03999oam 2200637I 450 991046277510332120200520144314.00-203-38946-81-283-84649-71-135-13081-710.4324/9780203389461 (CKB)2670000000298981(EBL)1075328(OCoLC)821176272(SSID)ssj0000784619(PQKBManifestationID)11503900(PQKBTitleCode)TC0000784619(PQKBWorkID)10781829(PQKB)11521531(MiAaPQ)EBC1075328(Au-PeEL)EBL1075328(CaPaEBR)ebr10630919(CaONFJC)MIL415899(OCoLC)995586568(EXLCZ)99267000000029898120180331d2003 uy 0engur|n|---|||||txtccrWomen making art history, subjectivity, aesthetics /Marsha MeskimmonLondon ;New York :Routledge,2003.1 online resource (241 p.)Description based upon print version of record.0-415-24278-9 0-415-24277-0 Includes bibliographical references and index.Women Making Art History, Subjectivity, Aesthetics; Copyright; Contents; List of illustrations; Acknowledgements; Introduction: women making art; Exhilaration and danger; The work of art; New epistemes; Part I History; Introduction; 1 Exiled histories: Holocaust and Heimat; Home, covenant and the profundity of the everyday; High culture, assimilation and modernity; 2 Corporeal cartography: women artists of the anglophone African disapora; Dancers, mothers and modernity; Dancing: place and ethnography; 3 Re-inscribing histories: Viet Nam and representationMass media, documentary and reportageNation, difference and bodies politic; Part II Subjectivity; Introduction; 4 Embodiment: space and situated knowledge; Embodying the woman artist; Embodied vision: situation(ism), the library and the studio; Skin, borderlands and mestiza knowledge; 5 Performativity: desire and the inscribed body; From the performed to the materialised; Inside/outside; Erotic surfaces; 6 Becoming: individuals, collectives and wondrous machines; Flower painters and feminist figurations; Figuring the body in the virtual machine; Transindividuality and the loop of becomingPart III AestheticsIntroduction; 7 Pleasure and knowledge: 'Orientalism' and filmic vision; Aesthetics: pleasure and the voice; Aesthetics: pleasure and the embodied eye; Aesthetics: pleasure and 'inter' space of corporeal theory; 8 The word and the flesh: text/image re-made; Reading matter; The book in the expanded field; 9 The place of time: Australian feminist art and theory; A glance at (ec)centric histories; Hesitation, elaboration and the emergent subject; Afterword - on Wonder; Notes; Bibliography; IndexWomen have been making art for centuries, yet their work has been seen as secondary or has gone unrecognized altogether. Women Making Art asks why this is so, and what it would take for us to realize the extent of women's extraordinary contribution to the arts. Marsha Meskimmon mobilizes contemporary feminist thinking to reconsider how and why women have made art. She examines work by a wide range of women artists from different cultures and historical periods, including Rebecca Horn, Rachel Whiteread, Shirin Neshat and Maya Lin, emphasizing the diversity of women's art and Women artistsFeminism and artElectronic books.Women artists.Feminism and art.704.042Meskimmon Marsha.610824MiAaPQMiAaPQMiAaPQBOOK9910462775103321Women making art2132162UNINA03978nam 22004335 450 99650065960331620231127225546.0978052096259010.1515/9780520962590(CKB)25646681700041(oapen)https://directory.doabooks.org/handle/20.500.12854/37903(DE-B1597)539728(OCoLC)945783630(DE-B1597)9780520962590(ScCtBLL)da1a5589-e08b-45a6-9416-272994a6b384(EXLCZ)992564668170004120230808h20152005 fg engurmn|---annantxtrdacontentcrdamediacrrdacarrierThe Art of Fugue Bach Fugues for Keyboard, 1715-1750 /Joseph KermanBerkeley, CA :University of California Press,[2005]©20051 online resource (192 p.)Frontmatter --Contents --List of Recordings and Scores --Preface --Acknowledgments --1. Fugue in C Major: The Well-Tempered Clavier, book 1 --2. Fugue in C Minor: The Well-Tempered Clavier, book 1 --3. Fughetta in C Major, BWV 952 --4. Fugue in C-sharp Minor: The Well-Tempered Clavier, book 1 --5. Contrapunctus 1: The Art of Fugue --6. Contrapunctus 10: The Art of Fugue --7. Chromatic Fantasy and Fugue, BWV 903 --8. Prelude and Fugue in E-flat Major: The Well-Tempered Clavier, book 1 --9. Fugue in E Major: The Well-Tempered Clavier, book 2 --10. Fugue on "Jesus Christus unser Heiland": Clavierübung, book 3 --11. Fugue in F-sharp Minor: The Well-Tempered Clavier, book 1 --12. Gigue: English Suite no. 3 in G Minor --13. Fugue in A-flat Major: The Well-Tempered Clavier, book 1 --14. Fugue in A Minor: Fantasy and Fugue in A Minor, BWV 904 --15. Fugue in B-flat Major: The Well-Tempered Clavier, book 2 --16. Fugue in B Major: The Well-Tempered Clavier, book 2 --Afterword --Notes --Notes to the Recordings --Glossary --Bibliography --IndexA free ebook version of this title is available through Luminos, University of California Press's new open access publishing program for monographs. Visit www.luminosoa.org to learn more. Fugue for J. S. Bach was a natural language; he wrote fugues in organ toccatas and voluntaries, in masses and motets, in orchestral and chamber music, and even in his sonatas for violin solo. The more intimate fugues he wrote for keyboard are among the greatest, most influential, and best-loved works in all of Western music. They have long been the foundation of the keyboard repertory, played by beginning students and world-famous virtuosi alike. In a series of elegantly written essays, eminent musicologist Joseph Kerman discusses his favorite Bach keyboard fugues-some of them among the best-known fugues and others much less familiar. Kerman skillfully, at times playfully, reveals the inner workings of these pieces, linking the form of the fugues with their many different characters and expressive qualities, and illuminating what makes them particularly beautiful, powerful, and moving. These witty, insightful pieces, addressed to musical amateurs as well as to specialists and students, are beautifully augmented by performances made specially for this volume: Karen Rosenak, piano, playing two preludes and fugues fromTheWell-Tempered Clavier-C Major, book 1; and B Major, book 2--and Davitt Moroney playing the Fughetta in C Major, BWV 952, on clavichord; the Fugue on ";Jesus Christus unser Heiland,"; BWV 689, on organ; and the Fantasy and Fugue in A Minor, BWV 904, on harpsichord.MusicbicsscMusicGeneralMusic786/.1872/092Kerman Josephauthttp://id.loc.gov/vocabulary/relators/aut481940DE-B1597DE-B1597996500659603316The Art of Fugue2155605UNISA