Bowdoin Faculty

{"id":6557366583385,"title":"The Physical Comedy Handbook — Robinson","handle":"the-physical-comedy-handbook-robinson","description":"\u003cp\u003e\u003cstrong\u003eBy Davis Robinson, \u003ca href=\"https:\/\/www.bowdoin.edu\/profiles\/faculty\/drobinso\/index.html\" target=\"_blank\" title=\"Davis Robinson faculty profile\" rel=\"noopener noreferrer\"\u003eProfessor of Theater\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv class=\"text\"\u003e\n\u003cp\u003eAlthough there are numerous books that examine physical comedy from a historic or aesthetic perspective, few provide guidance in how to do it. So where can actors and teachers go for instruction? To \u003ci\u003eThe Physical Comedy Handbook.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eThe Physical Comedy Handbook\u003c\/i\u003e is a one-of-a-kind resource for actors, teachers, and directors interested in physical comedy from slapstick pratfalls to the theater of the absurd. Davis Robinson believes that the basic physical skills of comedy can be taught to anyone. His twenty years of practical experience including workshops with Jacques LeCoq, Tony Montanaro, Bill Irwin, Avner Eisenberg, Mark Morris, and Ronlin Foreman--have taught him so. Robinson shares what he has learned in this book, providing a thorough explanation of a range of techniques for developing comic timing, writing original material, and working with scripts. The book includes numerous hands-on exercises designed to help anyone, regardless of experience, develop their sense of play.\u003c\/p\u003e\n\u003cp\u003eActing students will learn how to sharpen their physical skills. Teachers will learn how to structure and guide their students work. Actors will explore a range of comic styles. Directors will discover a number of tools for bringing comedy to life.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e-From the publisher.\u003c\/p\u003e","published_at":"2021-04-08T15:53:33-04:00","created_at":"2021-04-08T15:53:32-04:00","vendor":"The Bowdoin Store","type":"Book","tags":["Art","Bowdoin Faculty"],"price":1995,"price_min":1995,"price_max":1995,"available":true,"price_varies":false,"compare_at_price":1895,"compare_at_price_min":1895,"compare_at_price_max":1895,"compare_at_price_varies":false,"variants":[{"id":39299455451225,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"WBF352-Robinson","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"The Physical Comedy Handbook — Robinson","public_title":null,"options":["Default Title"],"price":1995,"weight":0,"compare_at_price":1895,"inventory_quantity":5,"inventory_management":"shopify","inventory_policy":"deny","barcode":"0325001146T","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/store.bowdoin.edu\/cdn\/shop\/products\/wbf352-robinson-phys.jpg?v=1617911613"],"featured_image":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wbf352-robinson-phys.jpg?v=1617911613","options":["Title"],"media":[{"alt":"The Physical Comedy Handbook, by Davis Robinson","id":20330891935833,"position":1,"preview_image":{"aspect_ratio":1.0,"height":550,"width":550,"src":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wbf352-robinson-phys.jpg?v=1617911613"},"aspect_ratio":1.0,"height":550,"media_type":"image","src":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wbf352-robinson-phys.jpg?v=1617911613","width":550}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cstrong\u003eBy Davis Robinson, \u003ca href=\"https:\/\/www.bowdoin.edu\/profiles\/faculty\/drobinso\/index.html\" target=\"_blank\" title=\"Davis Robinson faculty profile\" rel=\"noopener noreferrer\"\u003eProfessor of Theater\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv class=\"text\"\u003e\n\u003cp\u003eAlthough there are numerous books that examine physical comedy from a historic or aesthetic perspective, few provide guidance in how to do it. So where can actors and teachers go for instruction? To \u003ci\u003eThe Physical Comedy Handbook.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eThe Physical Comedy Handbook\u003c\/i\u003e is a one-of-a-kind resource for actors, teachers, and directors interested in physical comedy from slapstick pratfalls to the theater of the absurd. Davis Robinson believes that the basic physical skills of comedy can be taught to anyone. His twenty years of practical experience including workshops with Jacques LeCoq, Tony Montanaro, Bill Irwin, Avner Eisenberg, Mark Morris, and Ronlin Foreman--have taught him so. Robinson shares what he has learned in this book, providing a thorough explanation of a range of techniques for developing comic timing, writing original material, and working with scripts. The book includes numerous hands-on exercises designed to help anyone, regardless of experience, develop their sense of play.\u003c\/p\u003e\n\u003cp\u003eActing students will learn how to sharpen their physical skills. Teachers will learn how to structure and guide their students work. Actors will explore a range of comic styles. Directors will discover a number of tools for bringing comedy to life.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e-From the publisher.\u003c\/p\u003e"}

