This little treasure documents Jasper Johns' "Seasons" cycle of four canvases that were originally shown at the Leo Castelli Gallery in 1986, and which have since become a milestone work in his career. An anthology of key Johns motifs, and thus something of a taking-stock sequence, "Seasons" is yet another masterwork in Johns' career.
"Donald Baechler è nato ad Hartford, Connecticut, nel 1956. Stessa generazione di Keith Haring (1958), Jean-Michel Basquiat (1960) e Jeff Koons (1955), appena più giovane delle altre star della pittura americana negli anni Ottanta: David Salle (1952), Julian Schnabel (1951), Robert Longo (1953). Giovanissimo protagonista nel decennio forse più vivo e fecondo, Baechler supera l'enfasi degli esordi e adotta senza peraltro variare troppo uno schema figurativo che lo rende riconoscibile tra mille. Baechler è sedotto dalla banalità di un soggetto che può reiterarsi all'infinito eppure rinnovarsi a suo piacimento. Inventa il suo personale universo iconografico; i soggetti sono interpretati in visioni astratte, come il globo, sintetico e appena abbozzato, quasi 'uno scheletro' o meglio 'lo scheletro del mondo'." Annotation Supplied by Informazioni Editoriali
Jane Austen's career as a novelist began in 1811 with the publication of Sense and Sensibility. Her work was finally adapted for the big screen with the 1940 filming of Pride and Prejudice (very successful at the box office). No other film adaptation of an Austen novel was made for theatrical release until 1995. Amazingly, during 1995 and 1996, six film and television adaptations appeared, first Clueless, then Persuasion, followed by Pride and Prejudice, Sense and Sensibility, the Miramax Emma, and the Meridian/A&E Emma. This book traces the history of film and television adaptations (nearly 30 to date) of Jane Austen manuscripts, compares the adaptations to the manuscripts, compares the way different adaptations treat the novels, and analyzes the adaptations as examples of cinematic art. The first of seven chapters explains why the novels of Jane Austen have become a popular source of film and television adaptations. The following six chapters each cover one of Austen's novels: Sense and Sensibility, Pride and Prejudice, Emma, Mansfield Park, Persuasion, and Northanger Abbey. Each chapter begins with a summary of the main events of the novel. Then a history of the adaptations is presented followed by an analysis of the unique qualities of each adaptation, a comparison of these adaptations to each other and to the novels on which they are based, and a reflection of relevant film and literary criticism as it applies to the adaptations.
Annette Michelson's contributions to art and film criticism over the last three decades have been unparalleled. This volume honors her unique legacy with original essays by some of the many scholars who have been influenced by her work. Some continue her efforts to develop theoretical frameworks for understanding modernist art, while others practice her form of interdisciplinary criticism in relation to avant-garde and modernist art works and artists. Still others investigate and evaluate Michelson's work itself. All in some way pay homage to her extraordinary contribution.
In 1638, a small book of no more than 92 pages in octavo was published “appresso Gioanne Calleoni” under the title “Discourse on the State of the Jews and in particular those dwelling in the illustrious city of Venice.” It was dedicated to the Doge of Venice and his counsellors, who are labelled “lovers of Truth.” The author of the book was a certain Simone (Simḥa) Luzzatto, a native of Venice, where he lived and died, serving as rabbi for over fifty years during the course of the seventeenth century. Luzzatto’s political thesis is simple and, at the same time, temerarious, if not revolutionary: Venice can put an end to its political decline, he argues, by offering the Jews a monopoly on overseas commercial activity. This plan is highly recommendable because the Jews are “wellsuited for trade,” much more so than others (such as “foreigners,” for example). The rabbi opens his argument by recalling that trade and usury are the only occupations permitted to Jews. Within the confines of their historical situation, the Venetian Jews became particularly skilled at trade with partners from the Eastern Mediterranean countries. Luzzatto’s argument is that this talent could be put at the service of the Venetian government in order to maintain – or, more accurately, recover – its political importance as an intermediary between East and West. He was the first to define the role of the Jews on the basis of their economic and social functions, disregarding the classic categorisation of Judaism’s alleged privileged religious status in world history. Nonetheless, going beyond the socio-economic arguments of the book, it is essential to point out Luzzatto’s resort to sceptical strategies in order to plead in defence of the Venetian Jews. It is precisely his philosophical and political scepticism that makes Luzzatto’s texts so unique. This edition aims to grant access to his works and thought to English-speaking readers and scholars. By approaching his texts from this point of view, the editors hope to open a new path in research into Jewish culture and philosophy that will enable other scholars to develop new directions and new perspectives, stressing the interpenetration between Jews and the surrounding Christian and secular cultures.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Expanding the study of Etruscan habitation sites to include not only traditional cities but also smaller Etruscan communities, Cetamura del Chianti examines a settlement that flourished during an exceptional time period, amid wars with the Romans in the fourth to first centuries BCE. Situated in an ideal hilltop location that was easy to defend and had access to fresh water, clay, and timber, the community never grew to the size of a city, and no known references to it survive in ancient writings; its ancient name isn’t even known. Because no cities were ever built on top of the site, excavation is unusually unimpeded. Intriguing features described in Cetamura del Chianti include an artisans’ zone with an adjoining sanctuary, which fostered the cult worship of Lur and Leinth, two relatively little known Etruscan deities, and undisturbed wells that reveal the cultural development and natural environment, including the vineyards and oak forests of Chianti, over a period of some six hundred years. Deeply enhancing our understanding of an intriguing economic, political, and cultural environment, this is a compelling portrait of a singular society.
Poggio Civitate in Murlo, Tuscany, is home to one of the best-preserved Etruscan communities of the eighth through the sixth centuries BCE. In this book, Anthony Tuck, the director of excavations, provides a broad synthesis of decades of data from the site. The results of many years of excavation at Poggio Civitate tell a story of growth, urbanization, ancient industrialization, and dissolution. The site preserves traces of aristocratic domestic buildings, including some of the most evocative and enigmatic architectural sculpture in the region, along with remnants of non-elite domestic spaces, enabling illuminating comparisons across social strata. The settlement also features evidence of large-scale production systems, including tools and other objects that reflect the daily experiences of laborers. Finally, the site contains the story of its own destruction. Tuck finds in the data clear indications that Poggio Civitate was methodically dismantled, and he posits hypotheses concerning the circumstances around this violent social and political act.