Fragile Images: Jews and Art in Yugoslavia, 1918-1945, Mirjam Rajner traces the lives and creativity of seven artists of Jewish origin. The artists - Moša Pijade, Daniel Kabiljo, Adolf Weiller, Bora Baruh, Daniel Ozmo, Ivan Rein and Johanna Lutzer - were characterized by multiple and changeable identities: nationalist and universalist, Zionist and Sephardic, communist and cosmopolitan.
These fluctuating identities found expression in their art, as did their wartime fate as refugees, camp inmates, partisans and survivors. A wealth of newly-discovered images, diaries and letters highlight this little-known aspect of Jewish life and art in Yugoslavia, illuminating a turbulent era that included integration into a newly-founded country, the catastrophe of the Holocaust, and renewal in its aftermath.
Ancient Marbles in Naples in the Eighteenth Century Eloisa Dodero aims at documenting the history of numerous private collections formed in Naples during the 18th century, with particular concern for the “Neapolitan marbles” and the circumstances of their dispersal. Research has thus made it possible to formulate a synthesis of the collecting dynamics of Naples in the 18th century, to define the interest of the great European collectors, especially British, in the antiquities of the city and its territory and to draw up a catalogue which for the first time brings together the nucleus of sculptures reported in the Neapolitan collections or coming from irregular excavations, most of which shared the destiny of dispersal, in some cases here traced in definitive fashion.
Conrad’s Drama: Contemporary Reviews and Observations collects both book reviews and performance reviews of Conrad’s three plays:
The Secret Agent,
One Day More, and
Laughing Anne. These reviews and observations show how Conrad’s plays were received by his contemporaries. More than this, however,
Conrad’s Drama reveals the larger conversations surrounding his plays: the state of British drama in the early 20th century, the role the drama critic has in a play’s reception, and the difficulty most fiction writers experience in trying to write for the stage. No other reference work exists for those studying Conrad’s plays, and this volume should prove to be an indispensable reference work for those working on this topic.
By examining theoretical debates about the nature of nineteenth-century German opera and analyzing the genre’s development and its international dissemination, this book shows German opera’s entanglement with national identity formation. The thorough study of German opera debates in the first half of the nineteenth century highlights the esthetic and ideological significance of this relatively neglected repertoire, and helps to contextualize Richard Wagner’s attempts to define German opera and to gain a reputation as the German opera composer
par excellence. By interpreting Wagner’s esthetic endeavors as a continuation of previous campaigns for the emancipation of German opera, this book adds an original and significant perspective to discussions about Wagner’s relation to German nationalism.
Recent interest in the economic aspects of the history of art have taken traditional studies into new areas of enquiry. Going well beyond provenances or prices of individual objects, our understanding of the arts has been advanced by research into the demands, intermediaries and clients in the market.
Eighteenth-century Rome offers a privileged view of such activities, given the continuity of remarkable investments by the local ruling class, combined with the decisive impact of external agents, largely linked to the Grand Tour. This book, the result of collaboration between international specialists, brings back into the spotlight protagonists, facts and dynamics that have remained unexplored for many years.
Celebrating Suprematism throws vital new light on Kazimir Malevich’s abstract style and the philosophical, scientific, aesthetic, and ideological context within which it emerged and developed. The essays in the collection, which have been produced by established specialists as well as new scholars in the field, tackle a wide range of issues and establish a profound and nuanced appreciation of Suprematism’s place in twentieth-century visual and intellectual culture. Complementing detailed analyses of The Black Square (1915), Malevich’s theories and statements, various developments at Unovis, Suprematism’s relationship to ether physics, and the impact that Malevich’s style had on the design of textiles, porcelain and architecture, there are also discussions of Suprematism’s relationship to Russian Constructivism and avant-garde groups in Poland and Hungary.
This wide-ranging contribution to the study of nationalism and the social history of music examines the relationship between choral societies and national mobilization in the nineteenth century. From Norway to the Basque country and from Wales to Bulgaria, this pioneering study explores and compares the ways choral societies influenced and reflected the development of national awareness under differing political and social circumstances. By the second half of the nineteenth century, organized communal singing became a primary leisure activity that attracted all layers of society. Though strongly patriotic in tone, choral societies borrowed from each other and relied heavily on prominent German or French models. This volume is the first to address both the national and transnational significance of choral singing.
Contributors are: Carmen De Las Cuevas Hevia, Jan Dewilde, Tomáš Kavka, Anne Jorunn Kydland, Krisztina Lajosi, Joep Leerssen, Sophie-Anne Leterrier, Jane Mallinson, Tatjana Marković, Fiona M. Palmer, Karel Šima, Andreas Stynen, Dominique Vidaud, Ivanka Vlaeva, Jozef Vos, Gareth Williams, Hana Zimmerhaklová.
The Slavic Dossier, Iurie Stamati’s objective is to understand the reasons for the emergence of two different discourses on the place of the Slavs on the territory of Moldova and their role in the genesis of Moldovans and their culture during the medieval period in the Soviet archaeology. His analysis goes beyond the utilitarian perception of Soviet archeology. To achieve this, Stamati not only questions the political contexts in which these discourses emerged, but also looks at the history of the Moldovan archaeological field, personal profiles of archaeologists, their theoretical and ideological attachment, relationships and interactions with each other inside and outside the archaeological field.
The Adventures of Shāh Esmāʿil recounts the dramatic formative years of the Safavid empire (1501–1722), as preserved in Iranian popular memory by coffeehouse storytellers and written down in manuscripts starting in the late seventeenth century. Beginning with the Safavids’ saintly ancestors in Ardabil, the story goes on to relate the conquests of Shāh Esmāʿil (r. 1501–1524) and his devoted Qezelbāsh followers as they battle Torkmāns, Uzbeks, Ottomans, and even Georgians and Ethiopians in their quest to establish a Twelver Shiʿi realm. Barry Wood’s translation brings out the verve and popular tone of the Persian text. A heady mixture of history and legend,
The Adventures of Shāh Esmāʿil sheds important light on the historical self-awareness of late Safavid Iran.
Maternal Breast-Feeding and Its Substitutes in Nineteenth-Century French Art, Gal Ventura investigates the ideological concepts behind the endorsement of maternal breast-feeding in modern Western society. Using diverse visual and textual sources and surveying hundreds of artworks produced from the time of the French Revolution to the beginning of the twentieth century, Ventura reveals the historical, political, religious, and economic factors that shaped the representations of breast-feeding and its substitutes in French art. She thus sheds light on the changing attitudes toward maternal breast-feeding in nineteenth-century France, which have had a considerable impact on the glorification of breast-feeding in the Western world to this very day.