Presents an analysis of the phenomenon of the aesthetics of sexual and political violence, a central theme in European culture of the early 20th century.

From the #1 internationally bestselling author of The Miniaturist comes a captivating and brilliantly realized story of two young women—a Caribbean immigrant in 1960s London, and a bohemian woman in 1930s Spain—and the powerful mystery that ties them together. England, 1967. Odelle Bastien is a Caribbean émigré trying to make her way in London. When she starts working at the prestigious Skelton Institute of Art, she discovers a painting rumored to be the work of Isaac Robles, a young artist of immense talent and vision whose mysterious death has confounded the art world for decades. The excitement over the painting is matched by the intrigue around the conflicting stories of its discovery. Drawn into a complex web of secrets and deceptions, Odelle does not know what to believe or who she can trust, including her mesmerizing colleague, Marjorie Quick. Spain, 1936. Olive Schloss, the daughter of a Viennese Jewish art dealer and an English heiress, follows her parents to Arazuelo, a poor, restless village on the southern coast. She grows close to Teresa, a young housekeeper, and Teresa’s half-brother, Isaac Robles, an idealistic and ambitious painter newly returned from the Barcelona salons. A dilettante buoyed by the revolutionary fervor that will soon erupt into civil war, Isaac dreams of being a painter as famous as his countryman Picasso. Raised in poverty, these illegitimate children of the local landowner revel in exploiting the wealthy Anglo-Austrians. Insinuating themselves into the Schloss family’s lives, Teresa and Isaac help Olive conceal her artistic talents with devastating consequences that will echo into the decades to come. Rendered in exquisite detail, The Muse is a passionate and enthralling tale of desire, ambition, and the ways in which the tides of history inevitably shape and define our lives.

Countering previous studies of violent images based on representational and, consequently, moralistic assumptions, which, the author argues, inevitably reinforce the very violence they critique. He explains how violent images work upon the world.

The Second and Third Indochina Wars are the subject of important ongoing scholarship, but there has been little research on the lasting impact of wartime violence on local societies and populations, in Vietnam as well as in Laos and Cambodia. Today's Lao, Vietnamese and Cambodian landscapes bear the imprint of competing violent ideologies and their perilous material manifestations. From battlefields and massively bombed terrain to reeducation camps and resettled villages, the past lingers on in the physical environment. The nine essays in this volume discuss post-conflict landscapes as contested spaces imbued with memory-work conveying differing interpretations of the recent past, expressed through material (even, monumental) objects, ritual performances, and oral narratives (or silences). While Cambodian, Lao and Vietnamese landscapes are filled with tenacious traces of a violent past, creating an unsolicited and malevolent sense of place among their inhabitants, they can in turn be transformed by actions of resilient and resourceful local communities.

Instead of asking questions about the symbolic meaning or underlying "truth" of a work of art, renée c. hoogland is concerned with the actual "work" that it does in the world (whether intentionally or not). Why do we find ourselves in tears in front of an abstract painting? Why do some cartoons of the prophet Muhammad generate worldwide political outrage? What, in other words, is the compelling force of visual images, even—or especially—if they are nonfigurative, repulsive, or downright "ugly"? Rather than describing, analyzing, and interpreting artworks, hoogland approaches art as an event that obtains on the level of actualization, presenting "retellings" of specific artistic events in the light of recent interventions in aesthetic theory, and proposing to conceive of the aesthetic encounter as a potentially disruptive, if not violent, force field with material, political, and practical consequences.

The Crisis of School Violence is the only interdisciplinary book about school violence. It presents a broad and in-depth approach to the key questions about why bullying continues at an unprecedentedly high rate and why rampage school shootings continue to shock the nation. Based on extensive research, The Crisis of School Violence investigates human nature and its relation to aggressive behavior, with a special focus on the culture of violence that predicates school violence (including rampage shootings) and perpetuates industries that profit from violence. Marianna King presents the considerable psychological and neuroscientific research that investigates the effects of violent entertainment media on the brain and, subsequently, on behavior, which clearly reveals a causal connection between exposure to violent electronic entertainment media--especially violent video games--and increased aggressive and violent behavior. The book also reveals a more specific connection between exposure to violent video games and rampage school shootings. Ultimately this volume is a call to action that includes recommendations for parents, teachers, decision makers, and citizens alike.

