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A History of Young People in the West: Stormy evolution to modern times
However swiftly it passes, youth is always with us, a perpetual passing phase, an apprenticeship to the myriad ways of the world, subject of panegyrics and diatribes, romances and cautionary tales from antiquity to our day. This two-volume history is the first to present a comprehensive account of what youth has been in the West and what it has meant through the ages. Brought together by Giovanni Levi and Jean-Claude Schmitt, a company of gifted historians and social scientists traces the changing character and status of young people from the gymnasia of ancient Greece to the lycées of modern France, from the sweatshops of the industrial revolution to the crucibles of Nazi youth. Monumental...
The Barbarian Invasions
How the history of art begins with the myth of the barbarian invasion—the romantic fragmentation of classical eternity. The history of art, argues Éric Michaud, begins with the romantic myth of the barbarian invasions. Viewed from the nineteenth century, the Germanic-led invasions of the Roman Empire in the fifth century became the gateway to modernity, seen not as a catastrophe but as a release from a period of stagnation, renewing Roman culture with fresh, northern blood—and with new art that was anti-Roman and anticlassical. Artifacts of art from then on would be considered as the natural product of “races” and “peoples” rather than the creation of individuals. The myth of th...
The Cult of Art in Nazi Germany
The Cult of Art in Nazi Germany presents a new interpretation of National Socialism, arguing that art in the Third Reich was not simply an instrument of the regime, but actually became a source of the racist politics upon which its ideology was founded. Through the myth of the "Aryan race," a race pronounced superior because it alone creates culture, Nazism asserted art as the sole raison d'être of a regime defined by Hitler as the "dictatorship of genius." Michaud shows the important link between the religious nature of Nazi art and the political movement, revealing that in Nazi Germany art was considered to be less a witness of history than a force capable of producing future, the actor capable of accelerating the coming of a reality immanent to art itself.
A History of Art History
"In this authoritative book, the first of its kind in English, Christopher Wood tracks the evolution of the historical study of art from the late middle ages through the rise of the modern scholarly discipline of art history. Synthesizing and assessing a vast array of writings, episodes, and personalities, this original and accessible account of the development of art-historical thinking will appeal to readers both inside and outside the discipline. The book shows that the pioneering chroniclers of the Italian Renaissance--Lorenzo Ghiberti and Giorgio Vasari--measured every epoch against fixed standards of quality. Only in the Romantic era did art historians discover the virtues of medieval ...
Empathic Vision
This book analyzes contemporary visual art produced in the context of conflict and trauma from a range of countries, including Colombia, Northern Ireland, South Africa, and Australia. It focuses on what makes visual language unique, arguing that the "affective" quality of art contributes to a new understanding of the experience of trauma and loss. By extending the concept of empathy, it also demonstrates how we might, through art, make connections with people in different parts of the world whose experiences differ from our own. The book makes a distinct contribution to trauma studies, which has tended to concentrate on literary forms of expression. It also offers a sophisticated theoretical analysis of the operations of art, drawing on philosophers such as Gilles Deleuze, but setting this within a postcolonial framework. Empathic Vision will appeal to anyone interested in the role of culture in post-September 11 global politics.
Hypnoses
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La vie moderne
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Traces of Modernism
Die Krise der Moderne und der auf sie antwortende Modernismus markieren den Übergang vom 19. zum 20. Jahrhundert. Im Ersten Weltkrieg und den sich an ihn anschließenden Revolutionen manifestierten sie sich auf dramatische Weise. Dieses Buch geht den Beziehungen zwischen den neuen sozialen und politischen Entwürfen dieser Zeit - Planungsdenken, Neuer Mensch, totaler Staat - und den künstlerisch-intellektuellen Avantgarden nach, vom italienischen Futurismus über das Bauhaus bis hin zu deren sowjetischen Pendants. Im Zentrum steht dabei die Maschine, die zum Schlüsselbegriff des Modernismus wurde.
Anti-Semitism and Psychiatry
Following World War II and the exposure of the concentration camps, psychiatry turned its attention to a vast range of cultural concerns with results that seemed to indicate a decline of stigma over time. However, it is now clear that whatever drives prejudices, especially in the case of anti-Semitism, was just dormant and perhaps not fully understood. Hate crimes and anti-Semitism broad recently re-emerged in Europe, and the United States followed shortly thereafter. The US Federal Bureau of investigation reports that New York City, which is still considered the most Jewish-friendly region in the US, experienced a 22% spike in anti-Semitic hate crimes in 2018 alone, with more extremes in ot...
Painters in the Theater of the European Avant-garde
The early decades of the 20th century saw unprecedented cooperation between the performing and visual arts. Painters and other visual artists working in a variety of avant-garde styles, such as Cubism, Surrealism, Dadaism, Constructivism, and Futurism, worked in the world of theater and dance throughout Europe, creating masterpieces inspired by the explosion of creativity in the performing arts, from the ballets of Diaghilev and Balanchine to the plays of the Russian Meierkhol'd and Futurists such as Marinetti, and operas by the likes of Wagner and Offenbach. It was this burst of integration that led to the formulation of the idea of the "Total Art Creation," (a term coined by Wagner), and enriched both the theater and the visual arts. This handsome volume, published on the occasion of a major exhibition at the Reina Sophia Museum in Madrid, examines these avant-garde experiments in fusion between the arts with extensive color illustrations by virtually every major painter of the period: artists like Picasso, Kandinsky, Leger, and others, as well as in-depth essays on several of the performing art forms and the ways they involved visual artists in their production.
