Book Description
During the 1930s and 1940s, women artists associated with the Surrealist movement produced a significant body of self-images that have no equivalent among the works of their male colleagues. While male artists exalted Woman's otherness in fetishized images, women artists explored their own subjective worlds. The self-images of Claude Cahun, Dorothea Tanning, Leonora Carrington, Frida Kahlo, Meret Oppenheim, Remedios Varo, Kay Sage, and others both internalize and challenge conventions for representing femininity, the female body, and female subjectivity. Many of the representational strategies employed by these pioneers continue to resonate in the work of contemporary women artists. The words "Surrealist" and "surrealism" appear frequently in discussions of such contemporary artists as Louise Bourgeois, Ana Mendieta, Cindy Sherman, Francesca Woodman, Kiki Smith, Dorothy Cross, Michiko Kon, and Paula Santiago.
This book, which accompanies an exhibition organized by the MIT List Visual Arts Center, explores specific aspects of the relationship between historic and contemporary work in the context of Surrealism. The contributors reexamine art historical assumptions about gender, identity, and intergenerational legacies within modernist and postmodernist frameworks. Questions raised include: how did women in both groups draw from their experiences of gender and sexuality? What do contemporary artistic practices involving the use of body images owe to the earlier examples of both female and male Surrealists? What is the relationship between self-image and self- knowledge?
Contributors: Dawn Ades, Whitney Chadwick, Salomon Grimberg, Katy Kline, Helaine Posner, Susan Rubin Suleiman, Dickran Tashjian.
Customer Reviews:
Excellent analysis of Women and Surrealism.......2001-05-31
Although the publication of "Women and Surrealism" by Whitney Chadwick in the 1980s brought about a larger appreciation of women involved in the movement, there is still a surprising shortage of material published about surrealist artists such as Leonora Carrington and Remedios Varo. "Mirror Images: Women, Surrealism, and Self Representation" offers a series of insightful essays on these and other artists' images and ideas of self. Most interestingly, many of the essays discuss the work of Surrealist "descendents," including Cindy Sherman and Louise Bourgeois. Overall, very well constructed and written, with essays by the leading scholars in this still under-appreciated area.
Average customer rating:
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Francesco Clements - The Book of the Sea
Marina Warner
Manufacturer: Gasgosian Gallery
ProductGroup: Book
Binding: Hardcover
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ASIN: 1880154773 |
Book Description
When in doubt, Pig Out!
“To eat is human; to pig out, divine!” Garfield’s glorious, gluttonous philosophy is on full display in this new collection of comics. As everyone knows, when it comes to food, the cat just loves to make a pig of himself!
Customer Reviews:
If you collect - you must purchase this book!.......2007-02-09
I have every single Garfield book beginning with #1 - this is just another wonderful addition to what will surely be a cherished collection by my children when they are old enough to appreciate it.
GARFIELD IS BACK! .......2006-06-03
This is the best Garfield book ever released. I got it before it came out in Australia. I had the previous book Garfield Older and wider. That was a funny one. His 42nd had not lost a beat. I loved the book. You should to. It contains comics from the 28th July 2002 until February 2003. I reccomend that you get it!!!!!!!!!!!!!!!!!!!1
Garfield Pigs Out: Oh yeah .......2006-06-02
BERTHA LOST WEIGHT!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Okay, that isn't the highlight of the book (You remember fat Bertha from a previous collection? She lost 200 pounds in here!), but it doesn't mean it isn't a great strip. The book contains really great strips, including diner scenarios, christmas and others, with quoteable slogans and laugh out loud gags, this is one of the best collections this side of Loses His Feet. Funny extras (Garfield's favorite games to play with spiders), funny logos, funny cover, even (Two pigs looking bug eyed. There's something you don't see every day!). An all around good buy and great read.
Still funny - most of the times.......2006-03-05
Okay, so this is book number 42. I have felt, at times, that Jim Davis was running out of funny stories when it comes to Garfield.
This book, however, has been refreshingly funny. I enjoyed the read and found myself laughing out loud quite a few times. The bright colors and the nice compact size of the book helped also.
Still too short - as always (this is a theme for me with comic books), but still a good purchase.
The Best Book Ever!.......2006-02-28
this is without a doubt the best garfield book ever!
Book Description
Here's a great gag gift for anyone turning 40!
