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"Beautifully written in an engaging style, this book provides a new perspective on turn-of-the-century American culture that nuances and complicates our vision of that historical moment. I have no doubt that it will become a classic text in American studies, the history of American art, and the study of visual culture."—Kathleen Pyne, author of Art and the Higher Life: Painting and Evolutionary Thought in Late Nineteenth-Century America "Michael Leja, one of our most original and acute historians of American art, has written an indispensable and lively study of what we might call the modern anxiety of seeing. He traces our inherently skeptical view of the world back to the turn of the last century, a golden age of hucksters, swindlers, quacks, humbugs, rascals, cheats, and confidence men, and shows how artists as diverse as Eakins and Duchamp fit into this new culture of suspicion. Leja's book breathes fresh life into the period."—Michael Kimmelman "Bringing together the strangest of bedfellows-paintings by Thomas Eakins, spirit photographs, William Harnett's still lifes, occult philosophies, Duchamp readymades-Leja uncovers a deep culture of suspicion and skepticism in America around 1900. As Americans grappled with the complexities of modern life, 'seeing was not believing,' he argues in this deeply researched and brilliantly provocative study."—Wanda M. Corn, author of The Great American Thing: Modern Art and National Identity, 1915-1935
Michael Leja offers a new, specifically visual, model for understanding American art in the decades before and after 1900.
Slavoj Žižek, a leading intellectual in the new social movements that are sweeping Eastern Europe, provides a virtuoso reading of Jacques Lacan. Žižek inverts current pedagogical strategies to explain the difficult philosophical underpinnings of the French theoretician and practician who revolutionized our view of psychoanalysis. He approaches Lacan through the motifs and works of contemporary popular culture, from Hitchcock's Vertigo to Stephen King's Pet Sematary, from McCullough's An Indecent Obsession to Romero's Return of the Living Dead—a strategy of "looking awry" that recalls the exhilarating and vital experience of Lacan. Žižek discovers fundamental Lacanian categories the triad Imaginary/Symbolic/Real, the object small a, the opposition of drive and desire, the split subject—at work in horror fiction, in detective thrillers, in romances, in the mass media's perception of ecological crisis, and, above all, in Alfred Hitchcock's films. The playfulness of Žižek's text, however, is entirely different from that associated with the deconstructive approach made famous by Derrida. By clarifying what Lacan is saying as well as what he is not saying, Žižek is uniquely able to distinguish Lacan from the poststructuralists who so often claim him.
DIVExamines what happens to our paradigms of the American south if we understand the "south" hemispherically, to include Latin America and the Caribbean./div
This book returns to the question at the center of our existence, a question that the narcissistic culture in which we are immersed systematically tends to remove: “Why?” The underlying thesis is that the answer must not be sought in success or social recognition, but in a “fragment of truth”, hidden somewhere inside each of us, which reveals itself only if we detach ourselves from our ego and its certainties. It is not, therefore, a matter of finding yet another philosophical theory of the meaning of existence, but rather of shedding light on the conditions under which such meaning can emerge. The author shows us that the ultimate source of our existential orientation lies in the affective sphere, and that the current crisis of orientation is derived from the atrophy of the process of affective maturation on a large scale, and from a lack of knowledge and experience about which techniques are best to reactivate it. We are like glowworms that had once unlearned how to illuminate and have since begun to hover around the magic lantern of the ascetic ideal, already criticized by Nietzsche, and then around neon advertising signs. We are glowworms that have forgotten that we have within our own affective structure a precious source of orientation. The basic thesis is that this source of orientation can be reactivated through the care of desire and practices of emotional sharing.
WINNER OF THE COSTA FIRST NOVEL AWARD 2012 LONGLISTED FOR THE WOMEN'S PRIZE FOR FICTION 2013 WINNER OF THE BETTY TRASK AWARD 2013 WINNER OF THE SAMI ROHR PRIZE FOR JEWISH LITERATURE 2013 What if everything you’d ever wanted was no longer enough? Adam and Rachel are getting married at last. Childhood sweethearts whose lives and families have been intertwined for years; theirs is set to be the wedding of the year. But then Rachel’s cousin Ellie makes an unexpected return to the family fold. Beautiful, reckless and troubled, Ellie represents everything that Adam has tried all his life to avoid – and everything that is missing from his world. As the long-awaited wedding approaches, Adam is torn between duty and temptation, security and freedom, and must make a choice that will break either one heart, or many. 'Wonderful...witty...an astonishingly accomplished debut which will draw comparisons between Segal and Zadie Smith and Monica Ali' Stylist
How New York’s Lower East Side inspired new ways of seeing America New York City's Lower East Side, long viewed as the space of what Jacob Riis notoriously called the "other half," was also a crucible for experimentation in photography, film, literature, and visual technologies. This book takes an unprecedented look at the practices of observation that emerged from this critical site of encounter, showing how they have informed literary and everyday narratives of America, its citizens, and its possible futures. Taking readers from the mid-nineteenth century to the present, Sara Blair traces the career of the Lower East Side as a place where image-makers, writers, and social reformers tested new techniques for apprehending America—and their subjects looked back, confronting the means used to represent them. This dynamic shaped the birth of American photojournalism, the writings of Stephen Crane and Abraham Cahan, and the forms of early cinema. During the 1930s, the emptying ghetto opened contested views of the modern city, animating the work of such writers and photographers as Henry Roth, Walker Evans, and Ben Shahn. After World War II, the Lower East Side became a key resource for imagining poetic revolution, as in the work of Allen Ginsberg and LeRoi Jones, and exploring dystopian futures, from Cold War atomic strikes to the death of print culture and the threat of climate change. How the Other Half Looks reveals how the Lower East Side has inspired new ways of looking—and looking back—that have shaped literary and popular expression as well as American modernity.