Taking as its point of departure Roland Barthes' classic series of essays, Mythologies, Rebecca Houze presents an exploration of signs and symbols in the visual landscape of postmodernity. In nine chapters Houze considers a range of contemporary phenomena, from the history of sustainability to the meaning of sports and children's building toys. Among the ubiquitous global trademarks she examines are BP, McDonald's, and Nike. What do these icons say to us today? What political and ideological messages are hidden beneath their surfaces? Taking the idea of myth in its broadest sense, the individual case studies employ a variety of analytic methods derived from linguistics, psychoanalysis, anthropology, sociology, and art history. In their eclecticism of approach they demonstrate the interdisciplinarity of design history and design studies. Just as Barthes' meditations on culture concentrated on his native France, New Mythologies is rooted in the author's experience of living and teaching in the United States. Houze's reflections encompass both contemporary American popular culture and the history of American industry, with reference to such foundational figures as Thomas Jefferson and Walt Disney. The collection provides a point of entry into today's complex postmodern or post-postmodern world, and suggests some ways of thinking about its meanings, and the lessons we might learn from it.
Filling a critical gap in Vienna 1900 studies, this book offers a new reading of fin-de-si?e culture in the Austro-Hungarian Monarchy by looking at the unusual and widespread preoccupation with embroidery, fabrics, clothing, and fashion - both literally and metaphorically. The author resurrects lesser known critics, practitioners, and curators from obscurity, while also discussing the textile interests of better known figures, notably Gottfried Semper and Alois Riegl. Spanning the 50-year life of the Dual Monarchy, this study uncovers new territory in the history of art history, insists on the crucial place of women within modernism, and broadens the cultural history of Habsburg Central Europe by revealing the complex relationships among art history, women, and Austria-Hungary. Rebecca Houze surveys a wide range of materials, from craft and folk art to industrial design, and includes overlooked sources-from fashion magazines to World's Fair maps, from exhibition catalogues to museum lectures, from feminist journals to ethnographic collections. Restoring women to their place at the intersection of intellectual and artistic debates of the time, this book weaves together discourses of the academic, scientific, and commercial design communities with middle-class life as expressed through popular culture.
In the 1830s and 1840s, low country planters came to Roswell, Georgia, seeking relief from the heat and malaria that plagued Georgia's golden coast. The wealthy plantation owners were attracted to the temperate North Georgia climate by Roswell King-a former Glynn County plantation supervisor, builder, and entrepreneur-who promised his friends free land on which to build their homes and stock in the textile mill he built in 1839. The village of Roswell was laid out in 1840 with wide streets, a park, mills, and a residential area, and a community founded by devout Presbyterians and hard-working industrialists began to take shape. By the onset of the Civil War, Roswell had two cotton mills, a woolen mill, and flour and grist mills nearby. The town's strategic location near the Chattahoochee River made it a target of Union Gen. William T. Sherman during his March to the Sea in 1864. While Federal soldiers occupied Roswell that summer, none of the grand homes of the town were destroyed. Residents persevered the tolls of war and Reconstruction to rebuild mills and strengthen the local economy. A small and rural community through the early part of the 20th century, Roswell experienced phenomenal growth in the latter half of the century to become a bustling Atlanta suburb; yet much of the charm and small-town character remains and thousands of tourists are attracted each year by its beautiful antebellum homes and buildings. These treasured landmarks are the subject of this engaging retrospective, and each snapshot glimpse will illuminate the Roswell of yesteryear.
The Pushcart Prize-winning author’s multi-generational memoir interweaves stories across more than a century in a “loving reminder of the ties that bind” (Lee Martin, From Our House and Turning Bones). Are we responsible for, and to, those forces that have formed us—our families, friends, and communities? Where do we leave off and others begin? In The Tribal Knot, award-winning poet and author Rebecca McClanahan mines her personal family history to explore provocative questions about legacy, identity, and familial connection. Poring over letters, artifacts, and documents that span more than a century, McClanahan discovers a tribe of hardscrabble Midwest farmers, hunters, trappers, and laborers struggling to hold tight to the ties that bind them, through poverty, war, political upheavals, illness and accident, filicide and suicide, economic depressions, personal crises, and global disasters. Like the practitioners of Victorian "hair art" who wove strands of family members' hair into a single design, McClanahan braids her ancestors' stories into a single intimate narrative of her search to understand herself and her place in the family's complex past.
