Fleshing out surfaces is the first English-language book on skin and flesh tones in art. It considers flesh and skin in art theory, image making and medical discourse in seventeenth to nineteenth-century France. Describing a gradual shift between the early modern and the modern period, it argues that what artists made when imitating human nakedness was not always the same. Initially understood in terms of the body's substance, of flesh tones and body colour, it became increasingly a matter of skin, skin colour and surfaces. Each chapter is dedicated to a different notion of skin and its colour, from flesh tones via a membrane imbued with nervous energy to hermetic borderline. Looking in particular at works by Fragonard, David, Girodet, Benoist and Ingres, the focus is on portraits, as facial skin is a special arena for testing painterly skills and a site where the body and the image become equally expressive.
Here is the first English translation based on the new critical edition of The Flowing Light of the Godhead, the sole mystical visionary work of Mechthild, a 13th-century (c. 1260-c. 1282/94) German Beguine. This challenging work of deep religious insight reflects Mechthild's inner life, and God's as well, employing a great variety of traditional medieval literary forms and genres in prose and verse.
While society may applaud middle and upper class women who decide to stay home to raise their children, there exists a decided abhorrence for single mothers, welfare queens, who collect public funds but do not work. Here, Hart challenges traditional notions of welfare mothers by providing first-hand accounts of poor urban mothers and revealing the life-affirming and moral aspects of their motherwork--a form of subsistence work, involving many tasks that incorporate the physical, psychological, emotional, and spiritual dimensions of life. Though the mothering work these women do is vilified in public discourse as unnecessary and unwanted, the author contends that the ethical and epistemological dimensions of life-affirming work--a key component of motherwork--not only structure social-political activism but also educational efforts that are oriented towards radical change. Concrete experiences of motherwork, policy analyses regarding welfare reform, efforts oriented towards educational and epistemological border-crossings, and collective struggles for social change are examined here in a larger theoretical, political-economic framework. Pulling together the many strands of different theoretical fields addressing issues related to critical/transformative pedagogy, community activism, and forms of unpaid work, this unique work calls for the unlearning of ways of thinking and feeling which uphold prejudices and life-threatening social-political hierarchies. While the public may sneer at women who choose to accept welfare in order to stay home to raise their children, these mothers must continue to perform this invisible work in order that their children may break the cycle of poverty in which they are entrenched. The author examines ways in which these mothers organize and carry out educational efforts and political work in the context of extreme poverty and against the harsh criticisms of an unforgiving public. Ultimately, Hart hopes to convince the public of the inherent importance of motherwork and break down the prejudices that have worked against the urban poor and single mothers.
The name Emmy Noether is one of the most celebrated in the history of mathematics. A brilliant algebraist and iconic figure for women in modern science, Noether exerted a strong influence on the younger mathematicians of her time and long thereafter; today, she is known worldwide as the "mother of modern algebra." Drawing on original archival material and recent research, this book follows Emmy Noethers career from her early years in Erlangen up until her tragic death in the United States. After solving a major outstanding problem in Einsteins theory of relativity, she was finally able to join the Göttingen faculty in 1919. Proving It Her Way offers a new perspective on an extraordinary career, first, by focusing on important figures in Noethers life and, second, by showing how she selflessly promoted the careers of several other talented individuals. By exploring her mathematical world, it aims to convey the personality and impact of a remarkable mathematician who literally changed the face of modern mathematics, despite the fact that, as a woman, she never held a regular professorship. Written for a general audience, this study uncovers the human dimensions of Noethers key relationships with a younger generation of mathematicians. Thematically, the authors took inspiration from their cooperation with the ensemble portraittheater Vienna in producing the play "Diving into Math with Emmy Noether." Four of the young mathematicians portrayed in Proving It Her Way - B.L. van der Waerden, Pavel Alexandrov, Helmut Hasse, and Olga Taussky - also appear in "Diving into Math.".
Emma is used to things going her way. Her father is headmaster of her prestigious boarding school, her friends take her advice as gospel, and she's convinced that a relationship with her long-time crush is on the horizon. As it turns out, Emma hasn't seen anything yet. When she finds an old book in an abandoned library, things really start going Emma's way: anything she writes in the book comes true. But the power of the book is not without consequences, and Emma soon realizes that she isn't the only one who knows about it. Someone is determined to take it from her—and they'll stop at nothing to succeed. A new boy in school—the arrogant, aloof, and irritatingly handsome Darcy de Winter—becomes Emma's unlikely ally as secrets are revealed and danger creeps ever closer.
Fleshing out surfaces is the first English-language book on skin and flesh tones in art. It considers flesh and skin in art theory, image making and medical discourse in seventeenth to nineteenth-century France. Describing a gradual shift between the early modern and the modern period, it argues that what artists made when imitating human nakedness was not always the same. Initially understood in terms of the body's substance, of flesh tones and body colour, it became increasingly a matter of skin, skin colour and surfaces. Each chapter is dedicated to a different notion of skin and its colour, from flesh tones via a membrane imbued with nervous energy to hermetic borderline. Looking in particular at works by Fragonard, David, Girodet, Benoist and Ingres, the focus is on portraits, as facial skin is a special arena for testing painterly skills and a site where the body and the image become equally expressive.
A catalog accompanying the first exhibition devoted to a fascinating group of drawings by one of eighteenth-century Europe's most idiosyncratic, original, and controversial artists. Best known for his notoriously provocative painting The Nightmare, Anglo-Swiss painter Henry Fuseli (1741-1825) cultivated a reputation for eccentricity, with vividly stylized images of supernatural creatures, muscle-bound heroes, and damsels in distress. While these convinced some viewers of the greatness of his genius, others dismissed him as a charlatan, or as completely mad. By bringing together more than fifty of his works, this volume offers unprecedented access to see one of the finest draftsmen of the Romantic period at his most innovative and exciting. Visitors to the show and readers of the lavishly illustrated catalog will further be invited to consider how Fuseli's drawings of women, as products of the turbulent aftermath of the American and French Revolutions, speak to concerns about gender and sexuality that have never been more relevant than they are today. The exhibition showcases drawings brought together from international collections, including the Kunsthaus Zürich, the Auckland Art Gallery in New Zealand, and other European and North American institutions.
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