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Haunting postcard images of the non-Western world from a century ago. The antique postcards depicted here were acquired in the nineteenth and early twentieth centuries by Western tourists, business people, traders, and colonialists. The circumstances in which the cards were sent, and the details of those who sent them, are largely lost. Yet the audience for collecting them has enjoyed a spectacular growth in recent years and includes not only those with the collecting instinct or the desire to travel but also artists, photographic historians, fashion and jewelry specialists, and designers everywhere. Once it was believed that by taking someone's portrait you stole that person's soul. Here, the human subjects have a powerful presence because they express a deep-seated connection with the land and customs that gave them their identities. Their stories are implicit in their eyes, their costumes, and their postures. Reproduced with complete fidelity, these postcards take us on a magical journey across the world in five travelogues, depicting Asia, the Arab Lands, Africa, the Americas, and Oceania. The book is introduced by one of the greatest and most successful travel writers of our time.
The Postcard’s Radical Openness offers a groundbreaking exploration of what this multifaceted, double-sided open card entails and how it has affected our being in the world. With a holistic approach, it focuses on studying the postcard’s specific way of being and performing, a particular ontology that opens up what is constitutively implicated in such an apparently trivial artifact. The book, organized into four parts, meticulously unveils the postcard’s political, technological, aesthetic, and ethical dimensions, ending with a coda correlating the postcard’s radical openness to G. Klimt’s painting, Nuda Veritas (1899) in reference to the scope of truth. By examining the postcard’s complex worldwide history, its socio-cultural significance, and its global effect, the book reveals hidden stories shedding light on its impact on photography, printing, marketing, trade, and business practices and exposes the aesthetic, communicative, and ethical qualities that lie behind the enormous success of postcards at the turn of the 20th century. This comprehensive study is positioned as a thought-provoking invitation to scholars and students interested in material culture, media studies, and human interactions, as well as to history enthusiasts, art lovers, and postcard collectors. Offering a distinctive contribution, the book not only fills a void in the literature but also encourages readers to question and reflect on the transformative power inherent in the postcard's 'radical openness,' presenting a novel and unparalleled analysis of this seemingly trivial yet culturally significant object.
What gives beauty such fascinating power? Why is beauty so easy to recognize but so hard to define? Across cultures and continents and over the centuries the standards of beauty have changed but the desire to portray beauty, to praise beauty, and to possess beauty has never diminished. Icons of Beauty offers an enthralling overview of the most revered icons of female beauty in world art from pre-history to the present. From images of Eve to Cindy Sherman's self-portraits, from Cleopatra to Madonna, from ancient goddesses to modern celebrities, this interdisciplinary set offers fresh insight as to how we can use perceptions of beauty to learn about world cultures, both past and present. Each chapter looks at an individual work of art to pose a question about the power of beauty. What makes beauty modern? What is the influence of celebrities? How do women portray their own beauty in a different manner than men? In-depth profiles of the icons reveal how specific ideas about beauty were developed and expressed, offering a full analysis of their history, cultural significance, and lasting influence. In addition to renowned works of art, Icons of Beauty also looks at icons in literature, film, politics, and contemporary entertainment. Interdisciplinary and multicultural in its approach, chapters inside this set also feature sidebars on provocative topics and issues, such as foot binding and body adornment; myths and practices; opinions and interpretations; and even related films, songs, and even comic book characters. Generously illustrated, this rich set encompasses history, politics, society, women's studies, and art history, making it an indispensable resource for high school and college students as well as general readers.
Examines postcards as images that are carriers of text, and textual correspondence that circulate images across boundaries of class, gender, nationality and race. Discusses issues concerning the concrete practices of production, consumption, collection and appropriation.
Tahiti evokes visions of white beaches and beautiful women. This imagined paradise, created by Euro-American romanticism, endures today as the bedrock of Tahiti's tourism industry, while quite a different place is inhabited and experienced by ta'ata ma'ohi, as Tahitians refer to themselves. This book brings into dialogue the perspectives on place of both Tahitians and Europeans. Miriam Kahn is professor of anthropology at the University of Washington and author of Always Hungry, Never Greedy.
