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Documents en rayon : 6

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Résumé : Ecrite en 1936, l'histoire raconte le retour d'Archilde Leon sur les terres de ses ancêtres maternels, les Indiens Salish, dans le Montana. Elle illustre les thèmes de la défense de la minorité indienne aux Etats-Unis, la déculturation et ses conséquences, le droit à la différence, la tolérance religieuse. L'auteur, un des fondateurs du National Congress of American Indians, était anthropologue.

Résumé : Neil V. Rosenberg met the legendary Bill Monroe at the Brown County Jamboree. Rosenberg's subsequent experiences in Bean Blossom put his feet on the intertwined musical and scholarly paths that made him a preeminent scholar of bluegrass music.Rosenberg's memoir shines a light on the changing bluegrass scene of the early 1960s. Already a fan and aspiring musician, his appetite for banjo music quickly put him on the Jamboree stage. Rosenberg eventually played with Monroe and spent four months managing the Jamboree. Those heights gave him an eyewitness view of nothing less than bluegrass's emergence from the shadow of country music into its own distinct art form. As the likes of Bill Keith and Del McCoury played, Rosenberg watched Monroe begin to share a personal link to the music that tied audiences to its history and his life--and helped turn him into bluegrass's foundational figure. An intimate look at a transformative time, Bluegrass Generation tells the inside story of how an American musical tradition came to be.

Résumé : ¡Tequila! Distilling the Spirit of Mexico traces how and why tequila became and remains Mexico's national drink and symbol. Starting in Mexico's colonial era and tracing the drink's rise through the present day, Marie Sarita Gaytán reveals the formative roles played by some unlikely characters. Although the notorious Pancho Villa was a teetotaler, his image is now plastered across the labels of all manner of tequila producers—he's even the namesake of a popular brand. Mexican films from the 1940s and 50s, especially Western melodramas, buoyed tequila's popularity at home while World War II caused a spike in sales within the whisky-starved United States. Today, cultural attractions such as Jose Cuervo's Mundo Cuervo and the Tequila Express let visitors insert themselves into the Jaliscan countryside—now a UNESCO-protected World Heritage Site—and relish in the nostalgia of pre-industrial Mexico.

Résumé : In this sophisticated, accessible, and invaluable work, Pearson (Univ. of Liverpool, UK) explores the transformation of dog and human lives in modern Western urban spaces. Comparing the “globally significant metropolises” (p. 2) of London, New York, and Paris from the 19th century to the 1930s, Pearson points to the experiences and emotions negotiated in the creation of “dogopolis”: a city of dogs with defined roles, discrete lives, distinct boundaries, and unique relationships to human counterparts. This is a history of growing intimacy and of discipline and killing on an enormous scale. Pearson considers behaviors—straying, biting, suffering, thinking, and defecating—and the ensuing human emotional responses in eponymous chapters. Chapter 5 (“Defecating”) is a scholarly triumph, showing that only after these cities had done much to remove animals, waste, and dirt from their streets did a once insignificant nuisance—to use a contemporary nicety for dog shit—become a grave concern. Importantly, Pearson knows dogopolis was “a provincial rather than a universal manifestation of human-canine relatedness” (p. 5). Specialists will relish almost 50 pages of notes and a welcome methodological essay on animals, history, and emotions. Suitable for courses on modern urban history.

Résumé : Les œuvres de la série "Les femmes qui pleurent sont en colère" sont inspirées des portraits de Picasso peignant sa compagne de l'époque, Dora Maar, en train de pleurer. Dans cette série, Orlan hybride des fragments de son visage aux portraits de Dora Maar. « Les femmes qui pleurent sont en colère est une nouvelle série de photographies hybridées que j'ai créée pour mettre en scène les femmes de l'ombre : les inspiratrices, les modèles, les muses. Elles ont en effet toujours joué un rôle prépondérant pour la notoriété de nos grands maîtres […]. Picasso objectise Dora Maar. Je relis son œuvre pour remettre la femme-sujet au centre. » Orlan

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