This Violent Empire traces the origins of American violence, racism, and paranoia to the founding moments of the new nation and the initial instability of Americans' national sense of self. Fusing cultural and political analyses to create a new form of political history, Carroll Smith-Rosenberg explores the ways the founding generation, lacking a common history, governmental infrastructures, and shared culture, solidified their national sense of self by imagining a series of "Others" (African Americans, Native Americans, women, the propertyless) whose differences from European American male founders overshadowed the differences that divided those founders. These "Others," dangerous and polluting, had to be excluded from the European American body politic. Feared, but also desired, they refused to be marginalized, incurring increasingly enraged enactments of their political and social exclusion that shaped our long history of racism, xenophobia, and sexism. Close readings of political rhetoric during the Constitutional debates reveal the genesis of this long history.

In Show Time, Lee Ann Fujii asks why some perpetrators of political violence, from lynch mobs to genocidal killers, display their acts of violence so publicly and extravagantly. Closely examining three horrific and extreme episodes—the murder of a prominent Tutsi family amidst the genocide in Rwanda, the execution of Muslim men in a Serb-controlled village in Bosnia during the Balkan Wars, and the lynching of a twenty-two-year old Black farmhand on Maryland's Eastern Shore in 1933—Fujii shows how "violent displays" are staged to not merely to kill those perceived to be enemies or threats, but also to affect and influence observers, neighbors, and the larger society. Watching and participating in these violent displays profoundly transforms those involved, reinforcing political identities, social hierarchies, and power structures. Such public spectacles of violence also force members of the community to choose sides—openly show support for the goals of the violence, or risk becoming victims, themselves. Tracing the ways in which public displays of violence unfold, Show Time reveals how the perpetrators exploit the fluidity of social ties for their own ends.

We live in an increasingly violent world. From suicide terrorists to serial killers, violent subjects challenge our imaginations. We seek answers to our questions on this subject in literature, cinema, and electronic media. In Bloodscripts, Elana Gomel examines how popular culture narratives construct violent subjectivity. Using such various narratives as mystery, horror; detective, and fantasy fiction as well as accounts of the atrocities perpetuated by serial killers and the Holocaust, Bloodscripts offers a new map of the genres of violence and links the twin obsessions of postmodern culture: crime and genocide. Bloodscripts is a stimulating, original, and accessible account of the narrative construction of the violent subject. It proposes a narrative model that will be of interest to literary critics, cultural scholars, criminologists, and anyone trying to understand the role of violence in postmodern culture.

The unputdownable debut thriller you will never forget. There is something terribly wrong in Wolf Ridge. Every November, every teen is overwhelmed with a hunger for violence...at least, that's the urban legend. After Wyatt Green's mother was brutally murdered last Fall, she's convinced that the November sickness plaguing Wolf Ridge isn't just a town rumor that everyone ignores...it's a palpable force infecting her neighbors. Wyatt is going to prove it, and find her mother's murderer in the process. She digs up every past brutal act she can find from Wolf Ridge's past—from car wrecks, suicides, and unnamed victims turning up in rivers—and even reaches out to an out-of-state journalist that seems to believe her. But all of her digging leads to nowhere. Everyone in Wolf Ridge accepts that the November sickness is real, and absolutely no one will talk about it. As Wyatt's best friend Cash turns on her, and her friend is almost killed in a tragic accident, Wyatt panics—how can she keep her friends safe, and find her mother's murderer, when no one believes her? As the evidence stars to disappear, Wyatt wonders: is she just imagining everything? Is the sickness real, or are the people of Wolf Ridge just naturally prone to doing bad things? Can Wyatt and her friends come out of the Violent Season unscathed, or is one of them going to be the next victim? "Holy sh....... Can I just say that? Can that be the review? Technically yes, but I **NEED** to say that this is without a doubt and by far one of the best books I have read this year!"—Brittney Green, Netgalley Reviewer "A freaking INCREDIBLE debut for Sara Walters. I have not felt this pull to a book in a hot minute. PREORDER IT, ADD IT TO YOUR TBR, AND WAIT IMPATIENTLY FOR OCTOBER BECAUSE THIS BOOK WAS ?????"—Tiffany Clark, Netgalley Reviewer "Be prepared to be captivated after the first sentence."—Rachel Milburn, Netgalley Reviewer