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Emanating from a colloquium held at Louisiana State University entitled “Intertextuality and Civilization in the Americas,” this volume features some of the best minds now writing in comparative and interdisciplinary fields. Through lively discussions of topics ranging from Sigmund Freud to Zora Neale Hurston, from Christopher Columbus to the Holocaust, and including latter-day cultural icons such as Monty Python and the Holy Grail, the contributors create a stimulating dialogue on the crucial role of the poetic imagination in shaping the identity of civilizations. Addressing themes such as the Moses story in modern literature, the relation between power and cultural encounter, the first African-American novel, and the foundations of Latin American literature and the New World baroque, the contributors link multiculturalism with intertextuality, crossing disciplinary, national, linguistic, and hemispheric boundaries. The volume closes with Jefferson Humphries’ deft translation of a poem by Edouard Glissant, a featured speaker at the conference whose writings bear a special relation to the subject of intertextuality. Together, the essays offer a full consideration of cultural identity and bring to the fore the difficult question of the larger responsibilities that identity entails. As Bainard Cowan illustrates in his perceptive introduction, in both the past and the future of the Americas, in moments of foundation as well as of conflict and dispersal, there has been or will be present the recurrent need for mythic and poetic understanding. An unusually timely work, Poetics of the Americas skillfully addresses the crises that the world faces in the confrontations of cultures, traditions, and peoples.
Over the past century, luxury has been increasingly celebrated in the sense that it is no longer a privilege (or attitude) of the European elite or America’s leisure class. It has become more ubiquitous and now, practically everyone can experience luxury, even luxury in architecture. Focusing on various contexts within Western Europe, Latin America and the United States, this book traces the myths and application of luxury within architecture, interiors and designed landscapes. Spanning from antiquity to the modern era, it sets out six historical categories of luxury - Sybaritic, Lucullan, architectural excess, rustic, neoEuropean and modern - and relates these to the built and unbuilt environment, taking different cultural contexts and historical periods into consideration. It studies some of the ethical questions raised by the nature of luxury in architecture and discusses whether architectural luxury is an unqualified benefit or something which should only be present within strict limits. The author argues how the ideas of permissible and impermissible luxury have informed architecture and how these notions of ethical approval have changed from one context to another. Providing voluptuous settings for the nobles and the leisure class, luxury took the form of not only grand palaces, but also follies, country and suburban houses, private or public entertainment venues and ornate skyscrapers with fast lifts. The Architecture of Luxury proposes that in Western societies the growth of the leisure classes and their desire for various settings for pleasure resulted in a constantly increasing level of ’luxury’ sought within everyday architecture.
Carpentier was one of the first novelists to introduce a version of magical realism and the neo-baroque into Latin American fiction. This study focuses on one of the first novelists to introduce a version of magical realism and the neo-baroque into Latin American fiction. Original research colours eyewitness accounts of Alejo Carpentier's travels through Spainbefore and during the Spanish Civil War and the inspiration that he drew from the Baroque architecture he encountered there. The origins of Carpentier's uniquely 'baroque' style are found in his endeavour to create a period ambience in his historical fictions through descriptions of visual arts and architectural settings, and parodies of the literary style of Spanish Golden Age writers. 'Medusa's gaze' is used as a metaphor for the petrifying power of theBaroque as a weapon of European dominance. By wielding the same weapon in an act of postcolonial defiance, Carpentier enabled a reassertion of Latin American culture, and laid the foundations for the 1960s 'Boom' in the Latin American novel. STEVE WAKEFIELD is Visiting Research Fellow at the University of New South Wales, Australia
The only existant listing of historic Fur Trade and aboriginal personages with births, deaths and affiliations for western Canada and adjacent areasfrom 1600-1900.
The village name Bourbonnais is attributed to Fran§ois Bourbonnais. He was a 19th-century French Canadian fur trader who maintained a post in a grove of trees along the east bank of the Kankakee River. This location became known as Bourbonnais Grove. Noel LeVasseur, a former American Fur Company employee, bought two sections of land in the grove in 1834 and established a settlement of immigrant French Canadians. At first, the village was called variously La Point, La Ville, and Vasseurville. A post office named Bourbonnais Grove opened in 1838. The village was known as Bourbonnais Grove until 1875, when it was incorporated as Bourbonnais. By the 1860s, Bourbonnais Grove had 1,719 inhabitants, a blacksmith shop, livery stable, hotel, and a new church dedicated to the Blessed Virgin Mary of the Nativity and built of native limestone. The images in this book depicting life in Bourbonnais have been gathered from local private and museum collections.
Road trips loom large in the American imagination, and stories from the road have been central to crafting national identities across North and South America. Tales of traversing this vast geography, with its singular landscape, have helped foster a sense of American exceptionalism. Examining three turning points that shaped exceptionalism in both Americas—the late colonial and early Republican period, expansion into the frontier, and the Cold War—John Ochoa pursues literary travelers across landscapes and centuries. At each historical crossroads, the nations of North and South invented or reinvented themselves in the shadow of empire. Travel accounts from these periods offered master narratives that shaped the notion of America’s postimperial future. Fellow Travelers recounts the complex, on-the-road relationships between travelers such as Lewis and Clark, Alexander von Humboldt and Aimé Bonpland, Huckleberry Finn and Jim, Kerouac’s Sal Paradise and Dean Moriarty, and the Che Guevara and Alberto Granado of The Motorcycle Diaries. Such journeys reflect concerns far larger than their characters: tensions between the voices of the rugged individual and the democratic many, between the metropolis and the backcountry, and between the intimate and the vast. Working across national literatures, Fellow Travelers offers insight into a shared process of national reinvention and the construction of modern national imaginaries. This book is freely available in an open access edition thanks to TOME (Toward an Open Monograph Ecosystem)—a collaboration of the Association of American Universities, the Association of University Presses, and the Association of Research Libraries—and the generous support of the Pennsylvania State University.
The Witt Library of the Courtauld Institute of Art, London, is one of the world's greatest art history libraries. It contains some 1.7 million illustrations of the work of painters, draughtsmen, and engravers of the Western tradition, all of whom have been indexed by name, dates, and nationality. This new second edition of the Checklist of Painters is a transcription of the Witt index as it currently exists. The names of 66,000 artists, their dates, and their nationality (or school) are reproduced in alphabetical order. The Checklist of Painters is probably the most exhaustive work of its kind in existence; it now lists all painters (known by art historians) to have lived and worked from the year 1200 to 1994.