Art and the Power of Placement

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The Mysteries and Secrets of Art Installation Revealed

Review of ART and the POWER of PLACEMENT

Art and the Power of Placement
Victoria Newhouse
Manufacturer: Monacelli
ProductGroup: Book
Binding: Hardcover

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Towards a New Museum: Expanded Edition

Inside the White Cube: The Ideology of the Gallery Space

Thinking About Exhibitions

The Accidental Masterpiece : On the Art of Life and Vice Versa

Art and Artifact: The Museum as Medium

ASIN: 1580931480
Release Date: 2005-05-09

Book Description

An ancient sculpture decorating a secluded courtyard, a Renaissance masterpiece revered in the serenity of a church, a Modern painting exhibited in a crowded museum: each of these exemplifies the power of placement to confer meaning on an artwork. In this absorbing study, author Victoria Newhouse examines the charged zone where spectator and art object meet. Long neglected by art books and museum catalogs, the link between presentation and art is critical to the understanding of such objects.

Whether in a museum of a commercial gallery, a royal palace or a modest home, the place and manner of display can bestow a meaning that is religious, political, educational, or decorative, and can even affect aesthetic and commercial values. Newhouse tackles a collection of fascinating case studies, including the Winged Victory's tortuous route from the Sanctuary of the Great Gods in Samothrace to the Louvre's monumental stairway, three interpretations of an assortment of Egyptian antiquities, and various installations of Jackson Pollock's mural-sized paintings. She concludes with an overview of how presentation has affected some of the great icons of art history—from Velázquez's Jester to Picasso's Demoiselles d'Avignon—and a discussion of approaches to the exhibition of decorative art and architecture.

Past and present alike inform the author's investigation of the intricacies of presenting art. Famed historic displays—the studiolo and cabinet of curiosities, the Paris Salons, and the attention-getting blockbusters—provide points of comparison with recent exhibitions at the Metropolitan Museum of Art and the Museum of Modern Art in New York, the Pulitzer Foundation in St. Louis, the Tate Modern and the Tate Britain in London, the Musée d'Orsay in Paris, the Prado in Madrid, the Guggenheim Bilbao, and numerous other venues. A thorough and wide-ranging inquiry, Art and the Power of Placement elucidates an essential aspect of the art experience.

Customer Reviews:

The Mysteries and Secrets of Art Installation Revealed.......2006-05-17

Victoria Newhouse adds to her growing list of superb publications (Towards a New Museum, Wallace K. Harrison) this insightful volume about art and the importance of presentation. These curatorial decisions are shared for the first time in a manner that is readable and informative and provides a pathway to understanding the subtleties of 'showing art'.

When a painting or a sculpture impacts us, makes us stop in our museum promenade and freezes our attention long enough to send our minds back to the origins of the work as well as free our eyes to truly SEE the art, there is in Newhouse's informative writing a reason that goes beyond the greatness of the work itself. From the color of the walls in the space to the lighting techniques to the proximity of other works of art and their ability to enhance - all these are issues Newhouse not only discusses, but also illustrates in this richly colorful book.

Newhouse takes the time to walk us through the history of presentation in museums, palaces, churches, and public spaces, even finding such odd manner of hanging as the 'studiolo' concept one to define and illustrate. Through these references she guides us into the sanctum sanctorum of curatorial decisions and how today's museum curators not only organize an exhibition, but also study and execute the hanging with all the modern accoutrements that make the exhibition a meaningful experience for the viewer.

This fine, lavishly illustrated volume is so well written that it must become a bible for all museums, but it is also available to the public, allowing those of us who ponder greatness some windows into the thoughtful logistics of art presentation. Highly recommended. Grady Harp, May 06

Review of ART and the POWER of PLACEMENT.......2005-10-18

This is a terrific book and anyone who goes to museums or works in museums should take a look at this book. Even people with collections at home would benefit.
One minor point of distraction though is the right left reversal of the picture of the Nike of Samothrace on the cover of the book and repeated on page 46. She should be striding with the right leg forward, not the left as pictured. I pointed this out to the publisher but they never answered me........Hopefully if they republish the book, the error will be corrected.
But don't let that deter you from enjoying this great book....

