Style Of Realism Research Articles

Reinterpreting Nirat Nongkhai: an historical account of settlement and land use in north-eastern Thailand during the nineteenth century

ABSTRACT Due to insufficient historical accounts of the north-eastern region of Siam (modern-day Thailand) during the nineteenth century, the landscape, settlement and land use in this area are only vaguely understood. This article thus analyses and interprets the region’s settlement and land use by employing a unique nineteenth-century poetic source, the famous Nirat Nongkhai, a classic Siamese ‘journey-poem’ (nirat), composed in 1875. The poem effectively represents an account (i.e. journal) of a military expedition from Bangkok to the north-eastern region to suppress the Haw people. The poet wrote Nirat Nongkhai with great attention to detail and the key purpose of turning it into an historical travel archive. The poem was framed in the realist style, so it is particularly valuable for the study of landscape. Thus, it helps to clarify settlement and land use characteristics in the region during the late nineteenth century. The settings and contexts of Nirat Nongkhai show that geographical factors were the prime reasons why most of the flat areas remained unused, dry grasslands. Conversely, the low hills were inhabited. The essential settlement pattern was thus one of ‘island villages’ dispersed over waterside hills, mirroring the basic pattern of forested land (the pa khok) on the hills and river levees. Nirat also demonstrates that topography proved problematic for travel. For these reasons, communities remained largely impoverished and isolated from other regions of Siam.

Retorika Jeffrie Geovanie dalam serial Pidato “Sebuah Persembahan untuk Sumatra Barat”

This study aims to analyze the style of language, the language style criticize, efficient use of vocabulary, and persuasive speech delivered in a series of speeches Jeffrie Geovanie a tribute to West Sumatra. The method used is descriptive method and the object of this research is a series of speeches Jeffrie Geovanie a tribute to West Sumatra Padang Ekspres and Singgalang. Based on the analysis we can conclude that the style of language used in the serial Geovanie Jeffrie speech is stylistic hyperbole, personification, epithet, sarcasm, and irony. The author is more inclined to criticize realist style, symbolic, gothic, allegory, and proletarian. In the utilization of the vocabulary used by the author in the form of utilization of scientific vocabulary, popular words, greeting words and idioms. Writers tend to be able to convince and can touch the reader in his speech (speech persuasive).

Project Review: SwampScapes

Project Review: <i>SwampScapes</i>

Maya’s Story

By developing the artistic style of abstract realism, this work in the medium of oil painting and digital elaboration focuses on the story of a Nepali woman who, by rebelling against constraining s...

The Social Realist Stories of Putu Shanty as Historical Record

Abstract Putu Shanty was one of Bali’s leading intellectuals in the middle of the twentieth century, but he has been effaced from official publications identifying cultural leaders of the island. His short stories, written in a social realist style, were intended as interventions that would influence the course of history but are also a valuable record of historical discourse. ‘Anti-feudalism’ was a central discursive concern of Shanty’s, and while it was shared on a national level with other political leaders and writings, its implications on Bali were highly specific, involving local social contestation and attempts to redefine religion. The role of intellectuals such as Shanty demonstrates that there are significant differences between discourses of the 1950s and the early-twenty-first-century constitution of ‘tradition’.

Konstruksi Epistemologi Fikih Pandemik: Analisis Fatwa-Fatwa MUI

The Covid-19 pandemic has changed the behavior of people in the world, both in social, political, cultural and religious practices. The practice of strict health protocols has changed religious practices, both in Islam, Christianity, Hinduism, Buddhism and other faiths. In Islamic countries or countries where the population is predominantly Muslim, the ulama play an important role in legitimizing these changes in religious practice. In Indonesia, there is the Indonesian Ulema Council (MUI) which plays a role in providing fatwas related to changes in religious practices, such as prayer, zakat, Hajj and burying people who died due to being infected with Covid-19. These fatwas raise the issue of the epistemological construction that underlies the fatwas. Through a philosophical approach and content analysis of the MUI fatwas products, it was found that MUI fatwas were based more on empirical-scientific arguments (burhani) as well as ethical principles of Islamic teachings contained in the principles of maslahah (general good) and syadz al-zari'ah (avoiding danger). This article shows that the legal reasoning built by MUI shows the tendency of epistemology with a realism style based on scientific facts so that religion plays a role in providing legitimacy in the ethical and moral realm in the form of sharia objectives (maqāshid al-syarī’ah).

