After THE END: Teaching and Learning Creative Revision

Book Description

At a time when the writing process is sometimes viewed as a seven-step recipe, with revision one of those steps, author Barry Lane inspires language arts teachers to approach the subject with flexibility and playfulness. He encourages both teachers and students to enjoy a sense of discovery and surprise in their writing, as well as to examine and explore their own distinct revising styles.

After "THE END" revises our concept of revision, illustrating it as a constant inventive search for new possibilities and divergent meanings, rather than mere correction or what students wearily refer to as "redoing." For students in upper elementary to secondary school and beyond, and for every teacher looking to develop a common language of craft in the classroom, After "THE END" is a book of practical ideas and applications that inspire the reader to put it down and put it to use.

Customer Reviews:

After the End.......2007-01-09

This is an excellent book to aid in teaching writing to all ages. Recommend that every English teacher own and use these principles.

Successful author, successful book, great ideas.......2004-02-27

I saw this book reviewed here on Amazon. I then went to the public library to review one of his other books. I liked what I saw. Then I bought this book based on the previous reviews and I'm very glad I did. It's definitely worth a 5 out of 5!

This book hits the sweet spot of what I'm trying to accomplish as a tutor to some junior high school students. Barry Lane's exercises and theories fit what I've learned so far in this fun, and sometimes hilarious, quest.

The book is easy to read, yet loaded with useful advice. Now that I've finished this book, I'll be getting his other books and most importantly: I'll be starting to implement his recommendations on teaching writing to children.

The author is a writing in instructor in New Hampshire/Vermont. The book has a useful bibliography and he often comments on important books throughout his chapters.

John Dunbar
Sugar Land, TX

Required reading for writing teachers.......2001-09-19

Tired of trying to browbeat your students into revising their writing? Afraid you might scream if you have to slog through The Writing Process one more time? Try this welcome antedote. Humorously written but based on sound theory, Mr. Lane's book is chock-full of exercises that are fun, practical, easy to modify, and based on classroom experience. I've used them with third and fourth graders, high school students, and even teachers!
The book's first chapter, "Good Writing is Good Questions," is reason enough to buy the book. When we (or our students)
respond to a student's writing with questions about what we want to know more about, revision happens naturally.
"A large part of writing is simply trusting your own instincts and asking questions that will help you dig deep enough," Mr. Lane writes. Dig deep into this book. There's gold here.

Oh, the ideas!.......2001-07-11

Mr. Lane's book is packed full of ideas for those who wish to find a way to make writing (especially revision) fun for students. The book addresses everything from voice and tone to conferencing and questioning in an effort to make writing truly a student's own (not just what a teacher wants). I find it to be an excellant resource as a new teacher.

After the End by Barry Lane.......2001-06-24

For so long, I have found revision difficult to teach for primary students. This book is a wealth of information. The vignettes given as examples are entertaining and are the basis for numerous mini-lessons to guide students through revision painlessly and effectively. This book will remain on my desk throughout the year. I highly recommend it.

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A pale book about the pale of history in art
Stimulating
Art and Individuation
Mistaken: Art is Not Dead
The End of the Book

After the End of Art
Arthur C. Danto
Manufacturer: Princeton University Press
ProductGroup: Book
Binding: Paperback

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ASIN: 0691002991

Amazon.com

Art is still dead, according to Arthur Danto, professor at Columbia University and art critic for The Nation. After the End of Art: Contemporary Art and the Pale of History is a collection of Danto's 1995 Mellon Lectures on the Fine Arts. Famous for his radical critiques of the nature of art--he dates the death of art to around 1964 and declares the art museum has replaced the church for the masses--Danto continues to question traditional notions of aesthetics and philosophy in regard to contemporary art. While touching on a variety of art-related topics, the focus of tehse lectures remains the deviation of contemporary art from the great narrative that has defined art throughout history.

Book Description

Over a decade ago, Arthur Danto announced that art ended in the sixties. Ever since this declaration, he has been at the forefront of a radical critique of the nature of art in our time. After the End of Art presents Danto's first full-scale reformulation of his original insight, showing how, with the eclipse of abstract expressionism, art has deviated irrevocably from the narrative course that Vasari helped define for it in the Renaissance. Moreover, he leads the way to a new type of criticism that can help us understand art in a posthistorical age where, for example, an artist can produce a work in the style of Rembrandt to create a visual pun, and where traditional theories cannot explain the difference between Andy Warhol's Brillo Box and the product found in the grocery store. Here we are engaged in a series of insightful and entertaining conversations on the most relevant aesthetic and philosophical issues of art, conducted by an especially acute observer of the art scene today.

