Animals into Art
Author: Howard Morphy
This book is one of a series of volumes resulting from the World Archaeological Congress, September 1986 which addressed world archaeology in its widest sense, investigating how people lived in the past and how and why changes took place to result in the forms of society and culture which exist now. The series brought together archaeologists and anthropologists from many parts of the world, academics from contingent disciplines, and also non-academics from a wide range of cultural backgrounds who could lend their own expertise to the discussions. This book is an exploration of the way in which the animal world features in the works of art of a variety of cultures of different times and places. Contributors have adopted a variety of perspectives for looking at the complex ways in which past and present humans have interrelated with beings they classify as animals. Some of the approaches are predominantly economic and ecological, some are symbolic and others philosophical or theological. All these different views are included in the interpretation of the artworks of the past, revealing some of the foci and inspirations of cultural attitudes to animals. Originally published 1989.
"Art in the Service of Colonialism sharpens debates and causes reconsideration of assumptions about the nature of colonial power in its relation to visual culture. It will interest art historians, historians of North Africa and the Middle East, and students of colonialism, postcolonialism, cultural studies, and popular culture."--Jacket.
How did the French Revolution change ordinary lives? "Bureaucrats and Bourgeois Society" asks this question in relation to office clerks working in Parisian administrations. Under new masters, these clerks faced radical changes to work practices as reforming politicians looked to implement new 'administrative science'. Many also faced the loss of family inheritances, as positions no longer passed down from father to son. Clerks were now expected to make their career as individuals. In practice, this meant increased job insecurity. Administrators lived under the threat of regular cuts in pay and of personnel. In this situation, some believed that the way to get ahead was by playing office politics. In the early nineteenth century, however, clerks mitigated their situation by modifying occupational practices. Inside the offices, they settled new modes of judging individual merit. Outside, they accumulated other forms of individual credit, in the process helping to define nineteenth-century bourgeois social capital, ideals of emulation, honor, and masculinity. Job insecurity, however, continued to set 'bureaucrats' apart from the bourgeoisie and their social identity came under question during the July Monarchy and 1848 Revolution.
The International Federation of Library Associations and Institutions (IFLA) is the leading international body representing the interests of library and information services and their users. It is the global voice of the information profession. The series IFLA Publications deals with many of the means through which libraries, information centres, and information professionals worldwide can formulate their goals, exert their influence as a group, protect their interests, and find solutions to global problems.
Author: Philippe Dubé, Marcel Baril, David Karel, Philippe Baylaucq
Publisher: Presses Université Laval
Itinéraire de Marcel Baril, peintre né à Warwick au coeur du Québec, qui s'installa à Paris à partir de 1954. [SDM].
Includes entries for maps and atlases.
Commises lors de l'invasion allemande en 1914, les - atrocites culturelles - telles que l'incendie de la bibliotheque de Louvain et le bombardement de la cathedrale de Reims ont souleve de vives protestations dans le monde entier. Les autorites allemandes, accusees de - barbarie -, y ont repondu en instaurant a l'automne 1914 le "Kunstschutz," un service de protection des oeuvres d'art au sein des armees, d'abord en Belgique occupee, puis en 1916 dans le nord de la France. Francais et Belges ont toujours emis des doutes quant a l'intention reelle de ce service, dont l'objectif affiche etait de - preserver l'art de l'ennemi -. En revanche, en Allemagne, on l'a presente jusqu'a peu sous un jour unanimement favorable. Mais quels etaient ses veritables objectifs: protection, propagande ou spoliation ? Qui etaient ses instigateurs et ses acteurs, et quelles etaient leurs motivations ? Ses multiples activites ont-elles produit des effets ? A partir de sources allemandes, francaises et belges pour la plupart inedites, l'ouvrage tente de repondre a ces questions en deconstruisant les memoires nationales dans une perspective comparative et selon une structure a la fois chronologique et thematique. Une histoire croisee qui fait dialoguer le regard de l'occupant avec celui de l'occupe, afin de mettre en evidence la complexite et les ambivalences de ces realites."