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This volume discusses the emergence and role of the art salon in the Arab region in the nineteenth and twentieth centuries, focusing on Algeria, Tunisia, Egypt, Lebanon and Iraq. Institutional forms of exhibiting and teaching art emerged in the Middle East and North Africa in late colonial and early post-colonial contexts. The book examines how the salon had an impact on the formation of taste and on debates on art, and discusses the transfers and cultural interactions between the Middle East, North Africa and Europe. Following the institutional model of the Paris salons, art salons emerged in Algiers, Tunis and Cairo starting in the late 1880s. In Beirut, the salon tradition reached its peak only after independence in the mid-twentieth century. Baghdad never had a formal salon, but alternative spaces and exhibition formats developed in Iraq from the late 1940s onwards. As in Paris, the salons in the region often defined the criteria of artistic production and public taste. The impact of the salon also lay in its ability to convey particular values, attitudes and aspirations. At the same time, the values and attitudes promoted by the salon as well as the salon itself were often subject to debate, which led to the creation of counter-salons or alternative exhibition practices. The art salon helps us to understand changes in the art systems of these countries, including the development of art schools, exhibition spaces and artist societies, and gives insight into the power dynamics at play. It also highlights networks and circulations between the Arab region and Europe.
The multiple impact of the May 1968 events in France is here reviewed and analysed, initially through a narrative account of the events themselves and then through a systematic survey of the various manners in which they have been interpreted and reproduced in France. This covers successively political, social/sociological, and cultural texts - first-hand accounts along with works by political activists and academic social scientists - before moving to a consideration of fictional works (novels and feature films) dealing with or set during the events.
Get the lowdown on the best fiction ever written. Over 230 of the world’s greatest novels are covered, from Quixote (1614) to Orhan Pamuk’s Snow (2002), with fascinating information about their plots and their authors – and suggestions for what to read next. The guide comes complete with recommendations of the best editions and translations for every genre from the most enticing crime and punishment to love, sex, heroes and anti-heroes, not to mention all the classics of comedy and satire, horror and mystery and many other literary genres. With feature boxes on experimental novels, female novelists, short reviews of interesting film and TV adaptations, and information on how the novel began, this guide will point you to all the classic literature you’ll ever need.
The author recounts his experiences in building collections of rare books and manuscripts of French literature, and reveals little-known facts about French artists, composers, and writers.
Just before World War II, French cinema reached a high point that has been dubbed the style of "poetic realism." Working with unforgettable actors like Jean Gabin and Arletty, directors such as Renoir, Carné, Gremillon, Duvivier, and Chenal routinely captured the prizes for best film at every festival and in every country, and their accomplishments led to general agreement that the French were the first to give maturity to the sound cinema. Here the distinguished film scholar Dudley Andrew examines the motivations and consequences of these remarkable films by looking at the cultural web in which they were made. Beyond giving a rich view of the life and worth of cinema in France, Andrew contributes substantially to our knowledge of how films are dealt with in history. Where earlier studies have treated the masterpieces of this era either in themselves or as part of the vision of their creators, and where certain recent scholars have reacted to this by dissolving the masterpieces back into the system of entertainment that made them possible, Andrew stresses the dialogue of culture and cinema. In his view, the films open questions that take us into the culture, while our understanding of the culture gives energy, direction, and consequence to our reading of the films. The book demonstrates the value of this hermeneutic approach for one set of texts and one period, but it should very much interest film theorists and film historians of all sorts.
Programming EMPAC: The First 4,158 Days presents a vivid mosaic of all the events, projects, and works developed and presented at the Curtis R. Priem Experimental Media and Performing Arts Center from 2014 back to its inception.
Gertrude Stein's "Composition as Explanation" delves into the intricate relationship between language and artistic expression. Published in 1926, the essay explores Stein's unique approach to writing and challenges conventional perceptions of composition. With a distinctive prose style, she reflects on the nature of creativity, emphasizing the significance of repetition and abstraction. Stein's work serves as both an exploration of her own artistic process and a broader commentary on the essence of language in shaping our understanding of art.
A young chef who revels in local bounty, a long-ago murder that remains unsolved, the homeless of Stanley Park, a smooth-talking businessman named Dante — these are the ingredients of Timothy Taylor's stunning debut novel — Kitchen Confidential meets The Edible Woman. Trained in France, Jeremy Papier, the young Vancouver chef, is becoming known for his unpretentious dishes that highlight fresh, local ingredients. His restaurant, The Monkey's Paw Bistro, while struggling financially, is attracting the attention of local foodies, and is not going unnoticed by Dante Beale, owner of a successful coffeehouse chain, Dante's Inferno. Meanwhile, Jeremy's father, an eccentric anthropologist, has moved into Stanley Park to better acquaint himself with the homeless and their daily struggles for food, shelter and company. Jeremy's father also has a strange fascination for a years-old unsolved murder case, known as "The Babes in the Wood" and asks Jeremy to help him research it. Dante is dying to get his hands on The Monkey's Paw. When Jeremy's elaborate financial kite begins to fall, he is forced to sell to Dante and become his employee. The restaurant is closed for renovations, Inferno style. Jeremy plans a menu for opening night that he intends to be the greatest culinary statement he's ever made, one that unites the homeless with high foody society in a paparazzi-covered celebration of "local splendour."
Erik Satie (1866-1925) was a quirky, innovative and enigmatic composer whose impact has spread far beyond the musical world. As an artist active in several spheres - from cabaret to religion, from calligraphy to poetry and playwriting - and collaborator with some of the leading avant-garde figures of the day, including Cocteau, Picasso, Diaghilev and René Clair, he was one of few genuinely cross-disciplinary composers. His artistic activity, during a tumultuous time in the Parisian art world, situates him in an especially exciting period, and his friendships with Debussy, Stravinsky and others place him at the centre of French musical life. He was a unique figure whose art is immediately recognisable, whatever the medium he employed. Erik Satie: Music, Art and Literature explores many aspects of Satie's creativity to give a full picture of this most multifaceted of composers. The focus is on Satie's philosophy and psychology revealed through his music; Satie's interest in and participation in artistic media other than music, and Satie's collaborations with other artists. This book is therefore essential reading for anyone interested in the French musical and cultural scene of the late nineteenth and early twentieth century.