Palaces and Power in the Americas


Book Description

Ancient American palaces still captivate those who stand before them. Even in their fallen and ruined condition, the palaces project such power that, according to the editors of this new collection, it must have been deliberately drawn into their formal designs, spatial layouts, and choice of locations. Such messages separated palaces from other elite architecture and reinforced the power and privilege of those residing in them. Indeed, as Christie and Sarro write, "the relation between political power and architecture is a pervasive and intriguing theme in the Americas." Given the variety of cultures, time periods, and geographical locations examined within, the editors of this book have grouped the articles into four sections. The first looks at palaces in cultures where they have not previously been identified, including the Huaca of Moche Site, the Wari of Peru, and Chaco Canyon in the U.S. Southwest. The second section discusses palaces as "stage sets" that express power, such as those found among the Maya, among the Coast Salish of the Pacific Northwest, and at El Tajín on the Mexican Gulf Coast. The third part of the volume presents cases in which differences in elite residences imply differences in social status, with examples from Pasado de la Amada, the Valley of Oaxaca, Teotihuacan, and the Aztecs. The final section compares architectural strategies between cultures; the models here are Farfán, Peru, under both the Chimú and the Inka, and the separate states of the Maya and the Inka. Such scope, and the quality of the scholarship, make Palaces and Power in the Americas a must-have work on the subject.




Sculpture and the Garden


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Although the integration of sculpture in gardens is part of a long tradition dating back at least to antiquity, the sculptures themselves are often overlooked, both in the history of art and in the history of the garden. This collection of essays considers the changing relationship between sculpture and gardens over the last three centuries, focusing on four British archetypes: the Georgian landscape garden, the Victorian urban park, the outdoor spaces of twentieth-century modernism and the late-twentieth-century sculpture park. Through a series of case studies exploring the contemporaneous audiences of gardens, the book uncovers the social, political and gendered messages revealed by sculpture's placement and suggests that the garden can itself be read as a sculptural landscape.




the roman novel


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House of Leaves


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“A novelistic mosaic that simultaneously reads like a thriller and like a strange, dreamlike excursion into the subconscious.” —The New York Times Years ago, when House of Leaves was first being passed around, it was nothing more than a badly bundled heap of paper, parts of which would occasionally surface on the Internet. No one could have anticipated the small but devoted following this terrifying story would soon command. Starting with an odd assortment of marginalized youth -- musicians, tattoo artists, programmers, strippers, environmentalists, and adrenaline junkies -- the book eventually made its way into the hands of older generations, who not only found themselves in those strangely arranged pages but also discovered a way back into the lives of their estranged children. Now this astonishing novel is made available in book form, complete with the original colored words, vertical footnotes, and second and third appendices. The story remains unchanged, focusing on a young family that moves into a small home on Ash Tree Lane where they discover something is terribly wrong: their house is bigger on the inside than it is on the outside. Of course, neither Pulitzer Prize-winning photojournalist Will Navidson nor his companion Karen Green was prepared to face the consequences of that impossibility, until the day their two little children wandered off and their voices eerily began to return another story -- of creature darkness, of an ever-growing abyss behind a closet door, and of that unholy growl which soon enough would tear through their walls and consume all their dreams.










History of Painting


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Paolo Veronese


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