Linwood Messina Literary Agency is a boutique agency based in Paris representing rights on behalf of French and English language publishers, agencies and authors. Our list is quite diverse covering mostly every genre except for SF and children's books.
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Lindbak + Lindbak is a fresh new Nordic publishing house adding an innovative twist to popular genres like crime, romance & children's books.
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"I am Jugoslovenka" argues that queer-feminist artistic and political resistance were paradoxically enabled by socialist Yugoslavia's unique history of patriarchy and women's emancipation. Spanning performance and conceptual art, video works, film and pop music, lesbian activism and press photos of female snipers in the Yugoslav wars, the book analyses feminist resistance in a range of performative actions that manifest the radical embodiment of Yugoslavia's anti-fascist, transnational and feminist legacies. It covers celebrated and lesser-known artists from the 1970s to today, including Marina Abramovic, Sanja Ivekovic, Vlasta Delimar, Tanja Ostojic, Selma Selman and Helena Janecic, along with music legends Lepa Brena and Esma Redzepova. "I am Jugoslovenka" tells a unique story of women's resistance through the intersection of feminism, socialism and nationalism in East European visual culture.
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Lin Sanzhi (1898-1989) was an important Chinese calligraphers of the 20th century. The book is a detailed record of Lin’s life experiences over more than 90 years, charting his studies, travels and compositions. The book is informative and collectible as it provides a comprehensive understanding of Lin’s artistic talents and life as well as contemporary Chinese art history.The book was awarded the annual “China’s Book of 2016” by China Central Television. It is China’s first comprehensive, detailed and accurate record of the artistic life of Lin Sanzhi, who was honored in the 1980s as a“Contemporary Saint of Cursive Calligraphy”.
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The comic illustrated series of “Lin Handa Chinese History Stories” is the original unabridged comic illustrated version of “Lin Handa Chinese History Stories”. There are five sets, divided into: the Spring and Autumn Period, the Warring States Period, Western Han, Eastern Han and Three Kingdoms. This set of 8 volumes has 1 knowledge booklet, suitable for children from the third grade and above. Author Lin Handa is a famous educator and linguist. He has edited the “Lin Handa Chinese History Stories” and this series sell best for more than 50 years. This is a classic book of Chinese history for children.
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This book mainly describes the origin of the Dong ethnic group's King Lin Festival to commemorate the Dong's hero Lin Kuan. According to the legend, Lin Kuan was born with supernatural power. In order to resist the tyranny at that time, Lin Kuan called the poor and young people in the Dong village to revolt, but eventually died when he tried to protect his people. Lin Kuan became a hero of the Dong people. His story has been handed down by generations of the Dong people. Every year on the first day of June of the lunar calendar, the Dong people gather together to spend the “King Lin Festival”. This book also describes the various activities of the Dong’s King Lin Festival and introduces an overview of the Dong people in China.
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How can we reconfigure our picture of modern art after the postcolonial turn without simply adding regional art histories to the Eurocentric canon? Transmodern examines the global dimension of modern art by tracing the crossroads of different modernisms in Asia, Europe and the Americas. Featuring case studies in Indian modernism, the Harlem Renaissance and post-war abstraction, it demonstrates the significance of transcultural contacts between artists from both sides of the colonial divide. The book argues for the need to study non-western avant-gardes and Black avant-gardes within the west as transmodern counter-currents to mainstream modernism. It situates transcultural art practices from the 1920s to the 1960s within the framework of anti-colonial movements and in relation to contemporary transcultural thinking that challenged colonial concepts of race and culture with notions of syncretism and hybridity.
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How can we reconfigure our picture of modern art after the postcolonial turn without simply adding regional art histories to the Eurocentric canon? Transmodern examines the global dimension of modern art by tracing the crossroads of different modernisms in Asia, Europe and the Americas. Featuring case studies in Indian modernism, the Harlem Renaissance and post-war abstraction, it demonstrates the significance of transcultural contacts between artists from both sides of the colonial divide. The book argues for the need to study non-western avant-gardes and Black avant-gardes within the west as transmodern counter-currents to mainstream modernism. It situates transcultural art practices from the 1920s to the 1960s within the framework of anti-colonial movements and in relation to contemporary transcultural thinking that challenged colonial concepts of race and culture with notions of syncretism and hybridity.
