2016 CHOICE Outstanding Academic Title Mínima Cuba analyzes the reconfiguration of aesthetics and power during the Cuban postrevolutionary transition (1989 to 2005, the conclusion of the "Special Period"). It explores the marginal cultural production on the island by the first generation of intellectuals born during the Revolution. The author studies the work of postrevolutionary poets and essayists Antonio José Ponte, Rolando Sánchez Mejías, and Iván de la Nuez, among others. In their writing we find the exhaustion of the allegorical and melancholic rhetoric of the Cuban Revolution, and the poetics of irony developed in the current biopolitical era. The book will appeal to anyone interested in contemporary literary and cultural studies, poetics, and film studies in Latin America and the Caribbean.
In this biography of Ludwik Rajchman, Marta A. Balinska paints a portrait of a true hero of our times. He was born in Poland in 1881 and was an exponent of humanitarian intervention and defender of colonized people, as adept in secret diplomacy as in organizing vast anti-epidemic campaigns. He inspired the creation of WHO and the foundation of UNICEF, of which he became the first chairman. Progressive but opposed to all dogmas, he was forced by McCarthyism to flee the U.S. and soon became an object of suspicion in the Soviet bloc, finding himself estranged from his beloved Poland. As the story of this remarkable life unfolds, the reader is given a behind-the-scenes glimpse of the major events that shaped the twentieth century. Using family archives and documentary sources from a dozen countries, the author brilliantly reconstructs the career of a man who was not only the first médecin sans frontiere but also an intellectual with an exceptional sense of the universal.
Julia Margaret Cameron (1815-79) was one of the most important and innovative photographers of the nineteenth century. Best known for her powerful portraits, she also posed her sitters - friends, family and servants - as characters from biblical, historical or allegorical stories. Her photographs were rule breaking: intentionally out-of-focus, and often included scratches, smudges and other traces of her process. In her lifetime, Cameron was criticised for her unconventional techniques, but also widely celebrated for the beauty of her comopositions and her conviction that photography was an art form. This book draws upon the Victoria and Albert Museum's collection of Cameron's photographs and correspondence to shed light on previously unacknowledged aspects of her experimental approach.
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