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Occupiers of Wall Street: Losers or Game Changers
The Solution of the Pyramid Problem
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Walden by Henry David Thoreau
Methods for Finding Zeros in Polynomials
Lectures on Stochastic Flows and Applications
Educational Psychology by Edward L. Thorndike
The Last Days of Tolstoy by V. G. Chertkov
Globalization and Responsibility
Lectures on Siegel Modular Forms and Representation by Quadratic Forms
Lectures on Topics In One-Parameter Bifurcation Problems
History of the Incas by Pedro Sarmiento de Gamboa
Linear Algebra: Theorems and Applications
Lectures on Stochastic Differential Equations and Malliavin Calculus
A Short Biographical Dictionary of English Literature
Lectures on Sieve Methods and Prime Number Theory
Dollars and Sense by William Crosbie Hunter
The Theory of the Theatre by Clayton Hamilton
The Mathematics of Investment
Occupiers of Wall Street: Losers or Game Changers
The Solution of the Pyramid Problem
Lectures on Moduli of Curves
Walden by Henry David Thoreau
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Irrational Modernism: A Neurasthenic History of New York Dada
Posted on 2010-09-20
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More Amelia, "" In Irrational Modernism, Amelia gives us a history of New York Dada, reinterpreted in relation to the life and works of Baroness Elsa von Freytag- Loringhoven. enlarges our conception of New York Dada beyond the male avant-garde heroics of Marcel Duchamp, Man Ray, and Francis Picabia to include the rebellious body of the Baroness. If they practiced Dada, she lived it, with her unorthodox personal life, wild assemblage objects, radical poetry and prose, and the flamboyant self-displays by which she became her own work of art. Through this reinterpretation, not only pres a revisionist history of an art movement but also suggests a new method of art history. argues that the accepted idea of New York Dada as epitomized by Duchamp's readymades and their implicit cultural critique does not take into consideration the contradictions within the movement--its misogyny, for example--or the social turmoil of the period caused by industrialization, urbanization, and the upheaval of World War I and its aftermath, which coincided with the Baroness's time in New York (1913-1923). Baroness Elsa, whose appearances in 's narrative of New York Dada mirror her volcanic intrusions into the artistic circles of the time, can be seen to embody a new way to understand the history of avant-gardism--one that embraces the irrational and marginal rather than promoting the canonical. Acknowledging her identification with the Baroness (as a "fellow neurasthenic"), and interrupting her own objective passages of art historical argument with what she describes in her introduction as "bursts of irrationality," explores the interestedness of all art history, and proposes a new "immersive" understanding of history (reflecting the historian's own history) that parallels the irrational immersive trajectory of avant- gardism as practiced by Baroness Elsa. NO MIRORS!!!
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