Practical Encyclopedia of Feng Shui, Understanding the ancient Arts of Placement Using Its Proven Power

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Practical Encyclopedia of Feng Shui, Understanding the ancient Arts of Placement Using Its Proven Power
Gill Hale
Manufacturer: Hermes House
ProductGroup: Book
Binding: Hardcover

Art | Encyclopedias | Reference | Subjects | Books

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Practical Encyclopedia of Feng Shui, Understanding the ancient Arts of Placement Using Its Proven Power
Gill Hale
Manufacturer: Hermes House
ProductGroup: Book
Binding: Hardcover

Art | Encyclopedias | Reference | Subjects | Books

Hanging judge.(Art & the Power of Placement)(Book Review): An article from: New Criterion

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Hanging judge.(Art & the Power of Placement)(Book Review): An article from: New Criterion
Mildred F. Schmertz
Manufacturer: Foundation for Cultural Review
ProductGroup: Book
Binding: Digital

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Book Description

This digital document is an article from New Criterion, published by Foundation for Cultural Review on June 1, 2005. The length of the article is 1361 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Hanging judge.(Art & the Power of Placement)(Book Review)
Author: Mildred F. Schmertz
Publication: New Criterion (Magazine/Journal)
Date: June 1, 2005
Publisher: Foundation for Cultural Review
Volume: 23 Issue: 10 Page: 87(3)

Article Type: Book Review

Distributed by Thomson Gale

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Use your overhead
Lee Green
Manufacturer: Victor Books
ProductGroup: Book
Binding: Unknown Binding

General | Photography | Arts & Photography | Subjects | Books
ASIN: 0882074679

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Improve Your Image: the Effective Use of the OHP (Overhead Projector) (Pathfinder)
Daniel Tierney , and Fay Humphreys
Manufacturer: CILT Publications
ProductGroup: Book
Binding: Paperback

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ASIN: 1874016046

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Watch your overheads: A guide to the production and use of overhead transparencies (Occasional publication)
George Pashuk
Manufacturer: Tertiary Education Research Centre, University of New South Wales
ProductGroup: Book
Binding: Unknown Binding
ASIN: B0007BM3OI

Book Description

The common infantryman or spy might seem a poor choice when compared to a giant WarMek but that could not be further from the truth. Expanding on the main rulebook, this supplement for Armageddon 2089: Total War details the rules and background for fighting the war of 2089 on the ground. Of particular interest is the expanded information on espionage and other undercover operations for players within the setting. A full-color supplement for the Armageddon 2089 RPG.

Book Description

The ultimate compendium of wit and humor for all occasions from business meetings to sales presentations to professional conventions to political rallies to rehearsal dinners--all organized by topic and fully indexed by subject.

A treasury of jokes, puns, quips, one-liners, and stories to start a speech off right, keep any audience chuckling, and add some welcome comic relief anywhere its required.

Customer Reviews:

I like this book a lot.......2005-12-07

Wether you want to shine at a party, or try to impress the person you speak with, this book has a lot of good stuff to help you. A lot of quote not only funny, but also carrys wisdom.

It has became an indispensable reference for me!

The jokes on you!.......2002-08-10

My wacky sister makes a point of giving totally useless birthday gifts to her best friends. Examples? Well over the years she's given Bernard one sock, last years calendar, a bra, size xxxxx over-large jockey y fronts, a used light bulb, a paper bag with eye holes, a Hebrew cookbook with accompaning Hebrew-English dictionary. You get the idea.

Well this year, guess what he's getting!

Yes! You're right! This book. It doesn't have a single funny joke!

Five Jokes Per Penny. Any Takers?.......2001-01-27

At the rate of 5 jokes per penny how could this book not be a good deal? The jokes by now are very dated. It is really a history of what used to be funny. The problem is you have to search through so many old jokes to find one you might use. I have belatedly discovered that jokes books are not of much value in public speaking. Using other peoples old jokes could really ruin your image. May be this book is good for a humor historian. It may be useful in stimulating your own joke creation. All in all for some the book is worth the price, just be sure you can accept all the clutter before you buy it. The editorial reviews are deceptive--look out.

Dated.......1999-09-11

Material is very dated from the 1950s. Way out of touch with todays audience. Not much usable material.

Well organized and very useful reference book.......1998-06-27

An excellent snapshot back to the times when jokes didn't have to be foul to be funny. Works well as a reference book due to it's format. I found it lots of fun. Would definitely use for my presentations.