How To Survive Your 40th Birthday is a perfect gift for thirty-nine-year-olds dreading the Big Four 40. It provides reassurance that there's more to life after forty: old age and death. And it's chock fun of off-the-wall advice that can come in very handy when you turn forty, including:
- How to act surprised at your surprise 40th birthday party
- How to tell the difference between a mid-life crisis and a hangover
- How to raise a family without raising your blood pressure
- How to find your lost youth without hurting yourself
- How to get through your high-school reunion without lying about your job
Customer Reviews:
Note from the Publisher.......2006-06-30
We're extremely happy that the book has been found to be an excellent resource.
We wanted to clarify why there are two books available on Amazon with two prices. Allyn & Bacon, a Pearson Education Company, is an educational publisher, and as such we publish books with pedagogical tools to be used in college courses. The edition with the sample log line and treatment and sample step outline appendices is for the education market. When we decided to publish an edition for the broader consumer market, titled The Complete Screenwriter's Manual: A Comprehensive Reference of Format and Style, the pedagogical tools were no longer necessary, and thus we could remove them and set the trade edition at a lower price.
excellent resource (but buy the other cheaper copy).......2006-03-28
Every page of this book -- except two appendices (16 pgs: Sample Log Line and Treatment, and Sample Step Outline) -- is identical to what is found in "the Complete Screenwriter's Manual, another version of this book at $12.32 Amazon ($18.95 retail). That being said, the content that is identical is absolutely excellent. Both works outline in extreme detail how to format all the elements of a screenplay: dialogue, slug lines (scene designations), instructions or action description, parentheticals, and transitions. Copious examples of how to write into a screenplay the following: sound effects, flashbacks, phone conversations, car scenes, foreign languages, dreams, time-shifts, voiceovers, and much more. Also shows common MISTAKES in formatting that mark a script as the work of an amateur.
Book Description
"A feast of information that addresses every conceivable issue with clarity and insight. It deserves a place in every serious screenwriter's library."
-Richard Walter, chairman, UCLA screenwriting program
The Complete Screenwriter's Manual is the most complete and comprehensive presentation of screenplay format and style on the market. Written by an author team with extensive professional and academic credentials and based on a unique step-by-step approach, this book features:
A systematic approach to formatting a screenplay
An accessible style beginners can easily grasp
Accurate information on current industry practices
Methods for creating professional-looking scripts
Illustrations of common problems and their solutions
Cross-referenced index
Customer Reviews:
Best Screenwriting Manual on Market.......2007-08-20
This book is definitely the best screenwriting manual on the market, and anyone who dreams -- even in their wildest imagination -- that they might someday want to write a screenplay must have this book. It should also be part of the reference library for anybody who is currently in the script writing business.
EXCELENT REFERENCE TO WRITE SCRIPTS.......2007-01-09
I was in the process of writting a script and had lots of questions on the Hollywood format, almost all were answer by this excelent book.
Do not look in here for dramatical structure, this you need to look for somewere else.
A Great Easy Access Reference.......2007-01-06
I recommend this as a reference for anyone who wants to find answers quickly. I have several screenplay formatting books and this one is definitely one of my faves. I don't think that any one book is the be-all-and-end -all guide to writing screenplays, but this is a must have for you collection. It allows you to reference information without searching for hours and having to read all of the preceeding information.
Average customer rating:
- "Who Cares If You Listen?"
|
Mavericks and Other Traditions in American Music
Michael Broyles
Manufacturer: Yale University Press
ProductGroup: Book
Binding: Hardcover
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ASIN: 0300100450 |
Book Description
From colonial times to the present, American composers have lived on the fringes of society and defined themselves in large part as outsiders. In this stimulating book Michael Broyles considers the tradition of maverick composers and explores what these mavericks reveal about American attitudes toward the arts and about American society itself. Broyles starts by examining the careers of three notably unconventional composers: William Billings in the eighteenth century, Anthony Philip Heinrich in the nineteenth, and Charles Ives in the twentieth. All three had unusual lives, wrote music that many considered incomprehensible, and are now recognized as key figures in the development of American music. Broyles goes on to investigate the proliferation of eccentric individualism in all types of American music-classical, popular, and jazz-and how it has come to dominate the image of diverse creative artists from John Cage to Frank Zappa. The history of the maverick tradition, Broyles shows, has much to tell us about the role of music in American culture and the tension between individualism and community in the American consciousness.
Customer Reviews:
"Who Cares If You Listen?".......2004-09-22
This quote, attributed to Milton Babbitt in his 1958 High Fidelity magazine article "The Composer as Specialist," sits in the middle of this intriguing book by Michael Broyles. Never mind that this was more editorial license than Babbitt, and that it haunted Babbitt forevermore. It conveniently divides Broyles's book into two unequal chronological parts: The "before," when composers were mavericks out of necessity, and the "after," when it seemed that every composer in a new aesthetic but not a serialist was saying "I want to be an American maverick too!" Put briefly, this book is all about "unorthodoxy" amongst American composers from Colonial times to today. It is well-written by Broyles, an expert on the history of American classical music and its relationship with culture and society.
