The Erotic Doll
Author: Marquard Smith
Since the 19th century, dolls have served as toys but also as objects of obsession, love, and lust. That century witnessed the emergence of the term "heterosexual" and of modern concepts of fetishism, perversity, and animism. Their convergence, and the demands of a growing consumer society resulted in a proliferation of waxworks, shop-window dummies, and customized love dolls, which also began to appear in art. Oskar Kokoschka commissioned a life-sized doll of his former lover Alma Mahler; Hans Bellmer crafted poupées; and Marcel Duchamp fabricated a nude figure in his environmental tableau Etant donnés. The Erotic Doll is the first book to explore men's complex relationships with such inanimate forms from historical, theoretical, and phenomenological perspectives. Challenging our commonsense grasp of the relations between persons and things, Marquard Smith examines these erotically charged human figures by interweaving art history, visual culture, gender, and sexuality studies with the medical humanities, offering startling insights into heterosexual masculinity and its discontents.
Shares the stories of famous rock musicians' tragic deaths, in an edition that includes new entries for six artists, including Michael Jackson, Slipknot's Paul Gray, and Whitney Houston.
Author: Bana Alabed
Publisher: Simon and Schuster
“A story of love and courage amid brutality and terror, this is the testimony of a child who has endured the unthinkable.” —J.K. Rowling “I’m very afraid I will die tonight.” —Bana Alabed, Twitter, October 2, 2016 “Stop killing us.” —Bana Alabed, Twitter, October 6, 2016 “I just want to live without fear.” —Bana Alabed, Twitter, October 12, 2016 When seven-year-old Bana Alabed took to Twitter to describe the horrors she and her family were experiencing in war-torn Syria, her heartrending messages touched the world and gave a voice to millions of innocent children. Bana’s happy childhood was abruptly upended by civil war when she was only three years old. Over the next four years, she knew nothing but bombing, destruction, and fear. Her harrowing ordeal culminated in a brutal siege where she, her parents, and two younger brothers were trapped in Aleppo, with little access to food, water, medicine, or other necessities. Facing death as bombs relentlessly fell around them—one of which completely destroyed their home—Bana and her family embarked on a perilous escape to Turkey. In Bana’s own words, and featuring short, affecting chapters by her mother, Fatemah, Dear World is not just a gripping account of a family endangered by war; it offers a uniquely intimate, child’s perspective on one of the biggest humanitarian crises in history. Bana has lost her best friend, her school, her home, and her homeland. But she has not lost her hope—for herself and for other children around the world who are victims and refugees of war and deserve better lives. Dear World is a powerful reminder of the resilience of the human spirit, the unconquerable courage of a child, and the abiding power of hope. It is a story that will leave you changed.
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The Female Nude
Author: Lynda Nead
Anyone who examines the history of Western art must be struck by the prevalence of images of the female body. More than any other subject, the female nude connotes `art'. The framed image of a female body, hung on the walls of an art gallery, is an icon of Western culture, a symbol of civilization and accomplishment. But how and why did the female nude acquire this status? The Female Nude brings together, in an entirely new way, analysis of the historical tradition of the female nude and discussion of recent feminist art, and by exploring the ways in which acceptable and unacceptable images of the female body are produced and maintained, renews recent debates on high culture and pornography. The Female Nude represents the first feminist survey of the most significant subject in Western art. It reveals how the female nude is now both at the centre and at the margins of high culture. At the centre, and within art historical discourse, the female nude is seen as the visual culmination of enlightenment aesthetics; at the edge, it risks losing its repectability and spilling over into the obscene.
"The Heart Beats on the Left is the inside story of why Lafontaine broke with the SPD and Schroder's government, and why he believed that the social and political costs of Schroder's third way politics were too high. It is a merciless settling of scores in which the policies of Schroder and his government are subjected to scathing criticism. But it is also the most sustained criticism of third way politics from a prominent political figure who stands on the left."--BOOK JACKET.
Author: Susan Goldman Rubin
Shocking pink—hot pink, as it is called today—was the signature color of Elsa Schiaparelli (1890–1973) and perhaps her greatest contribution to the fashion world. Schiaparelli was one of the most innovative designers in the early 20th century. Many design elements that are taken for granted today she created and brought to the forefront of fashion. She is credited with many firsts: trompe l’oeil sweaters with collars and bows knitted in; wedge heels; shoulder bags; and even the concept of a runway show for presenting collections. Hot Pink—printed with a fifth color, hot pink!—explores Schiaparelli’s childhood in Rome, her introduction to high fashion in Paris, and her swift rise to success collaborating with surrealist and cubist artists like Salvador Dalí and Jean Cocteau. The book includes an author’s note, a list of museums and websites where you can find Schiaparelli’s fashions, endnotes, a bibliography, and an index.
