American foreign policy since World War II has long been seen primarily as a story of strong and successful alliances, domestic consensus, and continuity from one adminstration to the next. Why then have so many presidents left office condemned for their foreign policy record? In his fresh and compelling history of America's rise to dominance, Stephen Sestanovich makes clear that U.S. diplomacy has always stirred controversy, both at home and abroad. He shows how successive adminstrations have struggled to find new solutions, alternating between bold "maximalist" strategies and retrenchment efforts to downsize America's role. Almost all our presidents emerge from this vivid retelling in a sharp and unexpected light.
This book begins a new and foundational discussion of maximalism by investigating how the treatment of detail in contemporary literature impels readers to navigate, tolerate, and enrich the cultural landscape of postindustrial America. It studies the maximalist novels of David Foster Wallace, Nicholson Baker, Thomas Pynchon, and others, considering how overly-detailed writing serves the institutional, emotional, and intellectual needs of contemporary readers and writers. The book argues that maximalist novels not only exceed perceived limits of style, subject matter, and scope, but strive to remake the usefulness of books in contemporary culture, refreshing the act of reading. Levey shows that while these novels are preoccupied with detail and description, they are relatively unconcerned with the traditional goals of representation. Instead, they use detail to communicate particular values and fantasies of intelligence, enthusiasm, and ability attached to the management of complex and excessive information. Whether reinvigorating the banal and trivial in mainstream culture, or soothing anxieties of human insufficiency in the age of automation and the internet, these texts model significant abilities, rather than just objects of significance, and encourage readers to develop habits of reading that complement the demands of an increasingly detailed culture. Drawing upon a diverse range of theoretical schools and cultural texts, including Thing Theory, Marxism, New Formalism, playlists, blogs, and archival manuscripts, the book proposes a new understanding of maximalist writing and a new way of approaching the usefulness of literary objects in contemporary culture.
Minimalism/Maximalism" presents a resplendent collection of buildings that illustrate these two very dissimilar styles. The creators of these projects demonstrate that after a long period of austere work it's time for a new, cutting-edge design. Filled with 370 color images and 50 architectural plans, this guide compares and contrasts an array of minimalist and maximalist examples.
Maximalism, or the "more is more" world of decorating, is here! The style that embraces the all-out--beautiful color palettes, luxurious textiles, patterns, and embellishment--has made a comeback. Maximalism is the epitome of passion, one in which Scandi-style, stripped bare, and pared-back interiors have no place. Abigail Ahern guides us through the change in the world of interiors as the pendulum swings away from minimalism and over to our increasing desire for self-expression and optimism. Readers will learn how to break the "rules" of interior design, play fast and loose with different periods in a single room, and have fun. Maximalism allows us to dip into color palettes and any decade or style, with the effect of stirring up emotions and creating a bedazzling space we never want to leave.
This book begins a new and foundational discussion of maximalism by investigating how the treatment of detail in contemporary literature impels readers to navigate, tolerate, and enrich the cultural landscape of postindustrial America. It studies the maximalist novels of David Foster Wallace, Nicholson Baker, Thomas Pynchon, and others, considering how overly-detailed writing serves the institutional, emotional, and intellectual needs of contemporary readers and writers. The book argues that maximalist novels not only exceed perceived limits of style, subject matter, and scope, but strive to remake the usefulness of books in contemporary culture, refreshing the act of reading. Levey shows that while these novels are preoccupied with detail and description, they are relatively unconcerned with the traditional goals of representation. Instead, they use detail to communicate particular values and fantasies of intelligence, enthusiasm, and ability attached to the management of complex and excessive information. Whether reinvigorating the banal and trivial in mainstream culture, or soothing anxieties of human insufficiency in the age of automation and the internet, these texts model significant abilities, rather than just objects of significance, and encourage readers to develop habits of reading that complement the demands of an increasingly detailed culture. Drawing upon a diverse range of theoretical schools and cultural texts, including Thing Theory, Marxism, New Formalism, playlists, blogs, and archival manuscripts, the book proposes a new understanding of maximalist writing and a new way of approaching the usefulness of literary objects in contemporary culture.
