Book Description
"What is abstract art good for? What's the use--for us as individuals, or for any society--of pictures of nothing, of paintings and sculptures or prints or drawings that do not seem to show anything except themselves?" In this invigorating account of abstract art since Jackson Pollock, eminent art historian Kirk Varnedoe, the former chief curator of painting and sculpture at the Museum of Modern Art, asks these and other questions as he frankly confronts the uncertainties we may have about the nonrepresentational art produced in the last five decades. He makes a compelling argument for its history and value, much as E. H. Gombrich tackled representation fifty years ago in Art and Illusion, another landmark A. W. Mellon Lectures volume. Realizing that these lectures might be his final work, Varnedoe conceived of them as a statement of his faith in modern art and as the culminating example of his lucidly pragmatic and philosophical approach to art history. He delivered the lectures, edited and reproduced here with their illustrations, to overflowing crowds at the National Gallery of Art in Washington in the spring of 2003, just months before his death.
With brilliance, passion, and humor, Varnedoe addresses the skeptical attitudes and misunderstandings that we often bring to our experience of abstract art. Resisting grand generalizations, he makes a deliberate and scholarly case for abstraction--showing us that more than just pure looking is necessary to understand the self-made symbolic language of abstract art. Proceeding decade by decade, he brings alive the history and biography that inform the art while also challenging the received wisdom about distinctions between abstraction and representation, modernism and postmodernism, and minimalism and pop. The result is a fascinating and ultimately moving tour through a half century of abstract art, concluding with an unforgettable description of one of Varnedoe's favorite works.
Customer Reviews:
overrated and wordy.......2007-09-19
a disappointing book - pretentious and unenlightening - get hilton kramer's "the trium of modernism" instead!
They really need a Zero Star category for books like this one.......2007-07-24
I watched the excellent series on art on DVD called "Power of Art" by Simon Schama. The last episode of the series is on Mark Rothko, an abstract painter. It made me want to learn more about abstract art, so I bought this book. Annnt! Thanks for playing. This book is a dog. It didnt help me understand abstract art one bit . In fact, it goes on and on about pieces of "art," but does not explain them beyond being smears or smudges or works of technique. The basis of abstract art is not explained at all.
BTW, it appears from this book that these guys were often making paintings just as rude jabs at one another's work.
I found the book a total waste.
Review by P Hutchings, Melbourne, Australia.......2007-06-13
Kirk Varnedoe's Pictures of Nothing is a masterpiece of empirical art chronology/criticism. It is gritty and on the ground. This is a relief after Danto's warmed-over Hegel and Clement Greenberg's star-spangled marx with a small M. If one might venture any hypothesis about the artists about whom Varnedoe wrote it would have to face, square on, any counter-instances. No Zeitgeist, just Popperian falsifiablility. Good. It is of course a pity for those of us who were not in New York at the right time. But, that's life.
Patrick Hutchings
Department of Philopsophy
University of Melbourne
Australia
Abstraction clarified.......2007-02-07
A brilliant and thorough explication of contemporary abstract art. The lectures were not intended for
arts professionals but are a literate and enjoyable guide to the visual arts since Jackson Pollock.
If You Could Have Only One Art Book..........2007-01-14
I'm married to a librarian and between the two of us, we have at least 8,000 books (we both love books just about more than anything), but if I could only have one book - this would definitely be it. The late Kirk Varnedoe, former Chief Curator of MoMA, has so clearly, easily and deliciously put into one gorgeous volume the whole picture of what I've been studying my you-know-what off to understand over the past 7 years. I've been The Menil Collection's Twombly Guard during those 7 years, so you can believe that I am especially enthusiastic with Varnedoe's illuminating explanations on Cy Twombly's art! Buy this book and I guarantee you will not be disappointed. The reproductions are also first-class. Varnedoe gave these lectures knowing that he was dying of cancer; his last sentence is "And now I am done." Three months later he did die and was never able to see them published. This book may be the best book that has ever been written about abstract art.
Average customer rating:
- excellent book
- a little chatty but quite interesting to read
- Great way to structure presentations
- Scientific Presentation review
- A personal account with interesting anecdotes
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The Craft of Scientific Presentations: Critical Steps to Succeed and Critical Errors to Avoid
Michael Alley
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The Craft of Scientific Writing
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ASIN: 0387955550 |
Book Description
The Craft of Presentations provides a score of examples from contemporary and historical scientific presentations to show clearly what makes an oral presentation effective. It considers presentations made to persuade an audience to adopt some course of action (such as funding a proposal) as well as presentations made to communicate information, and it considers these from four perspectives: speech, structure, visual aids, and delivery. In keeping with technological innovations, it discusses computer-based projections and slide shows as well as overhead projections. In particular, it discusses ways of organizing graphics and text in projected images and of using layout and design to present the information efficiently and effectively. Unlike other books that discuss technical presentations, this book anchors its advice in the experiences of scientists and engineers, including such successful presenters as Robert Oppenheimer, Richard Feynman, Niels Bohr, and Rita Levi-Montalcini, as well as currently active laboratory directors, scientists, and engineers. In addition to examining successful presentations, Alley also discusses the errors that cause many scientific presentations to flounder, providing a list of ten critical errors to avoid. The insights and tools in this book will guide readers to deliver outstanding presentations.
