The book takes its lead from academic Annamaria Pagliaro’s experience straddling Australia and Italy over a thirty-year period. As both former colleagues and collaborators of Pagliaro, we editors intend to open a kaleidoscope of perspectives on the international research landscape in the fields of Italian and Anglophone studies, starting from Pagliaro’s own contribution to the creation of relations between the two cultures in the period that saw her work transnationally as Director of the Monash University Prato Centre (2005-2008).

The book takes its lead from academic Annamaria Pagliaro's experience straddling Australia and Italy over a thirty-year period. As both former colleagues and collaborators of Pagliaro, we editors intend to open a kaleidoscope of perspectives on the international research landscape in the fields of Italian and Anglophone studies, starting from Pagliaro's own contribution to the creation of relations between the two cultures in the period that saw her work transnationally as Director of the Monash University Prato Centre (2005-2008).

Providing a fresh perspective on an important but underappreciated group of late nineteenth-century French painters, this is the first book to provide an in-depth account of the Nabis' practice of the decorative, and its significance for twentieth-century modernism. Over the course of the ten years that define the Nabi movement (1890-1900), its principal artists included Edouard Vuillard, Pierre Bonnard, Maurice Denis, Paul S?sier, and Paul Ranson. The author reconstructs the Nabis' relationship to Impressionism, mass culture, literary Symbolism, Art Nouveau, Wagnerianism, and a revolutionary artistic tradition in order to show how their painterly practice emerges out of the pressing questions defining modernism around 1900. She shows that the Nabis were engaged, nonetheless, with issues that are always at stake in accounts of nineteenth-century modernist painting, issues such as the relationship of high and low art, of individual sensibility and collective identity, of the public and private spheres. The Nabis and Intimate Modernism is a rigorous study of the intellectual and artistic endeavors that inform the Nabis' decorative domestic paintings in the 1890s, and argues for their centrality to painterly modernism. The book ends up not only re-positioning the Nabis to occupy a crucial place in modernism's development from 1860 to 1914, but also challenges that narrative to place more emphasis on notions of decoration, totality and interiority.

What did it mean for people of colour to speak or write 'white'? More specifically, how many & what kinds of meaning could such 'white' writing carry? This work looks at how America has radicalized language & aesthetic achievement.

"With an eye to the rather insular, particular development and definition of feminism in Spain, the author recognizes that the twentieth century has been a period of great change for peninsular women authors. Her study of the creative compromises wrought by severe oppression followed by relative liberation, all within the context of Spain's specific religious and regional influences, illustrates the unique positioning of these women writers as shown through their female characters. While this is reflection of the current scholarship in Women's Studies (examining the feminist resonance of the construction of female identity through texts written by women about women), it is one that is in its first stages of development in Spanish criticism and has been primarily author-specific. Ellen C. Mayock's research provides a more panoramic view, so to speak, facilitating an overview of progression between trends, as opposed to a singular progression of a single author within the context of era- a very positive move that allows for full comprehension."--BOOK JACKET.

The codes of conduct imposed on females by Spain's dictator Francisco Franco after the Spanish Civil War (1936-39) created a stifling environment for women until his death in 1975. Beginning with Carmen Laforet's 1944 Nadal Prize-winning novel Nada, novels by women - many of which explore female identity - began to proliferate in Spain. The works examined in this study - Nada, Primera memoria (1960) by Ana Maria Matute, La placa del Diamant (1962) by Merce Rodoreda, Julia (1969) by Ana Maria Moix, El cuarto de atras (1978) by Carmen Martin Gaite, El amor es un juego solitario (1979) by Esther Tusquets, and Questio d'amor propi (1987) by Carme Riera - feature female protagonists struggling for self-realization and, by extension, for change in a restrictive Spanish society. Schumm's analysis of the seven novels demonstrates how examination of metaphoric tropes and mirror images provides insight into the protagonists' development.

Case studies that counter the idea of a transcendent art canon by demonstrating that the content of any and every canon is historically and culturally specific.

A reanalysis of Sand's major writing, ranging from her early short stories to her later fiction, which identifies her writing as an example of an aesthetic mode often associated with femininity. The study compares Sand's place in the history of the realist novel to that of her male counterparts.

"Two potent myths have traditionally defined our understanding of the artist Edvard Munch (1862-1944): he was mentally unstable, as his iconic work The Scream (1893) suggests, and he was radically independent, following his own singular vision. Becoming Edvard Munch: Influence, Anxiety, and Myth persuasively challenges these entrenched perceptions. In this book, Jay A. Clarke demonstrates that Munch was thoroughly in control of his artistic identity, a savvy businessman skilled in responding to the market and shaping popular opinion. Moreover, the author shows that Munch was keenly aware of the art world of his day, adopting motifs, styles, and techniques from a wide variety of sources, including many Scandinavian artists. By presenting Munch's paintings, prints, and drawings in relation to those of European contemporaries, including Harriet Backer, James Ensor, Vincent van Gogh, Max Klinger, Christian Krohg, and Claude Monet, Clarke reveals often surprising connections and influences. This interpretive approach, grounded in Munch's diaries and letters, period criticism, and the artworks themselves, reintroduces Munch as an artist who cultivated myths both visual and personal. Becoming Edvard Munch features beautiful color reproductions of approximately 150 works, including 75 paintings and 75 works on paper by Munch and his peers"--Book jacket.