This book is about the yearning for authenticity via art and exoticism. Exoticism related to art cannot be reduced to primitivism alone and also encompasses a search in one's own unconsciousness among other things. The yearning for authenticity through exoticism is explored in a cultural anthropological perspective in the realms of Western philosophy (capita selecta) and colonial literature, currents of art, and in the appreciation of Western art conceptions in non-Western societies. An array of firsthand ethnographic illustrations of art production in Asian and Pacific societies demonstrates complementary processes in the non-Western world. A major hypothesis is that exoticism is closely related to, and often motivated by eroticism, a reason why exoticism should be considered as gendered. Case studies of the falsification of authentic art, the de-sacralization of sacred objects, and of the use of natural materials deriving from endangered species complete the analysis.
Emerging from more than two decades of research in the field and in the archives, the essays collected here explore the multifaceted topic of the Fijian firewalking ceremony, the vilavilairevo. The collection examines the intersection of the intertwined topics of cultural property, reproduction of tradition, and change with issues of (post)colonial representation, authenticity, and ethnic identity. The essays advance new insights on the tourist gaze and the safeguarding of intangible cultural heritage and pose serious questions regarding the role of digital and social media as tools for preserving cultural legacies and extending traditional cultural worlds into new domains. Focusing on the response of the Sawau tribe of the island of Beqa to the commodification of the vilavilairevo as their iconic practice, this essay collection ultimately illuminates how the Christian cultural dynamics and unprecedented dogmatic schism surrounding the vilavilairevo spectacle are reshaping local notions of heritage, social sentiment, and social capital.
Poetry. Fiction. In days before selfies and social media, postcards were a ubiquitous feature of travel, providing both means of communication with friends and family while away, and souvenirs of journeys once back home. Even if not quite gone, they seem more than a little nostalgic now, as do many of the poems in Jeanne Griggs' new collection, POSTCARD POEMS. By choosing to present her poems as short notes that could fit on a postcard, she has opted for a formal brevity; and the conceit of holiday communication allows her to write both about place (so that her poems are often both ekphrastic and epistolary--a neat trick) and about the people in her life. Travel, of course, is always a journey through both exterior and interior spaces, physical and mental, and we witness both in these often wistful poems. A visit on Cape Cod with friends, women of a certain age, affords an opportunity to live like in the books, / without any of the fuss / of having to sustain anything / except ourselves. Children grow up over the span of these travels, despite her wishing she had caged them, holding onto the past. A third visit to Niagara Falls is the first without her son--the first time / you were too young to remember / and the second too old to want / to come along--who is now far off in Siberia on travels of his own. Iowa is a place equally exotic, known only from watching a baseball movie / ...until we left our daughter / there, and they drive long out of the way to visit the Field of Dreams site, And it was there, / just like we'd seen it, / in real life. Stopping South of the Border she buys picture postcards of this place on the way / to where we're actually going. That's a good description of the mosaic of life that is constructed out of these brief notes, a chronicle of stops along the way until, in the final poem, all future plans suspended... / we are / still saving up from our last trip.
The study intervenes in a field hitherto dominated by formal and historical analyses of the literary letter. Across the five case studies, the method of reading epistolarity as a motif is applied to a selection of American novels published after 1990: Nick Bantock’s Griffin & Sabine series (1991-2016), Gordon Lish’s Epigraph (1996), Mark Dunn’s Ella Minnow Pea (2001), Marilynne Robinson’s Gilead (2004), and Louise Erdrich’s Future Home of the Living God (2017). The texts encompass considerable formal and thematic variations: Bantock seeks a return to the literary letter; Lish and Dunn test the limitations of letters for conveying individual experience to a distant other; Robinson and Erdrich envision epistolarity as an address to a future. Exploring the employment of epistolarity as a motif, the study offers an interpretation of the messages these fictions extend for readers in a post-letter world. Communication technologies and practices may change, but epistolarity as a motif - a reprise of a scene of encounter that depends on keeping a distance between addresser and addressee – remains a deeply compelling site of inquiry in twenty-first-century literature.