It is November of 1907 in Araguari, Brazil, a newborn lustily cries in her father’s arms. As Maria, called Mariazinha when she is a child, begins to grow up, she wants nothing more than to disappear from her small town and life of poverty to meet new people and see different things. At the age of twelve, Maria gets her chance at a better life. She is offered a job as a nanny in Sao Paulo bids her family farewell, boards a train, and leaves Araguari forever. As she arrives in Sao Paulo’s majestic train station, Maria can hardly believe her eyes. Amazed at the town’s big homes with well-tended gardens, Maria meets her boss, Mrs. Aurea, and the children she will care for. As Maria tends to the children and grows more beautiful, she silently vows that one day, she too will have wealth and happiness without any idea that her destiny will come to match her dreams—that she will become Rosinha, a woman who would fall and rise again many times and who would be both a cabaret dancer suffering innumerable prejudices and an incredible figure still wandering through the memory of the people of Sao Pedro. The First Lady travels back in time to tell the fascinating life of a woman who must attempt to overcome an impoverished childhood and numerous struggles in order to realize her desires and experience one of the greatest loves ever.
It is November of 1907 in Araguari, Brazil, a newborn lustily cries in her fathers arms. As Maria, called Mariazinha when she is a child, begins to grow up, she wants nothing more than to disappear from her small town and life of poverty to meet new people and see different things. At the age of twelve, Maria gets her chance at a better life. She is offered a job as a nanny in Sao Paulo bids her family farewell, boards a train, and leaves Araguari forever. As she arrives in Sao Paulos majestic train station, Maria can hardly believe her eyes. Amazed at the towns big homes with well-tended gardens, Maria meets her boss, Mrs. Aurea, and the children she will care for. As Maria tends to the children and grows more beautiful, she silently vows that one day, she too will have wealth and happiness without any idea that her destiny will come to match her dreamsthat she will become Rosinha, a woman who would fall and rise again many times and who would be both a cabaret dancer suffering innumerable prejudices and an incredible figure still wandering through the memory of the people of Sao Pedro. The First Lady travels back in time to tell the fascinating life of a woman who must attempt to overcome an impoverished childhood and numerous struggles in order to realize her desires and experience one of the greatest loves ever.
Peeking into the home through the eyes of artists and image-makers, this book unveils the untold story of Italian domestic experiences from the 1940s to the 1970s. Torn between the trauma of World War II and the frenzied optimism of the postwar decades, and haunted by the echoes of fascism, the domestic realm embodied contrasting and often contradictory meanings: care and violence, oppression and emotional fulfillment, nourishment and privation. Silvia Bottinelli casts a fresh light on domestic experiences that are easily overlooked and taken for granted, finding new expressions of home - as an idea, an emotion, a space, and a set of habits - in a variety of cultural and artistic movements, including new realism, visual poetry, pop art, arte povera, and radical architecture, among others. Double-Edged Comforts finds nuance by viewing artistic interpretations of domestic life in dialogue with contemporaneous visual culture: the advertisements, commercials, illustrations, and popular magazines that influenced and informed art, even materially, and often triggered the critical reactions of artists. Bottinelli pays particular attention to women's perspectives, discussing artworks that have fallen through the cracks of established art historical narratives and giving specific consideration to women artists: Carla Accardi, Marisa Merz, Maria Lai, Ketty La Rocca, Lucia Marcucci, and others who were often marginalized by the Italian art system in this period. From sleeping and bathing, chores, and making and eating food to the arrival of television, Double-Edged Comforts provides a fresh account of modern domesticity relevant to anyone interested in understanding how we make sense of the places we live and what we do there, showing how art complicates the familiar comforts and meanings of home.
When things move, things change." Starting from this deceptively simple premise, Silvia Spitta opens a fascinating window onto the profound displacements and transformations that have occurred over the six centuries since material objects and human subjects began circulating between Europe and the Americas. This extended reflection on the dynamics of misplacement starts with the European practice of collecting objects from the Americas into Wunderkammern, literally "cabinets of wonders." Stripped of all identifying contexts, these exuberant collections, including the famous Real Gabinete de Historia Natural de Madrid, upset European certainties, forcing a reorganization of knowledge that gave rise to scientific inquiry and to the epistemological shift we call modernity. In contrast, cults such as that of the Virgin of Guadalupe arose out of the reverse migration from Europe to the Americas. The ultimate marker of mestizo identity in Mexico, the Virgin of Guadalupe is now fast crossing the U.S.-Mexico border, and miracles are increasingly being reported. Misplaced Objects then concludes with the more intimate and familial collections and recollections of Cuban and Mexican American artists and writers that are contributing to the Latinization of the United States. Beautifully illustrated and radically interdisciplinary, Misplaced Objects clearly demonstrates that it is not the awed viewer, but rather the misplaced object itself that unsettles our certainties, allowing new meanings to emerge.
