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I have said, I think, that these poems are interpretations of what the poet sees on the canvas. I add that they are imaginary biographies, as true as anything that actually happened: they are biographies written the other way around, from the evidence of the art. Pablo Picasso's relationship with women, for instance, as when he left her a twisted, flattened shell, curled like wet canvas on his padded chair, mouth soundlessly screaming from the same side of her face that both eyes now stared from. Isn't that, don't you think it is, the way it (actually, metaphorically, what's the difference) happened- from the Introduction by Theodora Goss
Honorable Mention, Latin American Studies Association Mexico Section Best Book in the Humanities After the end of the Mexican Revolution in 1917, postrevolutionary leaders hoped to assimilate the country’s racially diverse population into one official mixed-race identity—the mestizo. This book shows that as part of this vision, the Mexican government believed it could modernize “primitive” Indigenous peoples through technology in the form of education, modern medicine, industrial agriculture, and factory work. David Dalton takes a close look at how authors, artists, and thinkers—some state-funded, some independent—engaged with official views of Mexican racial identity from the 1920s to the 1970s. Dalton surveys essays, plays, novels, murals, and films that portray indigenous bodies being fused, or hybridized, with technology. He examines José Vasconcelos’s essay “The Cosmic Race” and the influence of its ideologies on mural artists such as Diego Rivera and José Clemente Orozco. He discusses the theme of introducing Amerindians to medical hygiene and immunizations in the films of Emilio “El Indio” Fernández. He analyzes the portrayal of indigenous monsters in the films of El Santo, as well as Carlos Olvera’s critique of postrevolutionary worldviews in the novel Mejicanos en el espacio. Incorporating the perspectives of posthumanism and cyborg studies, Dalton shows that technology played a key role in race formation in Mexico throughout the twentieth century. This cutting-edge study offers fascinating new insights into the culture of mestizaje, illuminating the attitudes that inform Mexican race relations in the present day. A volume in the series Reframing Media, Technology, and Culture in Latin/o America, edited by Hector Fernandez L'Hoeste and Juan Carlos Rodriguez
Claudia has a sad good-bye to make. Her grandmother, Mimi, has just died. Claudia understands that Mimi was sick for a long time, but she's still mad at her grandmother for leaving her. Who will help Claudia with her homework...and share 'special tea' with her?
Originally published in 1983, this book is about the way we see things – or think we do, which is by no means the same – and about the ways in which we have tried to reproduce that visual concept in diagrams, pictures, photographs, films and television. Whatever the medium, if any degree of realism is intended, some use of perspective is inevitable, and some understanding of it can aid the appreciation of the result. But here the technicalities of perspective geometry are treated as far as possible non-technically, by a common-sense approach. Students, would-be artists or architects, are warned in the Preface that they will travel second-class in the author’s train of thought (the ‘general reader’ coming first), but they may well find the journey worthwhile in that it provides a background to a subsequent, more detailed studies. Lawrence Wright shows that every form of perspective representation has some innate falsity, but that most such forms offer an adequate makeshift; that rules of geometry often need to be bent; that labour-saving dodges and shortcuts exist. As he says, perspective drawing, like politics, is an art of the possible. In reading this book, beginners may find it all simpler than they had supposed, though the established expert may in some interesting respects find just the opposite. The general reader may thereafter find himself seeing things – and representations of them – in a new light.
Traces the history of the surrealist movement, includes brief profiles of leading surrealist artists and writers, and discusses the aims of the movement.
Writing Back: Sylvia Plath and Cold War Politics explores the relationship between Plath's writing and Cold War discourses and argues that the time (1960-1963), the place (England), and the global politics are important factors for us to consider when we consider the rhetoric of Plath's later poetry and fiction. Based on fresh readings arising from new research, this study argues that Plath should not be depoliticized, and examines her writing alongside the discourses of the period as expressed in newspaper reporting, magazines, and BBC radio. In contrasting her relationship with institutions in America in the 1950s with her responses in England to church, the American arms industry, the National Health Service, and the Campaign for Nuclear Disarmament it becomes clear that the process of cultural defamiliarization causes Plath to question the model of the individual artist divorced from society, a model of the writer that had previously seemed so attractive.
