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Irish Seattle
The Puget Sound area has been greatly influenced by the Irish, and while many of the names and events are familiar, until now, their Irish connections were rarely acknowledged. Judge Thomas Burke, "The Man who Built Seattle," had Irish parents. So did Washington's second governor, John Harte McGraw. John Collins, who left Ireland at the tender age of 10 to seek his fame and fortune, became Seattle's fourth mayor. "The Mercer Girls" included Irish women who came west to Seattle. This fascinating retrospective pays tribute to the first- and second-generation Irish who lived in the Puget Sound region over the past 150 years and who contributed to Seattle's growth. In more than 200 photographs and illustrations, this book chronicles the contributions of the Irish to an area whose landscape and climate reminded them of home.
Art Historical Perspectives on the Portrayal of Animal Death
This study concentrates on the discourses around animal death in arts and the ways they changed over time. Chapter topics span from religious symbolism to natural history cabinets, from hunting laws to animal rights, from economic history to formalist views on art. In other words, the book asks why artists have represented animal death in visual culture, maintaining that the practice has, through the whole era, been a crucial part of the understanding of our relation to the world and our identity as humans. This is the first truly integrative book-length examination of the depiction of dead animals in Western art. The book will be of interest to scholars working in art history, animal studies, and cultural history.
Painting the Sublime
In the second half of the eighteenth century, the category of the sublime became a central concept of the fledgling field of aesthetics. Originally located at the margins of discourses on rhetoric, it became a source of fascination in literary and artistic production, but quickly proved to be a complicated matter, especially for the visual arts. Artists and philosophers contended with the question of whether the sublime can be depicted at all or whether the events that can cause viewers to experience the sublime can be adequately represented in painting. The contributions of this special issue suggest, however, that the contested visual representability of the sublime might have spurred visual artists to devise innovative, experimental solutions in the eighteenth and nineteenth century.
Farm Boy, City Girl
In the 1930s, John "Gene" E. Dawson was a shy, insecure boy who had been born to a struggling Iowa farm family during the Great Depression. In his memoir, Farm Boy, City Girl: From Gene to Miss Gina, Gene first recalls his years as a "Farm Boy," when he and his brothers worked alongside their parents as soon as they were able and attended country school. But life wasn't all work and school, and he writes about his love for and time with his extended Irish Catholic family. As a teenager, the "Farm Boy" realized that he never would be like his male peers and interested in girls. When Gene eventually decided that he could not lead a double life and pretend to be heterosexual, he began his life ...
Serial Forms
Serial Forms: The Unfinished Project of Modernity, 1815-1848 proposes an entirely new way of reading the transition into the modern. It is the first book in a series of three which will take the reader up to the end of the First World War, moving from a focus on London to a global perspective. Serial Forms sets out the theoretical and historical basis for all three volumes. It suggests that, as a serial news culture and a stadial historicism developed together between 1815 and 1848, seriality became the dominant form of the nineteenth century. Through serial newsprint, illustrations, performances, and shows, the past and the contemporary moment enter into public visibility together. Serial F...
