“Nicole Avant gives a raw and courageous look into how she found the light in her darkest moment. She reminds us that grief is different for everyone, and we have the power to move through it in our own unique way.” —Cleo Wade, New York Times Bestselling Author "Magnanimous, inspiring, and relentlessly optimistic." —Kirkus Review A spirit-lifting memoir on how to turn pain into purpose, how to live always in gratitude, and how to face down tragedy and turn it into love. Nicole Avant—diplomat, philanthropist, filmmaker—grew up surrounded by some of the most extraordinary artists of our time: Bill Withers, Oprah Winfrey, Quincy Jones, Sidney Poitier. Her parents—entertainment mogul, Clarence Avant, and legendary philanthropist, Jacqueline Avant—turned their home into a place of refuge and inspiration for a generation of geniuses. Nicole drew on that magical upbringing to create a stellar career in the music business, become the U.S. ambassador to the Bahamas, and produce critically acclaimed award-winning films and documentaries. Then, an unthinkable tragedy struck: her mother was fatally shot in December 2021. In this searing and inspiring memoir, Nicole turns the pain of her family’s loss into the fuel that pushes her forward into an even more committed life of love and activism: “We can’t banish evil,” she writes. “We have to learn to swim through trauma and live for all of those who can’t.” Turning tragedy into inspiration, Think You’ll Be Happy—her mom’s last words to Nicole—provides a roadmap for anyone working to remain positive and anchored in hope.
The definitive survey of an essential feminist poet. In June 2019, Nicole Brossard was awarded the Lifetime Recognition Award from the Griffin Poetry Trust. Rarely has a prize been so richly deserved. For five decades she has writing ground-breaking poetry, fiction, and criticism in French that has always been steadfastly and unashamedly feminist and lesbian. Avant Desire moves through Brossard’s body of work with a playful attentiveness to its ongoing lines of inquiry. Like her work, this reader moves beyond conventional textual material to include ephemera, interviews, marginalia, lectures, and more. Just as Brossard foregrounds collaboration, this book includes new translations alongside canonical ones and intertextual and responsive work from a variety of artist translators at various stages of their careers. Through their selections, the editors trace Brossard’s fusion of lesbian feminist desire with innovation, experimentation, and activism, emphasizing the more overtly political nature of her early work and its transition into performative thinking. Devotees of Brossard will be invigorated by the range of previously unavailable materials included here, while new readings will find a thread of inquiry that is more than a mere introduction to her complex body of work. Avant Desire situates Brossard’s thinking across her oeuvre as that of a writer whose sights are always cast toward the horizon.
This is the poetry by Nicole Brossard who has become well known as a lesbian feminist theorist and writer and as the leading figure among Quebec post-modernist writers. Her work blurs the boundaries between fiction and theory, subverting the fictions partriarchal discourse has spun about women's lives by working with the 're(her)alities' of women's lives that lie outside the codes of fiction.
Nicole Brossard is one of the outriders of fiction and poetry in North America. With her 'dangerous intensity, ' she continually shows us new paths into and out of the forest. As Jennifer Moxley says in her introduction, this book represents 'twenty years of daring'."--Michael Ondaatje
Nicole Brenez argues for Abel Ferrara’s place in a line of grand inventors who have blurred distinctions between industry and avant-garde film, including Orson Welles, Monte Hellman, and Nicholas Ray. Rather than merely reworking genre film, Brenez understands Ferrara’s oeuvre as formulating new archetypes that depict the evil of the modern world. Focusing as much on the human figure as on elements of storytelling, she argues that films such as Bad Lieutenant express this evil through visionary characters struggling against the inadmissible (inadmissible behavior, morality, images, and narratives).
