These essays on nine women artists are framed by the question, born of feminism, "What evaluative criteria can be applied to women's art?" Since the 1970s Rosalind Krauss has been exploring the art of painters, sculptors, and photographers, examining the intersection of these artists concerns with the major currents of postwar visual culture: the question of the commodity, the status of the subject, issues of representation and abstraction, and the viability of individual media. These essays on nine women artists are framed by the question, born of feminism, "What evaluative criteria can be applied to women's art?" In the case of surrealism, in particular, some have claimed that surrealist women artists must either redraw the lines of their practice or participate in the movement's misogyny. Krauss resists that claim, for these "bachelors" are artists whose expressive strategies challenge the very ideals of unity and mastery identified with masculinist aesthetics. Some of this work, such as the "part object" (Louise Bourgeois) or the "formless" (Cindy Sherman) could be said to find its power in strategies associated with such concepts as écriture feminine. In the work of Agnes Martin, Eva Hesse, or Sherrie Levine, one can make the case that the power of the work can be revealed only by recourse to another type of logic altogether. Bachelors attempts to do justice to these and other artists (Claude Cahun, Dora Maar, Louise Lawler, Francesca Woodman) in the terms their works demand.

Includes a readers group guide and recipes.

DigiCat Publishing presents to you this special edition of "The Bachelors" (A Novel) by William Dana Orcutt. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

Spark’s very British bachelors come in every stripe First found contentedly chatting in their London clubs, the cozy bachelors (as any Spark reader might guess) are not set to stay cozy for long. Soon enough, the men are variously tormented — defrauded or stolen from, blackmailed or pressed to attend horrid séances — and then plunged into the nastiest of lawsuits.

Everybody's talking about the hot new app rating New York's most eligible bachelors. But why focus on Prince Charming when you can read the latest dirt on the lowest-ranked "Bad Bachelors"—NYC's most notorious bad boys. He says... If one more person mentions Bad Bachelors to me, someone's gonna get hurt. Who thought this app would be a good idea? Like dating isn't hard enough without being critiqued for every little misstep. My name is Reed McMahon and I'm supposedly a PR whiz and "image fixer," but now I need some help cleaning up my own image. She says... When Reed strolls into my workplace offering to help save the struggling library, I'm not buying his story. I'm Darcy Greer, a no-nonsense Brooklynite who knows Reed is exactly the kind of guy to be avoided. I've seen the app, and Bad Bachelor #1 has no place in my life. However, the library does need his help, and this guy needs to make some serious amends, so who am I to stop him? If only he didn't work so hard to find redemption... "Delightfully fresh. Stefanie London delivers all the feels in this exceptional opposites-attract love story. Bad Bachelor is an absolute must-read."—LAUREN LAYNE, New York Times bestselling author "Original, witty, and sexy. My #1 romance read of the year!"—JENNIFER BLACKWOOD, USA Today bestselling author

*A New York Times Bestseller* The first definitive, unauthorized, behind-the-scenes cultural history of the Bachelor franchise, America’s favorite guilty pleasure. For sixteen years and thirty-six seasons, the Bachelor franchise has been a mainstay in American TV viewers’ lives. Since it premiered in 2002, the show’s popularity and relevance have only grown—more than eight million viewers tuned in to see the conclusion of the most recent season of The Bachelor. Los Angeles Times journalist Amy Kaufman is a proud member of Bachelor Nation and has a long history with the franchise—ABC even banned her from attending show events after her coverage of the program got a little too real for its liking. She has interviewed dozens of producers, contestants, and celebrity fans to give readers never-before-told details of the show’s inner workings: what it’s like to be trapped in the mansion “bubble”; dark, juicy tales of producer manipulation; and revelations about the alcohol-fueled debauchery that occurs long before the Fantasy Suite. Kaufman also explores what our fascination means, culturally: what the show says about the way we view so-called ideal suitors; our subconscious yearning for fairy-tale romance; and how this enduring television show has shaped society’s feelings about love, marriage, and feminism by appealing to a marriage plot that’s as old as the best of Jane Austen.

The enforced bachelorhood of eldest sons in traditional French rural society was a subject to which Pierre Bourdieu devoted three major articles. Here he brings them together, presenting them as stages in 'a kind of intellectual Bildungsroman' through which one can follow the development of his theory of practice.

The right reasons to fall in love with The Bachelor When it debuted in 2002, The Bachelor raised the stakes of first-wave reality television, offering the ultimate prize: true love. Since then, thrice yearly, dozens of camera-ready young-and-eligibles have vied for affection (and roses) in front of a devoted audience of millions. In this funny, insightful examination of the world’s favorite romance-factory, Suzannah Showler explores the contradictions that are key to the franchise’s genius, longevity, and power and parses what this means for both modern love and modern America. She argues the show is both gameshow and marriage plot — an improbable combination of competitive effort and kismet — and that it’s both relic and prophet, a time-traveler from first-gen reality TV that proved to be a harbinger of Tinder. In the modern media-savvy climate, the show cleverly highlights and resists its own artifice, allowing Bachelor Nation to see through the fakery to feel the romance. Taking on issues of sex, race, contestants-as-villains, the controversial spin-offs, and more, Most Dramatic Ever is both love letter to and deconstruction of the show that brought us real love in the reality TV era.

Cinderella never had to deal with this crap. Jane isn't entirely sure that Cinderella got such a raw deal. Sure, she had a rough start, but didn't she eventually land a prince and a happily-ever-after? Meanwhile, Jane is busy waiting on her demanding, entitled sisters, running her cleaning business, and . . . yep, not a prince in sight. Until a party and a broken shoe incident leave Jane wondering if princes---or at least, a certain deliciously hunky billionaire --maybe do exist. Except Brock Wellington isn't anyone's dream guy. Hell, a prince would never agree to be auctioned off in marriage to the highest bidder. Or act like an arrogant jerk---even if it was just a favßade. Now, as Brock is waiting for the auction chopping block, he figures it's karmic retribution that he's tempted by a sexy, sassy woman he can't have. But while they can't have a fairy-tale ending, maybe they can indulge in a little bit of fantasy . . .