Originally delivered as the prestigious Mellon Lectures on the Fine Arts, these writings cover art history, pop art, "people's art," the future role of museums, and the critical contributions of Clement Greenberg--who helped make sense of modernism for viewers over two generations ago through an aesthetics-based criticism. Tracing art history from a mimetic tradition (the idea that art was a progressively more adequate representation of reality) through the modern era of manifestos (when art was defined by the artist's philosophy), Danto shows that it wasn't until the invention of Pop art that the historical understanding of the means and ends of art was nullified. Even modernist art, which tried to break with the past by questioning the ways of producing art, hinged on a narrative.

Traditional notions of aesthetics can no longer apply to contemporary art, argues Danto. Instead he focuses on a philosophy of art criticism that can deal with perhaps the most perplexing feature of contemporary art: that everything is possible.

Customer Reviews:

A pale book about the pale of history in art.......2004-01-13

This is an essential book but definitely passé. It is hard to follow and it is hard to get clear ideas from it because it is extremely digressive. His concept of « the end of art » is based on the idea that « art » is a concept that appeared around 1400 and died around 1963. The very idea of this concept is absurd, and he knows it, because artistic practices existed before 1400 and still exist, after 1963. We have to get rid of this concept of « art » to go back to concrete artistic practices. Arts, but also philosophy, religion or science are representations of the world, of man, of the relations between the two. And these representations are contradictory, coming from a person who is itself contradictory in a world that is contradictory. In other words all human representations are a bunch of hierarchised end intertwined contradictions. Art is reduced by Danto to « painting ». This is in itself absurd because painting cannot be cut from all other artistic practices, from all other media that convey human representations. Art must be all inclusive. Art is part of a whole, of a multimedia vision, expression, representation. Danto does not take into account the great « moments » of history when a change in one technical field transformed the world of « art » (multimedia, multiart, multigenre artistic practices). First the invention of writing that enabled an easy conservation and transmission of written representations : philosophy, literature, religion, etc. Second the invention of the printing press that killed the art of illuminations, created the art of prints, etc, and spread the possibility for individuals to appropriate a work of art. Third the invention of theaters, hence of plays, operas,and the development of concerts. Note theaters were invented by the Greeks a long time ago and reappeared in the Western world only with the Renaissance. Arts shifted from churches (open to all) to the chateaus (open to a few) and then to the theaters (open to those who could afford it). This will ultimately lead to the museum and the teaching of arts (fine arts, music, literature, poetry, etc) in the schools. Danto never takes into account this institutionalization of art that shifted from a religious pedagogical representation (in the Middle Ages or in Africa and some other countries and continents) to institutions that had the mission to preserve and teach what artistic productions they considered as acceptable. Fourth photography and the cinema (plus the radio and television) : the emergence of a communicational society, and Danto seems to ignore that Marshall MacLuhan is THE master analyzer of this communicational society. Fifth the computer and the Internet that produce today the all-inclusive communicational society. Sixth the evolution of commercial practices in a consumer's society where packaging, advertising and all kinds of applied arts become the commercial necessity for corporations of any type to be competitive on the market. This might have led Danto to understanding that over the last five centuries a new society has emerged : an all-inclusive multi-you-name-it-you-have-it communicational society in which anything static is becoming dead. Hence we have to move, we are moving towards a dynamic performing artistic life in which all arts have to mix because they all mix in everyday life (music, visual and dramatic shows, films, and so on, visual environment and universal packaging). Art is then going back to what it was but on a new universal scale : mixed arts in public places like churches or market places, but without any limitation and without the obvious ideological pedagogical objective of the old days. Have we entered an era of universal artistic practices for everyone ? We may think so, and we have to study in details the obstacles and the limitations on that road, as well as the opposition between consuming and creating, between professional creation and amateur practices, between works that open up doors and have a future and works that are just following a trend - if not a fashion - or even going back to an old practice.