{"id":6538892181593,"title":"Gendered Bodies — Cui","handle":"gendered-bodies-cui","description":"\u003cp\u003e\u003cstrong\u003eBy Shuqin Cui, \u003ca href=\"https:\/\/www.bowdoin.edu\/profiles\/faculty\/scui2\/index.html\" title=\"Shuqin Cui faculty profile\"\u003eBowdoin Professor of Asian Studies and Cinema Studies\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis book introduces readers to women's visual art in contemporary China by examining how the visual process of gendering reshapes understandings of historiography, sexuality, pain, and space. When artists take the body as the subject of female experience and the medium of aesthetic experiment, they reveal a wealth of noncanonical approaches to art. The insertion of women's narratives into Chinese art history rewrites a historiography that has denied legitimacy to the woman artist. The gendering of sexuality reveals that the female body incites pleasure in women themselves, reversing the dynamic from woman as desired object to woman as desiring subject. The gendering of pain demonstrates that for those haunted by the sociopolitical past, the body can articulate traumatic memories and psychological torment. The gendering of space transforms the female body into an emblem of landscape devastation, remaps ruin aesthetics, and extends the politics of gender identity into cyberspace and virtual reality. The book presents a critical review of women's art in contemporary China in relation to art traditions, classical and contemporary. Inscribing the female body into art generates not only visual experimentation, but also interaction between local art\/cultural production and global perception. While artists may seek inspiration and exhibition space abroad, they often reject the (Western) label “feminist artist.”\u003c\/p\u003e\n\u003cp\u003e-From the publisher.\u003c\/p\u003e","published_at":"2021-03-03T15:01:20-05:00","created_at":"2021-03-03T15:00:03-05:00","vendor":"The Bowdoin Store","type":"Book","tags":["Art","Bowdoin Faculty","Non-Fiction"],"price":5299,"price_min":5299,"price_max":5299,"available":true,"price_varies":false,"compare_at_price":5500,"compare_at_price_min":5500,"compare_at_price_max":5500,"compare_at_price_varies":false,"variants":[{"id":39256665817177,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"WBF283-Cui","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Gendered Bodies — Cui","public_title":null,"options":["Default Title"],"price":5299,"weight":0,"compare_at_price":5500,"inventory_quantity":1,"inventory_management":"shopify","inventory_policy":"deny","barcode":"9780824840037","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/store.bowdoin.edu\/cdn\/shop\/products\/wbf283-cui-gendered.jpg?v=1614802570"],"featured_image":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wbf283-cui-gendered.jpg?v=1614802570","options":["Title"],"media":[{"alt":"Gendered Bodies by Shuqin Cui","id":20239877701721,"position":1,"preview_image":{"aspect_ratio":1.0,"height":552,"width":552,"src":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wbf283-cui-gendered.jpg?v=1614802570"},"aspect_ratio":1.0,"height":552,"media_type":"image","src":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wbf283-cui-gendered.jpg?v=1614802570","width":552}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cstrong\u003eBy Shuqin Cui, \u003ca href=\"https:\/\/www.bowdoin.edu\/profiles\/faculty\/scui2\/index.html\" title=\"Shuqin Cui faculty profile\"\u003eBowdoin Professor of Asian Studies and Cinema Studies\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis book introduces readers to women's visual art in contemporary China by examining how the visual process of gendering reshapes understandings of historiography, sexuality, pain, and space. When artists take the body as the subject of female experience and the medium of aesthetic experiment, they reveal a wealth of noncanonical approaches to art. The insertion of women's narratives into Chinese art history rewrites a historiography that has denied legitimacy to the woman artist. The gendering of sexuality reveals that the female body incites pleasure in women themselves, reversing the dynamic from woman as desired object to woman as desiring subject. The gendering of pain demonstrates that for those haunted by the sociopolitical past, the body can articulate traumatic memories and psychological torment. The gendering of space transforms the female body into an emblem of landscape devastation, remaps ruin aesthetics, and extends the politics of gender identity into cyberspace and virtual reality. The book presents a critical review of women's art in contemporary China in relation to art traditions, classical and contemporary. Inscribing the female body into art generates not only visual experimentation, but also interaction between local art\/cultural production and global perception. While artists may seek inspiration and exhibition space abroad, they often reject the (Western) label “feminist artist.”\u003c\/p\u003e\n\u003cp\u003e-From the publisher.\u003c\/p\u003e"}

