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There is no genuine affiliation between Joyce’s book “A Portrait of the Artist as a Young Man” and this book with the exception of the mock title that in the current usage plays the role of a gigantesque pastiche. Joyce’s portraiture genre, superimposed over a restless American landscape, becomes blurred. In reality “A Portrait of the Artist as an Anthropomorphic Genius-Machine” is an antidote to Joyce’s story. In Joyce’s story the characters fold inside the chronicle and become “elements of style”. In “A Portrait of the Artist as a Rebel” the characters appear, swell and decay as real living experiences, though mundane. As opposed to Joyce’s super-esthetic and pedantic tale where even the pain is suffered as part of some metaphor, this story tends to show that an American version of it is nothing but a byproduct of a society that is wide enough to gulp down success, happiness, failures, anxiety, malaise and death without affectation. The portrait-story is set in a small town called New Braintree and moves around three school pals – Joe, Walter and Peter - whose lives intersect for the length of the story: Joe, the main character, stands out as a nonconformist genius and a trouble-packed kid. He is living his anger filled childhood as if he was hurled into his own life by forces outside his control. Walter is a “prince” boy, and functions as a counterpoint to Joe. It is as if Walter could act only as long as he is part of this double-portrait, though in essence he’d like to be Joe. Peter is the witnessing chronicler. As opposed to Joe and Walter, he acts always like a thin and unnoticeable shadow. In this trio, Joe is the one who puts a fresh and original spin on teenage happenings and its growing pains. Thus, the story evolves most of the time around Joe’s rebellious personality and his spoiled life, seen him either as a problems ridden child - unable to put his life back in order after his mom dies - or as a teenager that falls prey to drugs and gambling, or, at the end, as a young-man-crusader for lost causes for which he dies. Joe’s case would prove not only that brightness and geniality could be weakened and eventually shattered by recklessness and excessive misbehavior, but also that fate and circumstance are playing sometimes an even more fatal role. Though, after all, there is something very wrong and frightening about a genius, who is nothing but an accident of nature, capable to create chaos and mayhem in his life and the life of the others due to a huge imbalance between a swamped brain and the limited degree of freedom he can use on a daily bases to participate in a life experience. Always struggling, either battling lonely the faceless enemy surfacing on his brain or real characters that mess up his youth years, Joe projects the strange feeling that he is living all his life inside an unresolved teenage crisis. His portrait is a suite of rebellious acts leading up to inhospitable consequences and death.
A Portrait of the Artist as a Young Man is semi-autobiographical, following Joyce's fictional alter-ego through his artistic awakening. The young artist Steven Dedelus begins to rebel against the Irish Catholic dogma of his childhood and discover the great philosophers and artists. He follows his artistic calling to the continent.
In Portrait of a Young Painter, the distinguished historian Mary Kay Vaughan adopts a biographical approach to understanding the culture surrounding the Mexico City youth rebellion of the 1960s. Her chronicle of the life of painter Pepe Zúñiga counters a literature that portrays post-1940 Mexican history as a series of uprisings against state repression, injustice, and social neglect that culminated in the student protests of 1968. Rendering Zúñiga's coming of age on the margins of formal politics, Vaughan depicts midcentury Mexico City as a culture of growing prosperity, state largesse, and a vibrant, transnationally-informed public life that produced a multifaceted youth movement brimming with creativity and criticism of convention. In an analysis encompassing the mass media, schools, politics, family, sexuality, neighborhoods, and friendships, she subtly invokes theories of discourse, phenomenology, and affect to examine the formation of Zúñiga's persona in the decades leading up to 1968. By discussing the influences that shaped his worldview, she historicizes the process of subject formation and shows how doing so offers new perspectives on the events of 1968.
An artist? A dreamer? A rebel? Who exactly was Amrita Sher-Gil? She was a little bit of all these things, really. Amrita grew up with a great sense of mischief and adventure in two very different worlds, in a village near Budapest, Hungary, and among the cool, green hills of colonial Simla. She defied headmistresses, teachers, art critics and royalty to make her own determined way in the world of grown-ups and art.Join her on a journey through her life, a journey that takes her family through World Wars and political turmoil as they travel in pursuit of love, a home and a modern, artistic education for Amrita!
“The least pretentious and in its impact the most popular of Henrik Ibsen biographies” according to the National Library of Norway. Hans Heiberg writes in the preface “I have always wanted to read a biography of Henrik Ibsen as a human being — a portrait of the man before he became a mask” and “Let it be said emphatically that this book is not intended for academics [...] It is meant for the enjoyment of people who are interested in Ibsen himself.” Measured in circulation, it seems that Heiberg achieved his goal: the book was published in three editions in Norwegian, and was translated into Swedish, Danish, English, Russian and French — into more languages than any other Ibsen biography. “Brief and thoroughly readable... this biography is frankly offered ‘for the enjoyment of people who are interested in Ibsen himself.’ Nonetheless, all the basic areas are covered.” — Rolf Fjelde, The New York Times “In spite of [the biography's] economy, all the essentials are there... Ibsen's quirks of temperament — the violent contrasts in his nature, the combination of troll and moralist, of ancient prophet and shrewd businessman — do not surprise Mr. Heiberg, perhaps because he is himself Norwegian.” — Eva Le Gallienne, Saturday Review “[Heiberg’s] portrait of Ibsen is crystal clear, the style simple, while every sentence is meaningful... Heiberg is... an outstanding storyteller, in the descriptions of Ibsen’s family and environment, his childhood and youth, in adversity, development and achievement.” — Farmand “Hans Heiberg’s portrait... has a fresh and personal angle... it is wisely crafted in the details, honest and straightforward... the individual Ibsen stands at its core — with his personal fallibilities and ridiculous characteristics, and precisely therefore also in all his greatness.” — Drammens Tidende and Buskerud’s Magazine “In Ibsen: A Portrait of the Artist, [Heiberg] has intended to draw a portrait of the man behind the artwork. What was he like? And how did he become the way he was?... One can call Ibsen: A Portrait of the Artist a novel, a relation of André Maurois’ well-known biographies of famous men and women, but... Heiberg never invents things which may or may not have happened. He sticks to what he knows or what he is fully justified in believing.” — Arbeiderbladet
Innovatively and provocatively, Rembrandt turned the art world upside down in the Golden Age. His poignant works and his life story continue to inspire and move the world 350 years after his death. The largest and most spectacular collection of his paintings, prints and drawings in the world is curated by the Rijksmuseum. In 2019, the museum honours Rembrandt with the exhibition 'Alle Rembrandts'. Never before has the Rijksmuseum presented an exhibition of all of Rembrandt's works from the collection: a one-off exhibition of no less than 400 Rembrandts. Together they paint an unparalleled picture of Rembrandt as a human being, as an artist, as a storyteller and innovator. Jonathan Bikker, research curator at the Rijksmuseum, describes the highs and lows of Rembrandt's life in an accessible way, opening up the genius of Rembrandt's character and the innovative qualities of his work to the general public.
