It has influenced a generation of students and critics interested in the formation of attitudes, themes, and forms which were characteristic of artists and architects working primarily in Europe between 1900 and 1930 under the compulsion of new technological developments in the first machine age.

    Eros and Magic in the Renaissance challenges this view, providing an in-depth scholarly explanation of the workings of magic and showing that magic continues to exist in an altered form even today.Renaissance magic, according to Ioan Couliano, was a scientifically plausible attempt to manipulate individuals and groups based on a knowledge of motivations, particularly erotic motivations. Its key principle was that everyone (and in a sense everything) could be influenced by appeal to sexual desire. In addition, the magician relied on a profound knowledge of the art of memory to manipulate the imaginations of his subjects. In these respects, Couliano suggests, magic is the precursor of the modern psychological and sociological sciences, and the magician is the distant ancestor of the psychoanalyst and the advertising and publicity agent.In the course of his study, Couliano examines in detail the ideas of such writers as Giordano Bruno, Marsilio Ficino, and Pico della Mirandola and illuminates many aspects of Renaissance culture, including heresy, medicine, astrology, alchemy, courtly love, the influence of classical mythology, and even the role of fashion in clothing.Just as science gives the present age its ruling myth, so magic gave a ruling myth to the Renaissance. Because magic relied upon the use of images, and images were repressed and banned in the Reformation and subsequent history, magic was replaced by exact science and modern technology and eventually forgotten. Couliano's remarkable scholarship helps us to recover much of its original significance and will interest a wide audience in the humanities and social sciences.

    MacKinnon, noted feminist and legal scholar, explores and develops her original theories and practical proposals on sexual politics and law. These discourses, originally delivered as speeches, have been brilliantly woven into a book that retains all the spontaneity and accessibility of a live presentation. MacKinnon offers a unique retrospective on the law of sexual harassment, which she designed and has worked for a decade to establish, and a prospectus on the law of pornography, which she proposes to change in the next ten years. Authentic in voice, sweeping in scope, startling in clarity, urgent, never compromised and often visionary, these discourses advance a new theory of sex inequality and imagine new possibilities for social change.Through these engaged works on issues such as rape, abortion, athletics, sexual harassment, and pornography, MacKinnon seeks feminism on its own terms, unconstrained by the limits of prior traditions. She argues that viewing gender as a matter of sameness and difference--as virtually all existing theory and law have done--covers up the reality of gender, which is a system of social hierarchy, an imposed inequality of power. She reveals a political system of male dominance and female subordination that sexualizes power for men and powerlessness for women. She analyzes the failure of organized feminism, particularly legal feminism, to alter this condition, exposing the way male supremacy gives women a survival stake in the system that destroys them.

    In Practicing the New Historicism, two of its most distinguished practitioners reflect on its surprisingly disparate sources and far-reaching effects.In lucid and jargon-free prose, Catherine Gallagher and Stephen Greenblatt focus on five central aspects of new historicism: recurrent use of anecdotes, preoccupation with the nature of representations, fascination with the history of the body, sharp focus on neglected details, and skeptical analysis of ideology. Arguing that new historicism has always been more a passionately engaged practice of questioning and analysis than an abstract theory, Gallagher and Greenblatt demonstrate this practice in a series of characteristically dazzling readings of works ranging from paintings by Joos van Gent and Paolo Uccello to Hamlet and Great Expectations.By juxtaposing analyses of Renaissance and nineteenth-century topics, the authors uncover a number of unexpected contrasts and connections between the two periods. Are aspects of the dispute over the Roman Catholic doctrine of the Eucharist detectable in British political economists' hostility to the potato? How does Pip's isolation in Great Expectations shed light on Hamlet's doubt?Offering not only an insider's view of new historicism, but also a lively dialogue between a Renaissance scholar and a Victorianist, Practicing the New Historicism is an illuminating and unpredictable performance by two of America's most respected literary scholars."Gallagher and Greenblatt offer a brilliant introduction to new historicism. In their hands, difficult ideas become coherent and accessible."—Choice"A tour de force of new literary criticism. . . . Gallagher and Greenblatt's virtuoso readings of paintings, potatoes (yes, spuds), religious ritual, and novels—all 'texts'—as well as essays on criticism and the significance of anecdotes, are likely to take their place as model examples of the qualities of the new critical school that they lead. . . . A zesty work for those already initiated into the incestuous world of contemporary literary criticism-and for those who might like to see what all the fuss is about."—Kirkus Reviews, starred review

