Conceptualizes "graft"-- the violent and creative processes of suturing arts as a method of empire building in western eighteenth-century India Grafted Arts focuses on Maratha military rulers and British East India Company officials who used the arts to engage in diplomacy, wage war, compete for prestige, and generate devotion as they allied with (or fought against) each other to control western India in the eighteenth century. This book conceptualizes the artistic combinations that resulted as ones of "graft"--a term that acknowledges the violent and creative processes of suturing arts, and losing and gaining goods, as well as the shifting dynamics among agents who assembled such materials. By tracing grafted arts from multiple perspectives--Maratha and British, artist and patron, soldier and collector--this book charts the methods of empire-building that recast artistic production and collection in western India and from there across India and in Britain. This mercenary method of artistry propagated mixed, fractured, and plundered arts. Indeed, these "grafted arts"--disseminated across India and Britain over the nineteenth century to aid in consolidating empire or revolting against it entirely--remain instigators of nationalist agitation today.

In The Art of the Grafted Song: Citation and Allusion in the Age of Machaut, author Yolanda Plumley explores the penchant for borrowing in chansons and lyrics from fourteenth-century France, uncovering a practice integral to the experiments in form, genre, and style that ushered in a new school of lyric.

An intricate and provocative journey through nineteenth-century depictions of food and the often uncomfortable feelings they evoke At a time when chefs are celebrities and beautifully illustrated cookbooks, blogs, and Instagram posts make our mouths water, scholar Marni Reva Kessler trains her inquisitive eye on the depictions of food in nineteenth-century French art. Arguing that disjointed senses of anxiety, nostalgia, and melancholy underlie the superficial abundance in works by Manet, Degas, and others, Kessler shows how, in their images, food presented a spectrum of pleasure and unease associated with modern life. Utilizing close analysis and deep archival research, Kessler discovers the complex narratives behind such beloved works as Manet's Fish (Still Life) and Antoine Vollon's Internet-famous Mound of Butter. Kessler brings to these works an expansive historical review, creating interpretations rich in nuance and theoretical implications. She also transforms the traditional paradigm for study of images of edible subjects, showing that simple categorization as still life is not sufficient. Discomfort Food marks an important contribution to conversations about a fundamental theme that unites us as humans: food. Suggestive and accessible, it reveals the very personal, often uncomfortable feelings hiding within the relationship between ourselves and the representations of what we eat.

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1878 edition. Excerpt: ...slipped! Grafting with a Cutting for the Scion. In this method the scion only is a cutting, the stock is a tree which has been at least a year planted. It may be left entire or headed down at the time of grafting: and may be grafted either close to the ground or at some distance from it, under the surface of the soil or above it. Cutting-Grafting on a Low Stem. There are two principal methods based on the previous wnputation of the stem or otherwise. Here the stock is shortened to within 4 inches or 8 inches from the neck. We then take a scion-branch of sufficient length that when its extremity is buried in the soil as a cutting, close to the stock, it may be grafted on the stock, and have a couple of buds above the graft. The stock is channelled with the gouge and the bark is removed from that part of the scion which is to be placed in the groove. They are then bandaged and covered with mastic. When a vine is grafted in this way, the soil is heaped up about it so as to cover the graft. When the stem of the vine is young, or if it is furnished with vigorous shoots at the base, we have recourse to layer-grafting. A small trench or hole is made (B), in which the shoot is to be layered; the shoot to be grafted is then cut down to the third Layer-Grafting, eye (as at A). The other shoots of the same stock are removed, or cut short or grafted in the same way. The scion is grafted at A in the English fashion, then cut so as to leave two or three eyes over-ground, and fastened to a stake. Should the stock offer any resistance it can be pegged down in the bottom of the trench with a forked stick. The hole or trench (B) should then be filled with good free soil, which will facilitate the production of the new roots. Instead of previously...

The first human organ transplant in 1950 at a suburban hospital is the focus of The Graft: How a Pioneering Operation Sparked the Modern Age of Organ Transplants. The book examines the controversies the operation generated and the progress medicine has made in organ transplantation.