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Surrealism at Play - Susan Laxton - Bog - Duke University Press - Plusbog.dk

Surrealism at Play - Susan Laxton - Bog - Duke University Press - Plusbog.dk

Bright Signals - Susan Murray - Bog - Duke University Press - Plusbog.dk

Bright Signals - Susan Murray - Bog - Duke University Press - Plusbog.dk

Pinter In Play - Susan Hollis Merritt - Bog - Duke University Press - Plusbog.dk

Exiled Home - Susan Bibler Coutin - Bog - Duke University Press - Plusbog.dk

Exiled Home - Susan Bibler Coutin - Bog - Duke University Press - Plusbog.dk

Domesticating Democracy - Susan Helen Ellison - Bog - Duke University Press - Plusbog.dk

Unsettled Subjects - Susan Lurie - Bog - Duke University Press - Plusbog.dk

Unsettled Subjects - Susan Lurie - Bog - Duke University Press - Plusbog.dk

The Nation Writ Small - Susan Z. Andrade - Bog - Duke University Press - Plusbog.dk

The Bureaucrats of Buenos Aires, 1769-1810 - Susan Migden Socolow - Bog - Duke University Press - Plusbog.dk

Before the Nation - Susan L Burns - Bog - Duke University Press - Plusbog.dk

Before the Nation - Susan L Burns - Bog - Duke University Press - Plusbog.dk

Exploring the emergence and evolution of theories of nationhood that continue to be evoked in present-day Japan, Susan L. Burns provides a close examination of the late-eighteenth-century intellectual movement kokugaku, which means "the study of our country.” Departing from earlier studies of kokugaku that focused on intellectuals whose work has been valorized by modern scholars, Burns seeks to recover the multiple ways "Japan" as social and cultural identity began to be imagined before modernity. Central to Burns''s analysis is Motoori Norinaga’s Kojikiden , arguably the most important intellectual work of Japan''s early modern period. Burns situates the Kojikiden as one in a series of attempts to analyze and interpret the mythohistories dating from the early eighth century, the Kojiki and Nihon shoki. Norinaga saw these texts as keys to an original, authentic, and idyllic Japan that existed before being tainted by "flawed" foreign influences, notably Confucianism and Buddhism. Hailed in the nineteenth century as the begetter of a new national consciousness, Norinaga''s Kojikiden was later condemned by some as a source of Japan''s twentieth-century descent into militarism, war, and defeat. Burns looks in depth at three kokugaku writers—Ueda Akinari, Fujitani Mitsue, and Tachibana Moribe—who contested Norinaga''s interpretations and produced competing readings of the mythohistories that offered new theories of community as the basis for Japanese social and cultural identity. Though relegated to the footnotes by a later generation of scholars, these writers were quite influential in their day, and by recovering their arguments, Burns reveals kokugaku as a complex debate—involving history, language, and subjectivity—with repercussions extending well into the modern era.

DKK 885.00
1

Gerald Gray's Wife and Lily: A Novel - Susan Petigru King - Bog - Duke University Press - Plusbog.dk

Gerald Gray's Wife and Lily: A Novel - Susan Petigru King - Bog - Duke University Press - Plusbog.dk

Susan Petigru King wrote and published virtually all of her novels and short stories just before and during the American civil war, although her fiction deals neither with slavery nor sectional politics. Set in her native Charleston and its surrounding plantations, King's novels explore the social life and sexual politics of South Carolina's privileged antebellum elite. In the tradition of nineteenth-century domestic novels, King's writings chronicle courtships and marriages, love and jealousy. The republication of these long-neglected novels will introduce contemporary readers to the imaginative power of an important southern American woman writer. Lily, King's best known novel, was originally published by Harper and Brothers in 1855. In this work, King skewers the rituals of courtship that propel its wealthy young heroine toward marriage and a melodramatic death. Gerald Gray's Wife, King's last novel, plays out the ironies of a plain woman who survives—but barely—the revelations that destroy her seemingly perfect marriage and acquired beauty. In both novels, women's jealousies and men's deceptions are the forces that propel King's often satirical pen. Largely lacking the moral instruction so common among nineteenth-century domestic novelists, King's novels are differentiated by their critical perspective on women's position, their exploration of themes of failure and frustration, and their focus on the drawing room and ballroom rather than the kitchen and nursery.

DKK 240.00
1

Gerald Gray's Wife and Lily: A Novel - Susan Petigru King - Bog - Duke University Press - Plusbog.dk

Gerald Gray's Wife and Lily: A Novel - Susan Petigru King - Bog - Duke University Press - Plusbog.dk

Susan Petigru King wrote and published virtually all of her novels and short stories just before and during the American civil war, although her fiction deals neither with slavery nor sectional politics. Set in her native Charleston and its surrounding plantations, King's novels explore the social life and sexual politics of South Carolina's privileged antebellum elite. In the tradition of nineteenth-century domestic novels, King's writings chronicle courtships and marriages, love and jealousy. The republication of these long-neglected novels will introduce contemporary readers to the imaginative power of an important southern American woman writer. Lily, King's best known novel, was originally published by Harper and Brothers in 1855. In this work, King skewers the rituals of courtship that propel its wealthy young heroine toward marriage and a melodramatic death. Gerald Gray's Wife, King's last novel, plays out the ironies of a plain woman who survives—but barely—the revelations that destroy her seemingly perfect marriage and acquired beauty. In both novels, women's jealousies and men's deceptions are the forces that propel King's often satirical pen. Largely lacking the moral instruction so common among nineteenth-century domestic novelists, King's novels are differentiated by their critical perspective on women's position, their exploration of themes of failure and frustration, and their focus on the drawing room and ballroom rather than the kitchen and nursery.