    Peeling away notions of a rigid pre-modern Islamic gender system, Afsaneh Najmabadi provides a compelling demonstration of the centrality of gender and sexuality to the shaping of modern culture and politics in Iran and of how changes in ideas about gender and sexuality affected conceptions of beauty, love, homeland, marriage, education, and citizenship. She concludes with a provocative discussion of Iranian feminism and its role in that country's current culture wars. In addition to providing an important new perspective on Iranian history, Najmabadi skillfully demonstrates how using gender as an analytic category can provide insight into structures of hierarchy and power and thus into the organization of politics and social life.

    Through personal essays, criticism, interviews, testimonials, poetry, and visual art, the collection explores, as coeditor Cherríe Moraga writes, “the complex confluence of identities—race, class, gender, and sexuality—systemic to women of color oppression and liberation.”

    Selected by Derrida from the prints and drawings department of the Louvre, the works depict blindness—fictional, historical, and biblical. From Old and New Testament scenes to the myth of Perseus and the Gorgon and the blinding of Polyphemus, Derrida uncovers in these images rich, provocative layers of interpretation. For Derrida drawing is itself blind; as an act rooted in memory and anticipation, drawing necessarily replaces one kind of seeing (direct) with another (mediated). Ultimately, he explains, the very lines which compose any drawing are themselves never fully visible to the viewer since they exist only in a tenuous state of multiple identities: as marks on a page, as indicators of a contour. Lacking a "pure" identity, the lines of a drawing summon the supplement of the word, of verbal discourse, and, in doing so, obscure the visual experience. Consequently, Derrida demonstrates, the very act of depicting a blind person undertakes multiple enactments and statements of blindness and sight. Memoirs of the Blind is both a sophisticated philosophical argument and a series of detailed readings. Derrida provides compelling insights into famous and lesser known works, interweaving analyses of texts—including Diderot's Lettres sur les aveugles, the notion of mnemonic art in Baudelaire's The Painter of Modern Life, and Merleau-Ponty's The Visible and the Invisible. Along with engaging meditations on the history and philosophy of art, Derrida reveals the ways viewers approach philosophical ideas through art, and the ways art enriches philosophical reflection. An exploration of sight, representation, and art, Memoirs of the Blind extends and deepens the meditation on vision and painting presented in Truth and Painting. Readers of Derrida, both new and familiar, will profit from this powerful contribution to the study of the visual arts.

    As Chicanos engaged in widespread protest in their struggle for social justice, civil rights, and self-determination, women in el movimiento became increasingly militant about the gap between the rhetoric of equality and the organizational culture that suppressed women's leadership and subjected women to chauvinism, discrimination, and sexual harassment. Based on rich oral histories and extensive archival research, Maylei Blackwell analyzes the struggles over gender and sexuality within the Chicano Movement and illustrates how those struggles produced new forms of racial consciousness, gender awareness, and political identities.Chicana Power! provides a critical genealogy of pioneering Chicana activist and theorist Anna NietoGomez and the Hijas de Cuauhtemoc, one of the first Latina feminist organizations, who together with other Chicana activists forged an autonomous space for women's political participation and challenged the gendered confines of Chicano nationalism in the movement and in the formation of the field of Chicana studies. She uncovers the multifaceted vision of liberation that continues to reverberate today as contemporary activists, artists, and intellectuals, both grassroots and academic, struggle for, revise, and rework the political legacy of Chicana feminism.

