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A guide to all things wacky, weird, curious, and bizarre in the U.S.A., featuring approximately 1,000 festivals, attractions, tours, shopping, restaurants, hotels, and eccentric environments. photos. 51 maps.
In America during the 1960s, sculpture as an artistic practice underwent a series of radical transformations. Artists including Lee Bontecou, Claes Oldenburg, Lucas Samaras, H. C. Westermann, and Bruce Nauman offered alternative ways of imagining the three-dimensional object. The objects they created were variously described as erotic, soft, figurative, aggressive, bodily, or, in the words of the critic Lucy Lippard, "eccentric." Looking beyond the familiar and canonic artworks of the 1960s, the book challenges not only how we think about these artists, but how we learn to look at the more familiar narratives of 1960s sculpture, such as Pop and Minimalism. Ambivalent and disruptive, the work of this decade articulated a radical renegotiation—rejection, even—of contemporary paradigms of sculptural practice. This invigorating study explores that shift and the ways in which the kinds of work made in this period defied established categories and questioned the criteria for thinking about sculpture.
Jan Friedman's Eccentric America proved that the most unlikely events and landmarks could become tourist attractions. This award-winning title is dedicated to the sheer lunacy of California and her citizens, covering the biggest, the best, the wackiest and weirdest of the state's people and places. From art-car and golf-cart parades to the Valentine's Day Sex Tour at the San Francisco Zoo; from a festival that moons Amtrak to a town with its own language; from obsessed collectors of Pez, yo-yos, and bananas to kitschy theme motels and a man who built a three-storey mountain out of hay, adobe, and old paint. Eccentric California takes an in-depth look at one very peculiar place.
Since the late 1990s a new language has emerged in film scholarship and criticism in response to the popularity of American directors such as Wes Anderson, Charlie Kaufman, and David O. Russell. Increasingly, adjectives like 'quirky', 'cute', and 'smart' are used to describe these American films, with a focus on their ironic (and sometimes deliberately comical) stories, character situations and tones. Kim Wilkins argues that, beyond the seemingly superficial descriptions, 'American eccentric cinema' presents a formal and thematic eccentricity that is distinct to the American context. She distinguishes these films from mainstream Hollywood cinema as they exhibit irregularities in characterization, tone, and setting, and deviate from established generic conventions. Each chapter builds a case for this position through detailed film analyses and comparisons to earlier American traditions, such as the New Hollywood cinema of the 1960s and 1970s. American Eccentric Cinema promises to challenge the notion of irony in American contemporary cinema, and questions the relationship of irony to a complex national and individual identity.
What if we ascribe significance to aesthetic and social divergences rather than waving them aside as anomalous? What if we look closely at what does not appear central, or appears peripherally, or does not appear at all, viewing ellipses, outliers, absences, and outtakes as significant? Eccentric Modernisms places queer demands on art history, tracing the relational networks connecting cosmopolitan eccentrics who cultivated discrepant strains of modernism in America during the 1930s and 1940s. Building on the author’s earlier studies of Gertrude Stein and other lesbians who participated in transatlantic cultural exchanges between the world wars, this book moves in a different direction, focusing primarily on the gay men who formed Stein’s support network and whose careers, in turn, she helped to launch, including the neo-romantic painters Pavel Tchelitchew and writer-editor Charles Henri Ford. Eccentric Modernisms shows how these “eccentric modernists” bucked trends by working collectively, reveling in disciplinary promiscuity and sustaining creative affiliations across national and cultural boundaries.
As the nineteenth century turned, the small-town America in which Huck Finn fished was yielding to an age of industry; of a new form of energy, electricity; of a new toy, the automobile. It was a plastic age, as uncertain as our own, a time When the future was ready to be shaped. Grand Eccentrics is a group biography of a half dozen individuals-- Orville and Wilbur Wright, Charles Kettering, John H. Patterson, Arthur Morgan, and James Cox-- who explored those new possibilities. They collaborated, bankrolled each other's undertakings, founded and joined the same clubs, tried to run each other out of town. And in all of this, they did much to create the American 20th century, the America that is now yielding to the rise of the electronic technologies and a global marketplace, creating an uncertainty like that to which, a century ago, these men gave form.
