Rachel Monique

"This volume, presenting Calle's installation of Rachel Monique at the Palais de Tokyo, was designed in close collaboration with the artist." -- from www.artbook.com/9782365111171.html (viewed 20 October 2017).

Readers, literary critics, and theorists alike have long demonstrated an abiding fascination with the author, both as a real person—an artist and creator—and as a theoretical concept that shapes the way we read literary works. Whether anonymous, pseudonymous, or trending on social media, authors continue to be an object of critical and readerly interest. Yet theories surrounding authorship have yet to be satisfactorily updated to register the changes wrought on the literary sphere by the advent of the digital age, the recent turn to autofiction, and the current literary climate more generally. In Reading the Contemporary Author the contributors look back on the long history of theorizing the author and offer innovative new approaches for understanding this elusive figure. Mapping the contours of the vast territory that is contemporary authorship, this collection investigates authorship in the context of narrative genres ranging from memoir and autobiographically informed texts to biofiction and novels featuring novelist narrators and characters. Bringing together the perspectives of leading scholars in narratology, cultural theory, literary criticism, stylistics, comparative literature, and autobiography studies, Reading the Contemporary Author demonstrates that a variety of interdisciplinary viewpoints and critical stances are necessary to capture the multifaceted nature of contemporary authorship.

Examining the compelling and often poignant connection between women and the material culture of death, this collection focuses on the objects women make, the images they keep, the practices they use or are responsible for, and the places they inhabit and construct through ritual and custom. Women?s material practices, ranging from wearing mourning jewelry to dressing the dead, stitching memorial samplers to constructing skull boxes, collecting funeral programs to collecting and studying diseased hearts, making and collecting taxidermies, and making sculptures honoring the death, are explored in this collection as well as women?s affective responses and sentimental labor that mark their expected and unexpected participation in the social practices surrounding death and the dead. The largely invisible work involved in commemorating and constructing narratives and memorials about the dead-from family members and friends to national figures-calls attention to the role women as memory keepers for families, local communities, and the nation. Women have tended to work collaboratively, making, collecting, and sharing objects that conveyed sentiments about the deceased, whether human or animal, as well as the identity of mourners. Death is about loss, and many of the mourning practices that women have traditionally and are currently engaged in are about dealing with private grief and public loss as well as working to mitigate the more general anxiety that death engenders about the impermanence of life.

The book is a condensed version in English of the Memorial Book of the town of Wielun, aiming to give a description and history of the Jewish community of the Polish town of Wielun.

Suddenly, it’s a world flooded with magic and danger draws closer with every passing second. When the powers of sixteen gods are inherited by four teenagers, destruction is not far behind. In Maxton City, everything changes in the blink of an eye. When a portal to the Chaos Realm – a place of torment, a world of horrors – opens up over Maxton City Park, the monsters begin to appear. Then comes the First Queen of Earth. Unbeknownst to anyone, four teenagers have found the means to battling these enemies deep in the Cradle of Humankind. They have found the Amulets of the Spirits, artefacts that house the souls of long-dead gods and grant the four powers beyond their wildest dreams, creating the new Guardians. Using these amulets, they can take the forms of the gods, and wield power that would incinerate mortals. But even that might not be enough... Serena, the First Queen, the Demon Queen, is searching for the most powerful artefact in existence, an artefact capable of granting the power of a god: The Oracle’s Journal. If she ascends, then not even the guardians can stop her. And there’ll be no gods to help them for what comes next...

From the Holy Land and the long Crusades, to European kingdoms, 20th Century Paris, Venice, and New Orleans, Dark Ages sweeps the reader into a world of intrigue, danger, and timeless romance. Set in the Mid-Nineteen Nineties, in Southern Louisiana, Dark Ages opens a window into the subculture of Liatris, people upon whom vampire myths and legends were based. Anton Kierkegaard is a wealthy financier, trapped in a world of masters and slaves who are governed by their instincts, and by ancient laws as old as civilization. Into this world, he brings a young woman, Rachel Frederick. Held captive by powerful beings she cannot understand, Rachel becomes a pawn in the battle between coldly calculating creatures of the night, and the men who pursue them. Rachel must learn to survive at the center of a clash of cultures, questioning everything she has ever believed, even her own sanity.

Gendered Frames, Embodied Cameras: Varda, Akerman, Cabrera, Calle, and Maïwenn is the first book to link these five filmmakers together through an analysis of the relationship between filming one’s own body and the creative body. Through engaged artistic practices, these female filmmakers turn the camera to their bodies as a way to show the process of artistic creation and to produce themselves as filmmakers and artists in their work from 1987–2009. By making visible their bodies, they offer a wider range of representation of women in French film. Through avant-garde form, in which tangible corporeal elements are made image, they transform representational content and produce new cinematic bodies with the power to influence signifying practices in contemporary French culture. By rendering visible their artistic practice and praxis and their camera in their work—reflexive practices that also unite these filmmakers—these women also visually claim the role of filmmaker and creative subject. Thus they establish their authority in a film industry in which women’s participation and recognition of their achievements have historically been lower than that of their male counterparts.