Kategoria BISAC: Art >> Subjects & Themes - General

Aristotle believed semen to be the purest of all bodily secretions, a vehicle for the spirit or psyche that gives form to substance. For Proust's narrator in Swann's Way, waking to find he has experienced a nocturnal emission, it is the product of "some misplacing of my thigh." The heavy metal band Metallica used it to adorn an album cover. Beyond its biological function, semen has been applied with surprising frequency to metaphorical and narratological purposes.

In Images of Bliss, Murat Aydemir undertakes an original and extensive analysis of images of male...

To Rebecca Solnit, the word "landscape" implies not only literal places, but also the ground on which we invent our lives and confront our innermost troubles and desires. The organic world, to Solnit, gives rise to the social, political, and philosophical landscapes we inhabit. "As Eve Said to the Serpent" skillfully weaves the natural world with the realm of art--its history, techniques, and criticism--to offer a remarkable compendium of Solnit's research and ruminations.

The nineteen pieces in this book range from the intellectual formality of traditional art criticism to highly...

Following the destruction of Kyoto during the civil wars of the late fifteenth century, large-scale panoramic paintings of the city began to emerge. These enormous and intricately detailed depictions of the ancient imperial capital were unprecedented in the history of Japanese painting and remain unmatched as representations of urban life in any artistic tradition. Capitalscapes, the first book-length study of the Kyoto screens, examines their inception in the sixteenth to early seventeenth centuries, focusing on the political motivations that sparked their creation.

Close readings...

Through its provocative examination of feminist and Marxist approaches to women's art and female representations, this book challenges the widespread belief that Marxism has nothing valuable to contribute to women's studies. The author argues that, from the French Revolution through to the present, gender and class have shaped visual imagery. She shows how Marxist theory can function to question some of the premises of feminist art histories and to provide a more accurate understanding of the meaning(s) of visual imagery.