Silvia Evangelisti presents the story of the women who have lived in religious communities, from the dawn of the modern age onwards - their ideals and achievements, frustrations and failures, and their attempts to reach out to the society aroundthem.
This book on the Tripurārahasya, a South Indian Sanskrit work which occupies a unique place in the Śākta literature, is a study of the Śrīvidyā and Śākta traditions in the context of South Indian intellectual history in the late middle ages. Associated with the religious tradition known as Śrīvidyā and devoted to the cult of the Goddess Tripurā, the text was probably composed between the 13th and the 16th century CE. The analysis of its narrative parts addresses questions about the relationships between Tantric and Purāṇic goddesses. The discussion of its philosophical and theological teachings tackles problems related to the relationships between Sākta and Śaiva traditions. The stylistic devices adopted by the author(s) of the work deal uniquely with doctrinal and ritual elements of the Śrīvidyā through the medium of a literary and poetic language. This stylistic peculiarity distinguishes the Tripurārahasya from many other Tantric texts, characterized by a more technical language. The book is intended for researchers in the field of Asian Studies, Indology, Philosophical, Theological or Religious Studies, Hindu Studies, Tantric Studies and South Asian Religion and Philosophy, in particular those interested in Śākta and Śaiva philosophic-religious traditions.
An examination of the bodily, situated aspects of data-visualization work, looking at visualization practices around the development of MRI technology. Our bodies are scanned, probed, imaged, sampled, and transformed into data by clinicians and technologists. In this book, Silvia Casini reveals the affective relations and materiality that turn data into image--and in so doing, gives bodies back to data. Opening the black box of MRI technology, Casini examines the bodily, situated aspects of visualization practices around the development of this technology. Reframing existing narratives of biomedical innovation, she emphasizes the important but often overlooked roles played by aesthetics, affectivity, and craft practice in medical visualization. Combining history, theory, laboratory ethnography, archival research, and collaborative art-science, Casini retrieves the multiple presences and agencies of bodies in data visualization, mapping the traces of scientists' body work and embodied imagination. She presents an in-depth ethnographic study of MRI development at the University of Aberdeen's biomedical physics laboratory, from the construction of the first whole-body scanner for clinical purposes through the evolution of the FFC-MRI. Going beyond her original focus on MRI, she analyzes a selection of neuroscience- or biomedicine-inspired interventions by artists in media ranging from sculpture to virtual reality. Finally, she presents a methodology for designing and carrying out small-scale art-science projects, describing a collaboration that she herself arranged, highlighting the relational and aesthetic-laden character of data that are the product of craftsmanship and affective labor at the laboratory bench.
Combining close textual readings with a broad theoretical perspective, Gender, Narrative, and Dissonance in the Modern Italian Novel is a study of the ways in which gender shapes the principal characters and narratives of seven important Italian novels of the nineteenth and twentieth centuries, from Alessandro Manzoni’s I promessi sposi (1827) to Elsa Morante’s Aracoeli (1982). Silvia Valisa’s innovative approach focuses on the tensions between the characters and the gender ideologies that surround them, and the ways in which this dissonance exposes the ideological and epistemological structures of the modern novel. A provocative account of the intersection between gender, narrative, and epistemology that draws on the work of Georg Lukács, Barbara Spackman, and Teresa de Lauretis, this volume offers an intriguing new approach to investigating the nature of fiction.
In 1842, the pioneering French photographer Joseph-Philibert Girault de Prangey (1804–1892) set out eastward across the Mediterranean, daguerreotype equipment in tow. He spent the next three years documenting lands that were then largely unknown to the West, including Greece, Egypt, Turkey, Syria, and Lebanon, in some of the earliest surviving photographic images of these places. Monumental Journey, the first monograph in English on this brilliant yet enigmatic artist, explores the hundreds of daguerreotypes Girault made during his unprecedented trip, offering a rare, early look at sites and cities that have since been altered—sometimes irrevocably—by urban, environmental, and political change. Beautiful full-scale reproductions of Girault’s photographs, many published here for the first time, and incisive essays shed new light on the arc of his career and his groundbreaking contributions to the burgeoning fields of photography, archaeology, and architectural history. Monumental Journey presents an artist of astonishing innovation whose work occupies a singular space at the border of history and modernity, tradition and invention, endurance and evanescence. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana}
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