Poetry. Written over the past 35 years, PICASSO'S TEARS is an epic account of Wong May's incisive, empathic, and visionary engagement with our strange and violent world. Politically inflamed and intensely personal, this fourth book of poems by Wong May marks the long-awaited re-emergence of a major, miraculous voice.
Seeing Through Tears is a groundbreaking examination of crying behavior and the meaning behind our tears. Drawing from attachment theory and her own original research, Judith Nelson presents an exciting new view of crying as a part of our inborn equipment for establishing and maintaining emotional connections. In a comprehensive look at crying through the life cycle, this insightful volume presents a novel theoretical framework before offering useful and practical advice for dealing with this most fundamental of human behaviors.
What religion does not serve as a theater of tears? Holy Tears addresses this all but universal phenomenon with passion and precision, ranging from Mycenaean Greece up through the tragedy of 9/11. Sixteen authors, including many leading voices in the study of religion, offer essays on specific topics in religious weeping while also considering broader issues such as gender, memory, physiology, and spontaneity. A comprehensive, elegantly written introduction offers a key to these topics. Given the pervasiveness of its theme, it is remarkable that this book is the first of its kind--and it is long overdue. The essays ask such questions as: Is religious weeping primal or culturally constructed? Is it universal? Is it spontaneous? Does God ever cry? Is religious weeping altered by sexual or social roles? Is it, perhaps, at once scripted and spontaneous, private and communal? Is it, indeed, divine? The grief occasioned by 9/11 and violence in Afghanistan, Iraq, Israel, and elsewhere offers a poignant context for this fascinating and richly detailed book. Holy Tears concludes with a compelling meditation on the theology of weeping that emerged from pastoral responses to 9/11, as described in the editors' interview with Reverend Betsee Parker, who became head chaplain for the Office of the Chief Medical Examiner of New York City and leader of the multifaith chaplaincy team at Ground Zero. The contributors are Diane Apostolos-Cappadona, Amy Bard, Herbert Basser, Santha Bhattacharji, William Chittick, Gary Ebersole, M. David Eckel, John Hawley, Gay Lynch, Jacob Olúpqnà (with Solá Ajíbádé), Betsee Parker, Kimberley Patton, Nehemia Polen, Kay Read, and Kallistos Ware.
This deeply personal account of emotion and vulnerability draws upon anecdotes related to individual works of art to present a chronicle of how people have shown emotion before works of art in the past.
The destruction of a town, and the creation of a masterpiece--On April 26, 1937, in the late afternoon of a busy market day in the Basque town of Gernika in northern Spain, the German Luftwaffe began the relentless bombing and machine-gunning of buildings and villagers at the request of General Francisco Franco and his rebel forces. Three-and-a-half hours later, the village lay in ruins, its population decimated. This act of terror and unspeakable cruelty--the first intentional, large-scale attack against a nonmilitary target in modern warfare--outraged the world and one man in particular, Pablo Picasso. The renowned artist, an expatriate living in Paris, reacted immediately to the devastation in his homeland by creating the canvas that would become widely considered one of the greatest artworks of the twentieth century--Guernica. Weaving themes of conflict and redemption, of the horrors of war and of the power of art to transfigure tragedy, Russell Martin follows this monumental work from its fevered creation through its journey across decades and continents--from Europe to America and, finally and triumphantly, to democratic Spain. Full of historical sweep and deeply moving drama, Picasso's War delivers an unforgettable portrait of a painting, the dramatic events that led to its creation, and its ongoing power today.
In an engaging reference on this famous artist, Pablo Picasso follows the life of a world-famous Spanish painter, sculptor, and graphic artist. Picasso was the foremost figure in 20th-century art. Working consistently in sculpture, ceramics, and th
Art Does art leave you cold? And is that what it's supposed to do? Or is a painting meant to move you to tears? Hemingway was reduced to tears in the midst of a drinking bout when a painting by James Thurber caught his eye. And what's bad about that? In Pictures and Tears, art historian James Elkins tells the story of paintings that have made people cry. Drawing upon anecdotes related to individual works of art, he provides a chronicle of how people have shown emotion before works of art in the past, and a meditation on the curious tearlessness with which most people approach art in the present. Deeply personal, Pictures and Tears is a history of emotion and vulnerability, and an inquiry into the nature of art. This book is a rare and invaluable treasure for people who love art. Also includes an 8-page color insert.
This book brings Anglophone Singapore literature to a global audience for the first time, embedding it within literary developments worldwide. Drawing on postcolonial studies, Singapore studies, and critical discussions in transnationalism and globalization, essays introduce neglected writers, cast new light on established writers, and examine texts in relation to their local-historical contexts while engaging with contemporary issues in Singapore society. It sets new directions for further scholarship on a body of writing that has much to say to those interested in issues of nationalism, diaspora, cosmopolitanism, neoliberalism, immigration, urban space, and literary form and content.
The beautifully illustrated fourth volume of Picasso’s life—set in France and Spain during the Spanish Civil War and World War II—covers friendships with the surrealist painters; artistic inspiration around Guernica and the Minotaur; and his muses Marie-Thérèse, Dora Maar, and Françoise Gilot; and much more. Including 271 stunning illustrations and drawing on original and exhaustive research from interviews and never-before-seen material in the Picasso family archives, this book opens with a visit by the Hungarian-French photographer Brassaï to Picasso’s chateau in Normandy, Boisgeloup, where he would take his iconic photographs of the celebrated plaster busts of Marie-Thérèse, Picasso’s mistress and muse. Picasso was contributing to André Breton’s Minotaur magazine and he was also spending more time with the likes of Man Ray, Salvador Dalí, Lee Miller, and the poet Paul Éluard, in Paris as well as in the south of France. It was during this time that Picasso began writing surrealist poetry and became obsessed with the image of himself as the mythic Minotaur—head of a bull, body of a man—and created his most famous etching, Minotauromachie. Richardson shows us the artist is as prolific as ever, painting Marie-Thérèse, but also painting the surrealist photographer Dora Maar who has become a muse, a collaborator and more. In April 1937, the bombing of the town of Guernica during the Spanish Civil War inspires Picasso’s vast masterwork of the same name, which he paints in just a few weeks for the Spanish Pavilion at the Paris World’s Fair. When the Nazis occupy Paris in 1940, Picasso chooses to remain in the city despite the threat that his art would be confiscated. In 1943, Picasso meets Françoise Gilot who would replace Dora, and as Richardson writes, “rejuvenate his psyche, reawaken his imagery and inspire a brilliant sequence of paintings.” As always, Richardson tells Picasso’s story through his work during this period, analyzing how it shows what the artist was feeling and thinking. His fascinating and accessible narrative immerses us in one of the most exciting moments in twentieth century cultural history, and brings to a close the definitive and critically acclaimed account of one of the world’s most celebrated artists.