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正在检索... Research | Book | N6537.R4N46 1995 | 1 | Stacks | 正在检索... 未知 | 正在检索... 不可借阅 |
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摘要
摘要
Drawing on the methods of literary theory, psychoanalysis and material cultural studies, this text treats Remington's paintings and sculptures not as illustrations of the frontier experience but as complex imaginative inventions. It argues that his politics and aesthetics are intrinsically related.
评论 (3)
Kirkus评论
In this deadly earnest, sound-bite declaration (expanded from a series of lectures he gave earlier this year at Yale), Tsongas offers ``a political philosophy for the turn of the century,'' which sounds very like a call to arms against the electoral duopoly held by Democrats and Republicans. A persevering player in the domestic political game, the author (Heading Home, 1984, etc.) first reflects on the lymphoma (a treatable though not curable form of cancer) that led him, at age 43, to step down as the junior US senator from Massachusetts and his 1992 run for nomination as the Democratic Party's presidential candidate. While this issues-oriented campaign fell short for lack of cash, charisma, and ballot-box support, Tsongas has continued to ponder its lessons. Working mainly through the Concord Coalition (a bipartisan advocacy group), he has also attempted to drum up grassroots enthusiasm for his centrist agenda--an amalgam of fiscal conservatism and liberal social policies. Chiding fellow Democrats for their knee-jerk antipathy to American business, the author makes a persuasive case for his economics platform, which features anti-protectionist, budget-balancing, and deficit-reduction planks that will leave tax-and-spend progressives cold. By contrast, his message on multiculturalism and other social issues is mixed, if not garbled. While espousing inclusiveness and meritocracy, Tsongas whales away at the left's favorite target (white heterosexual males); at best, moreover, his acceptance of affirmative action is ambivalent. Back on firmer ground, the author argues that, if the Democrats and Republicans don't supply voters with the moderate choices they demand in the marketplace of ideas, a third party is inevitable. By no coincidence, Tsongas offers a seven-point set of principles that could inform just such an enterprise. Political talking points whose ``lite'' touch betrays their oral origins.
《书目》(Booklist)书评
The 1994^-95 Castle Lectures on government and society that Tsongas gave at Yale make up a slim volume. The first, about his campaign for the 1992 Democratic presidential nomination, and the second, "Multiculturalism--Like It or Not," are good enough but unexciting. The last, "Third Party," is something else again. In it, Tsongas assesses the political pass the U.S. is now at, proposes how to get through that pass, and describes the combination of voter groups that could put a candidate running on that proposal in the White House. It is a manifesto for third party success, should neither Democrats nor Republicans come to their senses and decide they're for the seven principles of Tsongas' program: economic stability, competitiveness, multicultural unity, moral standards, environmental responsibility, national security, and getting the legal bribery out of politics. Tsongas believes this program reflects "the `passionate center' of American politics," made up of those who, with him, conceive of the national purpose as handing on America's ways and institutions, cherished and hopefully improved, to future generations. --Ray Olson
Choice 评论
Remington was among the most popular and talented of the artists who portrayed life in the American West in the last decades of the 19th century and the first decade of the 20th century. His paintings and sculptures have been often praised for their nostalgic realism but seldom subjected to sustained modern, critical analysis. This provocative and carefully crafted work seeks to understand the symbiotic relationship of Remington's art to turn-of-the-century American culture and how his art was informed, knowingly and unknowingly, by the intellectual, literary, artistic, and cultural discourses of that era. Examples of Remington's art are examined in great detail as Nemerov attempts to reveal the assumptions and metaphors that are both present in his work and inform them. Although Remington has been frequently praised as a literal interpreter of western life, the author suggests that even in Remington's most literal works there may be found strong metaphors and suggestive themes. Intimately familiar with the works of Remington and contemporary theories of criticism in art, Nemerov has written an exceptionally significant work for understanding the art of an individual who thought he was documenting the transitory life of the old West. Upper-division undergraduate; graduate; faculty. P. D. Thomas; Wichita State University