"Sexual inequality is a prominent feature of both Western and Islamic societies, but underlying concepts of female sexuality in Christian and Muslim traditions are very different, and the pattern of heterosexual relation in Muslim countries is probably unique. In Beyond the Veil, Fatima Mernissi argues that the Islamic view of women as active sexual beings resulted in stricter regulation and control of women's sexuality, which Muslim theorists classically regarded as a threat to civilized society. The requisites of modernization, however, are incompatible with traditional Muslim structures, and the ensuing contradictions now pervade nearly all Muslim countries. Drawing on popular source materials, Mernissi explores the disorienting effects of modern life on male-female relations, looks at the male-female unit as a basic element of the structure of the Muslim system, and shows us the sexual dynamics of the Muslim world. Regarded as a classic book in the United States, Beyond the Veil has never been available in Britain. This revised and updated version finally fills that gap."--Publisher's description.
Wong Changxing, a rich Chinese powerbroker, has just been bilked out of $100 million in an elaborate art forgery con. His one hope of recovering the money, and of saving face, is Ava Lee--a forensic accountant with a talent for tracking down untraceable funds. With the help of her mentor, the Triad-connected Uncle, Ava traces the provenance of the meticulously forged paintings to Denmark, the Faroe Islands, New York, and London. As she infiltrates one of the most prestigious auction houses in the world, she uncovers a massive web of corruption, where high art and high-stakes fraud threaten more than just her client's business--this is one scam that could get her killed. Ava Lee is one of the most scintillating, unique heroines to come along in years.
"A dazzling contemporary novel that interweaves the lives of a Russian mistress and the young French painter who falls in love with her. Set in the South of France, London, and Paris, a gorgeous, innocent mistress of a Russian oligarch gradually finds independence via her own efforts and through her friendship with the artist son of a world-renowned painter and his devoted muse/now restaurateur mother, reminiscent of Picasso and La Colombe D'or in St-Paul-de-Vence. A glamorous, elegant story that will resonate with Steel's audience, with an element of intrigue that will keep readers turning the pages"--
"Griselda Pollock, in seeking to understand her own paradoxical role as critic and historian, has established not only a social and historical framework for her practice, but also a self-critical one. Internationally, Pollock is recognized as a significant writer on art and arguably the most important voice in feminist art history in Britain. She has also become a significant force in the area of Cultural Studies and is widely read by those outside the discipline of Art History. In this selection of recent essays, she insightfully engages all major areas of contemporary theory, especially focusing on sexed subjectives, post-colonialism and Marxist-informed history." "Penny Florence, in her commentary, places Pollock's critique of Modernism, art history and criticism within the context of the social, political and ideological developments that have taken place since the 1970s."--BOOK JACKET.
In January 1987, archaeologist and museum curator Dr. Walter Alva was asked to examine a collection of strange artifacts found in the home of a poor grave robber on Peru's remote north coast. The subsequent police inquiry traced the cache to an ancient pyramid at Sipan, where looters had plundered a royal tomb of a little-known civilization called the Moche. This ransacking of the New World's richest archaeological discovery devastated Alva, who had been conducting a. Ten-year crusade to protect Peru's monuments of the past. What he did not know was that the looted artifacts had already been smuggled out of Peru and into England for re-transport to Los Angeles, where they would be sold to wealthy art collectors and dealers. At Sipan itself, the police, fearing for his safety, were demanding that Alva abandon his search for objects the looters might have missed. His own colleagues were also urging him to leave, believing he was wasting. Precious resources on an excavation doomed to failure. In the midst of this crisis, Christopher Donnan, the world's most respected Moche scholar, arrived with much-needed cash, supplies, and encouragement, along with the news that the precious artifacts were already in the hands of collectors and dealers. Donnan's information proved correct, for in the months to come, looted artifacts reached the hands of Los Angeles Museum of Art trustee Ben Johnson and Nobel. Prize-winning physicist Murray Gell-Man. In fact, many of the objects would soon go on display at the prestigious Santa Barbara Art Museum. Meanwhile, U.S. Customs agents had begun an investigation into the smuggling operation, and in March 1988, their unprecedented seizure of pre-Columbian antiquities sent shock waves through the art world. When reports of the raid reached Peru, Alva was having a celebration of his own. The pyramid at Sipan was not the burial place of a. Single Moche lord but was, like the Valley of Kings of ancient Egypt, a necropolis containing many lords. At least three tombs, richer in gold and silver than any other site excavated in the Americas, remained intact. To protect their discovery, Alva and his men put down their shovels and picked up guns, confronting the looters and winning their support. Police and Customs agents, however, were much less successful in their efforts to gain the return of the stolen. Artifacts. A controversial U.S. court decision resulted in the forfeiture to Peru of only 250 of the nearly 3,000 precious objects seized by the police. But an important precedent was set, serious questions were raised about private ownership of national treasures, and the first conviction in U.S. history for smuggling pre-Columbian art was obtained.
Beyond the veil by Fatima Mernissi | Literally Just Books