Talking comics, life and art with cartoonist E.S. Glenn

ABSTRACT This interview presents a conversation with cartoonist E.S. Glenn about comics, life and art. Glenn is the creator of Unsmooth, a work that features a multiplicity of thematic elements, wrapped in magical realist style: race, masculinity, violence, crime, status and power, agency, legitimacy, authenticity and value in relation to life, perception and the creative industries. His influences include the work of Ralph Bakshi; classic TV animation from the 1960s and 1970s; ‘Pinky Violence’ films; Chinese heroic bloodshed cinema; and Japanese crime movies. He currently resides in Spandau, Berlin. This interview was undertaken over several months in late 2020.

The process of mourning in Anne Enright’s The Gathering

AbstractAnne Enright’s writing evinces a nuanced sensitivity to words which nourishes a tension between the realist style and a strong self‐consciousness. This is evident in The Gathering, in which the seemingly chronological occurrences weave out a dynamic pattern of narrative time. Examining Veronica’s experimentation with tense, I argue that the ongoing writing aligns with her progressive mourning. Specifically, her reconfiguration of memories in the past reveals her temporal perspectives in the present, which sheds light upon her struggle to come to terms with Liam’s death. While Liam’s ghost exposes Veronica’s wish to prolong his presence, his last journey arranged in the present tense is her reenactment of his death. Veronica’s imagination of the inaccessible past and the disruption of retrospective narration suggest an overall strategy of presentification to counter the afterwardness of her belated writing. In addition, a series of changes in Veronica’s attitudes towards sex and motherhood attest to her progress in mourning, even though mourning for one’s loss is an unsolvable issue. The temporal self‐reflexivity in The Gathering, exhibited in Veronica’s manipulation of tenses and temporal perspectives, not only aligns with the Irish women writers’ battle against the amnesia imposed by the state and the church but also echoes the postmodern challenge of authenticity.

Eisenstein in Fergana: from avant-garde to national form

ABSTRACT Sergei Eisenstein’s work on The Great Fergana Canal in 1939 and his subsequent wartime evacuation to Kazakhstan gave him the opportunity to reflect on Stalin’s famous definition of proletarian culture as ‘national in form, socialist in content’. The modernist cult of difficult forms endured a radical reformulation through the 1930s. The insistence on clarity and accessibility, fuelled by the emergence of the Socialist Realist style, made aesthetic intricacy unacceptable and dramatically reshaped acceptable practices of perception and expression. But the ‘strangeness’ of the Orient allowed the modernist valorisation of defamiliarized forms to continue its existence in new ways. The ‘national in form, socialist in content’ formula provided a context in which formal strangeness could re-emerge as a sanctioned entity. Formal experimentation was possible only in the national context, and only if singular socialist content predominated. As such, national form was the last sanctuary of modernist strangeness. By utilising this formula, the late modernist Eisenstein concerned himself with creating national building blocks for the socialist edifice, which was, in turn, intended to evolve into a supranational construct.

