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Creative Writing and Art History considers the ways in which the writing of art history intersects with creative writing. Essays range from the analysis of historical examples of art historical writing that have a creative element to examinations of contemporary modes of creative writing about art. Considers the ways in which the writing of art history intersects with creative writing Covers a diverse subject matter, from late Neolithic stone circles to the writing of a sentence by Flaubert The collection both contains essays that survey the topic as well as more specialist articles Brings together specialist contributors from both sides of the Atlantic
DIV Fictions of Art History, the most recent addition to the Clark Studies in the Visual Arts series, addresses art history’s complex relationships with fiction, poetry, and creative writing. Inspired by a 2010 conference, the volume examines art historians’ viewing practices and modes of writing. How, the contributors ask, are we to unravel the supposed facts of history from the fictions constructed in works of art? How do art historians employ or resist devices of fiction, and what are the effects of those choices on the reader? In styles by turns witty, elliptical, and plain-speaking, the essays in Fictions of Art History are fascinating and provocative critical interventions in art history. /div
A twenty-fifth anniversary edition of Charles Johnson’s National Book Award-winning masterpiece—"a novel in the tradition of Billy Budd and Moby-Dick…heroic in proportion…fiction that hooks the mind" (The New York Times Book Review)—now with a new introduction from Stanley Crouch. Rutherford Calhoun, a newly freed slave and irrepressible rogue, is lost in the underworld of 1830s New Orleans. Desperate to escape the city’s unscrupulous bill collectors and the pawing hands of a schoolteacher hellbent on marrying him, he jumps aboard the Republic, a slave ship en route to collect members of a legendary African tribe, the Allmuseri. Thus begins a voyage of metaphysical horror and human atrocity, a journey which challenges our notions of freedom, fate and how we live together. Peopled with vivid and unforgettable characters, nimble in its interplay of comedy and serious ideas, this dazzling modern classic is a perfect blend of the picaresque tale, historical romance, sea yarn, slave narrative and philosophical allegory. Now with a new introduction from renowned writer and critic Stanley Crouch, this twenty-fifth anniversary edition of Middle Passage celebrates a cornerstone of the American canon and the masterwork of one of its most important writers. "Long after we’d stopped believe in the great American novel, along comes a spellbinding adventure story that may be just that" (Chicago Tribune).
CD-ROM contains the digitized images found in the book.
For one or two semester Introductory Art History Survey courses. This handbook is designed to accompany the major textbooks used in the art history survey, presenting various methods for analysis of art as well as extensive tips on writing about art. Professor Anne D'Alleva created this handbook to accompany the major textbooks used in art history survey courses. Because the main survey texts focus on the artworks themselves, she saw the need for a complementary handbook that introduces students to the methodologies of art history in an open, accessible way. Look! discusses basic art historical practices, such as visual and contextual analysis, and provides guidelines for writing papers and taking examinations in art history. It provides a short history of the discipline and provides links to related academic disciplines to provide students with a sense of intellectual context for their work.
“One of the few truly helpful books on fiction writing.” —Chicago Tribune Go beyond Stephen King’s On Writing to master the fundamentals of great storytelling with this foundational guide that reveals the essential elements of what makes the best fiction. The Art of Creative Writing is a timeless testament to the power of dialogue and character development that is accessible for every level of writer from beginner to established author. As in the bestselling The Art of Dramatic Writing, still considered one of the most essential books on playwriting more than 75 years after publication, the author outlines in detail his highly acclaimed Egri Method of Creative Writing and shows how to apply it to all fiction formats—novels, short stories, and screenplays. Grounded in Egri’s assertion that “Every type of creative writing depends upon the credibility of a character,” here is concise, clear advice on the most important element of good writing: characterization. Step by step, Egri shows writers how to probe the secrets of human motivation to create flesh-and-blood characters who create suspense and conflict, and who grow emotionally under stress and strain. As practical as it is inspiring, The Art of Creative Writing remains a timeless, illuminating guide that teaches every writer, and aspiring writer, how to create works that are both compelling and enduring.
The author describes ways to employ the visual arts in the writing workshop with reasons to do it, guides for trying it, images, and worksheets.
