In The Anti-Aesthetic, preeminent critics such as Jean Baudrillard, Rosalind Krauss, Fredric Jameson, and Edward Said consider the full range of postmodern cultural production, from the writing of John Cage, to Cindy Sherman's film stills, to Barbara Kruger's collages. With a redesigned cover and a new afterword that situates the book in relation to contemporary criticism, The Anti-Aesthetic provides a strong introduction for newcomers and a point of reference for those already engaged in discussions of postmodern art, culture, and criticism. Includes a new afterword by Hal Foster and 12 black and white photographs.

    Craig, author of several distinguished books including The Politics of the Prussian Army 1640-1945 ('55), has written a magisterial history of Germany from Prussia's 1866 triumph over Austria at Koeniggroetz to the destruction of the 3rd Reich in 1945. His story focuses upon the two dominating personalities of the period: Bismarck, the "great star" whose genius & penetration are undeniable, but whose achievement "had its 'night side' as well as its 'day side,'" & Hitler, who, unlike the Iron Chancellor, was "sui generis a force without a real historical past." Craig agrees with Dahrendorf (Society & Democracy in Germany) that, paradoxically, it was precisely because he lacked roots in tradition that Hitler could destroy the major obstacle to its progress towards a liberal modernity--"the conservative-militaristic concern that had dominated politics in the Wilhelmine period, done everything possible to shorten the life of the Weimar Republic & elevated him to power in 1933." The concentration on these two figures in no way represents a failure to appreciate institutional, economic & social factors of development. A major part of the story--the place & treatment of women under the Empire, Weimar & Hitler--receives an overdue coherent treatment as do religion & education. Craig (J.E. Wallace Sterling Professor of the Humanities, Stanford) displays an equally keen appreciation of the role of culture. In particular, he forcefully portrays the flight from political responsibility which was characteristic of most artists & intellectuals under the Empire & which marred the splendid cultural achievements of Weimar as well. The combination of his learning with his gracefully lucid style has yielded a work of historical synthesis more readable & better organized than any book of comparable scope.--Kirkus (edited)

    He eagerly listened as the soundman placed the needle down, only to find that through the tubes he held to his ears came the chilling sounds of a lynching. In this story, with its blend of new technology and old hatreds, genteel picnic and mob violence, Edward Ayers captures the history of the South in the years between Reconstruction and the turn of the century--a combination of progress and reaction that defined the contradictory promise of the New South. Ranging from the Georgia coast to the Tennessee mountains, from the power brokers to tenant farmers, Ayers depicts a land of startling contrasts--a time of progress and repression, of new industries and old ways. Ayers takes us from remote Southern towns, revolutionized by the spread of the railroads, to the statehouses where Democratic Redeemers swept away the legacy of Reconstruction; from the small farmers, trapped into growing nothing but cotton, to the new industries of Birmingham; from abuse and intimacy in the family to tumultuous public meetings of the prohibitionists. He explores every aspect of society, politics, and the economy, detailing the importance of each in the emerging New South. Here is the local Baptist congregation, the country store, the tobacco-stained second-class railroad car, the rise of Populism: the teeming, nineteenth-century South comes to life in these pages. And central to the entire story is the role of race relations, from alliances and friendships between blacks and whites to the spread of Jim Crow laws and disenfranchisement. Ayers weaves all these details into the contradictory story of the New South, showing how the region developed the patterns it was to follow for the next fifty years. When Edward Ayers published Vengeance and Justice, a landmark study of crime and punishment in the nineteenth-century South, he received wide acclaim. Now he provides an unforgettable account of the New South--a land with one foot in the future and the other in the past.

    Rodriguez argues that America has been brown since its inception-since the moment the African and the European met within the Indian eye. But more than simply a book about race, Brown is about America in the broadest sense-a look at what our country is, full of surprising observations by a writer who is a marvelous stylist as well as a trenchant observer and thinker.

