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Edited by Leah Dickerman. Essays by Brigid Doherty, Sabine T. Kriebel, Dorothea Dietrich, Michael R. Taylor, Janine Mileaf and Matthew S. Witkovsky. Foreword by Earl A. Powell III.
An examination of the role of sound in twentieth-century arts. This interdisciplinary history and theory of sound in the arts reads the twentieth century by listening to it—to the emphatic and exceptional sounds of modernism and those on the cusp of postmodernism, recorded sound, noise, silence, the fluid sounds of immersion and dripping, and the meat voices of viruses, screams, and bestial cries. Focusing on Europe in the first half of the century and the United States in the postwar years, Douglas Kahn explores aural activities in literature, music, visual arts, theater, and film. Placing aurality at the center of the history of the arts, he revisits key artistic questions, listening to the sounds that drown out the politics and poetics that generated them. Artists discussed include Antonin Artaud, George Brecht, William Burroughs, John Cage, Sergei Eisenstein, Fluxus, Allan Kaprow, Michael McClure, Yoko Ono, Jackson Pollock, Luigi Russolo, and Dziga Vertov.
Since the 19th century, dolls have served as toys but also as objects of obsession, love, and lust. That century witnessed the emergence of the term "heterosexual" and of modern concepts of fetishism, perversity, and animism. Their convergence, and the demands of a growing consumer society resulted in a proliferation of waxworks, shop-window dummies, and customized love dolls, which also began to appear in art. Oskar Kokoschka commissioned a life-sized doll of his former lover Alma Mahler; Hans Bellmer crafted poupées; and Marcel Duchamp fabricated a nude figure in his environmental tableau Etant donnés. The Erotic Doll is the first book to explore men's complex relationships with such inanimate forms from historical, theoretical, and phenomenological perspectives. Challenging our commonsense grasp of the relations between persons and things, Marquard Smith examines these erotically charged human figures by interweaving art history, visual culture, gender, and sexuality studies with the medical humanities, offering startling insights into heterosexual masculinity and its discontents.
Lustmurder, necrophilia, pederasty, coprophilia, fetishism, bestiality, transvestism and transsexuality, rape and mutilation, sado-masochism, exhibitionism All these and numerous other psychosexual proclivities are detailed in the 238 case histories that make up Richard von Krafft-Ebing's legendary Psychopathia Sexualis. This landmark text in the study of sexual mania and deviation is presented in a new, modern translation highlighting the cases chosen by Krafft-Ebing to appear in the 12th and final edition of the book, the culmination of his life's work. An essential reference book for those interested in the development of medical and psychiatric diagnosis of sexual derangement, the Psychopathia Sexualis will also prove a fascinating document to anyone drawn to the darker side of human sexuality and behaviour. Cases range from Sergeant Bertrand and Jack the Ripper to the most obscure and extreme instances of perversion known to 19th century psychiatrists and criminologists.
The World`S Most Detailedand Comprehensive Persian-English Dictionary.
This volume examines the flourishing of Futurist aesthetics in the European art and literature of the early twentieth century. Futurism was an artistic and social movement that was largely an Italian phenomenon, though there were parallel movements in Russia, England and elsewhere. The Futurists admired speed, technology, youth and violence, the car, the airplane and the industrial city, all that represented the technological triumph of humanity over nature. This work looks at the prose, visual art, poetry, and the manifestos of Futurists from Russia to Italy. The author reveals the Moment's impulses and operations, tracing its echoes through the years to the work of "postmodern" figures like Roland Barthes. This updated edition reexamines the Futurist Moment in the light of a new century, in which Futurist aesthetics seem to have steadily more to say to the present