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In 1957 Yves Klein took out a patent on a certain blue, an intense brilliant ultramarine which he called International Klein Blue (IKB). His apparently identical monochrome paintings were made with sponges or rollers or, in a series known as Anthropometries, with what he called 'living brushes' -- models soaked in blue paint who pressed themselves against sheets of paper. Klein was a major figure in the French Nouveaux Realistes group and had a profound influence on contemporary art, in particular Conceptual art, Body art, happenings and performance -- a 1960 photograph, Leap into the Void, shows Klein apparently jumping head first from the roof of a house. His death in 1962 robbed the art world of one of its most brilliant stars. He was just 34. This lavishly illustrated monograph spans Klein's entire career, and includes many unpublished documents and rare and famous pieces, all put into context by the philosophical aspect of his work -- reflections on the future, the relationship between man and the cosmos, and the void.
The term ‘overtourism’ has come into prominence since 2017 and refers to the fact that, due to various factors such as more sophisticated marketing strategies, a large number of tourists visit the same place at the same time. The consequences are felt by the locals, the tourists themselves as well as the environment. As a result, tourismphobia and anti-tourism movements have emerged as ways for locals to reclaim their lifestyle by refusing to interact with visitors and sometimes discouraging them to visit. This book presents new research on this emerging phenomenon and discusses the main causes and implications before putting forward possible solutions. The authors take an interpretivist approach in order to unveil aspects of overtourism that have not yet been discussed. It provides case studies and explores topics such as tourism education, overtourism of cultural and heritage sites, and the need for sustainable tourism development.
Focusing on the Paris book world of this period, Allen reveals how the rise of a new popular literature—jolly chansonniers, the roman-feuilletons or serial novels, melodramas, gothic and sentimental novels, dramatic nationalistic histories—by such authors as Dumas, Sand, Lamennais, Ancelot, Desnoyer, and de Kock coincided with remarkable developments in the production, distribution, and consumption of books. Allen's research ranges from a survey of the then-popular romantic titles and authors and the trade catalogs of booksellers and lending libraries, to the police records of their activities, diaries and journals of working people, and military conscript records and ministerial literacy statistics. The result is a remarkable picture of the exchange between elite and popular culture, the interaction between ideas and their material reality, and the relationship between the literature and the history of France in the romantic period.