Dr Jacques COULARDEAU

Stimulating.......2001-09-17

What does Arthur Danto mean by his title "After the End of Art"? He starts off his stimulating, if rather repetitive book, by discussing the German art historian Hans Belting's book The Image Before the End of Art. That book discusses the history of devotional images and icons before 1400 AD, and how they were produced primarily as icons, and not as art per se. It was only with the beginning of the renaissance that images became part of what could be described as an aesthetic ideology. In the opinion of Vasari and others art, in particular painting, can be seen as a progressive narrative which progresses towards mimesis, or imitation. After the invention of the photograph, accurate imitation became less of a value, and the progressive virtue of this narrative became one of "shape, surface, pigment, and the like as defining painting in its purity." The climax of this ideology came in the great, flawed, critic Clement Greenberg's championing of the abstract expressionism of Jackson Pollock. But as abstract expressionism exhausted itself in the early sixties, one could no longer define art as a progressive narrative. To use Danto's example, one could no longer produce a theory of art which would disqualify Andy Warhol's Brillo Box as a work of art. Therefore, everything could be a work of art. "Art" or the old "artistic ideology" was dead. There is such a thing as art, says Danto, and there is an inherent essence in it, but it is vastly wider than the progressive development ideology that had previously existed.

At the same time, says Danto, one must take a historicist approach. Very simply, "Manyof the artworks (cave paintings, fetishes, altar pieces) were made in times and places when people had no concept of art to speak of, since they interpreted art in terms of their other beliefs." Danto goes on to discuss how much art of the present day would not have been considered art in the past. He provides some interesting aspects of this historical anomaly. For example there is the 19th century artist Anselm Feuerbach who painted a grand, academically precise picture, the sort that would soon by overtaken by impressionism, of a scene from Plato's Symposium. But he made a mistake in his meticulously accurate historical reconstruction. He includes a painting in the background which portrays Xenophon's variation on the same events. The problem is that the painting is not in the style of a fifth century BC Greek painting. Danto goes on to discuss the inevitable failure of the Vermeer forger Hans Van Meegeren, how Russell Connor combined Picasso's Les demoiselles d'Avignon and Ruben's Rape of the Daughters of Leucippus, and finally ends up with "America's Most Wanted" the painting the Russian artists Komar and Melamid painted after conducting an elaborate opinion poll.

One should be aware of the many criticisms that have been made of this thesis. For example, there is the ironyof having a narrative which amounts to the end of narrative. And as Terry Eagleton sourly puts it "if art these days is a realm without rules, it is so, among other reasons, because there is not really that much at stake. If art mattered socially and politically, rather than just economically, it is unlikely that we would be quite so nonchalant about what qualified for the title." One should also read Perry Anderson's The Origins of Postmodernity for another perspective on the postmodernist moment. Still, this is an important book, and one should pay particular attention to Danto's chapter on the nature of monochrome art. There is also a nuanced chapter on museums and the conflict between them as purveyors of the beautiful and the artistic and the possibilities of anti-museum based community art. There are also discussions of Kant, Heidegger and particularly Hegel; amusingly enough, the last thing in the book is a caricature of Danto showing a Brillo Box to a disconcerted Hegel.

Art and Individuation.......2001-02-01

In this valuable book, Danto is not speaking of the death of art as one might speak of the death of God. When he speaks of 'the end of art', he is speaking about the end of art history as we know it and have thought of it; the way of viewing art history that we were taught in 'The History of Western Art 101'.

"To say that history is over is to say that there is no longer a pale of history for works of art to fall outside of. Everything is possible. Anything can be art. And, because the present situation is essentially unstructured, one can no longer fit a master narrative to it....It inaugurates the greatest era of freedom art has ever known. (p.112)"

The history of art up to this point has been a history of exclusion, legitimizing and highlighting only certain works which fall within the pale of this narrative. Danto's point is that there is no longer a pale of history.

But it is possible, I believe, to see something even larger in Danto's analysis, something that would be interesting to pursue by someone with a good grasp of history and culture. One might see further into his thesis and find that the history of art has been one of an evolution of individuation. Starting from the Egyptians, where art was an umbrella covering the entire culture, a culture in which the individual was of little value, to our present age in which art has moved to the opposite extreme, no longer controled by anything or anybody (except perhaps the art industry itself), heralding a new stage ( about 1964 by Danto's reakoning) in the idividuation of the planet.

If, as Teilhard de Chardin says, the impulse of evolution is toward greater consciousness and greater complexity, then what we are seeing at the present time is not something unstructured (as Danto posits), but rather, something of far greater structure, something much more complex than we have witnessed before. A stucture and complexity perhaps presently beyond our comprehension. (Of course, the conservative view of this will be that we are witnessing an encroaching chaos that will destroy civilization as we know it.)