Leben verboten! by Maria Lazar

Reviewed by: Leben verboten! by Maria Lazar Joseph W. Moser Maria Lazar, Leben verboten! With an Afterword and edited by Johann Sonnleitner. Vienna: Das vergessene Buch Verlag, 2020. 380 pp. Maria Lazar (1895–1948) was an Austrian-Jewish writer, whose works had mostly fallen into oblivion until the aptly named publisher Das vergessene Buch Verlag started republishing her books: Die Vergiftung (1920, republished in 2014) and Die Eingeborenen von Maria Blut (1937, republished in 2015). Leben verboten! was only ever published in English by Wishart & Co in London in 1934, so the 2020 publication of the book by Das vergessene Buch Verlag is the first German edition of the book based on the 1932 original manuscript. The novel is followed by a fift y- eight- page afterword entitled "Kolportage und Wirklichkeit: Zu Maria Lazars Roman Leben verboten!" by Johann Sonnleitner, who has been instrumental in promoting the rediscovery of this fascinating writer. The afterword provides readers with a detailed and very useful history of Maria Lazar's work and life as a writer. Thus, this book contains both the novel and a detailed scholarly analysis of the book and Lazar's other works. Without spoiling the novel or even commenting on the riveting plot, the book gives insights into life in Berlin and Vienna in 1932 before the Nazis took power in Germany, but much of the mystery of the book centers on young men conspiring with the political right and the fear that an older generation has about the potential changes that the younger generation may bring about. Lazar has a realist style of writing that helps her readers feel the time and space in which the novel's plot takes place. The Viennese characters speak in their authentic vernacular of the 1930s. The main protagonist travels between Berlin and Vienna, through the newly foreign Czech lands, and this provides a fascinating comparison of the two metropolises, where Berlin is reminiscent [End Page 159] of Alfred Döblin's Berlin Alexanderplatz (1929)—a big city struggling with a continued economic crisis. Vienna is by comparison a much smaller city in the novel, though much as the cliché would have it is more elegant, most notably with the State Opera House and its other cultural institutions. What unites the two places are economic uncertainties that affect the wealthy and less wealthy classes almost equally, as well as political uncertainties that are underscored by political radicalism in the Interwar period. As one might expect, this is a time where people are confronted with the realities of post–World War I life and at the same time there is a distinct and haunting fear of future conflict and possibly war. As Sonnleitner points out in his afterword, Lazar was mostly overlooked by her writer colleagues, even though she ran an active literary salon at the time. Only Elias Canett i mentioned her in Das Augenspiel: "Ich sollte bei Maria Lazar, einer Wiener Schrift stellerin, die wir beide unabhängig voneinander kannten, mein Drama Hochzeit vorlesen. Einige Gäste waren geladen. Ernst Fischer und seine Frau Ruth waren darunter [ … ] Maria Lazar hatte Broch erzählt, wie sehr ich die Schlafwandler bewunderte, die ich während des Sommers dieses Jahres 1932 gelesen hatte" (326–27). Sonnleitner emphasizes that Canett i seemed more interested in Broch than Lazar, though at least he acknowledged her as a writer. She is not mentioned in Ernst Fischer's autobiography. Oskar Kokoschka, who had painted her portrait several times, did not mention her in his autobiography either, nor is she mentioned in secondary sources on Hermann Broch (327). Apparently, only Renate Wall's Lexikon deutschsprachiger Schrifstellerinnen im Exil 1933–1945 (2004) and Siglinde Bolbecher and Konstantin Kaiser's Lexikon der österreichischen Exilliteratur (2000) mention Maria Lazar, as Sonnleitner points out (326). This is a great example of how a writer can fall into oblivion, especially if one is too concentrated on the supposedly great literary figures of a time. Of course, one also has to wonder if a male writer would have fallen into the same oblivion as Lazar. Apart from being a great read and a catchy novel that you will not want to put down, Maria Lazar...

Sömürge sonrası feminist kurguda büyülü realist unsurlar: Sevgili Arsız Ölüm ve Beloved üzerine karşılaştırmalı bir çalışma