Praise for Michael Alley's The Craft of Presentations: “Alley has revamped the way our research center makes presentations particularly the way we design our presentation slides.”
(Daniel J. Inman, Director Center for Intelligent Material Systems)
“This book fills a void by illustrating key issues and difficulties in oral presentations with the experiences of others.”
(Christene Moore, Communication Instructor University of Texas at Austin)
Customer Reviews:
excellent book.......2007-09-17
The book was excellent pointing out errors that as a presenter one may overlook and yet they determine the quality of your presentation
a little chatty but quite interesting to read.......2007-09-03
I've been thinking about how to improve students' scientific presentation and find this book very useful. The author occasionally slips in quite a few interesting stories of some famous scientists. Quite an enjoyable reading experience.
Great way to structure presentations.......2007-07-23
This book suggests ways to go beyond the "stock" powerpoint style presentation scheme of titles and bullets to create better presentations. What do I mean by better? Basically, the goal is to create a more narrative presenation. Rather than a presentation of lists of facts, a good scientific presentation also tells a story, and at the same time elucidates a finding in clear detail.
Getting someone to think or create a presentation in this way is a difficult thing to teach, and so the book takes a conversational tone and has plenty of examples and counter examples. It also discusses the various expectations of author, audience, and other politicos who might be in the room, and suggests ways to meet those expectations. I recently put the tactics to good use, for instance, I had picutres of the actual elements of the apparatus over schematic as I spoke about them. It was very effective, and kept the audience engaged.
Bottom line, I recommend this book if you want to improve your style or if you are nervous about starting out in the world of scientific presentation. It also helps with confidence to know you've worked hard on improving your style, your audience will appreciate it as well.
Scientific Presentation review.......2007-01-04
It gave me advice on traps to avoid in presentations. I just need to make good practice of them.
A personal account with interesting anecdotes.......2006-07-05
Although this is a little old fashioned in its style and content (particularly the photos and graphic style), I was sufficiently engaged with the content and anecdotes to read it right through in one evening. I learnt some new facts and had an insight into the style and ideas of someone who approaches fine lectures and presentations with great care. This made it worthwhile. It is a delightful change not to be assaulted by ego or self assurance. There is one irritating characteristic of style - the repeated use of "granted".
Book Description
Examines the imperial mythology that was reflected by Roman art and architecture during the rule of Augustus Caesar
Customer Reviews:
Roman Art.......2002-03-16
This book is an excellent example of how art critique can be used to analyze politics and history. Paul Zanker does an exceptionally thorough job as he systematically works his way through the end of the Republic to the heights of Augustan Rome. The book includes tons of photographs, coins, maps and reproductions to illustrate appropriate points in the text. The thesis of the book is to show how art was used to convey the importance and dignity of the new Imperial system. Despite the breadth of material presented here, the text is smooth and understandable.
There really isn't enough space in a review to adequately cover this book. Zanker's main thrust is to show how Augustus rebuilt and remodeled Rome with himself at the center. The styles that Augustus used were quickly picked up and duplicated by the Roman upper classes, as well as those in the provinces. My favorite section of the book concerns the coinage. Augustus minted coins closely linking himself to Julius Caesar in order to establish himself as the heir apparent (which he was) to Caesar. Coins were also used to commemorate Augustus's triumph at Actium over Antony, and also to promote Augustus's conservative legislation concerning marriage and childbirth. Although Augustus slowly consolidated power under the title of princeps, he took great pains to show Rome that he was bringing about peace, prosperity and honor, all things that had been missing during the civil wars. Is Augustan art propaganda? It could certainly be interpreted that way, even though there was no "Ministry of Information" in Rome.
An excellent book, although there are a few problems. One of them is the tendency of art critique to see things that others may not. Zanker's descriptions of statues of Augustus are a good example. While I can agree with his depictions of the later Augustan busts as showing a calm, sort of omniscient demeanor, I have a tough time agreeing with his assessment of an earlier bust of Augustus as nervous and power hungry. This is a small problem with an otherwise great book that will make you think about Rome in a different way.
A novel treat: scholarship that's fun to read!.......2001-10-22
Zanker offers a fascinating reconstruction of Octavian Augustus' agenda for consolidating his position as leader of the Roman world. He does this by careful analysis of the buildings, statues, coins and other physical objects made during the rule of Rome's first emperor. Zanker understands well the impact of visual communication and uses it insightfully. He doesn't simply catalog artifacts, he interprets them and connects them within a broad system of consciously articulated ideology. In two decades of academic reading, this is one of the two most memorable books I read.