    She argues for the importance of recognizing---and archiving---accounts of trauma that belong as much to the ordinary and everyday as to the domain of catastrophe. Cvetkovich contends that the field of trauma studies, limited by too strict a division between the public and the private, has overlooked the experiences of women and queers. Rejecting the pathologizing understandings of trauma that permeate medical and clinical discourses on the subject, she develops instead a sex-positive approach missing even from most feminist work on trauma. An Archive of Feelings challenges the field to engage more fully with sexual trauma and the wide range of feelings in its vicinity, including those associated with butch-femme sex and AIDS activism and caretaking.An Archive of Feelings brings together oral histories from lesbian activists involved in act/up New York; readings of literature by Dorothy Allison, Leslie Feinberg, Cherrie Moraga, and Shani Mootoo; videos by Jean Carlomusto and Pratibha Parmar; and performances by Lisa Kron, Carmelita Tropicana, and the bands Le Tigre and Tribe 8. Cvetkovich reveals how these cultural formations---activism, performance, and literature---give rise to public cultures that both work through trauma and transform the conditions producing it. By looking closely at connections between sexuality, trauma, and the creation of lesbian public cultures, Cvetkovich makes those experiences that have been pushed to the peripheries of trauma culture the defining principles of a new construction of sexual trauma-one in which trauma catalyzes the creation of cultural archives and political communities.About the Author: Ann Cvetkovich is Associate Professor of English at the University of Texas at Austin. She is the author of Mixed Feelings: Feminism, Mass Culture, and Victorian Sensationalism.

    unless a hero rides to her rescue. Book 2: Fighting Mac She's no sleeping beauty, but then he's no prince - just a biker warrior to the rescue. Book 3: Chasing Taz He lived his life one conquest at a time. She calculated her every move... until she met him. Book 4: Claiming Tiny Some rules are meant to be broken. Book 5: Saving Scout Nothing worthwhile in life ever comes fast or easy.

    Among the many Things No One Will Tell Fat Girls that you don't want to miss:1. It's Possible to Love Your Body (Today. Now.)2. You Can Train Your Brain to Play Nice3. Your Weight Is Not a Reflection Of Your Worth4. Changing Your Tumblr Feed Will Change Your Life5. Salad Will Not Get You to Heaven6. Cheesecake Will Not Send You to HellWith her trademark wit, honesty, and rallying spirit, veteran blogger and advocate Jes Baker makes the case for embracing a body-positive worldview, changing perceptions about weight, and making mental wellness a priority. Alongside notable guest essayists, Baker calls on all people to reject fat prejudice, fight body-shaming at the hands of marketing and media, and join the life-changing movement with one step: change the world by loving your body. If you're a person with a body, this book is for you.

    But when a charmed, beautiful boy called Perseus arrives on the island, her lonely existence is disrupted with the force of a supernova, unleashing desire, love, betrayal . and destiny itself.Filled with glorious full-colour illustrations by award-winning Olivia Lomenech Gill, this astonishing retelling of Greek myth is perfect for readers of Circe and The Silence of the Girls. Illuminating the girl behind the legend, it brings alive Medusa for a new generation.

    Judy Chicago made us reassess the female body, Faith Ringold taught us that feminism is for everyone, Ana Mendieta was a martyr to violence against women, while the Guerilla Girls have taken the fight to the male-dominated museum. This graphic novel tells each of their stories in a unique style.

    And while art criticism is ubiquitous in newspapers, magazines, and exhibition brochures, it is also virtually absent from academic writing. How is it that even as criticism drifts away from academia, it becomes more academic? How is it that sifting through a countless array of colorful periodicals and catalogs makes criticism seem to slip even further from our grasp? In this pamphlet, James Elkins surveys the last fifty years of art criticism, proposing some interesting explanations for these startling changes."In What Happened to Art Criticism?, art historian James Elkins sounds the alarm about the perilous state of that craft, which he believes is 'In worldwide crisis . . . dissolving into the background clutter of ephemeral cultural criticism' even as more and more people are doing it. 'It's dying, but it's everywhere . . . massively produced, and massively ignored.' Those who pay attention to other sorts of criticism may recognize the problems Elkins describes: 'Local judgments are preferred to wider ones, and recently judgments themselves have even come to seem inappropriate. In their place critics proffer informal opinions or transitory thoughts, and they shy from strong commitments.' What he'd like to see more of: ambitious judgment, reflection about judgment itself, and 'criticism important enough to count as history, and vice versa.' Amen to that."—Jennifer Howard, Washington Post Book World

    You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.