She is a lover of art, the humanities, and the sciences. She is a novelist and a feminist. Her lively, lucid essays in A Woman Looking at Men Looking at Women begin to make some sense of those plural perspectives.Divided into three parts, the first section, “A Woman Looking at Men Looking at Women,” investigates the perceptual and gender biases that affect how we judge art, literature, and the world in general. Among the legendary figures considered are Picasso, De Kooning, Jeff Koons, Louise Bourgeois, Anselm Kiefer, Susan Sontag, Robert Mapplethorpe, the Guerrilla Girls, and Karl Ove Knausgaard.The second part, “The Delusions of Certainty,” is about the age-old mind/body problem that has haunted Western philosophy since the Greeks. Hustvedt explains the relationship between the mental and the physical realms, showing what lies beyond the argument—desire, belief, and the imagination.The final section, “What Are We? Lectures on the Human Condition,” discusses neurological disorders and the mysteries of hysteria. Drawing on research in sociology, neurobiology, history, genetics, statistics, psychology, and psychiatry, this section also contains a profound and powerful consideration of suicide.There has been much talk about building a beautiful bridge across the chasm that separates the sciences and the humanities. At the moment, we have only a wobbly walkway, but Hustvedt is encouraged by the travelers making their way across it in both directions. A Woman Looking at Men Looking at Women is an insightful account of the journeys back and forth.

    But who does it really belong to? Scripture, history, and contemporary politics add to the volatile conflict in the Middle East. Whose Promised Land?, now in a fully revised and updated fifth edition, provides an evenhanded approach to this complex dilemma. The book begins with the history of the territory, explaining the development of the conflict and the complexity of the issues. The second section surveys biblical teaching on the theme of the land, both from the Old Testament point of view and the perspective of Jesus and his followers. Building on the analysis of history and the biblical studies, the final part examines the major contemporary forces affecting the conflict today. Unlike many evangelical Christian books on the topic, Whose Promised Land? does not automatically assume a pro-Israel stance, but seeks to present an honest appraisal of modern Israel while clearly delineating the interrelated issues surrounding the crisis in the Middle East.

    

    The treachery is chilling. The fallout ongoing.This edition contains a new author note with shocking new material that has come to light as a result of the groundbreaking original publication.Investigative journalist Frank Walker's Maralinga is a must-read true story of the abuse of our servicemen, scientists treating the Australian population as lab rats and politicians sacrificing their own people in the pursuit of power.During the Menzies era, with the blessing of the Prime Minister, the British government exploded twelve atomic bombs on Australian soil. RAAF pilots were ordered to fly into nuclear mushroom clouds, soldiers told to walk into radioactive ground zero, sailors retrieved highly contaminated debris - none of them aware of the dangers they faced.But the betrayal didn't end with these servicemen. Secret monitoring stations were set up around the country to measure radiation levels and a clandestine decades-long project stole bones from dead babies to see how much fallout had contaminated their bodies - their grieving parents were never told. This chilling expose drawn from extensive research and interviews with surviving veterans reveals the betrayal of our troops and our country.'An amazing tale ? utterly gripping, it reads like a thriller' - Jon Faine, ABC Radio Melbourne 'This book will contribute to a much greater awareness and perhaps much more action on this issue' - Fran Kelly, ABC Radio National 'Walker demonstrates powerfully why, regardless of the context in which the testing took place, the emotional legacy of Maralinga will linger in the Australian psyche, just as do Gallipoli, Bodyline and Singapore. The cost in terms of damage to health, the environment and public trust in government will remain with us for generations to come' - The Australian'Shocking revelations?' - Margaret Throsby, Midday Interview, ABC Classic FM'An extraordinary story ? there are things here that would make your hair stand on end' - Philip Clark, ABC Radio Canberra 'This book should be on the school syllabus' - Andrew O'Keefe, Weekend Sunrise

    The Pixels of Paul Cezanne is a collection of essays by Wim Wenders in which he presents his observations and reflections on the fellow artists who have influenced, shaped, and inspired him."How are they doing it?" is the key question that Wenders asks as he looks at the dance work of Pina Bausch, the paintings of Cezanne, Edward Hopper, and Andrew Wyeth, as well as the films of Ingmar Bergman, Michelanelo Antonioni, Ozu, Anthony Mann, Douglas Sirk, and Sam Fuller.He finds the answer by trying to understand their individual perspectives, and, in the process revealing his own art of perception in texts of rare poignancy.