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3500 Good Jokes For Speakers
Liberman
Manufacturer: Dolphin Books
ProductGroup: Book
Binding: Paperback
ASIN: B000JGA6ZO

Book Description

In this provocative account Tia DeNora reconceptualizes the notion of genius by placing the life and career of Ludwig van Beethoven in its social context. She explores the changing musical world of late eighteenth-century Vienna and follows the activities of the small circle of aristocratic patrons who paved the way for the composer's success.
DeNora reconstructs the development of Beethoven's reputation as she recreates Vienna's robust musical scene through contemporary accounts, letters, magazines, and myths--a colorful picture of changing times. She explores the ways Beethoven was seen by his contemporaries and the image crafted by his supporters. Comparing Beethoven to contemporary rivals now largely forgotten, DeNora reveals a figure musically innovative and complex, as well as a keen self-promoter who adroitly managed his own celebrity.
DeNora contends that the recognition Beethoven received was as much a social achievement as it was the result of his personal gifts. In contemplating the political and social implications of culture, DeNora casts many aspects of Beethoven's biography in a new and different light, enriching our understanding of his success as a performer and composer.

Customer Reviews:

The Pits!.......2007-07-29

The reasoning in this book is so full of holes that anyone could drive a fleet of Mack trucks right through it. Don't waste your time and money on this book. The other three individuals who also have given this book a single star are so on target. I can't add anything to the excellent points they have already written. This book is amazingly bad.

Yes, genius alone is not enough........2004-04-04

If it was true for Michelangelo and the Medicis, why not for Beethoven and the Lichnowskys, Lobkowitz and other "Medicis" of his time? In fact it's odd that a book like this one, about so obvious a fact should be written at all. The underlying thesis is super-well known in the N.T. (Matthew 13:4): "And when he sowed, some seeds fell by the way side, and the fowls came and devoured them up: Some fell upon stony places, where they had not much earth: and forthwith they sprung up, because they had no deepness of earth: And when the sun was up, they were scorched; and because they had no root, they withered away. And some fell among thorns; and the thorns sprung up, and choked them:But other fell into good ground, and brought forth fruit, some an hundredfold, some sixtyfold, some thirtyfold. Who hath ears to hear, let him hear.."

As clearly expressed by historian Arnold Toynbee society is not made by human beings but by the RELATIONS between them. For a collection of people is only a crowd, not a society.

Jacob Bronowski applied this same thesis in explaining the social essence of modern science, where individual discovery is framed - fostered and checked - by social dynamics. If "revelation" takes place in science is only because it makes sense to the scientific community in being a proved representation of reality. On the other hand, discovery of factual reality is eagerly pursued by every member of it. "Quest" and "production" of knowledge go hand in hand in science, we know that; we only have to add that such quest and production is a SOCIAL phenomenon. Otherwise scientific products would be "filling the walls", like pictures in a museum, where "everything is valid" or "beautiful", being the quest and production of mere individuals that might not need to address or fulfill any social demand or inspiration.

This is the problem of Art when regarded as a strictly individual task, where every quest or production can be beautiful and /or useless at the same time. That modern Art is indivitualistic to the extreme, there can be no doubt about it. But what about Beethoven? And what about Beethoven's society?

This is a book that PROVES - yes, no speculation, full of fresh DATA about performance, audiences, and general musical activity in 18th and beginning of 19th century Vienna - how SOCIALLY bound was Beethoven's art,with no downplaying of Beethoven EVER -if you've followed my argument. For if you think, like me, that Beethoven'art is GREAT, then it must have necessarily been meaningful to the society of his time. But on the other hand, it must have been the end and succesful result of a SOCIAL QUEST or demand (therefore it's social meaning). The highly disturbing fact for us, today, is that such high aspirations that led to such a great art could not come from "everyone". They were, as in 15th century Florence the aspiration of a MINORITY of men, like the creative minorities of Toynbee's theory of civilizations.

Of course, to talk like this is nowadays political incorrect. We like, for instance, to picture the French Revolution as a popular, people-led social movement, when in fact it was really started, ironically, by the French avant-garde intellectual aristocracy. Same with Beethoven: who has not heard, even once, the ode-to-joy tune or the beginning of the Fifth Symphony? That's "popular" Beethoven. Then add to this the Christ-like, rejected-by-society - romantic, to be precise - image of the lone creator guided by his sole divine inspiration and you have the whole picture we like to hang on our walls. This is the artist as the crucified and yet savior of humanity.