Nearly 250 years of unorthodoxy in American music is a huge subject, and Broyles does well by it, if not quite to the extent suggested by the dust jacket blurbs. But that's a matter of the size of the assignment. Without highlighting some mavericks at the expense of others (and some interesting ones have been overlooked), this book would have been much larger. As it is, there is no shortage of material to hold one's interest.
Broyles covers the beginnings of American music with two early mavericks: William Billings in the Colonial era and Anthony Philip Heinrich in the decades prior to the Civil War. Both were mavericks by being composers when this was hardly a socially-acceptable endeavor. Both were self-taught and radical for their time. Billings is remembered for his hymnody. Heinrich is barely remembered at all, but in some respects was a precursor to Louis Moreau Gottschalk, Stephen Foster and Charles Ives. The post-Civil War decades of the 19th century largely get glanced over; these decades were hard times for this maverick tradition: The establishment of symphony orchestras in America during this period, led by European conductors, marked a sea change toward European - or at least European-influenced - art music.
Broyles conveniently divides the 20th century in half: "before" and "after" the "tyranny of serialism" that took hold at mid-century. The first two decades were dominated by two mavericks: Charles Ives, the private composer who waited decades for much of his music to be performed, and Leo Ornstein, the Russian firebrand, newly in America and concertizing with his dissonant keyboard compositions.
The 1920s roared with the ultramodernist movement, including Edgard Varèse, Carl Ruggles, Charles Seeger, Ruth Crawford, Henry Cowell, George Antheil, and even Aaron Copland in his formative years. Much of this ultramodernist "outbreak" took place in the brief 1922 - 1926 period, which Broyles calls American music's Cambrian Explosion. The ultramodernists didn't find public audiences for their radical music, so they simply did what the serialists were to do three decades later: They became their own community audience (enhanced by a few brave souls looking for something other than European art music).
With the Depression years, and then WW II, ultramodernism fell out of favor and went dormant. During these two decades, America saw the rise of populist music (Copland, Seeger and Crawford [by then Crawford Seeger]) and the relatively conservative comforts of neoromanticism and neoclassicism.
Broyles reserves most of the second half of his book for the recent half-century of these 250 years. This period is likely the one to interest most readers (and I include myself in this category). Regrettably, this is barely enough space to skim the surface, given that his emphasis is on "the tyranny of serialism" and a few (but hardly all) of the reactions to serialism: The last 50 years in American music has seen "upheaval after upheaval" and is easily worth a volume of its own.
The first such upheaval was, of course, total serialism itself, with its overt objective of removing all traces of Eurocentric expressionism from music, to be replaced by calculated parameters of pitch, duration, timbre and dynamics. That total serialism baffled and put off concertgoers at the time is to belabor the obvious; this was "academic" music-making that found its natural refuge in universities (but not necessarily music conservatories, which, by and large, stuck by their "traditionalist" roots). And, while Milton Babbitt's words, quoted at the top, largely fit the situation at the time, they seem better placed in the mouths of Pierre Boulez, and, to a slightly lesser extent, Charles Wuorinen, composers who - Broyles makes quite clear - were totally unsympathetic to audiences' pleas.
The major reactions to total serialism were the aleatoric ("chance") works of John Cage and the early minimalism of LaMonte Young, Terry Riley, Steve Reich and Philip Glass. It almost seems beyond the point to state that virtually all of Cage's music, and much of early minimalism, was just as devoid of expression as was total serialism. What we DO begin to see here, particularly with Cage, is both a move toward "music not as 'music qua music' but as performance art" (a theme that Broyles carries through to the conclusion of the book) and the emergence of the "composer as cult of personality."
These two aspects lead quite naturally into a pair of strange bedfellows who share a chapter: Harry Partch and Frank Zappa. Had I my own druthers, I'd have placed Zappa and Cage in the same chapter, and given Partch a full chapter of his own: There is a "purity" to Partch's efforts to develop a unique compositional aesthetic and a true gesamtkuntswerk, well above and beyond the early steps toward "music as performance art" as put forth by Cage and Zappa.