    Concise and original, this engaging book is an antidote to the behemoth art history textbooks from which we were all taught. As he demonstrates so persuasively, there can never be one story of art. Cultures have their own stories - about themselves, about other cultures - and to hear them all is one way to hear the multiple stories that art tells. But each of us also has our own story of art, a kind of private art history made up of the pieces we have seen, and loved or hated, the effects they had on us, and the connections that might be drawn among them.Elkins opens up the questions that traditional art history usually avoids. What about all the art not produced in Western Europe or in the Europeanized Americas? Is it possible to include Asian art and Indian art in 'the story?' What happens when one does? To help us find answers, he uses both Western and non-Western artworks, tables of contents from art histories written in cultures outside the centre of Western European tradition, and strangely wonderful diagrams of how artworks might connect through a single individual. True multiculturalism may be an impossibility, but art lovers can each create a 'story of art' that is right for themselves.

    Situations include these men in art and antiquity sharing keen insight on the female anatomy, an eloquent defense of catcalling, or offering sage advice about horseback riding to the woman who owns the horse and many more situations.

    From the Chinese New Year to April Fools' Day, Father's Day to Halloween, Christmas and New Year’s Eve - this book covers over 100 fun days, holidays, seasons and events, and offers simple lessons that will teach you how to draw like a pro and get you in the spirit of whichever season it may be! The third book in the How To Draw Cool Stuff series, this exciting new title will teach you how to create simple illustrations using basic shapes and a drawing technique that simplifies the process of drawing, all while helping you construct height, width and depth in your work. It will guide you through the creative thought process and provide plenty of ideas to get you started. The lessons in this book will also teach you how to think like an artist and remind you that you are only limited by your imagination!

    In Tudor, England, when Mary, Queen of Scots, was under house arrest, her needlework carried her messages to the outside world. From the political propaganda of the Bayeux Tapestry, World War I soldiers coping with PTSD, and the maps sewn by schoolgirls in the New World, to the AIDS quilt, Hmong story clothes, and pink pussyhats, women and men have used the language of sewing to make their voices heard, even in the most desperate of circumstances. Threads of Life is a chronicle of identity, protest, memory, power, and politics told through the stories of needlework. Clare Hunter, master of the craft, threads her own narrative as she takes us over centuries and across continents—from medieval France to contemporary Mexico and the United States, and from a POW camp in Singapore to a family attic in Scotland—to celebrate the age-old, universal, and underexplored beauty and power of sewing. Threads of Life is an evocative and moving book about the need we have to tell our story.

    Yet few of them are aware of the remarkable history of that place and of the buildings themselves—a fascinating story that historian James Gardner elegantly chronicles in the first full-length history of the Louvre in English.More than 7,000 years ago, men and women camped on a spot called Le Louvre for reasons unknown; a clay quarry and a vineyard supported a society there in the first centuries AD. A thousand years later, King Philippe Auguste of France constructed a fortress there in 1191, just outside the walls of a city far smaller than the Paris we know today. Intended to protect the capital against English soldiers stationed in Normandy, the fortress became a royal residence under Charles V two centuries later, and then the monarchy’s principal residence under the great Renaissance king François I in 1546. It remained so until 1682 when Louis XIV moved his entire court to Versailles. Thereafter the fortunes of the Louvre languished until the tumultuous days of the French Revolution when, during the Reign of Terror in 1793, it first opened its doors to display the nation’s treasures. Ever since—through the Napoleonic era, the Commune, two World Wars, to the present—the Louvre has been a witness to French history, and expanded to become home to a legendary collection, including such masterpieces as the Mona Lisa and Venus de Milo, whose often-complicated and mysterious origins form a spectacular narrative that rivals the building’s grand stature.