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How can we reconfigure our picture of modern art after the postcolonial turn without simply adding regional art histories to the Eurocentric canon? Transmodern examines the global dimension of modern art by tracing the crossroads of different modernisms in Asia, Europe and the Americas. Featuring case studies in Indian modernism, the Harlem Renaissance and post-war abstraction, it demonstrates the significance of transcultural contacts between artists from both sides of the colonial divide. The book argues for the need to study non-western avant-gardes and Black avant-gardes within the west as transmodern counter-currents to mainstream modernism. It situates transcultural art practices from the 1920s to the 1960s within the framework of anti-colonial movements and in relation to contemporary transcultural thinking that challenged colonial concepts of race and culture with notions of syncretism and hybridity.
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In "Jenny ist meistens schön friedlich" von Kirsten Boie erleben wir den Alltag eines kleinen Mädchens namens Jenny, die mit ihrer unbeschwerten und manchmal frechen Art für allerlei Trubel sorgt. Obwohl sie meistens ein friedliches Kind ist, führt ihre Neugier und Unwissenheit dazu, dass sie gelegentlich Regeln bricht. Von Puppenoperationen bis hin zum Friseurspielen an ihrer Schwester – Jennys Streiche sind stets gut gemeint, aber nicht immer gut durchdacht. Trotz ihrer Missgeschicke zeigt sich Jenny von einer fürsorglichen Seite, als sie ihre kranke Mutter liebevoll umsorgt. Das Buch, reich illustriert von Silke Brix, fängt auf charmante Weise die kleinen großen Abenteuer des Kinderalltags ein und wird durch kurze Geschichten, die zum Mitlachen einladen, zu einem wertvollen Vorleseerlebnis. Authentische Kindergeschichten: Kirsten Boie erzählt mit viel Humor und Wärme aus dem Leben eines Kindes, wodurch Kinder sich leicht mit Jenny identifizieren können. Wertvolle Moral: Jede Geschichte vermittelt auf subtile Weise wichtige Werte wie Fürsorge, Verantwortung und die Bedeutung von Familie. Farbenfrohe Illustrationen: Die zahlreichen farbigen Bilder von Silke Brix bereichern das Leseerlebnis und regen die Fantasie der Kinder an. Vielseitige Lesemomente: Ideal zum Vorlesen und für erste Leseversuche, begleitet dieses Buch Kinder und ihre Eltern durch viele gemütliche Stunden. Ausgezeichnete Qualität: Gewinner der Kalbacher Klapperschlange 1988, was die herausragende Qualität und Beliebtheit des Buches unterstreicht. Positives Feedback: Durchweg positive Rezensionen von Eltern und Kindern, die Jenny in ihr Herz geschlossen haben und von den lustigen, lehrreichen Geschichten begeistert sind. Generationenübergreifend: Ein Buch, das nicht nur Kinder ab 5 Jahren, sondern auch Erwachsene anspricht und somit die ideale Wahl für gemeinsame Lesezeit in der Familie ist.
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Featuring new essays by established and emerging scholars, Intersections: Women artists/surrealism/modernism redefines conventional surrealist and modernist canons by focusing critical attention on women artists working in and with surrealism in the context of modernism. In doing so it redefines critical understanding of the complex relations between all three terms. The essays address work produced in a wide variety of international contexts and across several generations of surrealist production by women closely connected to the surrealist movement or more marginally influenced by it. Intersections explores work in a wide range of media, from painting and sculpture to film and fashion, by artists including Susan Hiller, Maya Deren, Birgit Jurgenssen, Aube Elléouët, Dorothea Tanning, Claude Cahun, Elsa Schiaparelli, Joyce Mansour, Leonor Fini, Mimi Parent, Lee Miller, Leonora Carrington, Ithell Colquhoun and Eileen Agar.
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Projected-image art occupies an increasingly important place in the contemporary art-world. But does the projected image have its own specificity, beyond the histories of experimental film and video on the one hand, and installation art on the other? What is a projected image, and what is the history of projected-image art? These questions and others are explored in this thoughtful collection of nine essays by leading international scholars of film and projected-image art. Clearly structured in three sections - 'Histories', 'Screen', 'Space' - the book argues for recognition of the projected image as a distinctive category in contemporary art, which demands new critical and theoretical approaches. The contributors explore a range of interpretive perspectives, offering new insights into the work of artists including Michael Snow, Carolee Schneemann, Pipilotti Rist, Stan Douglas, Gillian Wearing, Tacita Dean, Jane and Louise Wilson, amongst others. The Introduction supplies a concise summary of the history of projected-image art and its interpretation, and there is a focus throughout the book on detailed analysis of individual artworks. ;
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Die Berliner Kommerzienrätin Jenny Treibel hat einen Hang zum Poetischen und Schwärmerischen – was sie nicht davon abhält, geschickt eine unstandesgemäße Heirat ihres Sohnes zu verhindern. »Frau Jenny Treibel«, erschienen 1892, gilt als der witzigste Roman Fontanes. »Das herrlichste, was wir haben, ist doch die Sprache«, heißt es im Roman, und in der Tat: Mehr andeutend als ausführend, geben die Dialoge ein klares und umfassendes Bild der Sprechenden und der Welt, in der sie leben.