In terms of race, gender, and class hierarchies, the female characters of Sevgili Arsız Ölüm and Beloved suffer the pressure of being societal outsiders along with patriarchal oppression. This outside pressure leads them to recreate colonization (sometimes a woman can oppress another woman) and sometimes to fight back more in their lives. By analyzing the conflict between the real and the imaginary in both novels, one can understand that it is possible to see suffering and the need for self-discovery by oppressed characters across different times, spaces, and stories. Toni Morrison successfully incorporates magical realist features into her masterpiece Beloved, which manifests Black people’s tragic history and their difficult lives as a result of racism. Latife Tekin, who is a leading magical realist author in Turkish Literature, presents the problems of Turkish people who have immigrated from rural to urban environments and their strivings for self-identification in her novel Sevgili Arsız Ölüm. Typical tenets of magical realism are present in both novels, such as non-linear time and space, passing narrative voices, extraordinary events, and traditional beliefs and fantasy. By referring to the magical realist style of narration and postcolonial feminist theory, the aim of this comparison is to observe the common struggles experienced by non-white and non-Western women in todays’ world. The aim of the study is to discuss the other side of the hidden and/or distorted realities produced by the oppressors, and to analyze the attendant historical, social, and psychological issues by focusing on female characters.

Map of Art Development of Batu City in Indonesia

This research is a follow-up to the study entitled ”Historical Mapping of the Development of Modern and Contemporary Art in Malang”, conducted by researchers in 2016. From the results of the study, it appears that in several periods of the development of arts in Malang, a noted Batu art figure was recorded, a trend seen since 1982. In addition, this research identifies the work of Batu artists as having a style with distinctive characteristics, namely the so-called ”Batu realism style”. This study seeks to map the stages of the development of arts in Batu City from the initial period to the current situation. This study used a qualitative approach by utilizing the data sources of Batu artists, Malang cultureists, curators from the city of Malang, curators, documents and art loci in Batu, whose data analysis utilizes interactive data analysis. The map of the development of arts in Batu has been started since the ”Beginning” period, where the initial period was identified as an embryo of the development of Batu art which is still in the form of motivation that appears on a group of young Batu people who are inspired by illustrations, garden exterior decoration, and some aesthetic works from some seniors in Batu. Mapping can be noted from the development of Batu City arts is its existence and development since: (a) the ”Batu Seni Pondok” period, starting in the 1980’s, (b) the ”Raos Gallery” period, starting in the 1989’s, and (c) the ”Current” period, which is recorded as the third generation since the ”Pondok Seni Batu” where each period with variations in its development has implications for the development of art in East Java and in Indonesia.&#x0D; Keywords: modern art, contemporary art, art history

REALISME DALAM KEPENTINGAN NASIONAL INDONESIA MELALUI FORUM KONFERENSI ASIA AFRIKA (KAA) DAN GERAKAN NON BLOK (GNB)

Realism is an approach and paradigm that is in international relations, Realism began to be debated during World War II (World War II) because of the failure of the League of Nations (LBB). LBB is the brainchild of idealists who are considered to have failed to prevent war and create peace. Realism existed even before the paradigm debate which was later called classical realism with one of its characters being Niccolo Machiavelly. Niccolo Maciavelly's style of realism emphasizes that human nature is egositically and creates an anarchic world. In this study the research team wanted to prove that what Niccolo Machiavelly delivered was not merely increasing military power merely to create peace, but negotiation and diplomacy methods were also instruments of the State in achieving its national interests in realism like Indonesia. The national interests of Indonesia are everything for Indonesian politicians and the existence and power of Indonesia is the goal of Indonesia's interests to avoid war. Therefore Indonesia must have played its role in the Asian-African Conference and the Non-Aligned Movement at that time as an instrument of achieving national interests in Realism. This research will use qualitative research methods with a historical approach. The results of this study provide answers that Realism is not merely militaristic but also a role as a rational actor.

Managing risk for aging patients in long-term care: a narrative review of practices to support communication, documentation, and safe patient care practices.

Resident safety and welfare in long-term care (LTC) is being redefined as the focus shifts to promoting an optimal quality of life especially in LTC. Achieving this requires contemporary practice to improve the organization and staff’s ability in identifying, communicating, documenting, and managing the risks that arise from the choices a person makes in pursuit of a better quality of life. This article is a narrative realist style review examining the issues of how to manage risks for older residents living in LTC. The issues are examined in six stages: context, identifying, communicating, documenting, enacting, reviewing and reflecting on how choices are made and risks managed. It is important for individuals to be supported in making an informed choice – this requires identifying, providing, and communicating the available options and the potential consequences. