Colleges and universities used to teach art history to encourage connoisseurship and acquaint students with the riches of our artistic heritage. But now; as Roger Kimball reveals in this witty and provocative book; the student is less likely to learn about the aesthetics of masterworks than to be told; for instance; that Peter Paul Rubens great painting Drunken Silenus is an allegory about anal rape. Or that Courbets famous hunting pictures are psychodramas about "castration anxiety." Or that Gauguins Manao tupapau is an example of the way repression is "written on the bodies of women." Or that Jan van Eycks masterful Arnolfini Portrait is about "middle-class deceptions ... and the treatment of women." Or that Mark Rothkos abstract White Band (Number 27) "parallels the pictorial structure of a pieta." Or that Winslow Homers The Gulf Stream is "a visual encoding of racism." In "The Rape of the Masters: How Political Correctness Sabotages Art;" Kimball; a noted art critic himself; shows how academic art history is increasingly held hostage to radical cultural politics--feminism; cultural studies; postcolonial studies; the whole armory of academic antihumanism. To make his point; he describes how eight famous works of art (reprinted here as illustrations) have been made over to fit a radical ideological fantasy. Kimball then performs a series of intellectual rescue operations; explaining how these great works should be understood through a series of illuminating readings in which art; not politics; guides the discussion.
#537640 in eBooks 2011-07-18 2011-07-11File Name: B0054LXX54
Review
10 of 10 people found the following review helpful. Well written and Interesting chronicle of musical genre!By D_shrinkThis was a work that kept me interested and excited to learn more about individuals who in total were responsible for Rhythm and Blues. which was later morphed into Rock-n-Roll.The Chitlin Circuit referred to the grand tour of ever changing southern bars. taverns. holes in the wall. barbeque joints. and makeshift venues for dancing or simply those to showcase new black artists. while turning a substantial buck on the booze sold. The era described extended from about 1930 to the mid 1980s. At the beginning of that era. the featured performers had larger orchestras and preferred to play SWING. while the crowds would rather hear smaller bands that played RB. The promoters agreed with the crowds as the guarantees were much smaller for bands than orchestras.One of the added bonuses of this book were the numerous B/W photos of the many people who made this musical form popular. The authors telling of this story is done in a rapid fire staccato pacing. An example being "He modified what Mother Nature gave him to compensate for what Father Time took away." How can you not love a line like that. It was just so easy to see the scenes depicted through the authors voice. Even the chapter titles as "The Loser Goes to the Hospital. the Winner Goes to Jail!" has a certain panache and verve that sets the tone of the place and period. There were numerous vignettes of the many important personalities of the era that enabled you to get to know them on a more personal level. We get to know the history of how Riley King morphed into B. B. King. Richard Pennington into "Little Richard". John Alexander Jr. into Johnny Ace. Willa Mae Thornton into Big Mama Thornton and all the intrigue and events of the daily life on the circuit. This is a must read for anyone interested in that period of our history and it background and certainly for all interested in the roots of RB. A great read!4 of 4 people found the following review helpful. A significant piece of researchBy Ron HawkinsIn this book Preston Lauterbach has dug deep into the origins and the workings of the chiltlin circuit. a place of mystery that I knew by name as a signifier for down-home music and what I imagined to be wild and behaviour you wouldnt take down-home. I know a great deal more now because Lauterbachs scope of research and ability as an historian is astounding. For a writer in 2011 to have found the information and pieced together the puzzle that is contained in this book is a remarkable achievement.For work of this kind I am always on the lookout for errors that will tell me the real depth of a writers research and commitment. Im not an expert but I can pick a faker. all I found were a couple of very minor factual errors; Mr Lauterbach is the real deal in music history and I hope that he continues his commitment.Aspects of the book that I really liked were finally Roy Brown getting due credit for his achievements. I also liked that we werent spoon-fed the RB + CW = Rock and Roll myth again. Elvis Presley while a significant artist and cultural influence had nothing to do with `creating Rock and Roll. that work was done. Presleys significant achievement was the brief popularising of rockabilly; music which he quickly abandoned (as the public did) in favour of the already existent Rock and Roll. I love Elvis. but I also love those who came before and who Mr Lauterbach pays tribute to in this book.After all this praise of the book I have to say that the Lauterbachs writing style needs some work. At times I found the book a little difficult to get through and I am ready to admit that it may just be me. or maybe that there is so much new that you need to take it a little slowly. I found the writing overall a little too earnest. and the attempts at humour often a bit forced. The writing style overall made me work a little bit too hard when it should have carried me along for the ride.It is Preston Lauterbachs first book and a great achievement. His writing will improve. his research and historical analysis skills are there already. I recommend this book to people who really care about the multi-layers that went into the creation of rock and roll and want to look past the standard simplistic history.0 of 0 people found the following review helpful. As a music journalist. I first heard this term ...By CustomerAs a music journalist. I first heard this term "Chitlin Circuit" from Terri Lewis of Flyte Time. later called "The Time." I have never viewed modern or earlier music the same way ever since (a couple of decades). May the Powers That Be Bless these folks for writing this book. Our present-day music would sound very different if it werent for these earlier music pioneers who suffered a lot of indignities to be heard. The book also traces a lot of the important influences each artist passed down to successive generations. A "Must Read" for anyone who claims to understand modern music." Such a gift--Invaluable insights.
