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Revue noire by Jean-Loup Pivin,Simon Njami,Pascal Martin Saint-Léon Pdf
Un livre de pensées, d'attitudes et de souvenirs de ceux qui ont fondé REVUE NOIRE en 1991, J.L. Pivin, S. Njami, P. Martin Saint Leon, B. Tilliette, rejoints plus tard par N'Goné Fall. Un livre qui raconte l'histoire d'une émergence artistique, essentiel à la réflexion sur la création contemporaine africaine dans toutes ses expressions, essentiel à la pensée sur le monde et l'action, essentiel aux questions identitaires et raciales, toujours à travers le prisme du monde des formes. Créations, idées, images et mots, un livre aux voix multiples.
This title offers monographs on the most important Spanish, African and Latin American photographers. "The PhotoBolsillo" series is dedicated to publishing monographs on the most notable Spanish, African, and Latin American photographers of the recent past. Each small-format paperback features full-page, full-colour and black-and-white photographs representing the best of the artist's portfolio - each of which is captioned with title and year. Additionally there is a Chronology, plus lists of exhibitions and collections in which the photographer's work has been/is displayed, plus a brief appreciation of the artist by a "PhotoBolsillo" editor.
Revue Noire Magazine by Revue Noire Editions Staff,Revue Noire Magazine Pdf
Revue Noire is a Paris-based magazine devoted to contemporary African arts and culture. Focusing on a particular country or region, each large-scale issue reports on dance, poetry, photography, writing, painting, sculpture, and other endeavors, and features lush illustration, striking design, and carefully researched articles. Double issue 33/34 presents an extensive look at Morocco, a multi-faceted hub of European and African activity. Issue 35 considers the artistic interaction between Africans and African-Americans in New York, the world's cultural melting pot, as well as coverage of the 2000 Dakar Biennale exhibition.
Revue Noire #26 -- Madagascar The island country of Madagascar, located off the African coast in the Indian Ocean, is known as one of the world's most incredible melting pots. This issue of Revue Noire features an in-depth look at the art, music, theater, dance, photography, film, and literature related to this exotic locale. Revue Noire #27 -- African Fashion African fashion has influenced many contemporary designers' collections, but far from being just a point of departure, African fashion is a force in its own right. This issue presents the latest in African couture, and features an extraordinary array of styles.
M. de Rênal is the mayor of a provincial town named Verrières, who hires Julien Sorel as a private teacher for his child. Sorel desires to become a real man and follow the steps of his hero – Napoleon. The young man thinks that it is his duty to seduce the mayor’s wife and they become lovers. However, their little secret will soon be revealed. Who will find out about the love affair? What is going to happen with the two lovers? Will mayor M. de Rênal also find out or the truth will be hidden from him? Find all the answers in Stendhal’s novel "The Red and the Black" from 1830. Stendhal (1783-1842), the pseudonym of Marie-Henry Beyle, was a French writer. A pioneer of literary realism, he is best known for his novels "The Red and the Black" (1830) and "The Charterhouse of Parma" (1839).
An Anthology of African Art by N'Goné Fall,Jean Loup Pivin Pdf
The term "Modern African Art" is not an abuse of language. The 20th century has seen, but not properly documented, the birth, development, and maturation of contemporary art in sub-Saharan Africa, an art which was not simply imported in the 1950s but which finds its sources both in colonial realities and in local cultures and civilizations. Anthology of African Art: The Twentieth Century does not propose to document any one African art, but rather to open up this vast but underexplored field to include a diverse theoretical, historical, geographical, and critical map of this dense and ancient region. Contributions by more than 30 international authors recount the birth of art schools in the 1930s, the development of urban design and public art, and the importance of socially-concerned art during the Independence movements. From Ethiopia, Nigeria, and the Belgian Congo to Ghana, Senegal, and Angola, through the works of hundreds of artists working in every conceivable medium and context, this anthology manages the continental and unique feat of providing a thorough, expansive, diversified, and fully illustrated history of African art in the 20th century. Since 1991, Paris-based Revue Noire Editions has dedicated itself to the multidisciplinary artistic production of the African continent and the African diaspora. Publishers of the critically-acclaimed An Anthology of African Photography, a comprehensive chronicle of African photography from the mid-1800s to the present, Revue Noire also produces a self-titled magazine devoted to contemporary African art and culture.