Engaging and accessible.......1998-12-24
A wonderful tour of the early Roman empire framed within a rigorous theoretical discussion. Zanker skillfully illustrates how an empire was built by the manipulation of public thought through the use of images, or in other words, propaganda. Shapiro contributes with a lively and nearly transparent translation.
Book Description
Plasma processing of semiconductors is an interdisciplinary field requiring knowledge of both plasma physics and chemical engineering. The two authors are experts in each of these fields, and their collaboration results in the merging of these fields with a common terminology. Basic plasma concepts are introduced painlessly to those who have studied undergraduate electromagnetics but have had no previous exposure to plasmas. Unnecessarily detailed derivations are omitted; yet the reader is led to understand in some depth those concepts, such as the structure of sheaths, that are important in the design and operation of plasma processing reactors. Physicists not accustomed to low-temperature plasmas are introduced to chemical kinetics, surface science, and molecular spectroscopy. The material has been condensed to suit a nine-week graduate course, but it is sufficient to bring the reader up to date on current problems such as copper interconnects, low-k and high-k dielectrics, and oxide damage. Students will appreciate the web-style layout with ample color illustrations opposite the text, with ample room for notes. The included CD contains a copy of the book which can be indexed using a Search function, and which can be enlarged on a monitor for a closer look at the diagrams. Sample homework and exam problems can also be found on the CD.
This short book is ideal for new workers in the semiconductor industry who want to be brought up to speed with minimum effort. It is also suitable for Chemical Engineering students studying plasma processing of materials; Engineers, physicists, and technicians entering the semiconductor industry who want a quick overview of the use of plasmas in the industry.
Book Description
John L. Austin was one of the leading philosophers of the twentieth century. The William James Lectures presented Austin's conclusions in the field to which he directed his main efforts on a wide variety of philosophical problems. These talks became the classic How to Do Things with Words.
For this second edition, the editors have returned to Austin's original lecture notes, amending the printed text where it seemed necessary. Students will find the new text clearer, and, at the same time, more faithful to the actual lectures. An appendix contains literal transcriptions of a number of marginal notes made by Austin but not included in the text. Comparison of the text with these annotations provides new dimensions to the study of Austin's work.
Customer Reviews:
DEEDS AND NOT WORDS ALONE.......2006-09-24
The ancient Greeks constantly harped on the contrast between words and actions, provoking Housman's parody in his Fragment of a Greek Tragedy
`Oh! I am smitten with a hatchet's jaw,
And that in deed and not in word alone.'
It seems a simple and basic distinction, but when one thinks about it it's not so simple as it looks. If I say `John promises to do that' I am simply reporting John's action of promising; but if I say `I promise to do that' I am actually doing the promising by saying so. Certain forms of words are actions as well, and not just in the trivial sense that to say something is to perform the act of saying something. Moreover, forms of words that seem very similar in meaning turn out not to behave in identical ways. `Apologise' behaves much like `promise', in the sense that when I say `I apologise for my behaviour' I am performing the act of apologising. However when I say `I am sorry for my behaviour' I may or may not be apologising - I may be reporting my feeling of sorrow, as if I had said `I am sad about my behaviour.'
The general idea is very easy to grasp, but the amount of variety in the ordinary expressions we use can seem mind-boggling. What's the story on `bequeath' for instance? If I say in my will `I bequeath you 1 million $' and if I have 1 million $ to bequeath you then I am performing the act of bequeathing by saying so. However if I don't have it I am bequeathing you nothing , whatever I say. Similarly, if I say `I anoint you Archbishop of Peoria' simply saying so doesn't make you that. In the first place I need the authority to perform this act, in the second place I need something to anoint you with, and in the third place you need to be willing to be so anointed. However even if all these conditions are present I will still not have anointed you Archbishop unless I also say so. It all goes on and on. If I am your commanding officer and I say `I reprimand you' I am thereby carrying out the act of reprimanding. However if I say `I insult you' and leave it at that I have done no insulting. Again, if one says `In saying that he made a mistake' this does not mean that the person's act consisted of something called `making a mistake'. And so on.
The series of twelve lectures in this book hauls us through any amount of fine and subtle detail about these so-called `performative utterances'. Normally the best way to read a book is to start at the beginning, but that's not what I'd recommend here. Once you have the general idea (even from this short review) I'd say start at the last lecture, go on to the second-last, and only then go back to the start. If you plough through it starting at page 1 it seems a bit of a catalogue of instances, almost as if linguistic philosophy is reduced to sweeping up after some majestic cavalcade of lexicography has passed by. Austin is always Austin of course, not just lucid and brilliant but witty too - there is one of his inimitable mixed metaphors somewhere, something about letting cards out of the bag or putting cats on the table. However after a while one yearns for a top-down perspective, for generalisation. That comes in the final two chapters. The most important statement in the book is in chapter XI, where he says that `...what we have to study is not the sentence but the issuing of an utterance in a speech situation.' That may not be Austin's most felicitous expression, at least not when quoted out of context, but it enshrines his basic argument, one that holes much ordinary linguistic philosophy below the water-line, that verbal expressions on their own do not enable us to understand what is said. Indeed I wish he had gone further in pointing out that non-verbal factors, such as tone of voice or facial expression, can cast doubt on what the verbal expression is ostensibly saying. I could, for example, say `Oh I do apologise' in such a manner as to make it very clear that I mean nothing of the kind.
