Degas in New Orleans

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P. Huerre, M. Pagan-Reymond, J.M. Reymond

L'enfance, l'âge adulte, la vieillesse existent assurément. Mais l'adolescence? S'agit-il d'un passage obligé, fatal, ou bien, au contraire, d'un phénomène socio-culturel qui reflète tous les signes du malaise de plus en plus visible d'un monde en mutation? L'adolescence est, en effet, un concept récent dans l'histoire des hommes. Les sociétés primitives ne le connaissent pas et des sociétés très évoluées -la Grèce, Rome, la France du Moyen Age et des Temps modernes- l'ont ignoré. Mettant en évidence le caractère relatif et artificiel de cet entre-deux-âges par l'observation de ses manifestations et de ses avatars au fil des temps, depuis l'Antiquité jusqu'à nos jours, cet essai montre que l'on assiste à une mise en scène de l'adolescence où ce sont tour à tour (ou simultanément) la nature, l'Etat, la famille, la religion, l'économie, la démographie, les concepts éducatifs ... qui lui décrivent son rôle.

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Michael C. Fitzgerald

Picasso's stature as the foremost artist of this century is inseparable from his profound engagement with the art market. In making modernism, Michael C. Fitzgerald illustrates how Picasso enhanced his reputation in the art world - and in so doing transformed that world - by adroitly orchestrating the commercial presentation of his work. Drawing on previously unpublished correspondence between Picasso and his dealers and museum curators. Fitzgerald follows the artist from his search for a gallery in Paris through his acceptance by the renowned dealers Paul Rosenberg and Georges Wildenstein to the acclaimed 1939 retrospective of his work at the museum of modern art in New York. As a leader of the avant-garde, Picasso was a model for other artists, and Fitzgerald's analysis of his commercial strategies reveals the modern-art market to be no mere site of exchange but the dynamo of the art world, where critics, collectors, and curators join with artists and dealers to confer artistic standing. Rich in anecdote and observation, Making Modernism is a groundbreaking book, one that changes our view of the artist's studio, the dealer's gallery, and the world's great museums - indeed, our view of art itself.

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Josh Weil

Three linked novellas explore the private worlds of three men--a farmer struggling after his father's suicide, a single dad trying to control his overweight daughter, and a mentally disabled man in love with a married woman intent on using him.

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Ann Laura Stoler

"A milestone in U.S. historiography, Haunted by Empire brings postcolonial critiques to bear on North American history and draws on that history to question the analytic conventions of postcolonial studies. The contributors to this innovative collection examine the critical role of "domains of the intimate" in the consolidation of colonial power. They demonstrate how the categories of difference underlying colonialism -- the distinctions advanced as the justification for the colonizer's rule of the colonized -- were enacted and reinforced in intimate realms from the bedroom to the classroom to the medical examining room. Together the essays focus attention on the politics of comparison -- on how colonizers differentiated one group or set of behaviors from another -- and on the circulation of knowledge and ideologies within and between imperial projects. Ultimately, this collection forces a rethinking of what historians choose to compare and of the epistemological grounds on which those choices are based. Haunted by Empire includes Ann Laura Stoler's seminal essay "Tense and Tender Ties" as well as her bold introduction, which carves out the exciting new analytic and methodological ground animated by this comparative venture. The contributors engage in a lively cross-disciplinary conversation, drawing on history, anthropology, literature, philosophy, and public health. They address such topics as the regulation of Hindu marriages and gay sexuality in the early-twentieth-century United States; the framing of multiple-choice intelligence tests; the deeply entangled histories of Asian, African, and native peoples in the Americas; the racial categorizations used in the 1890 U.S. census; and the politics of race and space in French colonial New Orleans. Linda Gordon, Catherine Hall, and Nancy F. Cott each provide a concluding essay reflecting on the innovations and implications of the arguments advanced in Haunted by Empire."--Page 4 of cover.