Author: Chris Welch
Publisher: Carlton Books Limited
A sumptuously photographed tribute to the spirit of reinvention that marked the iconic performing artist's career explores his groundbreaking music albums and living embodiments of vivid characters from Ziggy Stardust to the Thin White Duke to evaluate his ongoing cultural influence.
A Whore in Berlin
Author: Kimberley Wulf
Street prostitution in Berlin (Germany)? I know what I´m talking about. I´ve made my own experiences in this business on Kurfürstenstraße (Berlin). This is my story!The clothes and gestures are the same in all women who stand along Kurfuerstenstraße (Berlin) around the clock. Potential clients are enticed with kisses, smart phones in one ear, tight miniskirts and unique gestures. F****ng and b***jobs are done in cars, behind bushes or in one of the w*** cabins. I stood there too, not so long ago. I kept my high heels on during a f***. Most clients came quicker then.I remember very well how my first client eja******** into my right hand for the first time. This happened nearly five years ago. I was quite surprised how little it bothered me. It was already clear to me then, that things weren´t going to stay like that forever. You only make money if you get f****d and do a good b***job.B***jobs of all variations turned quite quickly into my specialty deals. I used up a tremendous amount of lipsticks, because I used to reapply it to my lips very heavily after I got the job done.Bright red lips and gleaming white teeth soon became my trademark."Do you wanna f*** me?" was the way I would start a conversation with my clients.Kimberley:"This is all written and told from my own perspective. The police or a client may perceive and judge things very differently. The prostitutes themselves already have their own opinions. A 21-year old Bulgarian woman once told me: "What are you complaining about? It´s much better here for me than it was in Bulgaria. And it´s even better for you here than it is for me! The men are friendly and most of the time they aren´t even drunk. But nevertheless, I want to get away from here. I miss my kids. But for now, I have to stay here, because my husband lost me playing cards with a pimp. I don´t know what to expect when I get back to Bulgaria. I´ll probably be passed around my relatives. But I won´t get any money anymore for f***ing. I'm better off here. If it wasn´t for my kids, then I would never go back to Bulgaria. Berlin is fantastic!"Since 2002, prostitution is legal in Germany. This decision has turned our country into a pimp´s paradise and clients came from all over Europe.There are more working prostitutes in Germany than there are in Thailand. It is estimated that there are 400,000 women who prostitute themselves involuntarily or 'voluntarily'.Every single day, 1,200,000 men visit brothels or pick up a street prostitute. 15,000,000,000 Euros are made in Germany by women who sell s**. This is three times as much as Porsche´s sales.Between 2002 and 2014, the turnover nearly tripled. Mostly all of the money is unreported and back-handed and ends up somewhere in the channels of the organized crime.Berlin is the capital of prostitution, more so than Amsterdam.I will tell you about my time on Kurfürstenstraße.
Author: Botho Strauß
Publisher: Carcanet Pr
Bekker, dissatisfied with his life, moves in with his daughter and attempts to revive their relationship after years of neglect
Who was the turn-of-the-century hipster? Who is free enough of the hipster taint to write this history without contempt or nostalgia? Why are we tempted to declare the neo-hipster moment over, when the hipster's "global brand" has just reached its apotheosis? A panel of n+1 writers, including Mark Greif, Christian Lorentzen, and Jace Clayton (aka dj/rupture) invited the public to join an investigation into the rise and fall of the contemporary hipster. Their debate took place at the New School University in New York City, and was followed by articles, responses, and essays, all printed here for the first time. "The hipster is that person, overlapping with declassing or disaffiliating groupings—the starving artist, the starving graduate student, the neo-bohemian, the vegan or bicyclist or skatepunk, the would-be blue-collar or post-racial individual—who in fact aligns himself both with rebel subculture and with the dominant class, and opens up a poisonous conduit between the two." "Isn't hipsterism, like, the best thing that's happened at the end of the Bush years?" "The truth was that there was no culture worth speaking of, and the people called hipsters just happened to be young, and more often than not, funny looking."
Vogue called Elsa Schiaparelli a genius madder and more original than her contemporaries, championing and illustrating her designs from the first picture of the revolutionary Bow Knot sweater in 1927 through to the Surrealist Tear Dress and Shoe Hat of the late 1930s