In the last chapter Austin produces a short set of categories of expression in an attempt to classify the mass of detail in the foregoing chapters. He does not profess to think them anything but provisional, and the terms he coins are monstrosities - behabitives, expositives, verdictives, exercitives and commissives. Be not afraid. He explains them with all his characteristic clarity, and when you have seen the outlines of the wood you can go back to the beginning and inspect the trees individually. As always, Austin is a spoiler, and rightly so. He trains his guns on the illegitimate tyranny of `true and false' that has bedevilled so much philosophical thinking, saying that these terms constitute `a dimension of assessment' and do not stand in some supposedly unique relationship to `facts'. This is only a review, and if you want to know how he means that you have to read him for himself. For me, Austin's way of putting things is enjoyable and his thinking is liberating to the mind. Much philosophy is, in another of his great expressions, barking up the wrong gum tree, and I am only too grateful that Austin lived long enough to save us from the same fate.
Ehhh..........2004-06-05
As an avid newcomer to the rich and variegated world of contemporary philosophy, I am digesting all the "essential" works I can lay my hands on, and gathered that this one was such. However, once I was done with it I'm afraid I was just glad it was relatively short.
To begin with, I found Austin's writing style to be quite staccato; indeed, almost "hard on the eyes." It reads like "legalese" more than anything else I've come across in philosophy so far (it is not hard to adduce possible legal applications inherent in the subject of Performatives, so perhaps should be expected). He navigates through his chosen topic of speciality like a fly or mosquito constantly lighting and alighting on various surfaces in search of a tasty morsel but never quite finding anything to chew on. Instead of using his narrative to draw out actual philosophical *insights*, he spends most of the time on quasi-Aristotelian cataloguing of genus and differentia, while making very little of it in the process. I am really pretty puzzled by those other reviewers who speak of Austin's "argument" on Performatives: the structure of his "argument," as such, is broadly elliptical: he seems to come to some tentative conclusions every so often, then revises them again, and so on and so on such that at the end of the book I just wondered what, precisely, was said overall.
The main accomplishment, really, is in coming up with some putatively cardinal categories of illocutionary acts, such as "exercitive," "verdictive," "behabitive," etc. This seems fair enough, but for a far more elegant as well as penetrating analysis of the varieties of speech acts, I would point the interested reader instead to Searle's essay "A Taxonomy of Illocutionary Acts," which is available in his _Expression and Meaning._ Put to very interesting use there is Searle's concept of illocutionary "point," or "direction of force;" that is, either "word-to-world" or "world-to-word." I was thinking based on Austin's work that performatives was just a dry subject, but Searle's "Taxonomy..." is, on the contrary, very interesting reading and should, I believe, be thought to have superseded this one in quality. Austin's treatise, however, is still justly celebrated at least as the first major work, ever, on the subject.
The Importance of Being Earnest to Austin's S. A. Theory.......2003-07-02
While I commend J.L. Austin's attempt in How to Do Things With Words to liberate language from the metaphysical pretensions that the logical positivists imposed upon it by investing it with a certain phenomenological value, i.e., via the notion of "the speech act," I cannot help but wonder if Austin's reevaluation of the nature of language carries with it certain puzzling implications, particularly with regard to speaker, she who commits the speech act.
Austin's argument concerning the characteristics of a performative utterance are informed by a specific assumption concerning the origin and evolution of language: to wit, that language in its primitive stage was simply a collection of one-word utterances that are inherently ambiguous in terms of their individual senses. Thus, in order to refine the sense of these one-word utterances, a whole array of supplementary parts of speech evolved, and language became consequently more complex and sophisticated (71). In Austin's nomenclature, the force of a given one-word utterance was too diffuse vis-à-vis the context in which it is uttered and thus quite ambiguous from the addressee's position. In other words, a primitive one-word utterance does not provide the addressee any certainty about how she is to construe it. Therefore, the increasingly sophisticated iterations of language indicate an ongoing effort to refine the sense of an utterance, to give the force of the utterance a more specific and unambiguous valence.
However, Austin also maintains that an unintended consequence of this evolution of language is that it reaches a point where it becomes too sophisticated and thereby re-introduces the very uncertainty it was originally intended to mitigate. He claims that the various parts of speech, and the words that comprise them "lend themselves to equivocation and inadequate discrimination; and moreover, we use them for other purposes, e.g., insinuation," and thus concludes that "the trouble about all these devices has been principally their vagueness of meaning and uncertainty of sure reception" (76). In other words, there is a definite yet non-localizable threshold that an utterance must not cross if it is to remain teleologically oriented toward the clarity and accurate construal on the part of the addressee.
