Marshall Cavendish
Topical, authentic and high quality books under the Marshall Cavendish Editions imprint provide general interest content that informs, entertains and engages readers.
View Rights PortalTopical, authentic and high quality books under the Marshall Cavendish Editions imprint provide general interest content that informs, entertains and engages readers.
View Rights PortalLinwood 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.
View Rights Portal"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.
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.
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.
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.
Veterinarians are increasingly aware of the need to recognise they are working in a business enterprise. From operating as small practices twenty years ago, veterinary businesses are now run along sophisticated models and operate out of multi-million pound hospitals. Drawing together the latest information on practice management, this textbook provides practical and straightforward coverage of major elements, including client relationships and staff management, business and financial procedures, computer systems and project management. This book covers practice management topics as taught in veterinary schools worldwide, providing students with a textbook resource in this increasingly important subject. It is also a valuable source of information for newly qualified veterinarians, veterinarians interested in practice management and veterinary practice managers.
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.
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. ;
The event occurs in and over time; the aftermath concerns the traces, which are frozen into images, objects, re-presentations. Traditionally, art history is written in the aftermath as representational. A different perspective on the visual arts is opened up when scholars insist on exploring the status of the event itself, allowing temporality to remain in place. By focusing on the event, recognition of the complex character of the traces becomes all the more evident, challenging the singularity of representation itself. This book opens up debates on art history and theory to a broad range of perspectives, offering fresh approaches to art history and media culture alongside diverse investigations into cross-cultural and non-Western art practices. The essays draw together a wide and regionally diverse range of scholars from numerous areas, including film and documentary studies, philosophy, intellectual and cultural history, media theory and performance studies, as well as art history and theory. ;
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. ;
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. ;
Schaurig schön und echt gruselig: die Abenteuer von Aveline! Der Wind pfeift durch die Ritzen und jede Diele knarzt: Avelines neues Zuhause ist ihr auf den ersten Blick gar nicht geheuer. Dass die Einwohner des stürmischen Küstenörtchens überall Vogelscheuchen aufstellen, macht es nicht besser. Einfach. Nur. Gruselig! Avelines einzige Rettung ist Mr Liebermans verwunschener Buchladen, der sofort zum Stöbern einlädt - denn sie liebt schaurige Geschichten und Bücher über alles. Aber schon bald steht die schauerlichste Nacht des Jahres bevor. Und an Halloween werden längst vergessene Legenden in Stormhaven sehr viel lebendiger, als Aveline lieb ist ... Pünktlich zu Halloween erscheint dieses schaurig-schöne Kinderbuch für alle Mädchen ab 9 Jahren, die wohlfühlige Gruselgeschichten lieben. Perfekt ist für stürmische Herbstabende: zum gemütlichen Einkuscheln, Schmökern und Gruseln! Wunderschön und stimmungsvoll illustriert von Kaja Reinki. Mit Aveline Jones geht es immer schön schauerlich weiter! Band 2 „Aveline Jones - Im Bann der Hexensteine“ erscheint im Frühjahr 2021.
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. ;