Why do decision-makers in similar liberal democracies interpret the same legal definition in very different ways? International law provides states with a common definition of a "refugee" as well as guidelines outlining how asylum claims should be decided. Yet, the processes by which countries determine who should be granted refugee status look strikingly different, even across nations with many political, cultural, geographical, and institutional commonalities. This book compares the refugee status determination (RSD) regimes of three popular asylum seeker destinations - the United States, Canada, and Australia. Despite similarly high levels of political resistance to accepting asylum seekers across these three states, once asylum seekers cross their borders, they access three very different systems. These differences are significant both in terms of asylum seekers' experience of the process and in terms of their likelihood of being found to be a refugee. The book moves beyond the claim by some scholars that asylum seeker destinations are uniformly becoming more exclusionary, and the contrary assertions of other scholars that the same destinations are converging on a new inclusive internationalism leading to the decline of state sovereignty. Instead, Hamlin finds these states to be running on three distinct trajectories, none of which are totally restrictive or expansive. Based on a multi-method analysis of all three countries, including a year of fieldwork with in-depth interviews of policy-makers and asylum-seeker advocates, observations of refugee status determination hearings, and a large-scale case analysis, Hamlin finds that cross-national differences have less to do with political debates over admission and border control policy than with the level of insulation the administrative decision-making agency enjoys from either political interference or judicial review. Administrative justice is conceptualized and organized differently in every state, and so states vary in how they draw the line between refugee and non-refugee.
Taking as its point of departure Roland Barthes' classic series of essays, Mythologies, Rebecca Houze presents an exploration of signs and symbols in the visual landscape of postmodernity. In nine chapters Houze considers a range of contemporary phenomena, from the history of sustainability to the meaning of sports and children's building toys. Among the ubiquitous global trademarks she examines are BP, McDonald's, and Nike. What do these icons say to us today? What political and ideological messages are hidden beneath their surfaces? Taking the idea of myth in its broadest sense, the individual case studies employ a variety of analytic methods derived from linguistics, psychoanalysis, anthropology, sociology, and art history. In their eclecticism of approach they demonstrate the interdisciplinarity of design history and design studies. Just as Barthes' meditations on culture concentrated on his native France, New Mythologies is rooted in the author's experience of living and teaching in the United States. Houze's reflections encompass both contemporary American popular culture and the history of American industry, with reference to such foundational figures as Thomas Jefferson and Walt Disney. The collection provides a point of entry into today's complex postmodern or post-postmodern world, and suggests some ways of thinking about its meanings, and the lessons we might learn from it.
Filling a critical gap in Vienna 1900 studies, this book offers a new reading of fin-de-si?e culture in the Austro-Hungarian Monarchy by looking at the unusual and widespread preoccupation with embroidery, fabrics, clothing, and fashion - both literally and metaphorically. The author resurrects lesser known critics, practitioners, and curators from obscurity, while also discussing the textile interests of better known figures, notably Gottfried Semper and Alois Riegl. Spanning the 50-year life of the Dual Monarchy, this study uncovers new territory in the history of art history, insists on the crucial place of women within modernism, and broadens the cultural history of Habsburg Central Europe by revealing the complex relationships among art history, women, and Austria-Hungary. Rebecca Houze surveys a wide range of materials, from craft and folk art to industrial design, and includes overlooked sources-from fashion magazines to World's Fair maps, from exhibition catalogues to museum lectures, from feminist journals to ethnographic collections. Restoring women to their place at the intersection of intellectual and artistic debates of the time, this book weaves together discourses of the academic, scientific, and commercial design communities with middle-class life as expressed through popular culture.
In 1916, when Rebecca West was not yet twenty-five years old, George Bernard Shaw wrote: 'Rebecca can handle a pen as brilliantly as ever I could and much more savagely.' These early writings, collected ehre for the first time, established Rebecca West's reputation as a brilliant journalist and a dedicated yet undogmatic feminist and socialist. From the age of nineteen, writing articles for The Freewoman, and later the Clarion, she displayed her characteristic fierce intelligence, her passion and her biting wit in articles on women's suffrage, imperialism, the Labour Party, and trade unionism as well as literature, religion, domesticity, men and crime. Whether reviewing the latest novel by H.G. Wells ('the sex obsession that lay clotted on Ann Veronica... like cold white sauce'), describing police brutality against suffragettes ('An Orgy of Disorder and Cruelty'), or arguing for better conditions for working women ('Women ought to understand that in submitting themselves to this swindle of underpayment, they are not only insulting themselves, but doing a deadly injury to the community'), she demonstrated again and again a characteristic fearlessness and a formidable grasp of events. Including a short story, 'Indissoluble Matrimony', which appeared in the historic first issue of Blast, and a biographical essay of great psychological penetration on the suffragette Emmeline Pankhurst, this exhilerating collection introduces the early work of one of the most distinguished writers of our time and provides a portrait of a fascinating and turbulent period of British political and literary history.
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