    He insists that the problems of vision are inseparable from the operation of social power and examines how, beginning in the 1820s, the observer became the site of new discourses and practices that situated vision within the body as a physiological event. Alongside the sudden appearance of physiological optics, Crary points out, theories and models of "subjective vision" were developed that gave the observer a new autonomy and productivity while simultaneously allowing new forms of control and standardization of vision.Crary examines a range of diverse work in philosophy, in the empirical sciences, and in the elements of an emerging mass visual culture. He discusses at length the significance of optical apparatuses such as the stereoscope and of precinematic devices, detailing how they were the product of new physiological knowledge. He also shows how these forms of mass culture, usually labeled as "realist," were in fact based on abstract models of vision, and he suggests that mimetic or perspectival notions of vision and representation were initially abandoned in the first half of the nineteenth century within a variety of powerful institutions and discourses, well before the modernist painting of the 1870s and 1880s.

    In "Song of Herself", Kahlo expert and child psychiatrist Salomon Grimberg introduces and contextualizes an intimate, deeply introspective interview that Kahlo gave towards the end of her life to her friend the psychologist Olga Campos for an unpublished book on the creative process. Kahlo comments directly and starkly as never before on her life, her loves and her art, and expresses her attitudes towards sexuality, her body, friendship, politics and death, among other personal concerns.The most revealing autobiographical text known on this singular woman, this startling interview is accompanied here by Campos' reflections on her relationship with Kahlo and a psychological assessment of Kahlo by Dr James Bridger Harris. The book is illustrated with selected photographs and works by Kahlo, including previously unseen and rarely seen drawings.

    But I feel now that the time is come when even a woman or a child who can speak a word for freedom and humanity is bound to speak." Thus did Harriet Beecher Stowe announce her decision to begin work on what would become one of the most influential novels ever written. The subject she had hesitated to "meddle with" was slavery, and the novel, of course, was Uncle Tom's Cabin. Still debated today for its portrayal of African Americans and its unresolved place in the literary canon, Stowe's best-known work was first published in weekly installments from June 5, 1851 to April 1, 1852. It caused such a stir in both the North and South, and even in Great Britain, that when Stowe met President Lincoln in 1862 he is said to have greeted her with the words, "So you are the little woman who wrote the book that created this great war!" In this landmark book, the first full-scale biography of Harriet Beecher Stowe in over fifty years, Joan D. Hedrick tells the absorbing story of this gifted, complex, and contradictory woman. Hedrick takes readers into the multi-layered world of nineteenth-century morals and mores, exploring the influence of then-popular ideas of "true womanhood" on Stowe's upbringing as a member of the outspoken Beecher clan, and her eventful life as a writer and shaper of public opinion who was also a mother of seven. It offers a lively record of the flourishing parlor societies that launched and sustained Stowe throughout the 44 years of her career, and the harsh physical realities that governed so many women's lives. The epidemics, high infant mortality, and often disastrous medicalpractices of the day are portrayed in moving detail, against the backdrop of western expansion, the great social upheaval accompanying the abolitionist movement, and the entry of women into public life. Here are Stowe's public triumphs, both before and after the Civil War, and t

    The sea contains millions of species of animals and plants, but we have identified only a few thousand of them. The sea controls our planet's climate, but we do not really understand how. The sea is still the frontier, and yet it seems so familiar that we sometimes forget how little we know about it. Just as we are poised on the verge of exploiting the sea on an unprecedented scale—mining it, fertilizing it, fishing it out—this book reminds us of how much we have yet to learn. More than that, it chronicles the knowledge explosion that has transformed our view of the sea in just the past few decades, and made it a far more interesting and accessible place. From the Big Bang to that far-off future time, two billion years from now, when our planet will be a waterless rock; from the lush crowds of life at seafloor hot springs to the invisible, jewel-like plants that float at the sea surface; from the restless shifting of the tectonic plates to the majestic sweep of the ocean currents, Kunzig's clear and lyrical prose transports us to the ends of the Earth.Originally published in hardcover as The Restless Sea.

    When she wasn't stalking the streets of Greenwich Village wearing a brassiere made from tomato cans, she was enthusiastically declaiming her poems to sailors in beer halls or posing nude for Man Ray or Marcel Duchamp. In an era of brutal war, technological innovation, and cataclysmic change, the Baroness had resolved to create her own destiny -- taking the center of the Dadaist circle, breaking every bond of female propriety . . . and transforming herself into a living, breathing work of art.