Maximalism and Visual Delight is the first book to explore the contributions of witty contemporary genre painter Jeanne Leighton-Lundberg Clarke and her meaningful role in the development of Maximalism.
I am a maximalist ... I want more of everything.'Tony O'Reilly strode into the twenty-first century an Irishman apart. Strikingly good-looking, athletically gifted, irresistibly charismatic and phenomenally wealthy, he had everything any man could want. For many, he was a hero, the living embodiment of Irish potential; for others, he was an arrogant and overbearing presence at the heart of power. Without doubt, he was the most powerful unelected Irishman of the past 50 years.His philosophy was simple: 'I am a maximalist ... I want more of everything.'But it was never enough. And today, O'Reilly's empire and the formidable reputation it established lie in tatters.In this landmark biography, Matt Cooper draws on an abundance of new material, including interviews with many of O'Reilly's closest family, friends, associates and rivals, to uncover the man behind the myth. An Irish epic, it documents in unflinching detail and with great subtlety the meteoric rise and slow unravelling of an Irish icon.
Let master of Maximalism Laurence Llewelyn-Bowen tell you how to create and curate a space that you can truly love spending time in. Changing Rooms’ flamboyant lead designer has made a great living out of being himself, having spent his entire career encouraging people to reject decorative modesty. More More More is a rejection of so-called “good taste” that leaves people being so in control of their own home that even life feels out of place within it, and instead celebrates exuberance, lavish living, and individuality. It’s all about giving yourself the confidence you lack by curating your own perfect haven of chaos, so that you can live and love your stuff – in surroundings that are anything but beige! With this book, Laurence Llewelyn-Bowen will not only explain how to adopt maximalism in the home, but promises to change your outlook on living happily in it. Structured within a complete timeline of maximalism, there’s something for everyone to love! Dive into this decor book to discover a whirlwind of topics, including: - The Principles of Layering - Asymetry - A Tricky Balancing Act - Using Pattern like a pro - Storage - to store or not to store - Collecting vs. Aqcuiring More More More is overflowing with Laurence's signature style, exuberance and a lifetime's experience in lavish living and take-no-prisoners individuality. Part narrative treatise, part visual celebration of Maximalism through the ages, it is rich in history, anecdotes and quite a few rules, most of which are to be broken!. Having spent his entire career encouraging people to reject decorative modesty, he will not only inform the reader how to embrace Maximalism in their home, but promises to change how they live within it. Minimalists beware! A must-have home decor book for Fans of Laurence Llewlyn-Bowen, a new generation of home-owners and renters who want to rebel against the mass-market principles from minimalist as well as those trying to create a healthy work-life environment. Doubling up as the perfect coffee-table book, More More More is sure to delight.
The aesthetic movement that is the subject of this book gathers the objectives of designers who are constructing a new, complex and eclectic modernity. Maximalism has affected all disciplines and prompted them to merge with each other, even creating new projects.
The Maximalist Novel sets out to define a new genre of contemporary fiction that developed in the United States from the early 1970s, and then gained popularity in Europe in the early twenty-first century. The maximalist novel has a very strong symbolic and morphological identity. Ercolino sets out ten particular elements which define and structure it as a complex literary form: length, an encyclopedic mode, dissonant chorality, diegetic exuberance, completeness, narrratorial omniscience, paranoid imagination, inter-semiocity, ethical commitment, and hybrid realism. These ten characteristics are common to all of the seven works that centre his discussion: Gravity's Rainbow by Thomas Pynchon, Infinite Jest by David Foster Wallace, Underworld by Don DeLillo, White Teeth by Zadie Smith, The Corrections by Jonathan Franzen, 2666 by Roberto Bolaño, and 2005 dopo Cristo by the Babette Factory. Though the ten features are not all present in the same way or form in every single text, they are all decisive in defining the genre of the maximalist novel, insofar as they are systematically co-present. Taken singularly, they can be easily found both in modernist and postmodern novels, which are not maximalist. Nevertheless, it is precisely their co-presence, as well as their reciprocal articulation, which make them fundamental in demarcating the maximalist novel as a genre.