From this new perspective, the present radical pluralism would be, rather than an unstructuring, a further step toward something of a far deeper order, an order we have not seen before, one which reflects an important moment in the individuation of humanity on this planet. Taking Danto's basic thesis, one might write a new history of art from the point of view of the evolution of individuation in art. But then this would be another master narrative and would undermine Danto's thesis. Or would it? For this is not a master narrative of art but of evolution itself as evidenced in art.

And who better to herald this advance than the artists!

Mistaken: Art is Not Dead.......2000-08-30

As with many philo-critical texts written about art in the last 35 years, this text has been misread by reviewers. Arthur Danto does not say that art is dead. He says that reduction, narrow-mindedness, and the quest for singular RIGHT meaning is a pursuit of the past. He postulates a world where intellectual inquiry and object-making have more options for rigorous investigation because they are not limited by the strict parameters of historical precedents. This is not a call for a free-for all, but a formulation of the kind of flux-oriented, context-based practice that is particularly relevant in a techocratic, post-modern culture. This type of practice necessarily requires considerably more responsibility, as the practictioner must engage in defining the parameters of his or her practice and constantly pay attention to the way in which decisions affect decisions and so on and so on and so on.

I'm surprised at thoughtful reviewers hearing Danto say Art Is Dead. Did they read the introduction? This text is particularly clear and articulate (a hard-to-find phenomenon in contemporary theoretical texts on art). I found it difficult to MISunderstand.

The End of the Book.......2000-06-03

It was a chore getting through this book, but was ultimately rewarding at the end. The mention of Komar and Melamid and their Most Wanted Series, at the books finale was interesting and fufilling, and spoke more to the books purpose then the remaining hundred plus pages. There were a few other bright points, but really the rest of the book was more chest pounding and weak attempts at journal-like academia. Danto became famous for a single point, and it seems he intends to beat that point to death. If that is his intention he has done an excellent job.

David Carson: 2nd Sight: Grafik Design After the End of Print

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Intuition
Ephemereal
inspiration
Very cool
If you liked his first book, you'll love this!!

David Carson: 2nd Sight: Grafik Design After the End of Print
Lewis Blackwell
Manufacturer: Universe Publishing
ProductGroup: Book
Binding: Paperback

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ASIN: 0789301288
Release Date: 1997-11-15

Book Description

2ndsight is the sequel to The End of Print, the first monograph on David Carson's work. Rather than simply being a collection of the work produced since the first book was published, however, 2ndsight is a sequel in the true sense of the word. While The End of Print showed the world Carson's radical new approach, his rejection of the traditional 'rules' of communication, 2ndsight examines the creative process behind the work, and considers the broader implications of his intuitive approach to graphic design. Intuition is central to the book's thesis, and its meaning and influence is explored both in Lewis Blackwell's writing and in the evocative texts by leading designers and thinkers interspersed throughout the book.

As well as presenting Carson's commercial work-- his latest ideas in advertising, magazine and book design, web sites, film and video-- 2ndsight examines work inspired by exhibitions, talks, and workshops. The student workshops Carson conducts in design colleges around the world throw particular light on his creative process. The workings of these sessions are examined: their chief aim being not to teach computer skills or encourage participants to mimic the master, but to help them find their own voice. Collages put together by Carson of selected work pay tribute to the thousands of designers who have taken part.

Finally, a conversation between Blackwell and Carson probes Carson's working methods-- his collage technique of using two or more files at once on screen; of working in black and white; of moving to and from the computer, printing out each stage of a design before developing it further; his experimentation with the balance of type and image. Above all, his respect for intuition and his conviction that it is the key to truly individual graphic expression.

Customer Reviews:

Intuition.......2005-11-13

This is up to date brain food. One of the few books that gets graphic design as it is today. Yes, you have to have the intuition to understand the book, here he instructs you on how to use it. Wish there were more books like this.

Ephemereal.......2005-08-30

If you like David Carson's design aesthetic, you'll like this book. The book doesn't have much written content on graphic design technique and skill. According to Carson, it's just about intuition -- you either have it or you don't.

inspiration.......2003-02-23

This book is artistic inspiration in every sense of the word. The graphical lay out of the book is exceptional and was the basses of multiple pieces of coursework for myself. I love his use of quotations and expression through graphical design. He is a true legend and I will continue to buy his books for may years to come.

