Framed by tensions between figural sculpture experienced in the round and its translation into two-dimensional representations, Animating the Antique explores enthralling episodes in a history of artistic and aesthetic encounters. Moving across varied locations—among them Rome, Florence, Naples, London, Dresden, and Paris—Sarah Betzer explores a history that has yet to be written: that of the Janus-faced nature of interactions with the antique by which sculptures and beholders alike were caught between the promise of animation and the threat of mortification. Examining the traces of affective and transformative sculptural encounters, the book takes off from the decades marked by the archaeological, art-historical, and art-philosophical developments of the mid-eighteenth century and culminantes in fin de siècle anthropological, psychological, and empathic frameworks. It turns on two fundamental and interconnected arguments: that an eighteenth-century ontology of ancient sculpture continued to inform encounters with the antique well into the nineteenth century, and that by attending to the enduring power of this model, we can newly appreciate the distinctively modern terms of antique sculpture’s allure. As Betzer shows, these eighteenth-century developments had far-reaching ramifications for the making and beholding of modern art, the articulations of art theory, the writing of art history, and a significantly queer Nachleben of the antique. Bold and wide-ranging, Animating the Antique sheds light upon the work of myriad artists, in addition to that of writers ranging from Goethe and Winckelmann to Hegel, Walter Pater, and Vernon Lee. It will be especially welcomed by scholars and students working in eighteenth- and nineteenth-century art history, art writing, and art historiography.

Explores tensions in aesthetics and art theory between antique figural sculpture experienced in the round and its translation into two-dimensional representations. Examines the work and thought of Goethe, Winckelmann, Hegel, Walter Pater, Vernon Lee, and others.

Rabbitlike aliens from outer space colonize Earth during humankind’s Second World War in a delightfully funny and thought-provoking science fiction adventure The Quozl just need somewhere to call home. A gentle race of extraterrestrial rabbits, they have a propensity for reproduction that has left their home planet, Quozlene, dangerously overpopulated, and in their search for greener and less-crowded pastures, they have discovered the perfect place to start over: the third planet away from a healthy, warming sun. What they don’t realize is that this world they call Shiraz is already inhabited by a species of violent sentient creatures known as humans. But there’s no going back now. In the midst of the brutal and helpfully distracting global conflict the Shirazians call World War II, the colony ship lands undetected, and the space rabbits immediately go into hiding. But a secret like the Quozl can be concealed for only so long, especially when their numbers start to increase and certain rebellious members of the long-eared society decide the time is ripe to claim their place in a world they believe is rightfully theirs. One of the most admired and prolific authors in the science fiction arena, Alan Dean Foster will delight readers who hunger for something different with this funny, thoughtful, and wildly inventive novel of first contact and coexistence. Once you meet the Quozl, you will never forget them.

Sabrina Spellman is no ordinary kid. Not only does she have to worry about getting good grades and trying not to embarrass herself in front of the boys, but she's also a WITCH! Guided by her two aunts, Hilda and Zelda, and her talkative pet cat Salem, Sabrina, along with her friends Harvey and Chloe, will soon discover that having magical powers isn't all it's cracked up to be!

An exploration of the portrait art of Jean Auguste Dominique Ingres, focusing on his studio practice and his training of students.

In The Image in Early Cinema, the contributors examine intersections between early cinematic form, technology, theory, practice, and broader modes of visual culture. They argue that early cinema emerged within a visual culture composed of a variety of traditions in art, science, education, and image making. Even as methods of motion picture production and distribution materialized, they drew from and challenged practices and conventions in other mediums. This rich visual culture produced a complicated, overlapping network of image-making traditions, innovations, and borrowing among painting, tableaux vivants, photography, and other pictorial and projection practices. Using a variety of concepts and theories, the contributors explore these crisscrossing traditions and work against an essentialist notion of media to conceptualize the dynamic interrelationship between images and their context.

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