It's been nearly a century since Marcel Duchamp exhibited a urinal and called it art. Since then, painting has been declared dead several times over, and contemporary art has now expanded to include just about any object, action, or event: dance routines, slideshows, functional hair salons, seemingly random accretions of waste. In the meantime, being an artist has gone from a join-the-circus fantasy to a plausible vocation for scores of young people in America. But why--and how and by whom--does all this art get made? How is it evaluated? And for what, if anything, will today's artists be remembered? In The Contemporaries, Roger White, himself a young painter, serves as our spirited, skeptical guide through this diffuse creative world.From young artists trying to elbow their way in to those working hard at dropping out, White's essential book offers a once-in-a-generation glimpse of the inner workings of the American art world at a moment of unparalleled ambition, uncertainty, and creative exuberance.

Offers an intimate look at the world of American contemporary art, looking at the schools, scenes, and artists through the eyes of a working artist.

This is a book on John Henry Newman's influence on some of the most fascinating characters of the 19th century - and their influence on him. No one in nineteenth-century England had a more varied circle of friends and contacts than John Henry Newman (1801-1890), the priest, theologian, educator, philosopher, poet and writer, who began his career as an Anglican, converted to Catholicism and ended his days a Cardinal. That he was also a leading member of the Oxford Movement, brought the Oratory to England, founded the Catholic University in Dublin and corresponded with men and women from all backgrounds from around the world made him a figure of enormous interest to his contemporaries. In this study of Newman's personal influence, Edward Short looks closely at some of Newman's relations with his contemporaries to show how this prophetic thinker drew on his personal relationships to develop his many insights into faith and life. Some of the contemporaries covered include Keble, Pusey, Gladstone, Matthew Arnold, Richard Holt Hutton, Lady Georgiana Fullerton, and Thackeray. Based on a careful reading of Newman's correspondence, the book offers a fresh look at an extraordinary figure whose work continues to influence our own contemporaries.

Reprint of the original, first published in 1840.

What does it mean to call something “contemporary”? More than simply denoting what’s new, it speaks to how we come to know the present we’re living in and how we develop a shared story about it. The story of trying to understand the present is an integral, yet often unnoticed, part of the literature and film of our moment. In Contemporary Drift, Theodore Martin argues that the contemporary is not just a historical period but also a conceptual problem, and he claims that contemporary genre fiction offers a much-needed resource for resolving that problem. Contemporary Drift combines a theoretical focus on the challenge of conceptualizing the present with a historical account of contemporary literature and film. Emphasizing both the difficulty and the necessity of historicizing the contemporary, the book explores how recent works of fiction depict life in an age of global capitalism, postindustrialism, and climate change. Through new histories of the novel of manners, film noir, the Western, detective fiction, and the postapocalyptic novel, Martin shows how the problem of the contemporary preoccupies a wide range of novelists and filmmakers, including Zadie Smith, Colson Whitehead, Vikram Chandra, China Miéville, Kelly Reichardt, and the Coen brothers. Martin argues that genre provides these artists with a formal strategy for understanding both the content and the concept of the contemporary. Genre writing, with its mix of old and new, brings to light the complicated process by which we make sense of our present and determine what belongs to our time.

"This collection represents an appreciation of Sarah Orne Jewett in every sense of the word. It both grasps the nature, worth, and quality of Jewett's oeuvre and judges it with heightened perception and candor."--Mary Lowe-Evans, University of West Florida Essays about identity and difference, tradition and transformation, region and nation add an energetic and diverse set of voices to current discussions about Sarah Orne Jewett, 19th-century American women's writing, and the reshaping of the literary canon. Contents "Confronting Time and Change": Jewett, Region, and Nation, by Karen L. Kilcup and Thomas Edwards I. Contexts: Readers and Reading 1. Sex, Class, and Category Crisis: Jewett and the Postmodern Reader, by Marjorie Pryse 2. "In Search of Local Color": Context, Controversy, and The Country of the Pointed Firs,, by Donna Campbell 3. "Links of Similitude": The Narrator of The Country of the Pointed Firs and Author-Reader Relations at the End of the 19th Century, by Melissa Homestead 4. "To Make Them Acquainted with One Another": Jewett, Howells, and the Dual Aesthetic of Deephaven, by Paul Petrie II. Contemporaries: Jewett and the Writing World 5. Challenge and Compliance: Textual Strategies in A Country Doctor and 19th-Century American Women's Medical Autobiographies, by Judith Wittenberg 6. Transcendentalism to Ecofeminism: Celia Thaxter and Sarah Orne Jewett's Island Views Revisited, by Marcia Littenberg 7. The Professor and the Pointed Firs: Cather, Jewett, and the Problem of Editing, by Ann Romines 8. Visions of New England: The Anxiety of Jewett's Influence on Ethan Frome, by Priscilla Leder III. Conflicts: Identity and Ideology 9. Whiteness as Loss in Sarah Orne Jewett's "The Foreigner," by Mitzi Schrag 10. "How Clearly the Gradations of Society Were Defined": Negotiating Class in Sarah Orne Jewett, by Alison Easton 11. Purity and Danger: Gender and Class in Jewett's "The Best China Saucer," by Sarah Way Sherman IV. Connections: Jewett's Time and Place 12. "A Brave Happiness": Rites and Celebrations in Jewett's Ordered Past, by Graham Frater 13. We Do Not All Go Two by Two; Or, Abandoning the Ark, by Patti Capel Swartz 14. Jewett's Maine: A Journey Back, by Carol Schachinger Karen L. Kilcup is associate professor of English at the University of North Carolina at Greensboro. Her recent publications include Robert Frost and Feminine Literary Tradition, Nineteenth-Century American Women Writers: An Anthology, Nineteenth-Century American Women Writers: A Critical Reader, and Soft Canons: American Women Writers and Masculine Tradition. Thomas S. Edwards, associate academic dean at Castleton State College in Vermont, has published in the areas of 19th- and 20th-century social and literary history, popular culture, and literary translation.

Publisher description

The artistic heritage of 20th century British ceramics designers Susie Cooper, Keith Murray, Charlotte Rhead, and Carlton Ware Designers is displayed in over 420 color photographs. Vital historical information on the factories and forgeries and a price guide make this a valuable resource. These artists, their works, and sources of inspiration are fully explored.

Althusser and His Contemporaries alters and expands understanding of Louis Althusser and French philosophy of the 1960s and 1970s. Thousands of pages of previously unpublished work from different periods of Althusser's career have been made available in French since his death in 1990. Based on meticulous study of the philosopher's posthumous publications, as well as his unpublished manuscripts, lecture notes, letters, and marginalia, Warren Montag provides a thoroughgoing reevaluation of Althusser's philosophical project. Montag shows that the theorist was intensely engaged with the work of his contemporaries, particularly Foucault, Derrida, Deleuze, and Lacan. Examining Althusser's philosophy as a series of encounters with his peers' thought, Montag contends that Althusser's major philosophical confrontations revolved around three themes: structure, subject, and beginnings and endings. Reading Althusser reading his contemporaries, Montag sheds new light on structuralism, poststructuralism, and the extraordinary moment of French thought in the 1960s and 1970s.