Describes the various subcultures trying to reshape America today, and includes interviews with modern bohemians, who share their views on life.
As cigar smoke hangs heavy in Mark Twains sitting room, the members of the Monday Evening Club eagerly await his presentation, which they think will be the reading of his paper The Decay of the Art of Lying. Instead, Twain changes his mind and enthralls his audience with the true tale of one mans unconventional and fascinating journey through life. It is 1849 when a thirty-one-year-old Jewish South African immigrant sails into San Francisco Bay with forty thousand dollars in his pocket, coming to join the Gold Rush but eventually finding his fortune in real estate and commerce. Just a few short years after Joshua Norton finally realizes success, however, he fails beyond his darkest nightmares. Now delusional and nearly penniless, he proclaims himself the Emperor of the United States as he aimlessly wanders the streets of San Francisco. As Emperor Norton unintentionally becomes a vital part of the young city, the people afford him the respect of a true monarch as he issues proclamations that, under his fictional rule, bring a much-needed renaissance of civility to society. An Emperor Among Us tells the intriguing tale of a remarkable eccentric who wove a unique, gentle, and civilized thread into the rough and tumble fabric of early San Francisco.
“Simon Winchester never disappoints, and The Men Who United the States is a lively and surprising account of how this sprawling piece of geography became a nation. This is America from the ground up. Inspiring and engaging.” —Tom Brokaw Simon Winchester, acclaimed New York Times bestselling author of Atlantic and The Professor and the Madman, delivers his first book about America: a fascinating popular history that illuminates the men who toiled fearlessly to discover, connect, and bond the citizenry and geography of the U.S.A. from its beginnings. How did America become “one nation, indivisible”? What unified a growing number of disparate states into the modern country we recognize today? To answer these questions, Winchester follows in the footsteps of America’s most essential explorers, thinkers, and innovators, such as Lewis and Clark and the leaders of the Great Surveys; the builders of the first transcontinental telegraph and the powerful civil engineer behind the Interstate Highway System. He treks vast swaths of territory, from Pittsburgh to Portland, Rochester to San Francisco, Seattle to Anchorage, introducing the fascinating people who played a pivotal role in creating today’s United States. Throughout, he ponders whether the historic work of uniting the States has succeeded, and to what degree. Featuring 32 illustrations throughout the text, The Men Who United the States is a fresh look at the way in which the most powerful nation on earth came together.
During the 2008 election season, the Democratic and Republican presidential candidates both aspired to be understood as foreign policy "realists" in the mold of Henry Kissinger. Kissinger, who is distrusted on the neoconservative right for his skepticism about American exceptionalism and on the liberal left for his amoral, realpolitik approach, once again stood as the sage of foreign relations and the wise man who rises above partisan politics. In The Eccentric Realist, Mario Del Pero questions this depiction of Kissinger. Lauded as the foreign policy realist par excellence, Kissinger, as Del Pero shows, has been far more ideological and inconsistent in his policy formulations than is commonly realized.Del Pero considers the rise and fall of Kissinger's foreign policy doctrine over the course of the 1970s—beginning with his role as National Security Advisor to Nixon and ending with the collapse of détente with the Soviet Union after Kissinger left the scene as Ford's outgoing Secretary of State. Del Pero shows that realism then (not unlike realism now) was as much a response to domestic politics as it was a cold, hard assessment of the facts of international relations. In the early 1970s, Americans were weary of ideological forays abroad; Kissinger provided them with a doctrine that translated that political weariness into foreign policy. Del Pero argues that Kissinger was keenly aware that realism could win elections and generate consensus. Moreover, over the course of the 1970s it became clear that realism, as practiced by Kissinger, was as rigid as the neoconservativism that came to replace it.In the end, the failure of the détente forged by the realists was not the defeat of cool reason at the hands of ideologically motivated and politically savvy neoconservatives. Rather, the force of American exceptionalism, the touchstone of the neocons, overcame Kissinger's political skills and ideological commitments. The fate of realism in the 1970s raises interesting questions regarding its prospects in the early years of the twenty-first century.