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THE UNKNOWN HEROINE is a limited edition artists' book made by conceptual artist Sherry Wiggins in collaboration with photographer Luís Filipe Branco. The book is comprised of text and images that are based on Wiggins's interaction with French photographer and writer Claude Cahun's essay "THE ESSENTIAL WIFE or the the Unknown Princess." The book includes this essay by Claude Cahun as well as an essay by curator and writer Cydney Payton.
From Simon & Schuster, Lines is Joseph Viertel's novel about the Russian Jew following his persecution—and the decisions he's forced to make as a result of it. When an eminent Russian Jewish pediatrician becomes the target of official persecution, he appeals to his American and Israeli cousins and must ultimately choose his future in Russia, America, or Israel.
In Bound by Muscle, Andrew Brown details the lives and achievements of two physiologists, Archibald Vivian Hill (1886-1977) and Otto Fritz Meyerhof (1884-1951). Hill and Meyerhof shared the 1922 Nobel Prize in Physiology or Medicine for discoveries related to metabolic changes underlying muscle activity. Bound by Muscle describes how Hill and Meyerhof's lives and careers intersected and diverged and how their work changed the course of biological science. Bound by Muscle is organized chronologically. The first four chapters consider Hill and Meyerhof's childhoods and early careers; subsequent chapters address the Nobel Prize nomination and award and how their lives were affected by the World Wars. Bound by Muscle details Hill and Meyerhof's scientific breakthroughs and professional accomplishments. The book also examines the historical context that shaped their work and how the two men differed. Hill embodied the pragmatic style of British science. He became an outspoken critic of fascism as well as an effective humanitarian. As a senior scientist, he played major roles in preparing Great Britain for World War II. In contrast, Meyerhof was shy and philosophical. A non-observant Jew, he was reluctant to leave his superb laboratory in Heidelberg as the Nazi threat became apparent. His dramatic eventual escape is described in detail for the first time. Throughout, Bound by Muscle reflects on how individual differences and historical events have shaped the trajectory of science.
Explores the rapidly changing relationship between the Balkans and the EU in a time of crisis
Renowned philosopher and cultural theorist Kristeva (Powers of Horror: An Essay on Abjection) offers an extended consideration of artistic figurations of the severed head, the organizing theme to an exhibition she coordinated at the Louvre in 1998. Though she follows a single historical trajectory, moving from Paleolithic skull cults to antique Greek sculpture to the Surrealist drawings, Kristeva eschews the disciplinary constraints of art history, instead employing psychoanalysis to explore the intertwined problems of representation and mortality posed by the severed head. For Kristeva, the capacity to figure the life of the mind first requires a confrontation with this horrific object that stands at the boundary between life and death, registering not only the loss of corporeal form but also subjective interiority. Though this book does not engage with recent images of decapitation, it is not without contemporary political-cultural import; for Kristeva, these cruel artistic figurations offer us the capacity to contemplate the sacred within a technology-driven contemporary visual culture. Verdict While a challenging text, this beautifully written and richly layered meditation on mortality and representation will undoubtedly appeal to those readers interested in semiotic and psychoanalytically informed readings of art.-Jonathan Patkowski, CUNY Graduate Ctr.(c) Copyright 2012. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Inhaltsangabe:Introduction: The show will be a magnificent, opulent, tremendous, stupendous, gargantuan, bedazzlement! A sensual ravishment. It will be Spectacular, Spectacular . Zidler is right. That is what Moulin Rouge! is spectacular. Zidler, the impresario of the Moulin Rouge, tries to sell the bohemian play 'Spectacular, Spectacular', which Toulouse and Christian present to the Duke. However, Moulin Rouge! is 'Spectacular, Spectacular' and vice versa. The Duke is the maharajah, Christian is the penniless sitar player and Satine is the beautiful courtesan. Luhrmann's latest work is loud, colorful, fast, postmodern, a melodrama and a musical, and it is about love. Opinions are much divided over this film and many critics wonder if it is just bad taste and kitsch or an ingenious piece of film art. In other words, it is an original Baz Luhrmann. Until today, the Australian director produced three movies, which he calls the 'Red Curtain Trilogy'. He started with Strictly Ballroom in 1992, followed by William Shakespeare's Romeo and Juliet in 1996 and ended with Moulin Rouge! in 2001. Luhrmann calls his way of filmmaking a theatricalized cinema style . Baz Luhrmann definitely is a unique and versatile character. However, if his film is art or trash remains a matter of opinion. Luhrmann himself disassociates from any categorization in the sense of low culture and high art, taking into account that back in time Shakespeare was also considered as popular culture in the same way, as operas were the lowest form of culture at their peak times. He counters his critics and their objections, die Story ist dünn und simpel , with, Doch gerade das ist eine Konvention des Musicals, aber auch der Oper, mit Ausnahme von Wagner. Aber eigentlich zieht auch Wagner nur einen dünnen Plot in die Länge. The other often expressed criticism that his latest work, is a direct assault on eyes, ears, and expectations (Abele), and hard to exceed in terms of kitsch, he only defies with the credo that, Persönlicher Geschmack ist der Feind der Kunst. . Moulin Rouge! is a mélange of film, music and dance. Set in 1899 but with contemporary music it is a work of extremes. Everything in this film seems to scream: 'anything goes!'. Nevertheless, Luhrmann follows a concept. Nothing in this film happens accidentally but it is his own style. Luhrmann's 'Red Curtain' style comprises several distinct storytelling choices. He uses a rather simple story, based on a well-known [...]