The speech act therefore always navigates between the Scylla and Charybdis of inadequately directed signifying force resulting from the primitiveness of the utterance on one hand, and the over-complexity of the utterance on the other. As a result, the clarity of a given utterance depends almost exclusively on the intention of the speaker; she must in some way remain cognizant of the above-mentioned threshold and therefore deploy the force of her utterance in a way that avoids being too diffuse or unmanageably polyvalent. This is not to claim, however, that the clarity of a given utterance is reducible to some Aristotelian mean; rather the clarity of an utterance depends on how well it reflects the earnestness or sincerity of the speaker. This notion of the speaker's earnestness is deduced from the circumstances surrounding the utterance, as well as the utterance's delivery, e.g., the enveloping context, the speaker's particular emphases, diction and enunciation, etc. The addressee thereby "triangulates" the speaker's specific intention through interpreting the above-mentioned features of the utterance. In short, it is absolutely essential to Austin's project that the speaker mean what she says.
It appears then that Austin's fundamental supposition is tautological: the addressee deduces/approximates the speaker's degree of sincerity through the amount of sincerity the speaker conveys in her utterance, which in turn reflects ipso facto the speaker's sincerity (as a subjective condition). In short, the speaker is found to be in earnest because she is in earnest. Only an utterance of the utmost sincerity-what Austin terms an "explicit performative"-carries with it the closest thing to a guarantee in terms of a clear and accurate construal. This further implies that clarity of utterance is ultimately an ethical consideration, rather than a linguistic or grammatical one, because the speaker's responsibility to her addressee obliges her to be earnest and therefore quite literal in her expression (see Habermas on this point). Unless of course the context in which the utterance is made is one in which it is assumed, either through mutual agreement or convention, that explicit or pure performatives are not necessarily expected nor pertinent, e.g., a comical monologue, a play, etc.
Thus, while Austin's argument in How to Do Things with Words is elegantly schematic, it nevertheless implies a somewhat simplistically idealized and unitary notion of the speaker's subjectivity. In other words, Austin's claims cannot adequately accommodate instances of insincerity that, while perhaps unanticipated, are not exactly inappropriate-such as ironical observations on an immediate situation-because such self-abrogation of the speaker's sincerity renders the utterance "infelicitous" almost to the point of being diabolically caustic with regard to the addressee's apprehension.
A Brisk tour through Speech Act Theory.......2001-07-13
At many points, J.L. Austin's How to do Things with Words reads more like a linguistic textbook than a philosophy text. Whether you count this as a benifit or a distraction will depend on your disposition (it certainly beats reading Kant), but whatever your views on the subject, the work is a useful introduction to Speech Act Theory. How to do Things with Words examines a part of language that philosophy has traditionaly ignored, what he dubs the performative utterance. There are certain instances in language where to say something is do perform the very act you say, promising being the perinial example. If I say, under ordinary circumstances, "I promise to do x" then I have promised to do x. Using this seemingly magical fact as his starting point, Austin goes reach profound conclusions about the nature of language and philosophy. Though the tasks Austin sets out to accomplish are largely left uncompleted (he himself admits this) the book will give you the grounding you need to pursue other works in the field, such as those of Searle or Grice. Happy reading!
a revolutionnary book.......2000-05-18
The mysterious force of language revealed by Austin is one of the most important discoveries in the modern language theories.
Book Description
This monograph contains 10 lectures presented by Dr. Daubechies as the principal speaker at the 1990 CBMS-NSF Conference on Wavelets and Applications. Wavelets are a mathematical development that many experts think may revolutionize the world of information storage and retrieval. They are a fairly simple mathematical tool now being applied to the compression of data, such as fingerprints, weather satellite photographs, and medical x-rays - that were previously thought to be impossible to condense without losing crucial details. The opening chapter provides an overview of the main problems presented in the book. Following chapters discuss the theoretical and practical aspects of wavelet theory, including wavelet transforms, orthonormal bases of wavelets, and characterization of functional spaces by means of wavelets. The last chapter presents several topics under active research, as multidimensional wavelets, wavelet packet bases, and a construction of wavelets tailored to decompose functions defined in a finite interval.
Customer Reviews:
Well... It was written by Ingrid!!.......2007-05-14
What can I say, Wavelets explained by Ingrid Daubechies! You can't go wrong.
Over rated.......2002-12-24
There are so many well written books on Wavelts out nowadays. Don't waste your money on this one. It's famous because it was first (or one of the first). On the positive side, it does present a strong mathematical foundation. I recommend you buy a readable book (just do a search on Amazon.com and you'll find half a dozen great books on Wavelets), then when you approach the "expert" level, use this one a s a reference (if at all).
Great for everyone!.......2002-07-11
This book has become a classic,-- and a hit;-- for more than ten reasons. It is multilayered, and yet presents a unity of ideas: The material, and the writing is engaging for the beginner, and for the research mathematician alike. When I used it in my teaching, it was equally popular with the math students, and those from engineering. I don't know if I can say this about any other book I have taught from. The students could follow all the carefully presented proofs, and the engineer could generate algorithms from the applied chapters.
