Introducing an unforgettable heroine for our times, Nina de la Mer's bold and unflinching novel captures the mood of an urban generation, seduced by celebrity and fueled by drink, drugs, and pornography. Arriving in London, Hayleigh finds work as lap dancer "Layla," intent on earning enough cash to make a fresh start. She has the wit, the looks, and skillful moves, exploiting men before they can exploit her. But over the course of a chaotic week she must make the biggest decision of her life and fight for the one thing she truly wants. This is a brilliant and moving novel, imaginatively powerful and authentically conceived. 30 years after the resounding success of Jay McInerney's Bright Lights, Big City, and written in a similarly intense second-person narrative, Layla speaks for a new generation.
Introducing an unforgettable heroine for our times, Nina de la Mer's bold and unflinching novel captures the mood of an urban generation, seduced by celebrity and fueled by drink, drugs, and pornography. Arriving in London, Hayleigh finds work as lap dancer "Layla," intent on earning enough cash to make a fresh start. She has the wit, the looks, and skillful moves, exploiting men before they can exploit her. But over the course of a chaotic week she must make the biggest decision of her life and fight for the one thing she truly wants. This is a brilliant and moving novel, imaginatively powerful and authentically conceived. 30 years after the resounding success of Jay McInerney's Bright Lights, Big City, and written in a similarly intense second-person narrative, Layla speaks for a new generation.
Hailed as the "patron saint of farmers' markets" by the Guardian and called one of the "great food activists" by Vanity Fair's David Kamp, Nina Planck was on the vanguard of the real food movement, and her first book remains a vital and original contribution to the hot debate about what to eat and why. In lively, personal chapters on produce, dairy, meat, fish, chocolate, and other real foods, Nina explains how ancient foods like beef and butter have been falsely accused, while industrial foods like corn syrup and soybean oil have created a triple epidemic of obesity, diabetes, and heart disease. The New York Times said that Real Food "poses a convincing alternative to the prevailing dietary guidelines, even those treated as gospel." A rebuttal to dietary fads and a clarion call for the return to old-fashioned foods, Real Food no longer seems radical, if only because the conversation has caught up to Nina Planck. Indeed, it has become gospel in its own right. This special tenth-anniversary edition includes a foreword by Nina Teicholz (The Big Fat Surprise) and a new introduction from the author.
This volume presents 50 peer-reviewed papers presented at the Sixth Annual Conference of the Construction History Society held at Queens' College Cambridge from 5-7 April 2019 which cover a wide variety of topics on aspects of construction history with a section devoted entirely to papers on water engineering.
In Brazilian Propaganda, Nina Schneider examines the various modes of official, and unofficial, propaganda used by an authoritarian regime. Such propaganda is commonly believed to be political, praising military figures and openly legitimizing state repression. However, Brazil's military dictatorship (1964-1985) launched seemingly apolitical official campaigns that were aesthetically appealing and ostensibly aimed to "enlighten" and "civilize." Some were produced as civilian-military collaborations and others were conducted by privately owned media, but undergirding them all was the theme of a country aspiring to become a developed nation. Focusing primarily on visual media, Schneider demonstrates how many short films of the period portrayed a society free from class and racial conflicts. These films espoused civic-mindedness while attempting to distract from atrocities perpetuated by the regime. Mining a rich trove of materials from the National Archives in Rio and conducting interviews with key propagandists, Schneider demonstrates the ambiguities of twentieth-century Brazilian propaganda. She also challenges the notion of a homogeneous military regime in Brazil, highlighting its fractures and competing forces. By analyzing the strategy, production, mechanisms, and meaning of these films and reconstructing their effects, she provides an alternative interpretation of the propagandists' intentions and a new framework for understanding this era in Brazil's history.
With Impression, Sunrise, exhibited in 1874, Claude Monet (18401926) took part in thecreation of the Impressionist movement that introduced the 19th century to modern art. All his life, he captured natural movements around him and translated them into visual sensations. A complex man and an exceptional artist, Monet is internationally famous for his poetic paintings of waterlilies and beautiful landscapes. He leaves behind the most wellknown masterpieces that still fascinate art lovers all over the world. In this twovolume illustrated work, Natalia Brodskaya and Nina Kalitina invite us on a journey across time to discover the history of Impressionism and Monet; a movement and an artist forever bound together. Specialists of 19th and 20th century art, the authors shed light on the birth of modernity in art, a true revolution responsible for the thriving art scene of the 20th century.
This is a study of the relation between the fine arts and philosophy in France, from the aftermath of the 1789 revolution to the end of the nineteenth century, when a philosophy of being called “Monism” emerged and became increasingly popular among intellectuals, artists and scientists. Nina Athanassoglou-Kallmyer traces the evolution and impact of this monist thought and its various permutations as a transformative force on certain aspects of French art and culture – from Romanticism to Impressionism – and as a theoretical backdrop that paved the way to as yet unexplored aspects of a modernist aesthetic. Chapters concentrate on three major artists, Théodore Géricault (1791–1824), Eugène Delacroix (1798–1863) and Claude Monet (1840–1926), and their particular approach to and interpretation of this unitarian concept. The book will be of interest to scholars working in art history, philosophy and cultural history.