Very cool.......1999-08-13

If you liked his first book you are sure to love this one. Carson clearly maintains his position as the most cutting-edge designer today.

If you liked his first book, you'll love this!!.......1999-08-12

His unique attack at graphic design is displayed again in awsome splender

Gustavus Adolphus: A History of the Art of War from Its Revival After the Middle Ages to the End of the Spanish Succession War, With a Detailed Account of the Campaigns

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An Indispensible Classic!
Informative, but Tedious

Gustavus Adolphus: A History of the Art of War from Its Revival After the Middle Ages to the End of the Spanish Succession War, With a Detailed Account of the Campaigns
Theodore Ayrault Dodge
Manufacturer: Da Capo Press
ProductGroup: Book
Binding: Paperback

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ASIN: 0306808633

Customer Reviews:

An Indispensible Classic!.......2001-08-18

When I first took this book out of the Amazon.com box, my first thought was, "What have I gotten myself into?" It was a massive tome, covering a century of European warfare in considerable detail. Not only was it huge in size and scope, but I was worried about the prose, given the age of the text.

Fifty pages into the book, I could not put it down. This is quite simply an extraordinary military classic. T.A. Dodge is an exceptional military historian. Unlike many of those who ply that trade, Dodge was a veteran officer and possessed of exceptional military judgement. This is no chairborne commando, but an insightful and experienced soldier whose wealth of practical military experience brings the reality of 17th Century warfare alive.

Any understanding of military history from 1618-1815 (yes, that's 1815, even though the book stops in 1712) will be deficient without this book. Dodge tells the critical story of how armies evolved from relatively disorganized and short-term field armies to vast, professional military establishments controlled by the monarchs of Europe. The evolution of the modern state cannot be fully understood if one does not appreciate this facet of the military revolution of the 1600s. Dodge is equally adept at bringing the battlefield tactics of the time to life, and illustrating their development. He skillfully guides the reader along the path of military evolution which ultimately sets the stage for Frederick the Great and Napoleon Bonaparte.

The caveats of this book are that it is long on text and short on maps. The lack of maps makes following the course of marches and counter-marches somewhat difficult. Furthermore, a basic knowledge of the geopolitics of the time is helpful.

For anyone with the fortitude, this book will bestow upon them a deeper understanding of a seminal period in European history.

Informative, but Tedious.......2000-05-30

I read this because I really enjoyed Dodge's military biography of Hannibal, but this book, possibly due to the period covered, was episodic, and without knowledge of European political history during the reign of Louis XIV, hard to follow. The first section, covering Adolfus's campaign in the Thirty Year's War, was quite entertaining, mainly because his efforts were dramatic, innovative, and successful against overwhelming odds. However, once into the military exploits of Conde, Turenne, Cromwell, Eugene, and Marlborough, the narrative becomes rather monotonous, describing one siege after another, one uneventful campaigning season after another. (This, too, no doubt reflects the time: the whole period of the post-Adolfus Thirty Year's War and the War of the Spanish Succession was one vast war of attrition.) Dodge does describe the important battles quite well, and offers incisive assessments of the character and abilities of the period's leading military figures. The book is long (about 850 pages), and long on military facts and figures. Dodge, a veteran of the American Civil War, writes in a rather formal and technical style, adding to the difficulties in wading through the text. I would give the book an "A" for information, but a "C-" for readability. If the subject matter really interests you, I'd say give it a try. If not, pass.

The End of Art: Readings in a Rumor after Hegel

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The End of Art: Readings in a Rumor after Hegel
Eva Geulen
Manufacturer: Stanford University Press
ProductGroup: Book
Binding: Paperback

Aesthetics | Philosophy | Nonfiction | Subjects | Books

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The Future of the Image

ASIN: 0804744246
Release Date: 2006-09-11

Book Description

Since Hegel, the idea of an end of art has become a staple of aesthetic theory. This book analyzes its role and its rhetoric in Hegel, Nietzsche, Benjamin, Adorno, and Heidegger in order to account for the topic's enduring persistence. In addition to providing a general overview of the main thinkers of post-Idealist German aesthetics, the book explores the relationship between tradition and modernity. For despite the differences that distinguish one philosopher's end of art from another's, all authors treated here turn the end of art into an occasion to thematize and to reflect on the very thing that modernism cannot or should not be: tradition. As a discourse, the end of art is one of our modern traditions.