Winner of the COVR Award for Book of the Year (2007) From the #1 creativity publisher in the country comes our latest creativity bestseller—Creative Journal Writing—the ultimate book for those who are looking to use this powerful tool to heal, expand, and transform their lives. In this exceptionally positive and encouraging book, Stephanie Dowrick frees the journal writer she believes is in virtually everyone, showing through stories and examples that a genuine sense of possibility can be revived on every page. Creative journal writing goes way beyond just recording events on paper. It can be the companion that supports but doesn?t judge, a place of unparalleled discovery, and a creative playground where the everyday rules no longer count. Proven benefits of journal writing include reduced stress and anxiety, increased self-awareness, sharpened mental skills, genuine psychological insight, creative inspiration and motivation, strengthened ability to cope during difficult times, and overall physical and emotional well-being. Combining a rich choice of ideas with wonderful stories, quotes, and her refreshingly intimate thoughts gained through a lifetime of writing, Dowrick?s insights and confidence make journal writing irresistible?and your own life more enchanting. Included in Creative Journal Writing are: u stories of how people have used journal writing to transform their lives; · inspirational instructions, guidelines, and quotes; · key principles, practical suggestions, and helpful hints; · 125 starter topics, designed to help even the most reluctant journal writer; · more than forty powerful exercises; · and much more!
An illustrated exploration of fandom that combines academic essays with artist pages and experimental texts. Fandom as Methodology examines fandom as a set of practices for approaching and writing about art. The collection includes experimental texts, autobiography, fiction, and new academic perspectives on fandom in and as art. Key to the idea of “fandom as methodology” is a focus on the potential for fandom in art to create oppositional spaces, communities, and practices, particularly from queer perspectives, but also through transnational, feminist and artist-of-color fandoms. The book provides a range of examples of artists and writers working in this vein, as well as academic essays that explore the ways in which fandom can be theorized as a methodology for art practice and art history. Fandom as Methodology proposes that many artists and art writers already draw on affective strategies found in fandom. With the current focus in many areas of art history, art writing, and performance studies around affective engagement with artworks and imaginative potentials, fandom is a key methodology that has yet to be explored. Interwoven into the academic essays are lavishly designed artist pages in which artists offer an introduction to their use of fandom as methodology. Contributors Taylor J. Acosta, Catherine Grant, Dominic Johnson, Kate Random Love, Maud Lavin, Owen G. Parry, Alice Butler, SooJin Lee, Jenny Lin, Judy Batalion, Ika Willis. Artists featured in the artist pages Jeremy Deller, Ego Ahaiwe Sowinski, Anna Bunting-Branch, Maria Fusco, Cathy Lomax, Kamau Amu Patton, Holly Pester, Dawn Mellor, Michelle Williams Gamaker, The Women of Colour Index Reading Group, Liv Wynter, Zhiyuan Yang
From Abraham Lincoln's wry observation that Harriet Beecher Stowe was "the little lady who made this big war" to Mark Twain's "wild proposition" that Walter Scott had somehow touched off sectional hostilities, there have been many competing theories about the impact of literature on nineteenth-century American society. In this provocative book, Kenneth W. Warren argues that the rise of literary realism late in the century was shaped by and in turn helped to shape the politics of racial difference following Reconstruction. Taking up a variety of novelists from this period, including most prominently Henry James and William Dean Howells, Warren demonstrates that even works not directly concerned with race were instrumental in forging a Jim Crow nation. As a literary history, Black and White Strangers places the writing of realistic novels within the context of their serialization in the monthly magazines of the 1880s. By viewing these novels in light of editorial policies regarding social propriety, national unity, and literary aesthetics, Warren reveals the often surprising ways in which realistic fiction at once challenged and abetted the growing conservatism of racial politics. Warren also seeks to bridge the gap between American and African-American literary studies, which have hitherto been "strangers" to each other. James and Howells, he argues, can be understood fully only when read alongside W.E.B. Du Bois and Frances E.W. Harper; James's The American Scene, for instance must be seen as a companion text to Du Bois's The Souls of Black Folk. In making these connections, Warren challenges American and African-American studies to see themselves as mutually constitutive enterprises and to question the value of canon-based criticism in any complete investigation of the meaning of "race" in American cultural history.