{"id":4638247485529,"title":"L.A. River — Kolster","handle":"l-a-river","description":"\u003cp\u003eBy Michael Kolster\u003cbr\u003e\u003ca href=\"https:\/\/www.bowdoin.edu\/profiles\/faculty\/mkolster\/index.html\" target=\"_blank\" title=\"Michael Kolster faculty website\" rel=\"noopener noreferrer\"\u003eProfessor of Art\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eThree centuries ago, the Los Angeles River meandered through marshes and forests of willow and sycamore. Trout spawned in its waters, and grizzly bears roamed its shores in search of food. The river and its adjacent woodlands helped support one of the largest concentrations of indigenous peoples in North America, and it also largely determined the location of the first Spanish Pueblo and ultimately the city itself. The Los Angeles River was also the city's sole source of water for more than a century before flood-control projects made the river a ribbon of concrete.\u003c\/p\u003e\n\u003cp\u003eMichael Kolster, in \u003cem\u003eL.A. River\u003c\/em\u003e, relies on a nineteenth-century photographic technology to render the Los Angeles River today, from its headwaters in Canoga Park and the suburbs of the San Fernando Valley to its mouth at the Pacific Ocean in Long Beach. Coincidentally, the founding of the city of Los Angeles and California's achievement of statehood in 1850 coincide historically with the invention of the wet-plate photographic process, forever linking the city and state with the centrality of photography. The emotionally moving images that define \u003cem\u003eL.A. River\u003c\/em\u003e show a feature of the city's landscape that initially attracted native peoples to its banks and gave rise to the formation of our nation's second-largest city.\u003c\/p\u003e\n\u003cp\u003eChanneled in concrete during the last century to control flooding, the river was all but removed from the life of the city until the turn of the twenty-first century, when concerted efforts were made by some to peel back some of the concrete and let nature live once again. In his photographic journey, Kolster considers both the past and present and how the accumulation of life along the river suggests a larger a role for the L.A. River in the lives of the city's inhabitants.\u003c\/p\u003e\n\u003cp\u003e-From the publisher.\u003c\/p\u003e\n\u003cp\u003eHardcover\u003c\/p\u003e","published_at":"2020-05-26T09:26:57-04:00","created_at":"2020-05-26T09:33:53-04:00","vendor":"Bowdoin College","type":"Book","tags":["Art","Bowdoin Faculty"],"price":4000,"price_min":4000,"price_max":4000,"available":true,"price_varies":false,"compare_at_price":4000,"compare_at_price_min":4000,"compare_at_price_max":4000,"compare_at_price_varies":false,"variants":[{"id":31876779376729,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"WBF248-Kolster","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"L.A. River — Kolster","public_title":null,"options":["Default Title"],"price":4000,"weight":0,"compare_at_price":4000,"inventory_quantity":2,"inventory_management":"shopify","inventory_policy":"deny","barcode":"9781938086649","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/store.bowdoin.edu\/cdn\/shop\/products\/wba248-lariver-kolster.jpg?v=1614106575"],"featured_image":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wba248-lariver-kolster.jpg?v=1614106575","options":["Title"],"media":[{"alt":"L.A. River by Michael Kolster","id":6342752075865,"position":1,"preview_image":{"aspect_ratio":1.0,"height":550,"width":550,"src":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wba248-lariver-kolster.jpg?v=1614106575"},"aspect_ratio":1.0,"height":550,"media_type":"image","src":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wba248-lariver-kolster.jpg?v=1614106575","width":550}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eBy Michael Kolster\u003cbr\u003e\u003ca href=\"https:\/\/www.bowdoin.edu\/profiles\/faculty\/mkolster\/index.html\" target=\"_blank\" title=\"Michael Kolster faculty website\" rel=\"noopener noreferrer\"\u003eProfessor of Art\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eThree centuries ago, the Los Angeles River meandered through marshes and forests of willow and sycamore. Trout spawned in its waters, and grizzly bears roamed its shores in search of food. The river and its adjacent woodlands helped support one of the largest concentrations of indigenous peoples in North America, and it also largely determined the location of the first Spanish Pueblo and ultimately the city itself. The Los Angeles River was also the city's sole source of water for more than a century before flood-control projects made the river a ribbon of concrete.