骗子! The Politics of Art Criticism in New York City’s Penny Press，作者:温迪·简·卡茨, 1988 (福特汉姆大学出版社). Approximately 300 daily and weekly newspapers flourished in New York before the Civil War. 这些报纸中的大多数, even those that proclaimed independence of party, were motivated by political conviction and often local conflicts. Their editors and writers jockeyed for government office and influence. Political infighting and their related maneuvers dominated the popular press, and these political and economic agendas led in turn to exploitation of art and art exhibitions.
骗子 追踪关系, 阶级仇恨, 性别偏见, and racial projections that drove the terms of art criticism, from the emergence of the penny press to the Civil War.
The inexpensive “penny” papers that appeared in the 1830s relied on advertising to survive. Sensational stories, satire, and breaking news were the key to selling papers on the streets. 对地方政客的报道, 市场, 犯罪, 和个性, 包括艺术家和艺术展览, 成了报纸的命脉. 这些廉价的纸张, though unquestionably part of the period’s expanding capitalist economy, 提供社会主义者, 工薪阶层, 波希米亚人, and utopianists a forum in which they could propose new models for American art and society and tear down existing ones.
Arguing that the politics of the antebellum press affected the meaning of American art in ways that have gone unrecognized, 骗子 covers the changing politics and rhetoric of this criticism. Katz demonstrates how the penny press’ drive for a more egalitarian society affected the taste and values that shaped art, and how the politics of their art criticism changed under pressure from nativists, 废奴主义者, 和扩张主义者. Katz is a professor of art history at the University of Nebraska-Lincoln, 自1998年以来她在哪里教书. 她还创建了一个相关的 网站 of primary sources that might be of interest to readers, with hundreds of items from penny papers.
Demythologizing Revelation: A Critical Continuation of Rudolf Bultmann’s Project，切斯特·奥戈尔曼(Chester O ' gorman)， 2000年 (堡垒学术). 启示是什么?? 在20世纪, radical theologian Rudolf Bultmann sought an answer by demythologizing scripture and Christian tradition. Most philosophers and theologians agree that he failed adequately to demythologize revelation through his notion, 的keryg-ma. 去神话化启示录, 奥戈尔曼纠正了这个缺点, demythologizing Jesus Christ as revelation through the philosophy of Slavoj Žižek. 得到著名思想家的支持, he proffers a non-supernatural account and theory of revelation. This theory enables both Christians and atheists to identify sites of revelation today so that all might better understand and participate in its ongoing liberation of humanity from sin and oppression, 为了所有的创造物. O’Gorman (formerly Chester Barber) is adjunct instructor at St. 圣凯瑟琳大学. 保罗,明尼苏达州.
《正规博彩十大网站排名推荐》 迈克·纽曼1962年写的 (Kindle Direct Publishing). Newman moved with his family from Palm Springs to Las Vegas in the mid-1950s, when his father was hired to work at the Nevada Nuclear Test Site. He would later work for 22 years at the Dunes hotel and casino, a fixture of the Las Vegas Strip from 1955 until its implosion in 1993. From the atomic explosions of the 1950s until the hotel implosions of the 1990, Newman intertwines the history of a tenacious town with his own experiences as a dealer and educator. “In this great game of chance and change,他写道。, “does growth get the final flop or does history have the hole card?” Newman lives with his wife, Paula, in Las Vegas.
烧掉它! Feminist Manifestos for the Revolution, 作者:Breanne Fahs ' 01 (反面书). 宣言——愤怒和匮乏, quarreling and provoking—has always played a central role in feminism. Its urgent rawness—the bleeding edge of rage and defiance —ignites new and revolutionary possibilities. In this landmark collection spanning three centuries and four waves of feminist activism and writing, 烧掉它! is a testament to what is possible when women are driven to the edge. Collecting over 75 manifestos from around the world with titles like “Double Jeopardy: To Be Black and Female,” The Manifesto of Apocalyptic Witchcraft,和《十大正规网赌平台》,” Fahs argues that we need manifestos with their insistence that we have to act now. She is professor of women and gender studies at Arizona State University in Glendale, Ariz.
听听这个: 当代民歌创作歌手
Terry Kitchen ' 81 返回
下次见面 (城市营火记录), a new collection that blurs the line between personal and political, just like real life has a way of doing. His songs range from gently driving bluegrass (“Melanie,” “How Many Horses”) to midnight confessional (“The Times We Almost Kissed”) to protest folk (“Party on the Roof,“白肺”). The heart of the record is a trio of songs about the recent loss of a childhood friend, 音乐家比尔·库尔曼(
右图是和基钦在一起), “and our inability to accept that we only get one chance at life,” says Kitchen. His chiming guitar and intimate vocals are joined by Rebecca Lynch ’81, who contributes harmony. Kitchen lives with his wife and cat in Boston. (点击
在这里 观看Kitchen的“后covid”, socially distanced video" for "How Many Horses," featuring Lynch and other Oxy classmates.)