In the "classic" (Greek), more real picture, the most excellent men (aristoi) achieve the most excelent deeds. As wonderfully stated by Ortega y Gasset: "Nobility is conquered, not inherited." Classical Greece, Renaissance Florence and Beethoven's Vienna are three magnificent examples of how sublime greatness in man is factually achieved through history.

Make no mistake, don't miss the point. This is not a book about music or "sociology". It's sheer fact that, probably, will open your eyes!

She starts with her conclusion and then works backwards.......2001-12-22

It's tempting to start this review by saying sociologists should stay away from musical topics, at least if they can't appreciate music, and I mean *appreciate* rather than "enjoy." But maybe a fairer criticism would be if you're going to upset the apple cart this much, you'd really better have a sturdier theory than Tina DeNora has here. DeNora is a sociologist at the University of Exeter, and she thinks Beethoven's genius was constructed by society. She says Beethoven's place in the musical firmament was a result of certain aspiring elite aristocrats of the time having a predilection for Beethoven's "difficult" music in an attempt at social one-upmanship and wanting to use him to advance their own standing in Vienna. To put it simply, Ludwig was at the right place at the right time, he had the luck. There is no analysis of the music itself in this book, because she has decided it is irrelevant. I'm not kidding.

DeNora would likely argue that our criteria for "greatness" have been pre-determined by the very elements that we then go into a "great work" looking for. The aesthetics of criticism are a social construct, and so is the music; therefore it's no wonder the two fit together so well. Music criticism is taste writ large, that's all. (Sociology, on the other hand, is not subject to these social tastes and trends, of course.)

Actually, I felt upon approaching this book there may be something to her argument. As Michael Walsh jokingly and insightfully remarked in his book Who's Afraid of Classical Music, "Ludwig 'Rights o' Man' Beethoven was always sucking up to royalty in his dedications." It's hard to deny: he knew who buttered his bread. It's easy to view talent, especially when from the distant past, in a vacuum that we don't extend to the present. In today's world I find myself wondering, for just one example, if a fine but unremarkable actress such as Gwyneth Paltrow would be where she is were her mother not Blythe Danner and her father not a prominent TV producer who is good buddies with Steven Spielberg. Is it any coincidence that Gwyneth's first role was in a Spielberg film, Hook?

So what does DeNora say? After several chapters on the state of the aristocracy and aristocratic taste of the time--chapters I enjoyed and am not prepared to defend or debunk--she focuses relentlessly on the famous quote about Beethoven from Count Waldstein, saying he would go forth to receive the spirit of Mozart from the hands of Haydn. DeNora argues, repeatedly, (she seems to think that by repeating a groundless assertion she can make it stick) that this statement played a huge role in elevating Beethoven to greatness in the minds of the Viennese aristocracy. Of course this begs the question how did Mozart and Haydn achieve *their* reputations? Sure Beethoven understood how he could benefit socially from the patronage of Haydn--he?d have to be an idiot not to understand it--but seeing it solely on those simplistic terms ignores the fact that he was innovating, and that except for Mozart and Haydn his contemporaries were not. DeNora seems to make a big deal out of this, saying they were thrown on their own as freelancers because they lacked Beethoven's connections (while giving us no real evidence that this is in fact the reason they "went commercial" and he succeeded as a serious artist). She conveniently ignores the fact that Schubert had no significant connections, yet has also come down to us as a "great composer." Hummel's sonatas, written around the same time as Beethoven's and Schubert's, show just how far ahead of their time Beethoven and Schubert were. But this is not mentioned.

Furthermore DeNora either underplays or seems unaware of the reputation of Mozart, of how his music was also considered extraordinarily difficult well into the 19th century. Beethoven himself singled out the fifth "Haydn" quartet of Mozart and said that in this work Mozart was showing to the world what he could do if only they were ready for it. Of course, some of Beethoven's patrons had also been Mozart's, but this shows the idea of serious music did not begin with Beethoven, and this makes her thesis about changing tastes in the aristocracy weaker.

