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Defining the very notions of art and the aesthetic as special products of Western modernity, they suggest that postmodern challenges to traditional high culture pose a devastating danger to art's future. Richard Shusterman's new book cuts through the seductive confusions of these views by tracing the earthy roots of aesthetic experience and showing how the recent flourishing of aesthetic forms outside modernity's sacralized realm of fine art evince the persistent presence of an artistic impulse far deeper and more durable than the modernist moment. Performing Live defends the abiding power of aesthetic experience by exploring its diverse roles, methods, and meanings, especially in fields marginal to traditional aesthetics but now most vibrantly alive in today's culture and new media. Ranging from rap, techno, and country music to cinema, cyberspace and urban design, Shusterman develops his radical theory of \"somaesthetics,\" charting the complex network of bodily arts so prominent in contemporary life and self-styling. 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John Ford turned one of his stories into the iconic film \u003ci\u003eStagecoach\u003c\/i\u003e, and the whole Western literary genre still follows conventions that Haycox deftly mastered and reshaped. In this new book about Haycox's literary career, Richard W. Etulain tells the engrossing story of his rise through the ranks of popular magazine and serial fiction to become one of the Western's most successful creators. \u003cp\u003e\u003c\/p\u003e After graduating from the University of Oregon in 1923 with a degree in journalism, Haycox began his quest to break into New York's pulp magazine scene, submitting dozens of stories before he began to make a living from his writing. By the end of the 1920s he had become a top writer for \u003ci\u003eWestern Story, Short Stories\u003c\/i\u003e, and \u003ci\u003eAdventure\u003c\/i\u003e, among other popular weeklies and monthlies. \u003cp\u003e\u003c\/p\u003e\u003ci\u003eErnest Haycox and the Western\u003c\/i\u003e traces Haycox's path from rank beginner, to crack pulp writer, to regular contributor to \u003ci\u003eCollier's\u003c\/i\u003e and the\u003ci\u003e Saturday Evening Post\u003c\/i\u003e. Etulain shows how Haycox experimented with techniques to deepen and broaden his Westerns, creating more introspective protagonists (Hamlet heroes), introducing new types of heroines (the brunette vixen, the blonde Puritan), and weaving greater historical realism into his plots. After reaching the height of success with his best-selling Custer novel, \u003ci\u003eBugles in the Afternoon\u003c\/i\u003e (1944), Haycox moved away from the financially rewarding but artistically constricting Western formula--only to achieve his final coup with \u003ci\u003eThe Earthbreakers\u003c\/i\u003e, a historical novel about the end of the Oregon Trail, published posthumously in 1952. \u003cp\u003e\u003c\/p\u003e Reconstructing the career of a popular literary giant, \u003ci\u003eErnest Haycox and the Western\u003c\/i\u003e restores Haycox to his rightful place in the history of Western literature. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAuthor:\u003c\/b\u003e Richard W. Etulain\u003cbr\u003e\u003cb\u003eISBN-10:\u003c\/b\u003e 0806157305\u003cbr\u003e\u003cb\u003eISBN-13:\u003c\/b\u003e 9780806157306\u003cbr\u003e\u003cb\u003ePublisher:\u003c\/b\u003e University of Oklahoma Press\u003cbr\u003e\u003cb\u003eLanguage:\u003c\/b\u003e English\u003cbr\u003e\u003cb\u003ePublished:\u003c\/b\u003e 09\/14\/2017\u003cbr\u003e\u003cb\u003ePages:\u003c\/b\u003e 200\u003cbr\u003e\u003cb\u003eFormat:\u003c\/b\u003e Hardcover\u003cbr\u003e\u003cb\u003eWeight:\u003c\/b\u003e 1.30lbs\u003cbr\u003e\u003cb\u003eSize:\u003c\/b\u003e 9.10h x 6.10w x 0.90d\u003cbr\u003e\u003cbr\u003e\u003cb\u003eReview Citation(s): \u003c\/b\u003e\u003cbr\u003e\u003ci\u003eLibrary Journal\u003c\/i\u003e 09\/15\/2017","brand":"Richard W. 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In its traveling exhibition, a finely crafted aluminum traveling case is on display, opening into a tri-partite mirrored vanity containing a playful kit of objects, inviting the participant into an intimate space of engagement and transformation. Illuminated buttons trigger layers of audio, and a set of instructions invites the viewer to \"Reimagine yourself \/ tell a new story \/ collaborate with others.\" Also on display is an exquisite, vividly illustrated codex created by book artist Felicia Rice, with texts drawing upon Mexican performance artist Guillermo Gez-Pe's experiences and observations of the political, geographic, social, and psychological boundaries between the United States and Mexico. 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The resulting scripts can be bawdy, such as the amusing 'Love Conversation with My Computer, ' or painfully candid, such as 'Dwelling in Unnecessary Wounds, ' where Gez-Pe wonders, 'Pero, if only I had never left in the first place \/ what would have become of my life? \/ It would be considerably simpler.' Clear-eyed about the 'immigration hysteria' in America, Gez-Pe is too passionate an 'experimental linguist, media pirate' to settle into pessimism, instead riffing on his themes with 'the intensity of a self-inflicted wound or an orgasm' and finding joy in the scrambling of categories, as he imagines an orgiastic 'borderless future' with 'Lacandonian shamans exorcising multinationals at dawn.' His scripts are layered over and under Rice's vivid, colorful sketches of angels, tigers, calaveras, and meticulously decorated El Caminos: all half-satirical, half-devout iconography of Chicano culture. The culmination is a thought-provoking work of art that defies categorization.\"--\u003ci\u003ePublishers Weekly\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\"Felicia Rice is one of the most exemplary book artists in the United States. Her collaborations with Guillermo Gez-Pe and Enrique Chagoya have transcended every tradition and formal expectation that we have concerning the book as a work of art. Her new collaboration with Gez-Pe, \u003cem\u003eDoc\/Undoc\u003c\/em\u003e, is a brilliant exposition of the best of two worlds--art and political action.\"--Peter Rutledge Koch, The Codex Foundation\u003c\/p\u003e \u003cp\u003e\"The bleeding flaming heart of this book is a cornucopia of shamanic defenses against racism. It's a magical toolbox filled with implements to use for safe border crossings, a prayerbook for the deconstruction of oppressive stereotypes, and a guide for the creation of liberated identities and revolutionary entities. This is not a book to be just read, it's a book to be performed, enacted and realized.\"--Marshall Weber, Artist\/Curator at Booklyn\u003c\/p\u003e \u003cp\u003e\"A fierce and salient cultural intervention, with myriad possibilities. Wild mind shamanic Gez-Pe imprints his masterful, timeless persona here, as do other collaborators, and book artist Felicia Rice provides a powerful container--a microcosm\/macrocosm for immigrant experience. Tactile, visual, expansive, explosive.\"--Anne Waldman, poet, author of \u003ci\u003eVoice's Daughter of a Heart Yet To Be Born\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\"An interactive experience that ignites dialogues, performances and workshops addressing race and identity across generations. 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Prophets and preachers use lies to tell the truth--so why shouldn't artists?\" -Christian Viveros-Faune, art critic, The Village Voice \"Pablo Helguera is a splendid liar, a first-class storyteller, a curious mind constantly in search of stories, a creator of parallel universes and impossible characters living in credible situations, which invariably probe our certainties, intuition and knowledge.\" -Naief Yehya, author and critic Pablo Helguera is a visual artist living in New York. He is the Director of Adult and Academic Programs at the Museum of Modern Art, New York. 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