Masterminded by women, the Red Army Faction (RAF) terrorized West Germany from the 1970s to the 1990s. Afterimages of its leaders persist in the works of pivotal artists and writers, including Gerhard Richter, Elfriede Jelinek, and Slavoj i ek. Why were women so prominent in the RAF? What does the continuing cultural response to the German armed struggle tell us about the representation of violence, power, and gender today? Engaging critical theory, Charity Scribner addresses these questions and analyzes signal works that point beyond militancy and terrorism. This literature and art discloses the failures of the Far Left and registers the radical potential that RAF women actually forfeited. After the Red Army Faction maps out a cultural history of militancy and introduces "postmilitancy" as a new critical term. As Scribner demonstrates, the most compelling examples of postmilitant culture don't just repudiate militancy: these works investigate its horizons of possibility, particularly on the front of sexual politics. Objects of analysis include as-yet untranslated essays by Theodor Adorno and Jürgen Habermas, as well as novels by Friedrich Dürrenmatt and Judith Kuckart, Johann Kresnik's Tanztheaterstück Ulrike Meinhof, and the blockbuster exhibition Regarding Terror at the Berlin Kunst-Werke. Scribner focuses on German cinema, offering incisive interpretations of films by Margarethe von Trotta, Volker Schlöndorff, and Fatih Akin, as well as the international box-office success The Baader-Meinhof Complex. These readings disclose dynamic junctures among several fields of inquiry: national and sexual identity, the disciplining of the militant body, and the relationship between mass media and the arts.
Blue Book of Art Values: Artists & Their Works from Around the World
Peter Jennings and Todd Brewster, The Century (New York: Doubleday, 1998), 154. 8. Time-Life Editors, This Fabulous Century, Vol. IV, 23. 9.
Offers a selection of eighty-seven full-color reproductions of Timberlake's paintings, with an introduction by the painter
THE FERRELL BROTHERS, WILBUR AND WARREN , in their own words "were not known as singular artists but a duo." Wilbur began his career as a motion picture ...
Adelson, Warren, “John Singer Sargent and the 'New Painting,'” in Stanley Olson, Warren Adelson, and Richard Ormond, Sargent at Broadway: The Impressionist ...
This is a rich undiscovered history—a history replete with competing art departments, dynastic scenic families, and origins stretching back to the films of Méliès, Edison, Sennett, Chaplin, and Fairbanks.
Through careful research, Carol Gibson-Wood exposes the mythology surrounding the Morellian method, especially the mythology of the coherence and primacy of his method of attribution. She argues that it “could also be said that Berenson ...
Gibson translates from the Phoenician: “Beware! Behold, there is disaster for you ... !” (SSI 3, no. 5=KAI nr. 2). Examples from Cyprus include SSI 3, no. 12=KAI nr. 30. Gibson's translation of the Phoenician reads (SSI 3, ...
Examines the emergence of abstract organic forms and their assimilation into the popular arts and culture of American life from 1940-1960, covering advertising, decorative arts, commercial design, and the fine arts.
... S. Newman ACCOUNTING Christopher Nobes ADAM SMITH Christopher J. Berry ADOLESCENCE Peter K. Smith ADVERTISING ... ALGEBRA Peter M. Higgins AMERICAN CULTURAL HISTORY Eric Avila AMERICAN HISTORY Paul S. Boyer AMERICAN IMMIGRATION ...