Not for the faint of heart!.......2002-05-24
This book is a treasure of details if you know what you are doing. As another reviewer noted, it is not for the beginner. But if you have had some experience with the subject this is a must have for your library shelf.
Theoretical Wonder....but you won't learn wavelets from it!.......2000-10-10
This is the document that started it all. It is by far a great mathematical and theoritical piece of work. HOWEVER, if you are just starting off and want to learn about wavelets and do not have an advanced math or engineering degree (and I do mean ADVANCED), do not pick up this book. At least not at the beginning. There are much better books written for explaining wavelets and to better present the material. Ten Lectures is essentially one big proof. Try Mallat/Kovacevic or Strang...once you've got a solid understanding, come back to Daubechies and marvel at her work.
Book Description
In this unusually wide-ranging study, spanning more than a century and covering such diverse forms of expressive culture as Shakespeare, Central Park, symphonies, jazz, art museums, the Marx Brothers, opera, and vaudeville, a leading cultural historian demonstrates how variable and dynamic cultural boundaries have been and how fragile and recent the cultural categories we have learned to accept as natural and eternal are.
For most of the nineteenth century, a wide variety of expressive forms--Shakespearean drama, opera, orchestral music, painting and sculpture, as well as the writings of such authors as Dickens and Longfellow--enjoyed both high cultural status and mass popularity. In the nineteenth century Americans (in addition to whatever specific ethnic, class, and regional cultures they were part of) shared a public culture less hierarchically organized, less fragmented into relatively rigid adjectival groupings than their descendants were to experience. By the twentieth century this cultural eclecticism and openness became increasingly rare. Cultural space was more sharply defined and less flexible than it had been. The theater, once a microcosm of America--housing both the entire spectrum of the population and the complete range of entertainment from tragedy to farce, juggling to ballet, opera to minstrelsy--now fragmented into discrete spaces catering to distinct audiences and separate genres of expressive culture. The same transition occurred in concert halls, opera houses, and museums. A growing chasm between "serious" and "popular," between "high" and "low" culture came to dominate America's expressive arts.
"If there is a tragedy in this development," Levine comments, "it is not only that millions of Americans were now separated from exposure to such creators as Shakespeare, Beethoven, and Verdi, whom they had enjoyed in various formats for much of the nineteenth century, but also that the rigid cultural categories, once they were in place, made it so difficult for so long for so many to understand the value and importance of the popular art forms that were all around them. Too many of those who considered themselves educated and cultured lost for a significant period--and many have still not regained--their ability to discriminate independently, to sort things out for themselves and understand that simply because a form of expressive culture was widely accessible and highly popular it was not therefore necessarily devoid of any redeeming value or artistic merit."
In this innovative historical exploration, Levine not only traces the emergence of such familiar categories as highbrow and lowbrow at the turn of the century, but helps us to understand more clearly both the process of cultural change and the nature of culture in American society.
Customer Reviews:
Charts the Development of American Culture.......2007-06-29
Spanning over one hundred and fifty years, Lawrence W. Levine's Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America, charts the development of culture beginning in the late eighteenth century to the early twentieth century. In Highbrow/Lowbrow, Levine tells the reader through various examples how the United States began with forms of culture celebrated by most of the countryside's population through the years where cultural classes developed and finally to the point where some cultural subjects nearly died off. Through narrow fields of entertainment, he is able to define what was and was not popular culture; how various forms of cultural entertainment were performed and watched or listened to by the general public; and how several key people in the late nineteenth century helped preserve art forms that still exist today. Three distinct areas are covered in the book's three chapters: Chapter One, "William Shakespeare in America" focuses on the popularity and decline of the performance of Shakespeare's works; Chapter Two, "The Sacralization of Culture" highlights the development and developing highbrow status of symphonies and orchestras; and Chapter Three, "Order, Hierarchy and Culture" describes how culture evolved from entertainment for many to culture for few. Lastly, an epilogue from the author briefly expands on culture today versus culture in the past century.
"William Shakespeare in America" chronicles the rise and fall of the performance of Shakespearean plays in the United States from after the Revolutionary War until the end of the nineteenth century. Dramatic performances of Shakespeare were not the norm for the most part, but "...burlesques and parodies...constituted a prominent form of entertainment..." throughout the country. His plays were so popular that they constituted a large portion of theater presented throughout the early-to-mid nineteenth century with the most popular actors and actresses from Europe and America performing. These performances were not limited to the big cities of the eastern seaboard either; they were even performed in small cities throughout the Midwest and western states, like Mud Springs, Cherokee Flat and Rattlesnake in California and mine towns like Silver City, Dayton and Carson City. They were shown with a simple formula: Shakespeare was shown with "...afterpieces and divertissements that surrounded his plays...." Also, the draw to see these plays was strong "...because the people wanted to see great actors who in turn insisted on performing Shakespeare to demonstrate their abilities...." Another point of interest that Levine describes is that plays were seldom true Shakespearean works. Oftentimes the plays were ad-libbed or modified to satisfy the crowd, or the title and content slightly changed to bring about other meanings. For example, a version of Richard III was revised "...by cutting one-third of the lines, eliminating half of the characters, [and] adding scenes from other Shakespearean plays...." However, those who were the self-appointed guardians of high-end theater towards the end of the century, converted Shakespeare "...from a popular playwright whose dramas were the property of those who flocked to see them, into a sacred author who had to be protected from ignorant audiences...."
