by Alexandra Anderson-Spivy (1997)
Robert Kushner's aim as an artist has been "to please the eye and thereby satisfy the human soul." This magnificent new midcareer survey proves how well he has succeeded during twenty-five years that have included flamboyant early performance and fabric pieces; a period as a leader of the Pattern and Decoration movement; his return to the figure in the 1980s; up to his current concentration on flower and other still lifes of unmatched sensuality and opulence. These recent works celebrate the cycle of creation and destruction, the fruition, decay, and renewal that compose the eternal rhythm of natural life.
Giancarlo Fiorenza
"Examines the work of the Ferrarese court artist Dosso Dossi (c. 1486?-1542), with emphasis on his portrayal of ancient and vernacular subjects found in such works as Jupiter Painting Butterflies, Myth of Pan, Enchantress, and his frescoes of Aesop's fables"--Provided by publisher.
with an introductory essay by Victoria Salley
"Durer's drawings and watercolours show the artist at his most accessible, revealing his techniques and the masterly use of his media. No woodcut engravers, printers or apprentices come between Durer and the viewer. This contributes to the particular fascination of such sheets as The Large Piece of Turf or Hare. The introductory essay, portraying Durer as a passionate observer of his surroundings and an exceptionally gifted artist, is followed by thirty-five, high-quality reproductions of his most popular drawings and watercolours. Book jacket."--Jacket.
Mireille Blanchet-Douspis
L'influence de l'histoire contemporaine dans l'¿uvre de Marguerite Yourcenar propose de montrer que, loin d'e tre seulement un e crivain classique qui s'inte resse a l'histoire du passe , Marguerite Yourcenar ne cesse d'e voquer l'histoire contemporaine et en subit nettement l'influence. La confrontation avec les historiens re ve le que Le Labyrinthe du monde refle te avec fide lite les e ve nements politiques, les re alite s sociales et les mentalite s du XIXe me et du de but du XXe me sie cles. Dans la repre sentation des sie cles passe s se profilent tre s fre quemment les pre occupations que vivent les contempora.
Philip M. Weinstein
Faulkner has, for forty years, been canonized as a master of modern literature. Contemporary critical theory, however, calls into question the very terms of this claim--canon, mastery, literature. Faulkner's Subject: A Cosmos No One Owns seeks to offer a reading of William Faulkner for our time, and does so by rethinking his masterpieces through the lenses of current critical theory. The book attends equally to the power of his work and to the current theoretical issues that would call that power into question. Drawing on poststructuralist, psychoanalytic, ideological, and gender theory, Weinstein examines the harrowing process of "becoming oneself" at the heart of these novels. This self is always male, and it achieves subjective focus only through strategically mystifying or marginalizing women and blacks. The cosmos he called his own--the textual world he produced, of which he would be "sole owner and proprietor"--emerges as a cosmos no one owns, a verbal territory also generated (and biased) by the larger culture's discourses of gender and race. Like subjectivity itself, it is a cosmos no one owns.