Through a systematic comparison of the life circumstances, child-rearing practices, and personalities of the FulBe and their former slaves, the RiimaayBe, this book develops an alternative theory of the way personality is formed in the Fulani society of West Africa. Riesman discusses the different characters, economies, and life plans of adult men and women of both groups, focusing on their ideas about the value of relatives. He further presents detailed observations of child-rearing practices, and concludes that the FulBe and RiimaayBe do not differ in these practices. Contrasting Fulani and Western notions of parenting, he suggests that child-rearing practices are themselves irrelevant to the formation of adult personality, but that a people's ideas about the meaning of life, social relations, and the development of character are very important. Finally, Riesman outlines a sociocultural theory of personality and its formation, and uses this theory to make sense of the differences between FulBe and RiimaayBe.
As the subject of ideological, aesthetic, and existential manipulations, the Polish home and its representation is an ever-changing phenomenon that absorbs new tendencies and, at the same time, retains its centrality to Polish literature, whether written in Poland or abroad. Framing the Polish Home is a pioneering work that explores the idea of home as fundamental to the question of cultural and national identity within Poland's recent history and its tradition.
In this inaugural volume of the Polish and Polish-American Studies Series, the Polish home emerges in its rich verbal and visual representations and multiple material embodiments, as the discussion moves from the loss of the home during wartime to the Sovietized politics of housing and from the exilic strategies of having a home to the the idyllic evocation of the abodes of the past.
Although, as Bożena Shallcross notes in her introduction, “few concepts seem to have such universal appeal as the notion of the home,” this area of study is still seriously underdeveloped. In essays from sixteen scholars, Framing the Polish Home takes a significant step to correct that oversight, covering a broad range of issues pertinent to the discourse on the home and demonstrating the complexity of the home in Polish literature and culture.
Since his death in April 12 Francis Bacon has been acclaimed as one of the very greatest of modern painters. Yet most analyses of Bacon actually neutralize his work by discussing it as an existential expression and as the horrifying communication of an isolated individual—which simply transfers the pain in the paintings back to Bacon himself. This study is the first attempt to account for the pain of the viewer.
It is also, most challengingly, an explanation of what Bacon’s art tells us about ourselves as individuals. For, during this very personal investigation, the author comes to realize that the effect of Bacon’s work is founded upon the way that each of us carves our identity, our “self,” from the inchoate evidence of our senses, using the conventions of representation as tools. It is in his warping of these conventions of the senses, rather than in the superficial distortion of his images, that Bacon most radically confronts “art,” and ourselves as individuals.
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