Award-winning and internationally renowned Washington Post and Time magazine photographer David Burnett, delivers an intimate and previously unpublished look at Bob Marley's personal life in Jamaica, music, and Exodus tour at the height of his career and shortly before his tragic death. On assignment in Jamaica for Time magazine, photo-journalist David Burnett first photographed Bob Marley in 1976 and continued to document the Reggae legend on tour throughout Europe during the spring of 1977. Burnett's vision coupled with Marley's larger-than-life charisma resulted in an amazing collection of previously unseen images witnessed for the first time in Soul Rebel: An Intimate Portrait of Bob Marley in Jamaica and Beyond. Of the more than 200 images published here, only a handful were ever used for the Time article. While focusing on Marley, Burnett's work also canvassed a broad array of burgeoning Reggae talents in Marley's native Jamaica, including portraits of Peter Tosh, Lee Scratch Perry, Burning Spear, and Ras Michael. Compelling and incomparably candid, Soul Rebel honors the anniversary of Marley's birth with a testament to the legacy of a legend. For any Reggae lover or music history buff, Soul Rebel offers a matchless glimpse into Marley's life shortly before his tragic death in 1981.
Emily Mann: Rebel Artist of the American Theater is the story of a remarkable American playwright, director, and artistic director. It is the story of a woman who defied the American theater's sexism, a traumatic assault, and illness to create unique documentary plays and to lead the McCarter Theatre Center, for thirty seasons, to a place of national recognition. The book traces and describes Emily Mann's family life; her coming-of-age in Chicago during the exuberant, rebellious, and often violent 1960s; how sexual violence touched her personally; and how she fell in love with theater and began learning her craft at the Loeb Drama Center in Cambridge, Massachusetts, while a student at Radcliffe. Mann's evolution as a professional director and playwright is explored, first at the Guthrie Theater in Minneapolis, where she received an MFA from the University of Minnesota, then on and off Broadway and at regional theaters. Mann's leadership of the McCarter is examined, along with her battles to overcome multiple sclerosis and to conquer—personally and artistically—the memories of the violence she experienced when a teenager. Finally, the book discusses her retirement from the McCarter, while amplifying her ongoing journey as a theater artist of sensitivity and originality. Mann's many awards include the 2015 Margo Jones Award, the 2019 Visionary Leadership Award from Theatre Communications Group, and the 2020 Lilly Award for Lifetime Achievement. In 2019, she was inducted into the Theater Hall of Fame for Lifetime Achievement in the American Theater.
One of the most important books ever written on Uylsses, Dublin's Joyce established Hugh Kenner as a significant modernist critic. This pathbreaking analysis presents Uylsses as a "bit of anti-matter that Joyce sent out to eat the world." The author assumes that Joyce wasn't a man with a box of mysteries, but a writer with a subject: his native European metropolis of Dublin. Dublin's Joyce provides the reader with a perspective of Joyce as a superemely important literary figure without considering him to be the revealer of a secret doctrine.
A wide-ranging exploration of the dandy and men's fashion over the past two centuries, from Beau Brummell to hip-hop Artist/Rebel/Dandy celebrates the pleasures of the sharp-dressed man, from the discreet sophistication of the consummately elegant George Bryan "Beau" Brummell in the early 19th century to the diverse, highly personal flair of the tastemakers who color the landscape of menswear today. Since the word "dandy" came into vogue in London in 1813, it has at times been used to describe someone superficial, flamboyant, and self-indulgent. Instead, the dandy is here shown to employ profound thought and imagination in his self-presentation, fashioning an image that often challenges the status quo and transcends the ordinary. A series of fascinating essays traces the often contradictory definitions and images of the dandy, the history of young men and their clothes in the long 19th century, the exquisite fabrics and tailoring that play an important role in dandy style, and the relationship of black dandyism and hip-hop. In addition, this book features fifteen musings on notable dandies written by individuals who share a kinship with their subject, including Patti Smith considering Charles Baudelaire; a reflection on Oscar Wilde by his grandson, Merlin Holland; Daniela Morera, formerly part of Andy Warhol's Factory crowd, reminiscing about the artist's image; and writer Philip Hoare describing the "thrift-shop dandyism" of director John Waters. Published in association with the Museum of Art, Rhode Island School of Design Exhibition Schedule: Museum of Art, Rhode Island School of Design 04/26/13-08/18/13