Both Ernest Hemingway and F. Scott Fitzgerald grew up in the Midwest and were strongly influenced by Romantic music, anchored by the aesthetic tastes of the German immigrants who settled across that region. Hemingway's ear for form and Fitzgerald's penchant for lyricism stem from early and frequent exposure to such masters as Johannes Brahms and Franz Schubert. Nostalgia is typically associated with romanticism, and the acoustic longing found in Hemingway and Fitzgerald's fiction resonates with it, characterized in the narrative voices in Hemingway's Winner Take Nothing, Fitzgerald's Tender Is the Night, and other of their fiction from the early thirties. Understanding that each writer has his own kind of musical biography charts new ways to read material we already think we know. Reading their work within a musico-historical context means acknowledging it as an extension of the 19th century; it means reading them as Romantic Modernists. This work reads each author's prose musically, considering how Romantic music inspired their craft and distinguished their work through the pivotal juncture of the early to mid-1930s, when each man faced an artistic crisis of conscience. Initial chapters provide background information in music history. Following chapters focus on how the life of each author was shaped by music and how they worked with specific influences that grew out of steady interactions with it, evidence of which is found in archival documents and collections.
The contemporary music scene thus embodies a uniquely broad spectrum of activity, which has grown and changed down to the present hour. With new talents emerging and different technologies developing as we move further into the 21st century, no one can predict what paths music will take next. All we can be certain of is that the inspiration and originality that make music live will continue to bring awe, delight, fascination, and beauty to the people who listen to it. This book cover modernist and postmodern concert music worldwide from the years 1888 to 2018. This second edition of Historical Dictionary of Modern and Contemporary Classical Music contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 500 cross-referenced entries on the most important composers, musicians, methods, styles, and media in modernist and postmodern classical music worldwide, from 1888 to 2018. This book is an excellent resource for students, researchers, and anyone wanting to know more about modern and contemporary classical music.
It would be unthinkable now to omit early female pioneers from any survey of photography's history in the Western world. Yet for many years the gendered language of American, British and French photographic literature made it appear that women's interactions with early photography did not count as significant contributions. Using French and English photo journals, cartoons, art criticism, novels, and early career guides aimed at women, this volume will show why and how early photographic clubs, journals, exhibitions, and studios insisted on masculine values and authority, and how Victorian women engaged with photography despite that dominant trend. Focusing on the period before 1890, when women were yet to develop the self-assurance that would lead to broader recognition of the value of their work, this study probes the mechanisms by which exclusion took place and explores how women practiced photography anyway, both as amateurs and professionals. Challenging the marginalization of women’s work in the early history of photography, this is essential reading for students and scholars of photography, history and gender studies.
Anglophone students abroad: Identity, social relationships and language learning presents the findings of a major study of British students of French and Spanish undertaking residence abroad. The new dataset presented here provides both quantitative and qualitative information on language learning, social networking and integration and identity development during residence abroad. The book tracks in detail the language development of participants and relates this systematically to individual participants’ social and linguistic experiences and evolving relationship. It shows that language learning is increasingly dependent on students’ own agency and skill and the negotiation of identity in multilingual and lingua franca environments.
Mia La liberté était si proche, j’avais pu y goûter. Mais la seule chose que je ressentais maintenant, c'était la fin. Au cours des deux dernières années, j'avais laissé des forces extérieures prendre le contrôle de ma vie, mes sentiments, ma tête. J'avais accepté que tout le monde décide de la punition que je devais recevoir pour tous les torts que j’avais causés. J'ai été mise à l'épreuve plus d’une fois mais j'ai retenu la leçon. Désormais j’en ai payé le prix et j'ai souffert assez longtemps. Parce qu'en fin de compte, malgré tout, je mérite aussi d'être heureuse. Ollie Jusqu'où es-tu prêt à aller ? Cette question, je me la suis posée un nombre incalculable de fois. Mais jamais dans mes rêves les plus fous je n'aurais pensé avoir à remonter le temps, à chasser les fantômes de mon passé, pour avoir une chance de sauver notre avenir. Il n'y avait donc aucune limite à ce que j'étais capable de faire. Aucune frontière. Je traverserais le temps, le monde, je renierais mes principes. Oui, je me trahirais moi-même. Alors, jusqu'où irais-je ? La réponse a toujours été simple. J'irais aussi loin qu'il le faudra et plus encore.