    Art has succumbed to the techniques of advertising and in politics, the battle for hearts and minds has become a mere convergence of opinion. TV ratings have triumphed over universal suffrage. The events of September 11 reflect both the manipulation of a global sub-proletariat and the delusions of an elite of rich students and technicians who resemble the ‘suicidal members of the Heaven’s Gate cybersect’. And, in this post-humanist dystopia, we are morally rudderless before the threat of biological manipulations as yet undreamt.About the series: Appearing on the first anniversary of the attacks on the World Trade Center and the Pentagon, these series of books from Verso present analyses of the United States, the media, and the events surrounding September 11 by Europe’s most stimulating and provocative philosophers. Probing beneath the level of TV commentary, political and cultural orthodoxies, and ‘rent-a-quote’ punditry, Baudrillard, Virilio, and Žižek offer three highly original and readable accounts that serve as fascinating introductions to the direction of their respective projects, and as insightful critiques of the unfolding events. This series seeks to comprehend the philosophical meaning of September 11 and will leave untouched none of the prevailing views currently propagated.

    Its aftermath lives on to this day.Nazism ascended by brute force and by cultural tyranny. Weimar Germany was a society in turmoil, and Hitler's rise was achieved not only by harnessing the military but also by restricting artistic expression. Hitler, an artist himself, promised the dejected citizens of postwar Germany a purified Reich, purged of "degenerate" influences.When Hitler came to power in 1933, he removed so-called "degenerate" art from German society and promoted artists whom he considered the embodiment of the "Aryan ideal." Artists who had produced challenging and provocative work fled the country. Curators and art dealers organized their stock. Thousands of great artworks disappeared--and only a fraction of them were rediscovered after World War II.In 2013, the German government confiscated roughly 1,300 works by Henri Matisse, George Grosz, Claude Monet, and other masters from the apartment of Cornelius Gurlitt, the reclusive son of one of Hitler's primary art dealers. For two years, the government kept the discovery a secret. In Hitler's Last Hostages, Mary M. Lane reveals the fate of those works and tells the definitive story of art in the Third Reich and Germany's ongoing struggle to right the wrongs of the past.

    1962) did not go to film school and hates being defined as an auteur. He prefers to see himself as a craftsman, dutifully going about the art and business of making film. Trouble is, it's hard to be self-effacing when you are the director responsible for Se7en, Fight Club, and The Social Network. Along with Quentin Tarantino, Fincher is the most accomplished of the Generation X filmmakers to emerge in the early 1990s.This collection of interviews highlights Fincher's unwavering commitment to his craft as he evolved from an entrepreneurial music video director (Fincher helped Madonna become the undisputed queen of MTV) into an enterprising feature filmmaker. Fincher landed his first Hollywood blockbuster at twenty-seven with Alien3, but that film, handicapped by cost overruns and corporate mismanagement, taught Fincher that he needed absolute control over his work. Once he had it, with Se7en, he achieved instant box-office success and critical acclaim, as well as a close partnership with Brad Pitt that led to the cult favorite Fight Club.Fincher became circumspect in the 2000s after Panic Room, shooting ads and biding his time until Zodiac, when he returned to his mantra that -entertainment has to come hand in hand with a little bit of medicine. Some people go to the movies to be reminded that everything's okay. I don't make those kinds of movies. That, to me, is a lie. Everything's not okay.- Zodiac reinvigorated Fincher, inspiring a string of films--The Curious Case of Benjamin Button, The Social Network, and The Girl with the Dragon Tattoo--that enthralled audiences and garnered his films dozens of Oscar nominations.