A fascinating collective biography of six female scientists in eighteenth-century France, whose stories were largely written out of history This book presents the stories of six intrepid Frenchwomen of science in the Enlightenment whose accomplishments—though celebrated in their lifetimes--have been generally omitted from subsequent studies of their period: mathematician and philosopher Elisabeth Ferrand, astronomer Nicole Reine Lepaute, field naturalist Jeanne Barret, garden botanist and illustrator Madeleine Françoise Basseporte, anatomist and inventor Marie-Marguerite Biheron, and chemist Geneviève d’Arconville. By adjusting our lens, we can find them. In a society where science was not yet an established profession for men, much less women, these six audacious and inspiring figures made their mark on their respective fields of science and on Enlightenment society, as they defied gender expectations and conventional norms. Their boldness and contributions to science were appreciated by such luminaries as Franklin, the philosophes, and many European monarchs. The book is written in an unorthodox style to match the women’s breaking of boundaries.
Discusses painter Paul Cézanne's 1886 departure from Paris to his native city, Aix-en-Provence, arguing that it was related to French regionalist politics of the time, and shows how the move affected his art.
This is the third collection of articles by Nina Garsoïan on Early Armenian history and civilization. A number of articles included here continue earlier investigations of Iranian and Byzantine political and, especially, doctrinal and social influences on Medieval Armenia, precariously wedged between the two super-powers of the period, Byzantium and Sasanian Persia. A second theme is the development of the autocephalous Armenian Church as it freed itself from foreign pressures and achieved its own dogmatic position. Last, several studies consider some inadequacies in some recent historiography and suggest a more promising redirection in our approach to Armenian history and the formation of its national identity.
The Greek struggle against Ottoman rule was a crucial event in the history and politics of nineteenth-century Europe. In particular it had a strong impact on the political and cultural life of France during the Bourbon Restoration, where it was appropriated and promoted as the symbolic spearhead of liberal ideas and of the growing Romantic rebellion. This book by Nina Athanassoglou-Kallmyer examines the French paintings, prints, and sculptures inspired by the Greek War of Independence. Athanassoglou-Kallmyer reinterprets important works by the foremost exponents of the Romantic movement - including Delacroix, Gericault, Horace Vernet, Ary Scheffer, and David d’Angers - showing how they viewed the Greek struggle as a setting for the opposing forces of conservatism and liberalism. She explains that, far from being mere pictorial records of specific war episodes such as the massacre at Chios or the fall of Missolonghi, images of the clashes between Greeks and Turks reflected the mottos and arguments of the French liberal propaganda echoed as well by contemporary newspapers, parliamentary debates, broadsides, pamphlets, popular plays, and poems.
Henri Michaux is both a recognised poet and visual artist, arguably one of the greatest 'double artists' of the twentieth century. This book presents the first detailed examination of a particular interdisciplinary aspect of his production, namely, the innovative experimentation with signs contained in four works: Mouvements, Par la voie des rythmes, Saisir and Par des traits. Questions arise concerning their literary and visual status as, in their attempt to render interior rhythm and dynamism, they occupy an interstitial space between writing and drawing, between the book and the canvas, between the Western alphabet and Chinese characters. This study addresses these questions by analysing the conception, production and reception of Michaux's signs and the literary and artistic contexts in which they were produced.
CMOK to YOu To presents the 2015 email correspondence of the Serbian-born poet, art critic and playwright Nina Zivančevic and Canadian cultural theorist Marc James Léger. In December of 2014 Léger invited Zivančevic to contribute a text to the second volume of the book he was editing, The Idea of the Avant Garde - And What It Means Today. Taken with each other's idiosyncrasies, their correspondence gradually shifted from amiable professional exchanges and the eventual failure to organize a scholarly event to that of collaborating on some kind of writing project. Several titles were attempted for the eventual book - Marshmallow Muse: The Exact and Irreverent Letters of MJL and NZ, The Orange Jelly Bean, or, I Already Am Eating from the Trash Can All the Time: The Name of This Trash Can Is Ideology, The Secreted Correspondence of Mme Chatelet and Voltaire, and I'm Taken: The E-Pistolary Poetry of Kit le Minx and Cad - but none of these proved to be more telling than CMOK, the Serbian word for kiss, which sums up the authors' quest for "harmony" in an altogether imperfect world and literary medium. In this book, names of real people were changed in order to protect those who might otherwise be offended by the unguarded and absurdist commentary of its authors. Despite this fact, it is the fragility and elasticity of the writers' superegos that is tested as they vacillate from personal registers to intellectual strata. At once a cis-avant-gardist's exploration of anti-art and a poet's claim to some weak form of autonomy, CMOK delights in both the pleasures of casual email and the sublime realizations of Jacques Lacan's theory of sexuation. CMOK is a hybrid genre and a quest into the real of virtuality that defies the literary standards. Its authors, who never met, answer one another's basic needs and questions, separated as they are by time zones and the ocean, but not culturally or spiritually.
For the first time, this nationwide hotel, resort, and spa survey is available in one volume. Zagat Survey queried thousands of frequent travelers (who spent a combined total of 250,000 nights on the road last year) and compiled their impressions of more than 1,500 places to sleep in all 50 states.
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