In 19th century culture, Hispanomania creates Les Choses espagnoles; they exhibit themselves as themes and forms of appearance as well as structures and techniques. Hispanomania is a temporary fashion and functions as a metaphor; it reflects numerous sources which are arranged in a fantastic way. Hispanomania leaves traces in the materials of the performative arts i.e., in librettos, theories, and reviews. The book focuses on re-construction of several concepts and practices in ‘Spanish’ dancing: an overview of dance librettology is linked to the discussion of ‘staging Spanishness’; the connection between choreography and dance-theoretical discourse concerning the Spanish is pursued; performances of Otherness – especially as monsters and women – are discussed in their theatrical and cultural contexts – as is the investigation of dance criticism; the hitherto little acknowledged biography of the then popular and highly productive choreographer Henri Justamant is highlighted …
Criminologist Nicole Rafter analyses the source of the appeal of crime films, and their role in popular culture. She argues that crime films both reflect and shape our ideas about fundamental social, economic and political issues.
Nicole Brenez argues for Abel Ferrara’s place in a line of grand inventors who have blurred distinctions between industry and avant-garde film, including Orson Welles, Monte Hellman, and Nicholas Ray. Rather than merely reworking genre film, Brenez understands Ferrara’s oeuvre as formulating new archetypes that depict the evil of the modern world. Focusing as much on the human figure as on elements of storytelling, she argues that films such as Bad Lieutenant express this evil through visionary characters struggling against the inadmissible (inadmissible behavior, morality, images, and narratives).
This book deals with the effects that the baby boom is having in the federal service which managers will have to deal with. The author reports that there is a serious morale problem which, if left unchecked, will result in declining productivity and growing ineffectiveness. At the crux of the problem is evidence that inflation and policies of attrition have not only reduced the influx of college graduates into the lower levels of the public service, but have also put the lid on the rapid rate of promotion that was prevelant in the 1970's. The bottle-neck created by decision makers at higher levels who can no longer advance upward is being felt like a chain reaction throughout the system. There are indications that those who occupy both upper and lower levels of the public service hierarchy feel trapped in their current positions. The author puts forth a number of proposals she thinks will help to restore motivation and incentive in the federal bureaucracy. Average reading.
Nashville sizzles in the summer. . Nashville Homicide Detective Tess O’Malley has a lot to prove. She comes from a long line of police officers, including her father and older brothers. First she and her partner are taken off a high profile case and sidelined with a cold case instead. After reviewing the files, she’s certain her cold case is connected to the current one, and she sets out to prove it. Too bad it means locking horns with a handsome PI who could win her heart and derail her career. Scott Holt is all business when it comes to running his family’s PI firm. When the lovely Detective O’Malley comes to question him about his possible involvement in her cold case, he has everything but business on his mind. Like locking lips with the fiery redhead.
In Oscar Wilde's Chatterton, Joseph Bristow and Rebecca N. Mitchell explore Wilde's fascination with the eighteenth-century forger Thomas Chatterton, who tragically took his life at the age of seventeen. This innovative study combines a scholarly monograph with a textual edition of the extensive notes that Wilde took on the brilliant forger who inspired not only Coleridge, Wordsworth, and Keats but also Victorian artists and authors. Bristow and Mitchell argue that Wilde's substantial “Chatterton” notebook, which previous scholars have deemed a work of plagiarism, is central to his development as a gifted writer of criticism, drama, fiction, and poetry. This volume, which covers the whole span of Wilde's career, reveals that his research on Chatterton informs his deepest engagements with Romanticism, plagiarism, and forgery, especially in later works such as “The Portrait of Mr. W. H.,”The Picture of Dorian Gray, and The Importance of Being Earnest. Grounded in painstaking archival research that draws on previously undiscovered sources,Oscar Wilde's Chatterton explains why, in Wilde's personal canon of great writers (which included such figures as Charles Baudelaire, Gustave Flaubert, Théophile Gautier, and Dante Gabriel Rossetti), Chatterton stood as an equal in this most distinguished company.
