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Painted Love


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In this engrossing book, Hollis Clayson provides the first description and analysis of French artistic interest in women prostitutes, examining how the subject was treated in the art of the 1870s and 1880s by such avant-garde painters as Cézanne, Degas, Manet, and Renoir, as well as by the academic and low-brow painters who were their contemporaries. Clayson not only illuminates the imagery of prostitution-with its contradictory connotations of disgust and fascination-but also tackles the issues and problems relevant to women and men in a patriarchal society. She discusses the conspicuous sexual commerce during this era and the resulting public panic about the deterioration of social life and civilized mores. She describes the system that evolved out of regulating prostitutes and the subsequent rise of clandestine prostitutes who escaped police regulation and who were condemned both for blurring social boundaries and for spreading sexual licentiousness among their moral and social superiors. Clayson argues that the subject of covert prostitution was especially attractive to vanguard painters because it exemplified the commercialization and the ambiguity of modern life.




Nicolas Lancret


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In a garden glade before a grand fountain, surrounded by a musical party, an elegant woman in a lustrous white gown dances as part of a foursome, raising her eyes to the viewer as if extending an invitation to the dance. This is the enticing scene in the J. Paul Getty Museum's painting "Dance before a Fountain" by Nicolas Lancret (1690-1743), an excellent example of the fete galante, a genre that was created and reached the peak of its popularity in France during the first half of the eighteenth century. This monograph seeks to familiarize American audiences with Lancret, a master of this genre, who was a revered painter in his own time, rivalling his contemporaries Antoine Watteau and Francois Boucher, and a favourite of crowned heads across Europe. Mary Tavener Holmes's engrossing text uses this painting as a springboard to reveal a remarkable amount about the painter, his mode of painting, Paris at the time this work was made, eighteenth-century dance, and the world of art patronage and collecting in France and elsewhere in the eighteenth and nineteenth centuries. Lavishly illustrated with comparative paintings by artists such as Watteau, Boucher, Peter Paul Rubens, Jean-Francois De Troy, Jean-Baptiste Oudry, and Hubert Robert, this fascinating peek into a bygone Parisian era is a treat for the eyes and the intellect alike.




On Diary


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On Diary is the second collection in English of the groundbreaking and profoundly influential work of one of the best-known and provocative theorists of autobiography and diary. Ranging from the diary’s historical origins to its pervasive presence on the Internet, from the spiritual journey of the sixteenth century to the diary of Anne Frank, and from the materials and methods of diary writing to the question of how diaries end, these essays display Philippe Lejeune’s expertise, eloquence, passion, and humor as a commentator on the functions, practices, and significance of keeping or reading a diary. Lejeune is a leading European critic and theorist of diary and autobiography. His landmark essay, "The Autobiographical Pact," has shaped life writing studies for more than thirty years, and his many books and essays have repeatedly opened up new vistas for scholarship. As Michael Riffaterre notes, "Lejeune’s work on autobiography is the most original, powerful, effective approach to a difficult subject. . . . His style is very personal, lively. It grabs the reader as scholarship rarely does. Lejeune’s erudition and methodology are impeccable." Two substantial introductory essays by Jeremy Popkin and Julie Rak place Lejeune’s work within its critical and theoretical traditions and comment on his central importance within the fields of life writing, literary genetic studies, and cultural studies.




Canada's Residential Schools


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The French Revolution in Global Perspective


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Situating the French Revolution in the context of early modern globalization for the first time, this book offers a new approach to understanding its international origins and worldwide effects. A distinguished group of contributors shows that the political culture of the Revolution emerged out of a long history of global commerce, imperial competition, and the movement of people and ideas in places as far flung as India, Egypt, Guiana, and the Caribbean. This international approach helps to explain how the Revolution fused immense idealism with territorial ambition and combined the drive for human rights with various forms of exclusion. The essays examine topics including the role of smuggling and free trade in the origins of the French Revolution, the entwined nature of feminism and abolitionism, and the influence of the French revolutionary wars on the shape of American empire. The French Revolution in Global Perspective illuminates the dense connections among the cultural, social, and economic aspects of the French Revolution, revealing how new political forms-at once democratic and imperial, anticolonial and centralizing-were generated in and through continual transnational exchanges and dialogues. Contributors: Rafe Blaufarb, Florida State University; Ian Coller, La Trobe University; Denise Davidson, Georgia State University; Suzanne Desan, University of Wisconsin-Madison; Lynn Hunt, University of California, Los Angeles; Andrew Jainchill, Queen's University; Michael Kwass, The Johns Hopkins University; William Max Nelson, University of Toronto; Pierre Serna, Université Paris I Panthéon-Sorbonne; Miranda Spieler, University of Arizona; Charles Walton, Yale University




Reclaiming Power and Place


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Museums, Ethics and Cultural Heritage


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This volume provides an unparalleled exploration of ethics and museum practice, considering the controversies and debates which surround key issues such as provenance, ownership, cultural identity, environmental sustainability and social engagement. Using a variety of case studies which reflect the internal realities and daily activities of museums as they address these issues, from exhibition content and museum research to education, accountability and new technologies, Museums, Ethics and Cultural Heritage enables a greater understanding of the role of museums as complex and multifaceted institutions of cultural production, identity-formation and heritage preservation. Benefitting from ICOM’s unique position in the museum world, this collection brings a global range of academics and professionals together to examine museums ethics from multiple perspectives. Providing a more complete picture of the diverse activities now carried out by museums, Museums, Ethics and Cultural Heritage will appeal to practitioners, academics and students alike.