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Child of materialism and positivism, Courbet was without a doubt one of the most complex painters of the nineteenth century. Symbolising the rejection of traditions, Courbet did not hesitate to confront the public with the truth by liberating painting of conventional rules. He became from then on the leader of pictorial realism.
This illuminating history examines the life and many legends of the 16th century Queen who was executed by her husband, King Henry VIII. Part biography, part cultural history, The Creation of Anne Boleyn is a fascinating reconstruction of Anne’s life and a revealing look at her afterlife in the popular imagination. Why is her story so compelling? Why has she inspired such extreme reactions? Was she the flaxen-haired martyr of Romantic paintings or the raven-haired seductress of twenty-first-century portrayals? (Answer: neither.) But the most provocative question of all concerns Anne’s death: How could Henry order the execution of a once beloved wife? Drawing on scholarship and critical analysis, Bordo probes the complexities of one of history’s most infamous relationships. She then demonstrates how generations of polemicists, biographers, novelists, and filmmakers have imagined and re-imagined Anne: whore, martyr, cautionary tale, proto “mean girl,” feminist icon, and everything in between. In The Creation of Anne Boleyn, Bordo steps off the well-trodden paths of Tudoriana to tease out the human being behind the competing mythologies, paintings, and on-screen portrayals.
International Exchange in the Early Modern Book World presents new research on the movement and exchange of books between countries, languages and confessions. It explores commercial networks and business strategies, and the translation and circulation of literature, music and drama.
A historical tradition of Roman origin represents Livia Drusilla, the third and much beloved wife of Caesar Augustus, as a conniving, Borgia-like criminal. This view of Livia maintains, that to promote the political career of her son by her former husband, Livia killed or incapacitated Augustus' descendants through his previous wife. Author Robert Graves, in his famous novel, I, Claudius, based his fictitious rendering of Livia upon this malevolent representation of her. The conceit is patently wrong, and essentially all modern scholars of Roman history reject it. But thanks to Graves' immensely entertaining book, and the British Broadcasting Corporation adaptation of it for television, the image of Livia as a devious dynastic murderess prevails in the popular mind. I, Livia: The Counterfeit Criminal aspires to correct the misconception, and present an accurate assessment of this much-maligned woman. The study's comfortably readable style is intended for general audiences. The first three chapters present a biographical sketch, which focuses on Livia's public life. Livia was accepted as an extraordinarily visible, dynamic and influential political personage, by a society and culture that maintained that women must confine their activities childrearing and other domestic pursuits. The following two chapters demonstrate the absurdity of Livia's criminal reputation, and offer explanation for its development. Three subsequent chapters seek Livia's private side - her habits, tastes, and interpersonal relationships. Livia (who suffered from colds and chronic arthritis) was an amiable soul, with a self-deprecating sense of humor. She was a loving, supportive forbearant wife and mother, an intellectual with profound political insights, an enthusiastic traveller, a connoisseur of art. Although generally patient and demure, she could also be impulsive, assertive, opinionated and, especially in later life, petulant. The final chapter examines how Livia became, and remained, a symbol of Roman imperial power. The brief epilogue describes the physical appearances of Livia and the members of her family. Also included are relevant appendices, a comprehensive bibliography, and color images of surviving wall paintings from her homes.
"French Music and Trauma Between the World Wars illustrates that coping with trauma was a central concern for French musicians active after World War I. The losses and violent warfare of World War I shaped how interwar French musicians-from those fighting in the trenches and working in military hospitals to more well-known musicians-engaged with music. Situated at the intersections of musicology, history, sound and performance studies, and psychology and trauma studies, Resonant Recoveries argues that modernists' compositions and musical activities were sonorous locations for managing and performing trauma. Through analysis of archival materials, French medical, philosophical, and literary texts, and the music produced between the wars, this book illuminates how music emerged during World War I as an embodied technology of consolation. Resonant Recoveries demonstrates that music making came to be understood by French interwar musicians as a consolatory practice that enhanced their abilities to remember lost loved ones, gave them opportunities to perform their grief publicly and privately, allowed them to create healing bonds of friendship, and soothed them with sonic vibrations and the rhythmically regular bodily movements required in order to perform many French neoclassical compositions. In revealing the importance music making held for interwar French musicians, this book refigures French modernist music as a therapeutic medium for creators, performers, and audiences, while also underlining the importance of addressing trauma, mourning, and people's emotional lives in music scholarship"--
This is the biography of one of the most tragic women in History. It is the story of a frivolous young girl who threw wild parties and spent a lot of her husband's money and for that reason, and that reason alone, she had her head chopped off in public. The back cover photo here shows Marie Antoinette being given her last rights by a clergyman as she was waiting before the guillotine for the executioners to cut off her head, and while a crowd of thousands watched. Her last words were one of apology to one of her executioners, when she accidentally stepped on his foot. All of the events of the Life of Marie Antoinette are brilliantly explained in this biography by Andre Castelot. The most haunting and harrowing pages of the biography are Castelot's darkly etched picture of the Queen in the culminating moments of her life. Perhaps it is not in the least a paradox that one of the most arrantly self-indulgent women should, in her adversity, provide one of the most memorable images of mother love."