But DeNora's argument spectacularly self-destructs on page 119. She describes the first time pianist Gelinek competed with a young Beethoven in a duel in 1793. Gelinek expressed confidence he would destroy Beethoven--make mincemeat of him by one account. The next day the father of the person telling the tale asks Gelinek how he did and the pianist admitted he was the one pulverized. Keep in mind he did not know of Beethoven or his reputation before the duel. You'd think DeNora would see this as a strike against her thesis, but she actually says (p. 121): "First, whatever Galinek thought of Beethoven is less relevant in this context [!!] than the ways his conversations were converted subsequently into topics in their own right--material for further discussion within the music world." Never mind that this person who never heard Beethoven before and was unaware of his reputation, by DeNora's own admission, was blown away and humbled, what matters is how the result elevated Beethoven's position. It never occurs to her that perhaps it elevated his position because it was deserved! But she doesn't stop there: "Once again, we see that Beethoven's reputation *can be conceived of as the accumulation of a repertoire of recorded, publicized stories about his talent.* [emphasis mine, out of disbelief] She goes on: "In telling the story of Beethoven's talent, Gelinek positioned himself as subordinate to Beethoven (as a less talented but admiring colleague); thus Galinek testified to and helped to publicize a favorable view of Beethoven's talent by aligning his own abilities as inferior to Beethoven's." What is one to make of this idiocy that passes for sociology? DeNora never for a moment considers that perhaps Gelinek simply believed what he said. I think it's obvious she reached her conclusion before she began and worked backwards, determined to cram every fact she uncovered into her theory even if she had to pound the loose ends down with a sledgehammer.

Musicologist and pianist Charles Rosen, in a rebuttal shortly after the DeNora book was published, commented that an ethnomusicologist once told him there surely must be hundreds of "Eroica" symphonies that we just don't know about, written by unknown geniuses galore. As Rosen points out, we do indeed know many if not most of the works of Beethoven's contemporaries; many have been analyzed, revived and recorded. They do not come close to Beethoven in originality, breadth of thought, or structural sophistication. But DeNora, like so many revisionists with an agenda, loses her finely-honed sense of skepticism when dealing with alternative interpretations to events. Then she really tips her hand: "While these programs [of cannonic revisionism] obviously vary in levels of ambition, they share a concern with the ways exclusive or ?high? cultural forms are both inaccessible and inappropriate to the lived experience of a large proportion of the people to whom they are upheld as inspirational."

That astonishing remark could be interpreted in ways ranging from merely patronizing to racist, and it sets DeNora up as a sort of cultural arbiter herself. *Inappropriate?* Says whom? Inappropriate to whom? And why?

After all this, there is still one remaining gripe, and that is DeNora?s writing style. It is repetitious in the extreme. She really has a thin point, and takes well over 200 pages to make it. This book could have been a magazine article or two- or three-part series in a journal. Trash.

perhaps unintentionally awry.......2001-08-21

The author states more than once, in one way or another, that she does not mean to detract from Beethoven's greatness as a creator, but the effect is peculiar nonetheless. As the other reviewer of this book exclaimed, listen to the music! The IMPRESSION the author perhaps inadvertently gives, anyway, is that the world as we know it after Beethoven did his work might have been a world instead impressed by the greatness of Pfart, or whoever that circle of Viennese influencers otherwise settled on. Whereas someone totally unaware of Vienna and its doings would still have taken amazed note of Beethoven, then and since. Some folk are not that enamored of B even now, but they certainly know his power.

An astonishing thesis that disregards the music!.......1998-10-11

Are we really to believe that the music of this man does not speak for itself? Was it really his "political connections" and "who he knew" that led to his success in 19th century Vienna? Are there really other Beethovens running around out there who just haven't gotten a break. A nice parlor exercise perhaps, but really.....how about a serious listen to what he actually wrote down! What I am suggesting is a serious listen. Why, for example, does his work seem to have a much higher density of sheer thought (form if you like) than that of any other composer? Why are his thematic constructs so intellectually exhilarating as well as emotionally moving? Why does he exemplify the most startling development of style of almost anyone you can think of in the arts? What is it about his almost extra-material universal appeal? Listen to the music. Maybe the answers are found there.

Beethoven and the Construction of Genius: Musical Politics in Vienna, 1792-1803

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Beethoven and the Construction of Genius: Musical Politics in Vienna, 1792-1803
Tia De Nora
Manufacturer: Univ of California Press
ProductGroup: Book
Binding: Hardcover
ASIN: B000RZJKJK

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Beethoven and the Construction of Genius: Musical Politics in Vienna, 1792-1803

Manufacturer: Univ of California Press
ProductGroup: Book
Binding: Hardcover
ASIN: B000I9OR9S

Book Description

THE 500 BEST URBAN LEGENDS EVER!

