertaining parents' guide to naming their baby features more than 200 lists of popular names in different categories, along with an alphabetized name section, name histories and meanings, and information and advice on selecting the perfect name. Original.
It is presumptuous, I suppose, to write a book whose primary audience one hopes will not be around for a long time to come. The author hopes, therefore, that this book will be of more interest to those who would like to know more about the constitutional procedure that the House of Representatives invoked in 1974.
In this unprecedented survey of British cinema from the 1930s to the New Wave of the 1960s, Marcia Landy explores how cinematic representation and social history converge. Landy focuses on the genre film, a product of British mass culture often dismissed by critics as "unrealistic," showing that in England such cinema subtly dramatized unresolved cultural conflicts and was, in fact, more popular than critics have claimed. Her discussion covers hundreds of works--including historical films, films of empire, war films, melodrama, comedy, science-fiction, horror, and social problem films--and reveals their relation to changing attitudes toward class, race, national identity, sexuality, and gender. Landy begins by describing the status and value of genre theory, then provides a history of British film production that illuminates the politics and personalities connected with the major studios. In vivid accounts of the films within each genre, she analyzes styles, codes, and conventions to show how the films negotiate history, fantasy, and lived experience. Throughout Landy creates a dynamic sense of genre and of how the genres shape, not merely reflect, cultural conflicts. Originally published in 1991. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
The Complete Idiot s Guide to 30,000 Baby Namesoffers a little something extra than the majority of books on the market. Rather than provide readers with an alphabetized name list for each gender (which, by the way, it also does), it dedicates approximately half of its total pages to various lists that help parents zero in on the perfect name for their baby and add some fun to the baby-naming process. In addition to the various lists of names and a two-color alphabetized name section, this book also contains colorful name histories and helpful information on how to go about finding and choosing the perfect name. Lists include something for everyone.
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