Understanding late medieval pictorial representations of violence. Destroyed faces, dissolved human shapes, invisible enemies: violence and anonymity go hand in hand. The visual representation of extreme physical violence makes real people nameless exemplars of horror--formless, hideous, defaced. In Defaced, Valentin Groebner explores the roots of the visual culture of violence in medieval and Renaissance Europe and shows how contemporary visual culture has been shaped by late medieval images and narratives of violence. For late medieval audiences, as with modern media consumers, horror lies less in the "indescribable" and "alien" than in the familiar and commonplace. From the fourteenth century onward, pictorial representations became increasingly violent, whether in depictions of the Passion, or in vivid and precise images of torture, execution, and war. But not every spectator witnessed the same thing when confronted with terrifying images of a crucified man, misshapen faces, allegedly bloodthirsty conspirators on nocturnal streets, or barbarian fiends on distant battlefields. The profusion of violent imagery provoked a question: how to distinguish the illegitimate violence that threatened and reversed the social order from the proper, "just," and sanctioned use of force? Groebner constructs a persuasive answer to this question by investigating how uncannily familiar medieval dystopias were constructed and deconstructed. Showing how extreme violence threatens to disorient, and how the effect of horror resides in the depiction of minute details, Groebner offers an original model for understanding how descriptions of atrocities and of outrageous cruelty depended, in medieval times, on the variation of familiar narrative motifs.

The first book to allow you to actively improve famous works of art, boxed with wipe-clean pens We've all felt strongly about a work of art. Whether it was wishing Guernica had a bit of color or that Mona Lisa cracked more of a smile, some of us go to greater lengths than others to deal with our opinions. Some go so far as to vandalize a work of art, but that's getting a bit carried away. This book allows you to happily improve a variety of 12 artworks from the comfort and safety of your armchair, including The Birth of Venus, The Last Supper, The Creation of David, Night Watch, Girl with a Pearl Earring, and more. Using the supplied pens you'll be making your point in less time than it takes an art critic to denounce Banksy. Then you can wipe it clean and start again.

Rich... dangerous... disfigured. I had her kidnapped to fix the one thing that has kept me hidden from society my whole life. My face. But, as the days go by, she's affecting the part of me no woman has ever touched. My heart. I'm drawn to her. And I can tell she's drawn to me, too, though she fights it. I see it in the longing glances and the quickening of her breath, even as I hold her down. Lily. They call me Monster through no fault of my own, but she's the only one who's ever made me feel like a man... Additional Keywords: dark romance, romantic suspense, alpha male, kidnapping, fairytale, retelling, birthmark, sexy, Marissa Farrar, Series, Trilogy, abduction, free dark romance novel, billionaire romance

Defacement asks what happens when something precious is despoiled. In specifying the human face as the ideal type for thinking through such violation, this book raises the issue of secrecy as the depth that seems to surface with the tearing of surface.

From Manifest Destiny to the White Man's Burden, Harold Macmillan to Tony Blair, and John F. Kennedy to Barack Obama—the historical development of racial doctrine has been closely connected to the relationship between radical and conservative politics. This book compares different forms of racism and anti-racism in the United States and Great Britain from the 19th century to today, situating the development of racial doctrine within the political movements of the modern capitalist world order. In conversation with current debates, this work places the treatment of racialized human beings within a wider dynamic of capitalist exploitation. It unpacks the influence of anti-emancipatory thought on "race relations," and argues that there is a consensus of thought across the political spectrum underpinned by the contemporary acceptance of the impossibility of human emancipation. Ultimately, Race Defaced is a heretical intervention into questions of race and racism that challenges both conservative and radical orthodoxies.

This book proposes an alternate theory of media evolution that accounts for the appearance of a new medium in the malpractice of older media. Smallest Mimes addresses complex issues of media transition, the inherent confusion of media definition by use of metaphor instead of phenomenological description, and the impact of individual media function and structure on both textual and imagistic content. Bringing together Majkut’s past speculations on media, Smallest Mimes interweaves a general theory of media, a theory of historical media change and transmission, and a theory of media genesis in technological adequacy/inadequacy.

An exploration of a formative chapter in Basquiat's brief career through the lens of his identity and the role of cultural activism in New York City during the early years of the 1980s Jean-Michel Basquiat painted Defacement (The Death of Michael Stewart) in 1983 to commemorate the death of a young, black artist who died from injuries sustained while in police custody after being arrested for allegedly tagging a New York City subway station. Published to accompany a focused exhibition of Basquiat's response to anti-black racism and police brutality, this catalogue explores a chapter in the artist's career through both the lens of his identity and the Lower East Side as a nexus of activism in the early 1980s. With an introduction by Chaédria LaBouvier, Nancy Spector, and Joan Young, and an essay by Johanna F. Almiron are supplemented by commentary from artists, activists, and other cultural figures who were part of this episode in the city's history, which invokes today's urgent conversations about state-sanctioned racism. Ephemera related to Stewart's death, including newspaper clippings and protest posters, and samples of artwork from Stewart's estate are also featured along with paintings and prints made by other artists from Keith Haring, Andy Warhol, David Hammons, in response to Stewart's death.