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Selected from the country’s leading literary journals and publications—Colorado Review, Creative Nonfiction, Georgia Review, Prairie Schooner, Crazyhorse, The Normal School, and others—Beautiful Flesh gathers eighteen essays on the body, essentially building a multi-gender, multi-ethnic body out of essays, each concerning a different part of the body: belly, brain, bones, blood, ears, eyes, hair, hands, heart, lungs, nose, ovaries, pancreas, sinuses, skin, spine, teeth, and vas deferens. The title is drawn from Wendy Call’s essay “Beautiful Flesh,” a meditation on the pancreas: “gorgeously ugly, hideously beautiful: crimson globes embedded in a pinkish-tan oval, all nestled on a bed of cabbage-olive green, spun through with gossamer gold.” Other essays include Dinty W. Moore’s “The Aquatic Ape,” in which the author explores the curious design and necessity of sinuses; Katherine E. Standefer’s “Shock to the Heart, Or: A Primer on the Practical Applications of Electricity,” a modular essay about the author’s internal cardiac defibrillator and the nature of electricity; Matt Roberts’s “Vasectomy Instruction 7,” in which the author considers the various reasons for and implications of surgically severing and sealing the vas deferens; and Peggy Shinner’s “Elective,” which examines the author’s own experience with rhinoplasty and cultural considerations of the “Jewish nose.” Echoing the myriad shapes, sizes, abilities, and types of the human body, these essays showcase the many forms of the genre: personal, memoir, lyric, braided, and so on. Contributors: Amy Butcher, Wendy Call, Steven Church, Sarah Rose Etter, Matthew Ferrence, Hester Kaplan, Sarah K. Lenz, Lupe Linares, Jody Mace, Dinty W. Moore, Angela Pelster, Matt Roberts, Peggy Shinner, Samantha Simpson, Floyd Skloot, Danielle R. Spencer, Katherine E. Standefer, Kaitlyn Teer, Sarah Viren, Vicki Weiqi Yang
This illustrated volume examines the different methods artists and anatomists used to reveal the inner workings of the human body and evoke wonder in its form. For centuries, anatomy was a fundamental component of artistic training, as artists such as Leonardo da Vinci and Michelangelo sought to skillfully portray the human form. In Europe, illustrations that captured the complex structure of the body—spectacularly realized by anatomists, artists, and printmakers in early atlases such as Andreas Vesalius’s De humani corporis fabrica libri septem of 1543—found an audience with both medical practitioners and artists. Flesh and Bones examines the inventive ways anatomy has been presented from the sixteenth through the twenty-first century, including an animated corpse displaying its own body for study, anatomized antique sculpture, spectacular life-size prints, delicate paper flaps, and 3-D stereoscopic photographs. Drawn primarily from the vast holdings of the Getty Research Institute, the over 150 striking images, which range in media from woodcut to neon, reveal the uncanny beauty of the human body under the skin
Pushed to the height of its illusionistic powers during the first centuries of the Roman Empire, sculpture was largely abandoned with the ascendancy of Christianity, as the apparent animation of the material image and practices associated with sculpture were considered both superstitious and idolatrous. In Pygmalion’s Power, Thomas E. A. Dale argues that the reintroduction of architectural sculpture after a hiatus of some seven hundred years arose with the particular goal of engaging the senses in a Christian religious experience. Since the term “Romanesque” was coined in the nineteenth century, the reintroduction of stone sculpture around the mid-eleventh century has been explained as a revivalist phenomenon, one predicated on the desire to claim the authority of ancient Rome. In this study, Dale proposes an alternative theory. Covering a broad range of sculpture types—including autonomous cult statuary in wood and metal, funerary sculpture, architectural sculpture, and portraiture—Dale shows how the revitalized art form was part of a broader shift in emphasis toward spiritual embodiment and affective piety during the late eleventh and twelfth centuries. Adding fresh insight to scholarship on the Romanesque, Pygmalion’s Power borrows from trends in cultural anthropology to demonstrate the power and potential of these sculptures to produce emotional effects that made them an important sensory part of the religious culture of the era.
Reprint of the original, first published in 1883.
This intriguing book on Goya concentrates on the closing years of the eighteenth century as a neglected milestone in his life. Goya waited until 1799 to publish his celebrated series of drawings, the Caprichos, which offered a personal vision of the "world turned upside down". Victor I. Stoichita and Anna Maria Coderch consider how themes of Revolution and Carnival (both seen as inversions of the established order) were obsessions in Spanish culture in this period, and make provocative connections between the close of the 1700s and the end of the Millennium. Particular emphasis is placed on the artist's links to the underground tradition of the grotesque, the ugly and the violent. Goya's drawings, considered as a personal and secret laboratory, are foregrounded in a study that also reinterprets his paintings and engravings in the cultural context of his time.