Next, in "The Sacralization of Culture," Levine does an excellent job of describing how many of the most popular opera houses and symphony orchestras in America were formed. Two big names in the music industry of the day, John Philip Sousa, who is known for his patriotic marches and Henry Lee Higginson, who formed the Boston Symphony Orchestra, are just two of the many cultural revolutionaries Levine discusses in the text. Sousa appealed to the masses, saying that the public would come to appreciate "`high class'" music more if it was interlaced with popular tunes. By contrast, Higginson believed that it was sacrilege to play anything other than classical music in its original form and pandered to the more cultured of society. Even though Higginson made great strides for musicians like paying salaries and starting pensions, he held so strongly to his beliefs for pure music that he operated the symphony at a loss and needed benefactors to keep it afloat. Throughout the chapter, similar subjects are also addressed, such as who should and should not enter museums, what they should wear and how they should conduct themselves once inside.
In "Order, Hierarchy, and Culture," Levine explains how attending events like plays and concerts evolved from "Whispering, talking, laughing, coughing...sneaking snacks, [and] spitting tobacco..." to a "...general success in disciplining and training audiences..." in more respectful behavior. Moreover, museum staffs were dedicated to developing the manners and behaviors of their patrons. One example was the ejecting of a plumber who not only wore his work clothes to the New York Metropolitan Museum of Art but visited the museum directly from work. The museum did not want patrons who smelled bad or who had oil and grease stains on their clothes. This policing was not limited to events held indoors. New York's Central Park had so many regulations as to where one could sit, for example, that it was almost not enjoyable to spend any time there. This effort to raise the cultural standards was intended to raise the cultural awareness of society at large.
The epilogue concludes the text stating that isolating certain cultural themes, like opera for example, has diminished its importance overall. Allan Bloom, the author of The Closing of the American Mind, is quoted as saying, "Classical music...is [now] `dead among the young'...."
As was said earlier, Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America does an excellent job of describing the rise and fall of Shakespearean drama in America and further gives an excellent portrayal of the development of opera and orchestral music. Additionally, the chapter dealing with the education and development of the viewing and listening public emphasizes how several art forms fell out of vogue with the general public, being labeled too highbrow for many. Although written in 1988, the reader can easily see parallels to today with the popularity of certain art forms like hip-hop music. The stereotypes still exist which classify those who enjoy that form of entertainment as lowbrow. In contrast, those who attend the symphony are seen as a higher social class. It is unfortunate that the highbrow intellectuals of the late nineteenth century were allowed to classify people and their entertainment tastes to such an extreme. Because of their beliefs, opera, classical music, and Shakespearean plays will never be exposed to many in America who would benefit by and truly enjoy them.
A better and up-to-date "From Lowbrow to Nobrow".......2006-12-04
Levine's study indeed had its influence in helping the general public understand the highbrow vs. lowbrow culture; however, there are more vital elements added into the popular culture over changes of time. Whoever appreciates Levine's work will find a greater enjoyment in Swirski's latest book "From Lowbrow to Nobrow". Its up-to-date and valuable insights will help us gain a much deeper understanding about the popular culture of today. It presents more diversities, more profound explanations and more hard evidences. The analysis is sharp and the writing is enjoyabel and neat. If you like Levine, you shouldn't miss Swirski.
A book for a wide audience.......2006-01-16
Academia often will mark anything dated ten to fifteen years prior to the present as "dated" simply by the mere fact that its conception took place more than a decade ago. Levine's 1988 tome testifies that this attitude is shortsighted and moreover, erroneous. Levine has written a book that serves both as a history lesson as well as a hopeful plea to reconsider our cultural biases as constructs of our own doing.
Levine does not simplify the situation by presenting a black and white portrait of the American development of high vs. low culture. Instead he offers a well-researched argument supporting a flux in cultural ideas wherein we travel through various redefinitions of culture, both high and low. Investigating the societal milieu surrounding Shakespeare, opera and orchestral music in nineteenth-century America, Levine aptly demonstrates how we arrived at our current struggle to accommodate contrasting ideas about culture.
One need not be an expert in the arts to appreciate the severity of Levine's message. The comprehension of "cultural hierarchy" is absolutely fundamental to understanding our societal existence. One can moreover applaud Levine for tackling the subject in a way that is accessible and easily comprehended by those not ensconced in academic dialogue. His writing is bold and charismatic, making this book a refreshing change from many academic missives which aim to keep the discourse within the walls of the ivory tower. Levine invites us outside those walls by presenting us with an uncracked mirror by which we can clearly see our own responsibilities and reactions to culture in America.
