In 1935; the United States Congress began employing large numbers of American artists through the Works Progress Administrationmdash;fiction writers; photographers; poster artists; dramatists; painters; sculptors; muralists; wood carvers; composers and choreographers; as well as journalists; historians and researchers. Secretary of Commerce and supervisor of the WPA Harry Hopkins hailed it a ldquo;renascence of the arts; if we can call it a rebirth when it has no precedent in our history.rdquo; Women were eminently involved; creating a wide variety of art and craft; interweaving their own stories with those of other women whose lives might not otherwise have received attention. This book surveys the thousands of women artists who worked for the U.S. government; the historical and social worlds they described and the collaborative depiction of womanhood they created at a pivotal moment in American history.
#3670151 in eBooks 2016-01-25 2016-01-25File Name: B01B1T0BG6
Review
1 of 1 people found the following review helpful. Great source material for thesis projectBy P. IacobazzoGreat source material for MFA Thesis project and Informance on INTERPRETING DESDEMONA FROM SHAKESPEAREAN TEXT TO VERDIrsquo;S OTELLO Applying the theory of Spousal Abuse in developing the characterization of the role.0 of 5 people found the following review helpful. " which is a brilliant critique of the neo-MarxistBy David EatonI recently read this book between reading Roger Srcutons new book on the thinkers of the new left (Gramsci; Foucault; Said; et. al.) and Michael Walshs new book; "The Devils Pleasure Paradise;" which is a brilliant critique of the neo-Marxist; Frankfurt School philosophers (Adorno; Marcuse; Reich; et. al.) and subversive effects of Critical Theory in the West. (Walsh; BTW; was the long-time music critic for the San Francisco Examiner and Time Magazine.)Needless to say; McClarys citing Adorno; Foucault and Gramsci as important influences on her work was a sign that more neo-Marxist; postmodern; Critical Theory was on its way---wrapped in the integument of progressive; PC ideology; of course. And sure enough this is the underlying ethos of her perspectives.The pre-occupation with sexuality and "sexual liberation" (the term was coined by Frankfurt School Alumnus; Wilhelm Reich) takes its cue from Nietzsche; and the "reification" of sexuality was/is at the heart the new-lefts assault on Western; Judeo-Christian morality. It maybe too simplistic to put it this way; but in the fifth chapter McClary likens the cathartic moments in tonal music (even the neotonality of John Adams and David del Tredici;) to the tension and release in porn films that culminates in the "money shot---close-up footage of a discharging penis." (p. 113). Well; if you remove the innate spirituality of sex by reducing to a mere physiological activity and sell it; you get the porn industry. When you do that in music you get so much of what is most of pop culture---fixating on the act rather than inner or metaphysical essence; or ontological raison decirc;tre; of nature and love viz. the human experience and polarity.The Chinese seemed far more enlighten in there views regarding polarity and relatedness (Ying/Yang; tension/release; male/female; cation/anion; etc.) Rather than celebrate this as the basis (or reflection) of the natural world order; the tendency of McClary and the postmodernists is to call it into question and assign power-tripping motives at every turn; ala Foucault and Derrida. If this is your worldview youll love this book. If you suspect postmodernism is a ruse that is having deleterious effects on our culture; read Walsh or Scruton and theyll validate your suspicion.20 of 21 people found the following review helpful. A good book for AESTHETICAL approaches.By Ms. H. M. TaylorHaving looked at the every so slightly damning reviews on this so far I felt the urge to put this book into some context.Susan McClary writes extremely well and informatively. The book presents some interesting viewpoints and is undoubtedly a great contribution to gender studies in musicology. I would know; Im writing my dissertation on this area.Many of the reviews here seem to have missed the point of this book entirely however. This is an aesthetical book; on music aesthetics; on musical aesthetics and criticism; it is one persons (accepted) viewpoint; it is one persons opinion. I cant emphasise this any more. When reading Eduard Hanslicks accounts on instrumental music; do we interpret what he says as merely opinion or do we assume he is stating facts? The latter would be ridiculous. His views; and the views in Susan McClarys book; are merely their opinions put on paper. Whether you agree with it or not is purely your opinion.The fact is that women over the centuries have been at a clear disadvantage and it is visible everywhere; Clara Schumann; Ethel Smyth; Rebecca Clarke... the list goes on. If you would like to put this book into context (simply reading it on its own could result in confusion) I suggest you read 50 Key Concepts in Gender Studies by Jane Pilcher and Imelda Wheelan; or perhaps Ruth A. Solies Musicology and Difference or even; Philip Brett; Elizabeth Wood and Gary C. Thomass Queering the Pitch. All three would greatly enhance anyones understanding of gender studies in music. The first book mentioned give a fantastic explanation into the terminology used in gender studies.Its not a load of poppycock; it is simply one persons hard work and personal opinion on what some of this music came to represent. Sure; you dont listen to Beethovens Symphony No. 9 and start wanting to make women slave away in the kitchen; however; the musical canon did exclude women with its androcentric language; religion also played a major part; descriptions that were originally harmless (masculine and feminine cadences) resulted in stereotyping women.... it goes on. Marcia J. Citrons Gender and the Musical Canon is also very good.I didnt agree with all of it but I still realised that their opinions were valid; that they had reserached and thought about their subject thoroughly. I would recommend this to anyone delving into MUSIC and AESTHETICS AND CRITICISM. Not recommended for light reading however.