    Moving from gospel to soul, funk to freestyle, Young sifts through the shadows, the bootleg, the remix, the grey areas of our history, literature, and music.

    First published ahead of its time, this book has become a classic.

    His work spans some sixty years and includes original work on a diverse range of subjects, from dialectical materialism to architecture, urbanism and the experience of everyday life. The Production of Space is his major philosophical work and its translation has been long awaited by scholars in many different fields. The book is a search for a reconciliation between mental space (the space of the philosophers) and real space (the physical and social spheres in which we all live). In the course of his exploration, Henri Lefebvre moves from metaphysical and ideological considerations of the meaning of space to its experience in the everyday life of home and city. He seeks, in other words, to bridge the gap between the realms of theory and practice, between the mental and the social, and between philosophy and reality. In doing so, he ranges through art, literature, architecture and economics, and further provides a powerful antidote to the sterile and obfuscatory methods and theories characteristic of much recent continental philosophy. This is a work of great vision and incisiveness. It is also characterized by its author's wit and by anecdote, as well as by a deftness of style which Donald Nicholson-Smith's sensitive translation precisely captures.

    An artist turned naturalist known for her botanical illustrations, she was born just sixteen years after Galileo proclaimed that the earth orbited the sun. But at the age of fifty she sailed from Europe to the New World on a solo scientific expedition to study insect metamorphosis—an unheard-of journey for any naturalist at that time, much less a woman. When she returned she produced a book that secured her reputation, only to have it savaged in the nineteenth century by scientists who disdained the work of “amateurs.” Exquisitely written and illustrated, Chrysalis takes us from golden-age Amsterdam to the Surinam tropics to modern laboratories where Merian’s insights fuel a new branch of biology. Kim Todd brings to life a seventeenth-century woman whose boldness and vision would still be exceptional today.

    But less than a century of unsustainable irrigation farming has taxed much of the aquifer beyond repair. The imminent depletion of the Ogallala and other aquifers around the world is a defining planetary crisis of our times. Running Out offers a uniquely personal account of aquifer depletion and the deeper layers through which it gains meaning and force.Anthropologist Lucas Bessire journeyed back to western Kansas, where five generations of his family lived as irrigation farmers and ranchers, to try to make sense of this vital resource and its loss. His search for water across the drying High Plains brings the reader face to face with the stark realities of industrial agriculture, eroding democratic norms, and surreal interpretations of a looming disaster. Yet the destination is far from predictable, as the book seeks to move beyond the words and genres through which destruction is often known. Instead, this journey into the morass of eradication offers a series of unexpected discoveries about what it means to inherit the troubled legacies of the past and how we can take responsibility for a more inclusive, sustainable future.An urgent and unsettling meditation on environmental change, Running Out is a revelatory account of family, complicity, loss, and what it means to find your way back home.

    The latest edition of this urban classic takes a fresh look at the architectural treasures that define New York -- from its most characteristic landmarks to its less famous local favorites.To prepare this edition -- the first revision since 1987 -- Norval White has visited and revisited more than 5,000 buildings, making this by far the most complete guide of its kind. This generously illustrated handbook presents the structures of the New York City--from the magnificent to the obscure -- in over 3,000 new photographs, more than 130 new maps, and hundreds of revised and new entries. Beyond the skyscrapers and historical buildings, the guide also leads the way to the city's bridges, parks, and public monuments.From the tip of the Empire State Building to the brownstones in Brooklyn, the AIA Guide to New York City reveals how the city's spirit, fortitude, and character are captured and expressed in its architecture. Thoughtful and humorous descriptions include fascinating bits of local information that bring the city's history to life, telling the stories behind the bricks and mortar. Together, the maps, photographs, and expert critiques invite you on a special grand tour of the city at your own pace.This guide is a definitive record of New York's architectural heritage and provides a compact, authoritative directory for lovers of New York City all over the world. Its portability and encyclopedic quality make it an ideal traveling companion for any walker in the city. For the sightseer, the architect, or anyone on a casual stroll, the AIA Guide to New York City is the book to grab on your way out the door.