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Flappers, Flasks and Foul Play, Collier Ellen Mansoor


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Цена: 23290.00T
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Автор: Collier Ellen Mansoor
Название:  Flappers, Flasks and Foul Play
ISBN: 9780989417006
Классификация:

ISBN-10: 098941700X
Обложка/Формат: Paperback
Страницы: 302
Вес: 0.44 кг.
Дата издания: 21.07.2013
Серия: Flapper
Язык: English
Иллюстрации: Black & white illustrations
Размер: 229 x 152 x 16
Читательская аудитория: General (us: trade)
Рейтинг:
Поставляется из: США
Описание:

Before Las Vegas, Galveston, Texas was called the Sin City of the Southwest. Real-life rival gangs fight over booze and bars during Prohibition in this soft-boiled Jazz Age mystery, inspired by actual events. Jasmine Cross, a 21-year-old society reporter, feels caught between two clashing cultures: the seedy speakeasy underworld and the snooty social circles she covers in the Galveston Gazette. After a big-shot banker with a hidden past collapses at the Oasis-a speakeasy secretly owned by her black-sheep half-brother, Sammy Cook-Jazz suspects foul play. Was it an accident or a mob hit? Soon handsome young Prohibition Agent James Burton raids the Oasis, threatening to shut it down if Sammy doesnt cooperate. Suspicious, he pursues Jazz, hoping for information and more, but despite her mixed feelings she refuses to rat on Sammy. As turf wars escalate between the Downtown and Beach gangs, Sammy is accused of murder. To find the killer, Jazz must risk her life and career, exposing the dark side of Galvestons glittering society.



Italian Postwar Abstraction and the Beginnings of Autonomia

Автор: Mansoor Jaleh
Название: Italian Postwar Abstraction and the Beginnings of Autonomia
ISBN: 0822362600 ISBN-13(EAN): 9780822362609
Издательство: Mare Nostrum (Eurospan)
Рейтинг:
Цена: 33440.00 T
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Описание:

Focusing on artwork by Lucio Fontana, Alberto Burri, and Piero Manzoni, Jaleh Mansoor demonstrates and reveals how abstract painting, especially the monochrome, broke with fascist-associated futurism and functioned as an index of social transition in postwar Italy. Mansoor refuses to read the singularly striking formal and procedural violence of Fontana's slit canvasses, Burri's burnt and exploded plastics, and Manzoni's "achromes" as metaphors of traumatic memories of World War II. Rather, she locates the motivation for this violence in the history of the medium of painting and in the economic history of postwar Italy. Reconfiguring the relationship between politics and aesthetics, Mansoor illuminates how the monochrome's reemergence reflected Fontana, Burri, and Manzoni's aesthetic and political critique of the Marshall Plan's economic warfare and growing American hegemony. It also anticipated the struggles in Italy's factories, classrooms, and streets that gave rise to Autonomia in the 1960s. Marshall Plan Modernism refigures our understanding of modernist painting as a project about labor and the geopolitics of postwar reconstruction during the Italian Miracle.


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