My Nana was an Outrageously Mischievous kid. In the 1940s and '50s, children were allowed to run free, play outside, and use their imaginations-without parents constantly hovering over them and fearing for their safety. In her own small town in North Carolina-with very little traffic, and neighbors who actually knew each other-Nana was no exception to the free-range kid phenomenon. But as an outrageously mischievous child that was left to her own devices, she sure got into some amazing and hilarious adventures. It was a glorious time to be a child! Both of Nana's parents worked, so she and her brother were often unsupervised. They wreaked havoc most of the time, thus living an exciting childhood. Nana's stories-told to her great-grandchildren-are all true. She relates how her family and neighbors survived in spite of her and is quick to let her great-grandchildren know what not to do. As she says, if she had lived as a child today, she'd probably be locked up in a juvenile home!
An illustrated novel of the real world created by the acclaimed painter Nancy Chunn. Every day of 1966 Chunn claimed as an artistic canvas the front page of the N.Y. Times. Using rubber stamps and pastels to enhance, eradicate, and alter images and text, she created a commentary -- colorful, intense, visually explosive -- on the year's events and the power of the press. Chunn's treatment of the events we all lived through -- the Presidential campaign, the crash of TWA Flight 800, the wars in Chechnya and Rwanda -- will strike an immediate chord in readers tuned in to the political world awash in images and news. Gary Indiana's interview with the artist provides intimate insights into the artistic process as a means of talking back to power and engaging with the world.
A common theme of western American art is the transformation of the land through European-American exploration and resettlement. In this book, the authors look at western American art of the past three centuries, re-evaluating it from the perspectives of history, art history and American studies.
Nancy Gutierrez's exploration of female food refusal during the early modern period contributes to the ongoing conversation about female subjectivity and agency in a number of ways. She joins such scholars as Gail Kern Paster, Jonathan Sawday, and Michael Schoenfeldt, who locate early modern ideas of selfhood in the age's understanding of the body and bodily functions, that is, the recognition that behavior and feelings are a result of the internal workings of the body. Exploring the portrayals of the anorectic woman in the work of Ford, Shakespeare, Heywood and others and arguing that the survival of these women undermines regulatory policies exercised over them by those in authority, Gutierrez here demonstrates how female food refusal is a unique demonstration of individuality. The chapters of this book reveal how the common cultural association of women and food manifests itself in the early modern period-not as religious expression, which is the medieval representation, and not as an expression of dysfunctional adolescence and maturation, our own contemporary view, but rather as a trope in which the female body is a site of political apprehension and cultural change. This study is neither a history nor a survey of the anorectic female body in early modern England, but rather individual yet related discussions in which the starved female body is seen to signify certain (un)expressed tensions within the culture.
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