By Yorick Brown and Mike Flynn

Have you ever heard an improbable story told about a friend of a friend? Did you ever listen awestruck to extraordinary tales of ordinary life? Don't believe everything you hear -- you've just been exposed to an urban legend! From phantom hitchhikers to deadly clouds of floating flatulence, these are tall tales of extremely dubious origin. More than 500 brain-mangling, credibility-straining stories arranged conveniently by theme contained in one fun volume. From sex to sport, from animals to accidents, these are bizarre, hilarious, and memorable urban legends. In what other book could you read about: THE DEAD POODLE/THE BLUEBERRY CAT/EARLY MORNING AROUSAL/TOILETHOLIDAY/THE BONELESS IDIOT and more!

• This book puts on paper all the tall tales millions of us have grown up with and still talk about around the water cooler today.

• AUDIENCE: Those readers fascinated by strange tales growing out of our society, from alligators in the sewers to the half-cooked animal lurking in the burger bun. For serious folklorists to casual readers looking for bizarre tales, this book will provide hours of entertainment and incredible information.

Customer Reviews:

COULD have been great.......2007-09-24

Sadly, this rendering of Urban Legends was a huge disappointment. The stories (all very short, which is one of my complaints) are poorly conveyed -- they reminded me of the average one-page homework essay papers that my lesser sophomore college students used to turn in. I had high hopes for this one but the authors blew it. If you're a solo musical entertainer and you need some short quips to stick in between songs, this one might work for you. Beyond that, don't waste money on this book.

Interesting Topic -- Poor Delivery.......2003-05-17

There are 500 stories in this 250 page volume. Each story is less than a page and recounts a tale that has been told enough times that some people believe it to be true (i.e. alligators in the sewers).

While the topic is an interesting one, the writer's delivery is dry and sporadic. There seem to be more details in stories set in England than elsewhere. Overall there seems to be a strong English slant to the tales.

The stories are roughly grouped into categories such as Accidents, Medical, Criminal, Miscellaneous, and Sex. Many of these seem to have been randomly place and would fit better in a different category.

Are they really legends? No. While some of the tales are classic urban legends (although in variations I have never heard before), some of the stories have other origins. At least on tale is true and can be verified in the local papers (I won't tell you which one). Others have been lifted straight from old movies and television shows (many decades old that is). Maybe in England they don't know the origins of these particular tales, but American audiences will probably now where they were taken from.

If you are looking for a good collection of Urban Legends, this is certainly a cheap one, but it is not a particularly good one.

Customer Reviews:

In Love with An Indian Affair.......2004-01-26

AN INDIAN AFFAIR: FROM RICHES TO RAJ by Archie Baron was written as a companion book to a British television historical documentary series. It is therefore clear and beautifully written for the general public. It chronicles the interaction of Great Britain with India before 1858.
My ideas about the British in India were fuzzy at best and basically informed by tales and legends from the Victorian age. This book turns all my ideas upside down. It's wonderful.
It begins with an introduction and ends with an afterword and inbetween are 9 chapters. Chapter 1 entitled Rogue Traders and Spice Girls relates the beginnings of the British East India Company. Chapter 2, Accidental Empire gives information about Clive and the beginning of military power in India to protect trade. Chapter 3, Nabobs tells of the British who lived in India and got rich off her wealth. Chapter 4, An Indian Love Affair basically gives details about Warren Hastings, a governor-general of India and William Jones, an intellectual. Both these men loved India and thought the Indian culture was on par with most any cultures and maybe exceeded those of Great Britain. Chapter 5, Going Native, is about men like Hindoo Stuart who embraced India, not just intellectually but in all ways. These are the White Mughals. Chapter 6 First Fusion informs us about the profound influence Indian culture had back home in Great Britain and about some of the Indians who visited or came to live in Great Britain. Chapter 7, First Among Equals is about the schemes and military actions between France, the Indian rulers, and Great Britain. Chapter 8, The New Rome, chronicles the events that started the beginning of the British Government as the rulers of India. Chapter 9, Brown Englishman, tells how native Indian languages and learning were thrown over for English and western culture in India and even, for good and bad, embraced by Indians.
AN INDIAN AFFAIR has gorgeous color plates and pictures interspersed throughout the chapters. It is 254 pages in length with Sources and Further Reading, Acknowledgements, and an Index. It is altogether a satisfying, beautiful reading experience.

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