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An early 20th century American journalist's articles on Mexico before the Revolution.
Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.
"Portraits and sketches of state officials, senators, representatives, etc. ... List of committees. Portraits and roll of delegates to Constitutional convention of 1902." The proposed constitution and the vote
Before Palm Pilots and iPods, PCs and laptops, the term "computer" referred to the people who did scientific calculations by hand. These workers were neither calculating geniuses nor idiot savants but knowledgeable people who, in other circumstances, might have become scientists in their own right. When Computers Were Human represents the first in-depth account of this little-known, 200-year epoch in the history of science and technology. Beginning with the story of his own grandmother, who was trained as a human computer, David Alan Grier provides a poignant introduction to the wider world of women and men who did the hard computational labor of science. His grandmother's casual remark, "I wish I'd used my calculus," hinted at a career deferred and an education forgotten, a secret life unappreciated; like many highly educated women of her generation, she studied to become a human computer because nothing else would offer her a place in the scientific world. The book begins with the return of Halley's comet in 1758 and the effort of three French astronomers to compute its orbit. It ends four cycles later, with a UNIVAC electronic computer projecting the 1986 orbit. In between, Grier tells us about the surveyors of the French Revolution, describes the calculating machines of Charles Babbage, and guides the reader through the Great Depression to marvel at the giant computing room of the Works Progress Administration. When Computers Were Human is the sad but lyrical story of workers who gladly did the hard labor of research calculation in the hope that they might be part of the scientific community. In the end, they were rewarded by a new electronic machine that took the place and the name of those who were, once, the computers.
On Diary is the second collection in English of the groundbreaking and profoundly influential work of one of the best-known and provocative theorists of autobiography and diary. Ranging from the diary’s historical origins to its pervasive presence on the Internet, from the spiritual journey of the sixteenth century to the diary of Anne Frank, and from the materials and methods of diary writing to the question of how diaries end, these essays display Philippe Lejeune’s expertise, eloquence, passion, and humor as a commentator on the functions, practices, and significance of keeping or reading a diary. Lejeune is a leading European critic and theorist of diary and autobiography. His landmark essay, "The Autobiographical Pact," has shaped life writing studies for more than thirty years, and his many books and essays have repeatedly opened up new vistas for scholarship. As Michael Riffaterre notes, "Lejeune’s work on autobiography is the most original, powerful, effective approach to a difficult subject. . . . His style is very personal, lively. It grabs the reader as scholarship rarely does. Lejeune’s erudition and methodology are impeccable." Two substantial introductory essays by Jeremy Popkin and Julie Rak place Lejeune’s work within its critical and theoretical traditions and comment on his central importance within the fields of life writing, literary genetic studies, and cultural studies.