Before and After the End of Time: Architecture and the Year 1000

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Before and After the End of Time: Architecture and the Year 1000

Manufacturer: George Braziller
ProductGroup: Book
Binding: Paperback

General | Architecture | Professional & Technical | Subjects | Books

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ASIN: 0807614939

Book Description

The end of the world—and of time—was expected by many to occur in the year 1000. This was based on references in the Bible, which also described in considerable architectural detail the Heavenly City of Jerusalem that was to come. The essays in this book look at the contrast between the heavenly architecture of prophecy and the Romanesque architecture that did appear. At the turn of the first millennium, spiritual and historical notions of time were held simultaneously. The powerful imagery of an ideal, translucent kingdom of heaven permeated the European imagination at the same time that the massive style of Romanesque architecture began to flourish. The essay "The Human Architect..." serves as an excellent introduction to Romanesque architecture with its revival of cut-stone masonry and the technological revolution it began. It delineates its links to classical antiquity and points out its innovations. Other essays focus on references to God as the divine architect, on the precious stones of which the Heavenly City is built, architectural photography, and the influences of both Romanesque architecture and the imagery of the ideal city on architects and scholars. They bring to life some of the most powerful and enduring ideas in western European cultural tradition. This book is illustrated throughout in color and black and white. Numerous photographs, drawings, and plans illustrate the exteriors, interiors, and sculptural details of Romanesque architecture. A series of lithographs from Odilon Redon's Apocalypse series evoke the Medieval imagination. 30 color illustrations, 51 black-and-white illustrations.

The End of Art and Beyond: Essays After Danto

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The End of Art and Beyond: Essays After Danto

Manufacturer: Humanity Books
ProductGroup: Book
Binding: Hardcover

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ASIN: 1573926116

End of Art: Readings in a Rumor after Hegel.

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End of Art: Readings in a Rumor after Hegel.
Eva Guelen
Manufacturer: Publisher Unknown
ProductGroup: Book
Binding: Paperback
ASIN: B000UYJ2H8

Value, Art, Politics: Criticism, Meaning, and Interpretation after the End of Postmodernism (Liverpool University Press - Value-Art-Politics)

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Value, Art, Politics: Criticism, Meaning, and Interpretation after the End of Postmodernism (Liverpool University Press - Value-Art-Politics)

Manufacturer: Liverpool University Press
ProductGroup: Book
Binding: Hardcover
ASIN: 1846310415

Book Description

What is the value of art? Value, Art, Politics, the second volume in a series dedicated to the latest developments in the understanding of art practice and theory, offers a range of responses to this timeless question. The essays assembled here, including contributions from major thinkers such as T. J. Clark and Albert Boime, approach the issue from the broad perspective of social history while looking back at the key theoretical concepts that have dominated art history over the last forty years.
In addition to this historical view, Value, Art, Politics also addresses a host of contemporary disciplinary shifts that point to the next phase of art theory. New feminist critiques of aesthetics, the impact of postcolonial theory, the current status of traditional media like painting and sculpture, the potential of new visual technologies, and the utility of Marxist criticism all play a part in these incisive essays. A unique and richly illustrated investigation into the concept of value, this book is also a coherent and critical guide to the development of the study of art.

After the end: a modest proposal.(excerpts from a telephone conversation between David Levi Strauss and Daniel Joseph Martinez)(voting patterns in the ... An article from: Art Journal

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After the end: a modest proposal.(excerpts from a telephone conversation between David Levi Strauss and Daniel Joseph Martinez)(voting patterns in the ... An article from: Art Journal
Daniel Joseph Martinez , and David Levi Strauss
Manufacturer: Thomson Gale
ProductGroup: Book
Binding: Digital

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ASIN: B000B9DOC6
Release Date: 2005-09-03

Book Description

This digital document is an article from Art Journal, published by Thomson Gale on June 22, 2005. The length of the article is 4032 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: After the end: a modest proposal.(excerpts from a telephone conversation between David Levi Strauss and Daniel Joseph Martinez)(voting patterns in the 2004 United States elections)(Excerpt)
Author: Daniel Joseph Martinez
Publication: Art Journal (Magazine/Journal)
Date: June 22, 2005
Publisher: Thomson Gale
Volume: 64 Issue: 2 Page: 52(9)

Article Type: Excerpt

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