The only book of non-fiction I've read twice.......2000-11-22
Really. This book is so fine, so well written, so fascinating, that I actually re-read it! Mr. Levine, please write more. I've recommended this book to many friends, including scientists who had never shown an interest in literary subjects. I practically forced my best friend--a professional wrestler (!)--to read it. The result: Mr. Levine now has a motley crew of new admirers.
One of the best books ever written on theatre--a joy.......1999-12-10
The Scene: Three months before my qualifying exams. I have crammed every book on theatre I can think of. I have notecards that I memorize. I have no love of theatre anymore, no interest in the subject, just trying to get through the ordeal that so many of my friends have failed. I don't allow myself to read books for fun, or all the way through. I only skim for facts to drop.
One day this book arrives in the mail with several others I've ordered. I dutifully skim it for facts to put on my notecards. I find myself being drawn in. It is academic reading--I couldn't imagine that it could be all that enjoyable. More importantly I don't have time to enjoy a book. But I am enjoying it, so I decide to let myself really read the first chapter (on Shakespeare).
I can't put it down. I'm reading about museums now, public parks, things that I will never be able to use on my exams, but I love the way he thinks! Not only am I loving Levine's incredible book, but I am even excited about my field again. Levine's book is an incredible gift, a gift that helped me renew my delight in what scholarship and history can do. A model I will never live up to, but will cherish and delight in. And I did pass, quoting Levine not to impress, but out of a real delight in the field and the joy of sharing ideas.
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Inventing the Renaissance Putto (Bettie Allison Rand Lectures in Art History)
Charles Dempsey
Manufacturer: The University of North Carolina Press
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The Portrayal of Love
ASIN: 0807826162
Release Date: 2000-12-06 |
Book Description
The figure of the putto (often portrayed as a mischievous baby) made frequent appearances in the art and literature of Renaissance Italy. Commonly called spiritelli, or sprites, putti embodied a minor species of demon, in their nature neither good nor bad. They included natural spirits, animal spirits, and the spirits of sight and sound, as well as hobgoblin fantasies, bogeys, and the spirits contained in wine. Among the sensations ascribed to spiritelli were feelings of love, erotic arousal, and startling frights.
Throughout, Dempsey advances a larger argument about the nature of Italian Renaissance art. Rather than simply reviving classical forms, he says, the art accommodated and fused them within local, vernacular, and modern Italian traditions, both literary and pictorial.
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Methods and Models in Neurophysics, Volume Session LXXX: Lecture Notes of the Les Houches Summer School 2003 (Les Houches)
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ASIN: 0444517928 |
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Neuroscience is an interdisciplinary field that strives to understand the functioning of neural systems at levels ranging from biomolecules and cells to behaviour and higher brain functions (perception, memory, cognition). Neurophysics has flourished over the past three decades, becoming an indelible part of neuroscience, and has arguably entered its maturity. It encompasses a vast array of approaches stemming from theoretical physics, computer science, and applied mathematics. This book provides a detailed review of this field from basic concepts to its most recent development.
Book Description
This revised and expanded edition of Paul W. Justice's popular text provides a straightforward, accessible introduction to the basics of linguistics for education students and all non-linguistics majors, covering the essentials of phonetics, phonology, morphology, morpho-phonology, and syntax. While this overview is accessible to any student, Justice's text will be of particular use in teacher training programs, many of which now expose trainees to these topics in order to cope with rising linguistic diversity in classrooms.
Each chapter of Relevant Linguistics leads students through descriptive analysis, helps them grasp linguistic concepts, and provides them with the reference materials necessary for their own teaching. This second edition contains more exercises as well as expanded and clarified explanations of the issues discussed in the first edition. Also included are more references to areas such as the history of English and semantics.
Customer Reviews:
Excellent Instructor writes excellent text.......2007-03-09
The book is easy to read, easy to understand, and has challenging exercises in Linguistics. It is well written, and if you get a chance I highly recommend taking a course in Linguistics with Justice. He is a helpful, easy to talk to instructor.
Perfect for high school teachers.......2005-07-15
Faced with the challenge of teaching a ninth grade linguistics course, I looked long and hard for books that could help me. Almost all linguistic texts are hundreds of pages long and pitched at way too complex a level. In this one, though, Paul Justice tells you exactly what you need to know, distilling but not oversimplifying the subject. The book is designed so that you can effectively teach yourself, with exercises and good examples throughout. Justice is a clear writer and explicator, revisiting important topics when appropriate, so that you see connections, and he always remembers to explain why what he's teaching you is relevant in a high school classroom. And like the best linguistics books, it's fun. My only complaint is that the on-line solutions to the exercises are only available to teachers who adopt the text for their classes. All in all, though, this book is a definite find.
Great textbook for Linguistics students.......2003-11-28
This textbook is a great source for both undergrad and grad students. No other books explain phonology, morphology, and syntax better than this one. All the chapters are carefully designed to help learners understand better. I strongly recommend this book to any students who are interested in Linguistics.
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