\u003c\/p\u003e\n\u003cp\u003eMichael Kolster, in \u003cem\u003eL.A. River\u003c\/em\u003e, relies on a nineteenth-century photographic technology to render the Los Angeles River today, from its headwaters in Canoga Park and the suburbs of the San Fernando Valley to its mouth at the Pacific Ocean in Long Beach. Coincidentally, the founding of the city of Los Angeles and California's achievement of statehood in 1850 coincide historically with the invention of the wet-plate photographic process, forever linking the city and state with the centrality of photography. The emotionally moving images that define \u003cem\u003eL.A. River\u003c\/em\u003e show a feature of the city's landscape that initially attracted native peoples to its banks and gave rise to the formation of our nation's second-largest city.\u003c\/p\u003e\n\u003cp\u003eChanneled in concrete during the last century to control flooding, the river was all but removed from the life of the city until the turn of the twenty-first century, when concerted efforts were made by some to peel back some of the concrete and let nature live once again. In his photographic journey, Kolster considers both the past and present and how the accumulation of life along the river suggests a larger a role for the L.A. River in the lives of the city's inhabitants.\u003c\/p\u003e\n\u003cp\u003e-From the publisher.\u003c\/p\u003e\n\u003cp\u003eHardcover\u003c\/p\u003e"}

{"id":63386472,"title":"Horror after 9\/11 — Briefel","handle":"horror-after-9-11-world-of-fear-cinema-of-terrror","description":"\u003cp\u003e\u003cb\u003eEdited by Aviva Briefel, \u003ca href=\"http:\/\/www.bowdoin.edu\/faculty\/a\/abriefel\/\"\u003eProfessor of English and Cinema Studies\u003c\/a\u003e\u003cbr\u003eand Sam J. Miller\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e Horror films have exploded in popularity since the tragic events of September 11, 2001, many of them breaking box office records and generating broad public discourse.  These films have attracted A-list talent and earned award nods, while at the same time becoming darker, more disturbing, and increasingly apocalyptic.  Why has horror suddenly become more popular, and what does this say about us?  What do specific horror films and trends convey about American society in the wake of events so horrific that many pundits initially predicted the death of the genre?  How could American audiences, after tasting real horror, want to consume images of violence on screen?\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eHorror after 9\/11 \u003c\/i\u003erepresents the first major exploration of the horror genre through the lens of 9\/11 and the subsequent transformation of American and global society.  Films discussed include the \u003ci\u003eTwilight \u003c\/i\u003esaga; the \u003ci\u003eSaw\u003c\/i\u003e series; \u003ci\u003eHostel\u003c\/i\u003e; \u003ci\u003eCloverfield\u003c\/i\u003e; \u003ci\u003e28 Days Later\u003c\/i\u003e; remakes of \u003ci\u003eThe Texas Chainsaw Massacre\u003c\/i\u003e, \u003ci\u003eDawn of the Dead\u003c\/i\u003e, and \u003ci\u003eThe Hills Have Eyes\u003c\/i\u003e; and many more.  The contributors analyze recent trends in the horror genre, including the rise of \"torture porn,\" the big-budget remakes of classic horror films, the reinvention of traditional monsters such as vampires and zombies, and a new awareness of visual technologies as sites of horror in themselves.  The essays examine the allegorical role that the horror film has held in the last ten years, and the ways that it has been translating and reinterpreting the discourses and images of terror into its own cinematic language.\u003c\/p\u003e\n\u003cp\u003e- From the jacket.\u003c\/p\u003e\n\u003cp\u003ePaperback.