The revised and expanded BMW Art Guide by Independent Collectors presents 256 private collections of contemporary art accessible to the public—large and small, famous and still undiscovered. Succinct portraits of the collections with countless color illustrations take the reader to more than forty countries, often to regions or urban districts that are off the beaten path. This practical guide is a collaborative publication stemming from the partnership between BMW and Independent Collectors, the international online network for collectors of contemporary art. Collectors, gallerists, artists, and journalists assisted in the extensive research and revision of this unique standard work. To date, neither the internet nor any book has ever contained a comparable assembly of international private collections, including several that have opened their doors to art lovers and connoisseurs for the first time. (German edition ISBN 978-3-7757-4144-6) Collections featured (selection): Museum of Old and New Art (MONA), White Rabbit – Contemporary Chinese Art Collection, Lyon Housemuseum, Museum Liaunig, Maison Particulière, Vanhaerents Art Collection, Herbert Foundation, Verbeke Foundation, Inhotim – Instituto de Arte Contemporânea & Jardim Botânico, Rennie Collection at Wing Sang, M Woods, Collection Lambert, Peyrassol – Parc de Sculptures, La Maison Rouge, Rosenblum Collection, Museum Frieder Burda, Sammlung Boros, Sammlung Barbara und Axel Haubrok - Haubrokprojects, Sammlung Hoffmann, Museum Biedermann, Julia Stoschek Collection, Sammlung Goetz, The Walther Collection, Schauwerk Sindelfingen, Sammlung Schroth, Sammlung Grässlin – Kunstraum Grässlin & Räume für Kunst, Das Maximum - KunstGegenwart, Jupiter Artland, Saatchi Gallery, Zabludowicz Collection, Deste Foundation for Contemporary Art, Devi Art Foundation, Il Giardino dei Lauri, Collezione Gori – Fattoria di Celle, Fondazione Sandretto Re Rebaudengo, La Colección Júmex, Art Stations Foundation, The Hess Art Collection, Fundació Suñol, Centro de Artes Visuales Fundación - Helga de Alvear, Fondation Beyeler, Nesrin Esirtgen Collection, Pizzuti Collection, Girls' Club, The Menil Collection, de la Cruz Collection Contemporary Art Space, The Margulies Collection at the Warehouse, Rubell Family, Collection and Contemporary Arts Foundation
The Spanish conquest has long been a source of polemic, ever since the early sixteenth century when Spanish jurists began theorizing the legal merits behind native dispossession in the Americas. But in The Business of Conquest: Empire, Love, and Law in the Atlantic World, Nicole D. Legnani demonstrates how the financing and partnerships behind early expeditions betray their own praxis of imperial power as a business, even as the laws of the Indies were being written. She interrogates how and why apologists of Spanish Christian empire, such as José de Acosta, found themselves justifying the Spanish conquest as little more than a joint venture between crown and church that relied on violent actors in pursuit of material profits but that nonetheless served to propagate Christianity in overseas territories. Focusing on cultural and economic factors at play, and examining not only the chroniclers of the era but also laws, contracts, theological treatises, histories, and chivalric fiction, Legnani traces the relationship between capital investment, monarchical power, and imperial scalability in the Conquest. In particular, she shows how the Christian virtue of caritas (love and charity of neighbor, and thus God) became confused with cupiditas (greed and lust), because love came to be understood as a form of wealth in the partnership between the crown and the church. In this partnership, the work of the conquistador became, ultimately, that of a traveling business agent for the Spanish empire whose excess from one venture capitalized the next. This business was thus the business of conquest and featured entrepreneurial violence as its norm—not exception. The Business of Conquest offers an original examination of this period, including the perspectives of both the creators of the colonial world (monarchs, venture capitalists, conquerors, and officials), of religious figures (such as Las Casas), and finally of indigenous points of view to show how a venture capital model can be used to analyze the partnership between crown and church. It will appeal to students and scholars of the early modern period, Latin American colonial studies, capitalism, history, and indigenous studies.
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