In a penultimate chapter ("Looking Back: Puritanism, Geography and the Myth of American Individualism"), Broyles endeavors to summarize the American maverick composer tradition and its place among culture and society in general, mostly successfully. The final chapter ("Looking Forward: 'The End of the Renaissance?'!") is, I think, less successful (or at least less hopeful in its outlook). Using the works of Meredith Monk as a new paradigm for "music as performance art" (with a mention of Yo-Yo Ma's highly-stylized video of the Bach cello suites as a near-final throw-in), it is difficult to NOT conclude that Broyles sees the fetishization of music as performance art as the direction in which we might be heading.
I don't know whether anything should be made of the fact that the dust jacket has postage-stamp-sized photos of Ives, Ornstein, Cage, Zappa, Partch and Monk. Each in his (or her) way was a maverick in terms of setting out on a new path. Ultimately, history will record which of these paths were dead ends and which were not. My money is on Ives as the principal survivor, with an honorable mention to Partch for his integrity and singlemindedness of purpose against daunting odds (even though performances of his works largely died with him).
Fascinating reading! Even if Broyles seems, in his choices, to have emphasized personality over substance, and, in the process, made little if any mention of a host of composers who were (and are) equal to this maverick definition.
Bob Zeidler
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Mavericks and Other Traditions in American Music.(Book Review): An article from: Notes
Catherine Pellegrino
Manufacturer: Music Library Association, Inc.
ProductGroup: Book
Binding: Digital
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ASIN: B000975S9W
Release Date: 2006-07-14 |
Book Description
This digital document is an article from Notes, published by Music Library Association, Inc. on March 1, 2005. The length of the article is 2094 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: Mavericks and Other Traditions in American Music.(Book Review)
Author: Catherine Pellegrino
Publication:
Notes (Refereed)
Date: March 1, 2005
Publisher: Music Library Association, Inc.
Volume: 61
Issue: 3
Page: 754(4)
Article Type: Book Review
Distributed by Thomson Gale
Book Description
Silk flowers are the largest section in craft stores, reflecting the popularity and numbers of enthusiasts in this pursuit. This book provides a wide variety of creative projects and innovative ideas for decorating and beautifying their homes using silk flowers. With clear step-by-step instructions, this book makes flower arranging easy, affordable and enjoyable for everyone.
Using an interior decorator approach, projects are geared around creative use of color, season, mood and room placement ideas, including table arrangements, wreaths, candle and flower displays, holiday arrangements, floral swags and baskets, wreaths, topiaries and more. Each project includes a beautiful photo of the finished piece, a complete list of materials needed, and all the step-by-step photos necessary to ensure that the reader succeeds with style!
* Includes 15 beautiful projects
* The clearest and most complete step-by-step instruction currently available
* Emphasizes the use of readily available silk and dried flowers popular in craft outlets everywhere
Amazon.com's Best of 2001
Ever since his first book was published some six decades ago, Peter Drucker has been essential to everyone serious about the "management of an enterprise (and) the self-management of the individual, whether executive or professional, within an enterprise and altogether in our society of managed organizations." This distinguished 30-year Claremont University professor has continuously identified critical principles in management, economics, politics, and the world in general. And he has redirected our thinking about them through more than two dozen books, including an autobiography and a couple of works of fiction. Now, with The Essential Drucker, he has overseen the compilation of his most important fundamentals into one indispensable book.
Reaching back as far as 1954 with his treatise "Management by Objectives and Self-Control" ("Each manager, from the 'big boss' down to the production foreman or the chief clerk, needs clearly spelled-out objectives" that clarify expected contributions "to the attainment of company goals in all areas of the business"), Drucker's now-established ideas take on a surprising new relevancy when remixed equally pioneering ideas from the 1960s, '70s, '80s, and '90s. Between the thoughtful "Management as Social and Liberal Art" through the provocative "From Analysis to Perception--The New Worldview" (both originally published in 1988's The New Realities), this book revisits some of modern management's most inspired writing and presents it in a way that should appeal to both newcomers and those needing a refresher course on Drucker's basic beliefs. --Howard Rothman
Book Description
Father of modern management, social commentator, and preeminent business philosopher, Peter F. Drucker has been analyzing economics and society for more than sixty years. Now for readers everywhere who are concerned with the ways that management practices and principles affect the performance of the organization, the individual, and society, there is The Essential Drucker -- an invaluable compilation of management essentials from the works of a management legend.
Containing twenty-six selections, The Essential Drucker covers the basic principles and concerns of management and its problems, challenges, and opportunities, giving managers, executives, and professionals the tools to perform the tasks that the economy and society of tomorrow will demand of them.