\u003c\/p\u003e","published_at":"2011-10-31T16:05:00-04:00","created_at":"2011-10-31T16:05:02-04:00","vendor":"University of Texas Press","type":"Book","tags":["Art","Bowdoin Faculty","Non-Fiction"],"price":5500,"price_min":5500,"price_max":5500,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":151733542,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"WBA199","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Horror after 9\/11 — Briefel","public_title":null,"options":["Default Title"],"price":5500,"weight":0,"compare_at_price":null,"inventory_quantity":4,"inventory_management":"shopify","inventory_policy":"deny","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/store.bowdoin.edu\/cdn\/shop\/products\/wbf199-briefel-horror.jpg?v=1614029707"],"featured_image":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wbf199-briefel-horror.jpg?v=1614029707","options":["Title"],"media":[{"alt":"Horror After 9\/11 by Aviva Briefel","id":7516051112025,"position":1,"preview_image":{"aspect_ratio":1.0,"height":550,"width":550,"src":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wbf199-briefel-horror.jpg?v=1614029707"},"aspect_ratio":1.0,"height":550,"media_type":"image","src":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wbf199-briefel-horror.jpg?v=1614029707","width":550}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cb\u003eEdited by Aviva Briefel, \u003ca href=\"http:\/\/www.bowdoin.edu\/faculty\/a\/abriefel\/\"\u003eProfessor of English and Cinema Studies\u003c\/a\u003e\u003cbr\u003eand Sam J. Miller\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e Horror films have exploded in popularity since the tragic events of September 11, 2001, many of them breaking box office records and generating broad public discourse.  These films have attracted A-list talent and earned award nods, while at the same time becoming darker, more disturbing, and increasingly apocalyptic.  Why has horror suddenly become more popular, and what does this say about us?  What do specific horror films and trends convey about American society in the wake of events so horrific that many pundits initially predicted the death of the genre?  How could American audiences, after tasting real horror, want to consume images of violence on screen?\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eHorror after 9\/11 \u003c\/i\u003erepresents the first major exploration of the horror genre through the lens of 9\/11 and the subsequent transformation of American and global society.  Films discussed include the \u003ci\u003eTwilight \u003c\/i\u003esaga; the \u003ci\u003eSaw\u003c\/i\u003e series; \u003ci\u003eHostel\u003c\/i\u003e; \u003ci\u003eCloverfield\u003c\/i\u003e; \u003ci\u003e28 Days Later\u003c\/i\u003e; remakes of \u003ci\u003eThe Texas Chainsaw Massacre\u003c\/i\u003e, \u003ci\u003eDawn of the Dead\u003c\/i\u003e, and \u003ci\u003eThe Hills Have Eyes\u003c\/i\u003e; and many more.  The contributors analyze recent trends in the horror genre, including the rise of \"torture porn,\" the big-budget remakes of classic horror films, the reinvention of traditional monsters such as vampires and zombies, and a new awareness of visual technologies as sites of horror in themselves.  The essays examine the allegorical role that the horror film has held in the last ten years, and the ways that it has been translating and reinterpreting the discourses and images of terror into its own cinematic language.\u003c\/p\u003e\n\u003cp\u003e- From the jacket.\u003c\/p\u003e\n\u003cp\u003ePaperback.\u003c\/p\u003e"}

{"id":32898562,"title":"The Deceivers — Briefel","handle":"the-deceivers-art-forgery-identity-in-the-nineteenth-century","description":"\u003cspan style=\"font-weight: bold;\"\u003e By Aviva Briefel\u003c\/span\u003e\u003cbr style=\"font-weight: bold;\"\u003e\u003ca href=\"http:\/\/www.bowdoin.edu\/faculty\/a\/abriefel\/\"\u003e\u003cspan style=\"font-weight: bold;\"\u003eProfessor of English and Cinema Studies\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e \u003cbr\u003e The nineteenth century witnessed an unprecedented increase in art forgery, caused both by the advent of national museums and by a rapidly growing bourgeois interest in collecting objects from the past. This rise had profound repercussions on notions of selfhood and national identity within and outside the realm of art. Although art critics denounced forgery for its affront to artistic traditions, they were fascinated by its power to shape the human and object worlds and adoped a language of art forgery to articulate a link between the making of fakes and the making of selves. \u003cspan style=\"font-style: italic;\"\u003eThe Deceivers\u003c\/span\u003e explores the intersections among artistic crime, literary narrative, and the definition of identity.\u003cbr\u003e \u003cbr\u003e Literary texts joined more specialized artistic discourses in describing the various identities associated with art forgery: the forger, the copyist, the art expert, the dealer, the restorer. Built into new characters were assumptions about gender, sexuality, race, and nationality that themselves would come to be presented in a language of artistic authenticity. Aviva Briefel places special emphasis on the gendered distinction between male forgers and female copyists. \"Copying,\" a benign occupation when undertaken by a woman, became \"forgery,\" laden with criminal intent, when performed by men. Those who could successfully produce, handle, or detect spurious things and selves were distinguished from others who were incapable of distinguishing the authentic from the artistic and human forgeries.