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Photography and documentary film in the making of modern Brazil provides a major contribution to the field of visual culture through a study of still and moving images of Brazil in the first four decades of the twentieth century, when the camera played a key role in making Brazilian peoples and places visible to a variety of audiences. The book explores what is distinctive about the visual representation of Brazil in an era of modernisation, also attending to the significance of the different technical properties of film and photography for the writing of new histories of visual technologies. It offers new insights into the work of key writers, photographers, anthropologists and filmmakers, including Claude Lévi-Strauss, Mário de Andrade, Silvino Santos and Aloha Baker. Unearthing a wealth of materials from archives in the USA, Britain, and Brazil, the book seeks to contribute to the postcolonial theoretical project of pinpointing locally distinctive histories of visual technologies and practices. ;
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When Jenny von Sperber first met Fritz, the gorilla didn’t let her out of his sight. He was already over 50 years old then, but he was still extremely charismatic. One thing matters for the journalist: she wants to find out everything about Fritz’s life. Born in 1963, he was captured in the wild and came from Cameroon to Germany in 1966. At that time, apes were still regarded as a curiosity in zoos. When a ban was declared on the wild gorilla trade, Fritz was already a father of many youngsters. This fascinating gorilla-family saga not only recounts the eventful life of Fritz, but also shows the development in European zoos in handling wild animals. Nowadays, things have certainly improved. But there are still questions, for example, what does it do to us when we marvel at our closest relatives behind glass? And is it even still current to confine apes ... was it ever?
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Art since the 1980s reveals a striking proliferation of works exploring the complex cross-cultural identities that have resulted from a long history of exchange between France and the Maghreb. This adventurous study examines distinctively visual means of presenting 'Franco-Maghrebi' identities in performance, video, photography and installation art. Transcultural encounters investigates the ways in which such art spurs a re-thinking of both postcolonial and feminist issues and critical terms in an uneven globalised frame. It demonstrates how this corpus develops art historical debates concerning gender and representation, while also considering emerging visions of the Maghreb. Analysing a wide range of works presented in galleries, online or in the street, this study shows how they test the boundaries of established art genres, calling for the invention of new modalities of 'reading' transnational visual culture. The first book to explore postcolonial and feminist approaches to contemporary art from a 'Francophone' space, Transcultural encounters incorporates much material that has previously received little critical attention. The book will be of interest to researchers in French studies, postcolonial studies, visual studies and gender studies, as well as curators and artists working across cultures and media. ;
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Gutsherr Allworthy findet einen Säugling und zieht den Jungen an Sohnes Statt auf. Der Findling – Tom Jones – wächst und gedeiht prächtig, in den Augen seines Ziehvaters mitunter sogar etwas zu prächtig. Als sich Tom in die Nachbarstochter verliebt, die Allworthys Neffen versprochen ist, verweist der Gutsherr Tom des Hauses. Der junge Mann macht sich auf nach London, wobei ihn seine Reise quer durchs Land und auch durch sämtliche Schichten der vorviktorianischen Gesellschaft führt. Auf Toms Suche nach sich selbst, seiner Herkunft und vor allem nach der großen Liebe erschließt sich ein wahres Panoptikum des 18. Jahrhunderts.
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Women, the arts and globalization: Eccentric experience is the first anthology to bring transnational feminist theory and criticism together with women's art practices to discuss the connections between aesthetics, gender and identity in a global world. The essays in Women, the Arts and Globalization demonstrate that women in the arts are rarely positioned at the centre of the art market, and the movement of women globally (as travelers or migrants, empowered artists/scholars or exiled practitioners), rarely corresponds with the dominant models of global exchange. Rather, contemporary women's art practices provide a fascinating instance of women's eccentric experiences of the myriad effects of globalization. Bringing scholarly essays on gender, art and globalization together with interviews and autobiographical accounts of personal experiences, the diversity of the book is relevant to artists, art historians, feminist theorists and humanities scholars interested in the impact of globalization on culture in the broadest sense. ;
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