DKK 850.00
1

Mounting Frustration - Susan E. Cahan - Bog - Duke University Press - Plusbog.dk

Mounting Frustration - Susan E. Cahan - Bog - Duke University Press - Plusbog.dk

Prior to 1967 fewer than a dozen museum exhibitions had featured the work of African American artists. And by the time the civil rights movement reached the American art museum, it had already crested: the first public demonstrations to integrate museums occurred in late 1968, twenty years after the desegregation of the military and fourteen years after the Brown vs. Board of Education decision. In Mounting Frustration Susan E. Cahan investigates the strategies African American artists and museum professionals employed as they wrangled over access to and the direction of New York City''s elite museums. Drawing on numerous interviews with artists and analyses of internal museum documents, Cahan gives a detailed and at times surprising picture of the institutional and social forces that both drove and inhibited racial justice in New York''s museums. Cahan focuses on high-profile and wildly contested exhibitions that attempted to integrate African American culture and art into museums, each of which ignited debate, dissension, and protest. The Metropolitan Museum''s 1969 exhibition Harlem on My Mind was supposed to represent the neighborhood, but it failed to include the work of the black artists living and working there. While the Whitney''s 1971 exhibition Contemporary Black Artists in America featured black artists, it was heavily criticized for being haphazard and not representative. The Whitney show revealed the consequences of museums'' failure to hire African American curators, or even white curators who possessed knowledge of black art. Cahan also recounts the long history of the Museum of Modern Art''s institutional ambivalence toward contemporary artists of color, which reached its zenith in its 1984 exhibition "Primitivism" in Twentieth Century Art . Representing modern art as a white European and American creation that was influenced by the "primitive" art of people of color, the show only served to further devalue and cordon off African American art. In addressing the racial politics of New York''s art world, Cahan shows how aesthetic ideas reflected the underlying structural racism and inequalities that African American artists faced. These inequalities are still felt in America''s museums, as many fundamental racial hierarchies remain intact: art by people of color is still often shown in marginal spaces; one-person exhibitions are the preferred method of showing the work of minority artists, as they provide curators a way to avoid engaging with the problems of complicated, interlocking histories; and whiteness is still often viewed as the norm. The ongoing process of integrating museums, Cahan demonstrates, is far broader than overcoming past exclusions.

DKK 240.00
1

Mounting Frustration - Susan E. Cahan - Bog - Duke University Press - Plusbog.dk

Mounting Frustration - Susan E. Cahan - Bog - Duke University Press - Plusbog.dk

Prior to 1967 fewer than a dozen museum exhibitions had featured the work of African American artists. And by the time the civil rights movement reached the American art museum, it had already crested: the first public demonstrations to integrate museums occurred in late 1968, twenty years after the desegregation of the military and fourteen years after the Brown vs. Board of Education decision. In Mounting Frustration Susan E. Cahan investigates the strategies African American artists and museum professionals employed as they wrangled over access to and the direction of New York City''s elite museums. Drawing on numerous interviews with artists and analyses of internal museum documents, Cahan gives a detailed and at times surprising picture of the institutional and social forces that both drove and inhibited racial justice in New York''s museums. Cahan focuses on high-profile and wildly contested exhibitions that attempted to integrate African American culture and art into museums, each of which ignited debate, dissension, and protest. The Metropolitan Museum''s 1969 exhibition Harlem on My Mind was supposed to represent the neighborhood, but it failed to include the work of the black artists living and working there. While the Whitney''s 1971 exhibition Contemporary Black Artists in America featured black artists, it was heavily criticized for being haphazard and not representative. The Whitney show revealed the consequences of museums'' failure to hire African American curators, or even white curators who possessed knowledge of black art. Cahan also recounts the long history of the Museum of Modern Art''s institutional ambivalence toward contemporary artists of color, which reached its zenith in its 1984 exhibition "Primitivism" in Twentieth Century Art . Representing modern art as a white European and American creation that was influenced by the "primitive" art of people of color, the show only served to further devalue and cordon off African American art. In addressing the racial politics of New York''s art world, Cahan shows how aesthetic ideas reflected the underlying structural racism and inequalities that African American artists faced. These inequalities are still felt in America''s museums, as many fundamental racial hierarchies remain intact: art by people of color is still often shown in marginal spaces; one-person exhibitions are the preferred method of showing the work of minority artists, as they provide curators a way to avoid engaging with the problems of complicated, interlocking histories; and whiteness is still often viewed as the norm. The ongoing process of integrating museums, Cahan demonstrates, is far broader than overcoming past exclusions.

DKK 381.00
1