\u003cbr\u003e \u003cbr\u003e Through close reading of literary narratives such as \u003cspan style=\"font-style: italic;\"\u003eTrilby\u003c\/span\u003e and \u003cspan style=\"font-style: italic;\"\u003eThe Marble Faun\u003c\/span\u003e as well as newspaper accounts of forgery scandals, \u003cspan style=\"font-style: italic;\"\u003eThe Deceivers\u003c\/span\u003e reveals the identities -- both authentic and fake -- that emerged from the Victorian culture of forgery.\u003cbr\u003e - From the jacket.\u003cbr\u003e \u003cbr\u003e Hardcover.","published_at":"2011-02-22T10:32:00-05:00","created_at":"2011-02-22T10:32:30-05:00","vendor":"Bowdoin College","type":"Book","tags":["Art","Bowdoin Faculty","History"],"price":4195,"price_min":4195,"price_max":4195,"available":true,"price_varies":false,"compare_at_price":3995,"compare_at_price_min":3995,"compare_at_price_max":3995,"compare_at_price_varies":false,"variants":[{"id":77640402,"title":"Default","option1":"Default","option2":null,"option3":null,"sku":"WBF141","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"The Deceivers — Briefel","public_title":null,"options":["Default"],"price":4195,"weight":0,"compare_at_price":3995,"inventory_quantity":2,"inventory_management":"shopify","inventory_policy":"deny","barcode":"9780801444609","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/store.bowdoin.edu\/cdn\/shop\/products\/wbf141-briefel-deceivers.jpg?v=1614030628"],"featured_image":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wbf141-briefel-deceivers.jpg?v=1614030628","options":["Title"],"media":[{"alt":"The Deceivers by Aviva Briefel","id":7516078014553,"position":1,"preview_image":{"aspect_ratio":1.0,"height":550,"width":550,"src":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wbf141-briefel-deceivers.jpg?v=1614030628"},"aspect_ratio":1.0,"height":550,"media_type":"image","src":"\/\/store.bowdoin.edu\/cdn\/shop\/products\/wbf141-briefel-deceivers.jpg?v=1614030628","width":550}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cspan style=\"font-weight: bold;\"\u003e By Aviva Briefel\u003c\/span\u003e\u003cbr style=\"font-weight: bold;\"\u003e\u003ca href=\"http:\/\/www.bowdoin.edu\/faculty\/a\/abriefel\/\"\u003e\u003cspan style=\"font-weight: bold;\"\u003eProfessor of English and Cinema Studies\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e \u003cbr\u003e The nineteenth century witnessed an unprecedented increase in art forgery, caused both by the advent of national museums and by a rapidly growing bourgeois interest in collecting objects from the past. This rise had profound repercussions on notions of selfhood and national identity within and outside the realm of art. Although art critics denounced forgery for its affront to artistic traditions, they were fascinated by its power to shape the human and object worlds and adoped a language of art forgery to articulate a link between the making of fakes and the making of selves. \u003cspan style=\"font-style: italic;\"\u003eThe Deceivers\u003c\/span\u003e explores the intersections among artistic crime, literary narrative, and the definition of identity.\u003cbr\u003e \u003cbr\u003e Literary texts joined more specialized artistic discourses in describing the various identities associated with art forgery: the forger, the copyist, the art expert, the dealer, the restorer. Built into new characters were assumptions about gender, sexuality, race, and nationality that themselves would come to be presented in a language of artistic authenticity. Aviva Briefel places special emphasis on the gendered distinction between male forgers and female copyists. \"Copying,\" a benign occupation when undertaken by a woman, became \"forgery,\" laden with criminal intent, when performed by men. Those who could successfully produce, handle, or detect spurious things and selves were distinguished from others who were incapable of distinguishing the authentic from the artistic and human forgeries.\u003cbr\u003e \u003cbr\u003e Through close reading of literary narratives such as \u003cspan style=\"font-style: italic;\"\u003eTrilby\u003c\/span\u003e and \u003cspan style=\"font-style: italic;\"\u003eThe Marble Faun\u003c\/span\u003e as well as newspaper accounts of forgery scandals, \u003cspan style=\"font-style: italic;\"\u003eThe Deceivers\u003c\/span\u003e reveals the identities -- both authentic and fake -- that emerged from the Victorian culture of forgery.\u003cbr\u003e - From the jacket.\u003cbr\u003e \u003cbr\u003e Hardcover."}