Download Description
"In one volume a selection of the essential writings from Peter F. Drucker's sixty years of work on management. The first selection of Drucker's management work from The Prctice of Management (1954) to Management Challenges for the 21st Century (1999), this book offers, in Drucker's words, ""a coherent and fairly comprehensive Introduction to [and] gives an overview of my works on management and thus answers a question I have been asked again and again: . . . which of my writings are essential?"" The Essential Drucker contains twenty-six selections on management in the organization, management and the individual, and management and society. It covers the basic principles and concerns of management and its problems, challenges, and opportunities, giving managers, executives, and professionals the tools to perform the tasks that the economy and society of ,==otherwise ungrammatical== tomorrow will demand of them. "
Customer Reviews:
It's 1 of the best.......2007-07-01
Its a very good collection of Peter Drucker's writings. It's a must read and re-read.
Managment for people who can think outside the box.......2007-06-09
Peter Drucker has a long, well-earned reputation for writing about management skills and practices. He writes plainly, cogently and with direct examples of his observations. It's too bad more people do not read (or if they do, do not practice) his principles: marketing is listening, not selling, and if you have listened (and responded) accordingly, the product/service will be obvious and well-received, regardless of the presumed capacity of the target to benefit from it. It's almost like management for dummies, but you DO have to listen first.
Outstanding.......2007-05-14
Excellent review. No matter if you alreday know his work. Is always good to remember and appreciatte his sharp and lasting concepts over the years.
Like trying to do Quantum Physics while reading Newton.......2007-04-25
I only made it 115 pages into the book before I had to put it down. In fairness, I'm a formally trained MBA (masters in business administration) so this experience should not be considered representative, but it does mean that I can offer a substantive and critical review of the compilation. I have two major points: one on accuracy and one on style
To his credit, Drucker could easily be considered the most influential source on management of the 20th century. Many of the basic ideas he offers are valuable and if a reader does not have any formal background in management, his book is accessible and full of extremely illustrative examples. The structure flows naturally and could be an excellent learning tool or primer.
The problem with Drucker is he was an influential source of the **20th** century and the compilation occurred without any substantial updating. One example in particular is on page 107 where Drucker offers, "Companies typically measure their proposed capital appropriations by... four yardsticks: return on investment, payback period, cash flow, and discounted present value. But we have known... since the early 1930s... that none of those is the right method... a company needs to look at all four." While this may have been a cutting edge approach in 1930 (and while it is still a common sentiment among managers whose education dates to the 50s and 60s), modern management theory recognizes that NPV *actually is* the one and only right method. This is one of a number of instances where actual errors are present. Indeed, there are additional instances where his perspective seems to conflict with a modern management education, but where there is no clear cut right answer.
The second point I would like to make is that there are really two basic ways to teach a concept. One is to offer plentiful examples so that a reader can draw conclusions and/or hopefully find one or more situations with similarities to each problem they face (inductive). The other is to offer a structured and unified theory that is less precise in its examples, but can be easily applied to situations that are dissimilar to those presented (deductive). Drucker writes in the inductive style, with plentiful examples. As a result, he doesn't offer a condensed nugget of theory that one can take away to apply to seemingly novel situations. If a reader isn't an expert on management, this isn't a problem and, in fact, the structure improves the learning process. If a reader has some structure and background, it reduces the value of the read.
All together, the book offers a number of great concepts and makes an illustrative primer to management (encouraged read for the untrained, 5 stars). That being said, the book and much of its content is out of date (all readers beware, 2 stars) and the style lacks the "ah hah" moments that might be found in a denser and more theory focused text (advanced readers strongly warned, 2 stars).
Not quite timeless.......2006-09-17
Good book, contains a lot of useful advice, which is "timeless".
However, the world has changed a lot since, and there are many better management books to read/study.
This book deals a lot with processes, many of which have become obsolete today.
Books:
- Modernity and Modernism: French Painting in the Nineteenth Century (Modern Art Practices and Debates)
- Musical Instruments Stickers (Dover Little Activity Books)
- My Italian Sketchbook
- Negrophilia: Avant-Garde Paris and Black Culture in the 1920s (Interplay)
- Nudes: Indexxi (Photography)
- On Divers Arts: The Foremost Medieval Treatise on Painting, Glassmaking and Metalwork
- Op-Art Quilt Illusions: Fast, Fun & Fabulous 3-D Illusions.
- Paris: Art, Architecture, History, Lifestyle, in Detail (Grand Collection)
- Performing Live : Aesthetic Alternatives for the Ends of Art
- Personal Illuminations: VOL II, Exploration (Personal Illuminations)
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