In Depression-era Boston, a city divided by privilege and poverty, two unlikely friends are bound by a dangerous secret in this mesmerizing work of historical fiction from the New York Times bestselling author of The Perfume Collector. Maeve Fanning is a first generation Irish immigrant, born and raised among the poor, industrious Italian families of Boston’s North End by her widowed mother. Clever, capable, and as headstrong as her red hair suggests, she’s determined to better herself despite the overwhelming hardships of the Great Depression. However, Maeve also has a dangerous fondness for strange men and bootleg gin—a rebellious appetite that soon finds her spiraling downward, leading a double life. When the strain proves too much, Maeve becomes an unwilling patient in a psychiatric hospital, where she strikes up a friendship with an enigmatic young woman, who, like Maeve, is unable or unwilling to control her un-lady-like desire for freedom. Once out, Maeve faces starting over again. Armed with a bottle of bleach and a few white lies, she lands a job at an eccentric antiques shop catering to Boston’s wealthiest and most peculiar collectors. Run by an elusive English archeologist, the shop is a haven of the obscure and incredible, providing rare artifacts as well as unique access to the world of America’s social elite. While delivering a purchase to the wealthy Van der Laar family, Maeve is introduced to beautiful socialite Diana Van der Laar—only to discover she’s the young woman from the hospital. Reunited with the charming but increasingly unstable Diana and pursued by her attractive brother James, Mae becomes more and more entwined with the Van der Laar family—a connection that pulls her into a world of moral ambiguity and deceit, and ultimately betrayal. Bewitched by their wealth and desperate to leave her past behind, Maeve is forced to unearth her true values and discover how far she’ll to go to reinvent herself.
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Objects Observed explores the central place given to the object by a number of poets in France and in America in the twentieth century. John C. Stout provides comprehensive examinations of Pierre Reverdy, Francis Ponge, Jean Follain, Guillevic, and Jean Tortel. Stout argues that the object furnishes these poets with a catalyst for creating a new poetics and for reflecting on lyric as a genre. In France, the object has been central to a broad range of aesthetic practices, from the era of Cubism and Surrealism to the 1990s. In the heyday of American Modernism, several major poets foregrounded the object in their work; however, in postwar twentieth-century America, poets moved away from a focus on the object. Objects Observed illuminates the variety of aesthetic practices and positions in French and American poets from the years of high Modernism (1909-1930) to the 1990s.
Combining aesthetic and political history, explores the influence of Chinese people and objects on American visual culture. In Collecting Objects / Excluding People, Lenore Metrick-Chen demonstrates an unknown impact of Chinese immigration upon nineteenth-century American art and visual culture. The American ideas of “Chineseness” ranged from a negative portrayal to an admiring one and these varied images had an effect on museum art collections and advertising images. They brought new ideas into American art theory, anticipating twentieth-century Modernism. Metrick-Chen shows that efforts to construct a cultural democracy led to the creation of unforeseen new categories for visual objects and unanticipated social changes. Collecting Objects / Excluding People reveals the power of images upon culture, the influence of media representation upon the lives of Chinese immigrants, and the impact of political ideology upon the definition of art itself.
In The Cultural Lives of Domestic Objects in Late Antiquity, Jo Stoner assesses evidence for heirlooms, gifts and souvenirs to reveal the personal and sentimental values of material culture from the late antique period.
|Book Title||: Lighthouses of the Universe The Most Luminous Celestial Objects and Their Use for Cosmology|
|Author||: Marat Gilfanov|
|Publisher||: Springer Science & Business Media|
|Release Date||: 2002-08-06|
|Available Language||: English, Spanish, And French|
The book reviews the present status of understanding the nature of the most luminous objects in the Universe, connected with supermassive black holes and supermassive stars, clusters of galaxies and ultraluminous galaxies, sources of gamma-ray bursts and relativistic jets. Leading experts give overviews of essential physical mechanisms involved, discuss formation and evolution of these objects as well as prospects for their use in cosmology, as probes of the intergalactic medium at high redshifts and as a tool to study the end of dark ages. The theoretical models are complemented by new exciting results from orbital and ground-based observatories such as Chandra, XMM-Newton, HST, SDSS, VLT, Keck, and many others.
"Pre-conference on 'Early printed books as material objects--Principles, problems, perspectives', which was held as a satellite meeting to the annual congress of the International Federation of Library Associations (IFLA) in Milan, Italy"--P. v.
Looks at the development of American avant-garde art, including performance art, environmental art, conceptual art, video, and photo-realism
The Meaning of Video Games takes a textual studies approach to an increasingly important form of expression in today’s culture. It begins by assuming that video games are meaningful–not just as sociological or economic or cultural evidence, but in their own right, as cultural expressions worthy of scholarly attention. In this way, this book makes a contribution to the study of video games, but it also aims to enrich textual studies. Early video game studies scholars were quick to point out that a game should never be reduced to merely its "story" or narrative content and they rightly insist on the importance of studying games as games. But here Steven E. Jones demonstrates that textual studies–which grows historically out of ancient questions of textual recension, multiple versions, production, reproduction, and reception–can fruitfully be applied to the study of video games. Citing specific examples such as Myst and Lost, Katamari Damacy, Halo, Façade, Nintendo’s Wii, and Will Wright’s Spore, the book explores the ways in which textual studies concepts–authorial intention, textual variability and performance, the paratext, publishing history and the social text–can shed light on video games as more than formal systems. It treats video games as cultural forms of expression that are received as they are played, out in the world, where their meanings get made.