On 25 February 1956, twenty-three-year-old Sylvia Plath walked into a party and immediately spotted Ted Hughes. This encounter - now one of the most famous in all literary history - was recorded by Plath in her journal, where she described Hughes as a 'big, dark, hunky boy'. Sylvia viewed Ted as something of a colossus, and to this day his enormous shadow has obscured Plath's life and work. The sensational aspects of the Plath-Hughes relationship have dominated the cultural landscape to such an extent that their story has taken on the resonance of a modern myth. After Plath's suicide in February 1963, Hughes became Plath's literary executor, the guardian of her writings, and, in effect responsible for how she was perceived. But Hughes did not think much of Plath's prose writing, viewing it as a 'waste product' of her 'false self', and his determination to market her later poetry - poetry written after she had begun her relationship with him - as the crowning glory of her career, has meant that her other earlier work has been marginalised. Before she met Ted, Plath had lived a complex, creative and disturbing life. Her father had died when she was only eight, she had gone out with literally hundreds of men, had been unofficially engaged, had tried to commit suicide and had written over 200 poems. Mad Girl's Love Songwill trace through these early years the sources of her mental instabilities and will examine how a range of personal, economic and societal factors - the real disquieting muses - conspired against her. Drawing on exclusive interviews with friends and lovers who have never spoken openly about Plath before and using previously unavailable archives and papers, this is the first book to focus on the early life of the twentieth century's most popular and enduring female poet. Mad Girl's Love Songreclaims Sylvia Plath from the tangle of emotions associated with her relationship with Ted Hughes and reveals the origins of her unsettled and unsettling voice, a voice that, fifty years after her death, still has the power to haunt and disturb.
A collection of essays that reexamine literature through a feminist gaze from "one of our most versatile and gifted writers" (Joyce Carol Oates). "We think back through our mothers if we are women," wrote Virginia Woolf. In this groundbreaking series of essays, Sandra M. Gilbert explores how our literary mothers have influenced us in our writing and in life. She considers the effects of these literary mothers by examining her own history and the work of such luminaries as Charlotte Brontë, Emily Dickinson, and Sylvia Plath. In the course of the book, she charts her own development as a feminist, demonstrates ways of understanding the dynamics of gender and genre, and traces the redefinitions of maternity reflected in texts by authors such as Elizabeth Barrett Browning and George Eliot. Throughout, Gilbert asks major questions about feminism in the twentieth century: Why and how did its ideas become so necessary to women in the sixties and seventies? What have those feminist concepts come to mean in the new century? And above all, how have our intellectual mothers shaped our thoughts today?
Surprise is treated as an affect in Aristotelian philosophy as well as in Cartesian philosophy. In experimental psychology, surprise is considered to be an emotion. In phenomenology, it is only addressed indirectly in phenomenology (Husserl, Heidegger, Levinas), with the important exception of Ricœur and Maldiney; it is reduced to a break in cognition by cognitivists (Dennett). Only recently was it broached in linguistics, with a focus on lexico-syntactic categories. As for the expression of surprise, it has been studied in connection with evidentiality in languages that encode surprise morphosyntactically. However, how surprise is encoded in languages that lack an evidential morphosyntactic system has been largely unexplored. This book provides new insights into the dynamics of surprise based on a heuristic hypothesis tested against the investigation of time, language and emotion. It is intended to arouse the interest of a multidisciplinary audience keen on crossing the disciplinary borders of phenomenology, cognitive sciences, and pragmatics. The theoretical approaches adopted in this collection of articles rely on experiments and corpus data. They advance knowledge by building on robust empirical results coming from psychology, microphenomenology, linguistics and physiology.
"Cathrin Klingsohr-Leroy gives an appraisal of the key aspects of this period of art history, drawing on the wealth of examples the Pinakothek der Moderne has to offer. The introduction to each section discusses the successive stylistic developments and trends, followed by an explanation of the technique, history and significance of each selected work of art."--BOOK JACKET.