Author : Andy Fry Publisher : University of Chicago Press Page : 291 pages File Size : 43,6 Mb Release : 2014-07-04 Category : Social Science ISBN : 9780226138954
The Jazz Age. The phrase conjures images of Louis Armstrong holding court at the Sunset Cafe in Chicago, Duke Ellington dazzling crowds at the Cotton Club in Harlem, and star singers like Bessie Smith and Ma Rainey. But the Jazz Age was every bit as much of a Paris phenomenon as it was a Chicago and New York scene. In Paris Blues, Andy Fry provides an alternative history of African American music and musicians in France, one that looks beyond familiar personalities and well-rehearsed stories. He pinpoints key issues of race and nation in France’s complicated jazz history from the 1920s through the 1950s. While he deals with many of the traditional icons—such as Josephine Baker, Django Reinhardt, and Sidney Bechet, among others—what he asks is how they came to be so iconic, and what their stories hide as well as what they preserve. Fry focuses throughout on early jazz and swing but includes its re-creation—reinvention—in the 1950s. Along the way, he pays tribute to forgotten traditions such as black musical theater, white show bands, and French wartime swing. Paris Blues provides a nuanced account of the French reception of African Americans and their music and contributes greatly to a growing literature on jazz, race, and nation in France.
Despite the loss of the French Empire, France and its former colonies are still bound by a common historical past. With the new global promotion of la Francophonie, the relation between the various constituencies of the French-speaking regions of the world is reexamined and debated in this book, through the conversation between scholars dealing with diverse texts and contexts that present the colonial contact and its imprint. The book illustrates how, in France and in its other worlds, that contact, its repercussions, and its memory are lived and expressed today in a variety of textual representations. The historical contact between France and its other worlds has given birth to new kinds of cross-cultural expressions in the arts, in literature, and in aesthetics, establishing interrelations and generating appropriations from both sides of the Hexagon frontier, highlighting the fluidity and the permeability of its cultural borders. The book subtext tells that the frontier between France and its other worlds is no more an unshakable geographical, political, and cultural limit, but rather a line that has become mobile, fluctuating, and permeable, and across which currents, ideas, sensitivities, and creativity are expressed, bearing testimony to vitality and diversity but also to a cross-fertilization of cultures and societies (re) crossing or meeting at that line. Seen from this latter perspective, the book comes also as an interrogation of the inclusiveness or exclusiveness of the words francophone and Francophonie, and, at an academic level, a mutual exclusion of French and Francophone Studies.
Dealing with Authorship by Sarah Burnautzki,Frederik Kiparski,Raphaël Thierry Pdf
Literature and film generate symbolic as well as economic capital. As such, aesthetic productions exist in various contexts following contrasting rules. Which role(s) do authors and filmmakers play in positioning themselves in this conflictive relation? Bringing together fourteen essays by scholars from Germany, the USA, the UK and France, this volume examines the multiple ways in which the progressive (self-) fashioning of authors and filmmakers interacts with the public sphere, generating authorial postures, and thus arouses attention. It questions the autonomous nature of the artistic creation and highlights the parallels and differences between the more or less clear-cut national contexts, in order to elucidate the complexity of authorship from a multifaceted perspective, combining contributions from literary and cultural studies, as well as film, media, and communication studies. Dealing with Authorship, as a transversal venture, brings together reflections on leading critics, exploring works and postures of canonical and non-canonical authors and filmmakers. An uncommon and challenging picture of authorship is explored here, across national and international artistic fields that affect Africa, Europe and America. The volume raises the questions of cultural linkages between South and North, imbalances between the mainstream and the margins in an economic, literary or “racial” dimension, and, more broadly, the relation of power and agency between artists, editors, critics, publics, media and markets.
Dark Matter is the first and only series to bring together the works of black SF and fantasy writers. The first volume was featured in the "New York Times," which named it a Notable Book of the Year.
