The first English-language monograph on the French dancer and model, Cléo de Mérode and the Rise of Modern Celebrity Culture explores the haunting legacy of this intriguing and glamorous figure, an international celebrity at the dawn of our star-struck modernity. Situating Mérode at a pivotal moment in the history of fame and visual culture, this study probes the neglected prehistory of a visual culture obsessed with celebrities and their images.

'Fizzes with clever vignettes and juicy tidbits... [a] joyous romp of a book.' Guardian 'A fascinating, rollicking book in search of why, where and how fame strikes. Sit back and enjoy the ride.' Peter Frankopan, author of The Silk Roads '[An] engaging and well-researched book... Jenner brings his material to vivid life' Observer Celebrity, with its neon glow and selfie pout, strikes us as hypermodern. But the famous and infamous have been thrilling, titillating, and outraging us for much longer than we might realise. Whether it was the scandalous Lord Byron, whose poetry sent female fans into an erotic frenzy; or the cheetah-owning, coffin-sleeping, one-legged French actress Sarah Bernhardt, who launched a violent feud with her former best friend; or Edmund Kean, the dazzling Shakespearean actor whose monstrous ego and terrible alcoholism saw him nearly murdered by his own audience - the list of stars whose careers burned bright before the Age of Television is extensive and thrillingly varied. In this ambitious history, that spans the Bronze Age to the coming of Hollywood's Golden Age, Greg Jenner assembles a vibrant cast of over 125 actors, singers, dancers, sportspeople, freaks, demigods, ruffians, and more, in search of celebrity's historical roots. He reveals why celebrity burst into life in the early eighteenth century, how it differs to ancient ideas of fame, the techniques through which it was acquired, how it was maintained, the effect it had on public tastes, and the psychological burden stardom could place on those in the glaring limelight. DEAD FAMOUS is a surprising, funny, and fascinating exploration of both a bygone age and how we came to inhabit our modern, fame obsessed society.

Is there a need for books about women in the arts, exhibitions of women painters, readings of women’s poetry, concerts of music by women composers, and conferences highlighting women in the arts? One might believe that, today, the playing field is level, but categories still place the word “woman” before the discipline: woman composer, woman poet, woman artist, and so on. The ultimate goal is to move the debate away from gender categories which reinforce the notion that men’s creativity is not only the norm but better. There are many women challenging the status quo, and succeeding. Change comes slowly since many men and some women in positions of power do not see gender stereotyping as a problem. It’s been nearly a millennium since Hildegard von Bingen composed music and illuminated manuscripts. Shouldn’t the time when it was unusual to be a “woman composer” have past? As the great 20th century pedagogue and composer Nadia Boulanger said, “I've been a woman for a little over 50 years and have gotten over my initial astonishment. As for conducting an orchestra, that’s a job where I don’t think sex plays much part.” Indeed, books like Women in the Arts: Eccentric Essays II serve to bring society just a little closer to equality by keeping the accomplishments of women at the forefront of consciousness. Technology today is a great asset in documenting the productivity of women, and all artistic creations can be codified and archived, in contrast to earlier times when creative women’s birth and death dates are unknown, not even taking into account all their lost creations. The essays contained in Women in the Arts: Eccentric Essays II reflect the lives of creative artists, whether they are teachers, scholars and researchers recovering previous generations of women artists, or practicing artists creating new masterpieces. The promotion of the roles of women in the arts is integral, so that they may serve as a resource for future generations of students, scholars and researchers, and to enhance generations to come, enriching culture through the arts.

This interdisciplinary volume analyzes previously understudied sources from nineteenth- and twentieth- century France and the Francophone world and situates them in their social, cultural and political contexts.

Playing with Earth and Sky reveals the significance astronomy, geography, and aviation had for Marcel Duchamp - widely regarded as the most influential artist of the past fifty years. Duchamp transformed modern art by abandoning unique art objects in favor of experiences that could be both embodied and cerebral. This illuminating study offers new interpretations of Duchamp's momentous works, from readymades to the early performance art of shaving a comet in his hair. It demonstrates how the immersive spaces and narrative environments of popular science, from museums to the modern planetarium, prepared paths for Duchamp's nonretinal art. By situating Duchamp's career within the transatlantic cultural contexts of Dadaism and Surrealism, this book enriches contemporary debates about the historical relationship between art and science. This truly original study will appeal to a broad readership in art history and cultural studies.

This engrossing narrative recounts the story of Jane de La Vaudère (née Jeanne Scrive), a prolific and celebrated writer of France’s Belle Époque. Interweaving biography and literary analysis, Sharon Larson examines the ways in which La Vaudère adapted her persona to shifting literary trends and readership demands—and how she created and profited from controversy. Relatively unknown today, La Vaudère published more than forty novels, poetry collections, and dramatic works as well as hundreds of shorter pieces. A controversial figure who was known as a plagiarist, La Vaudère attracted the attention of the public and of her peers, who caricatured her in literary periodicals and romans à clef. Most notably, La Vaudère claimed to have written the Rêve d’Egypte pantomime, whose 1907 production at the Moulin Rouge featured a kiss between Missy and Colette that led to riots and the suspension of future performances. Larson scrutinizes the ensemble of these various media constructions, privileging La Vaudère’s self-representation in interviews and advertisements, and brings to light her agency in creating an image that captivated public attention and boosted sales of her writings. An engrossing examination of La Vaudère’s life and work, this volume probes the quandaries of scholarship seeking to responsibly recover lost female voices and makes a long-overdue contribution to nineteenth-century French literary studies.

Chic, sophisticated, seductive and enigmatic, the Parisienne possesses a je ne sais quoi that makes her difficult to define. But who or what is the Parisienne, and how is she depicted in cinema? The first book-length study on the subject combines scholarship in the fields of art history, literature and fashion to enrich our understanding of this intriguing cinematic figure, simultaneously offering new perspectives on film. Accessible and wide-ranging, it will be of immediate interest to students and researchers working in film studies, French studies and the broader humanities, as well as cinephiles and Francophiles alike.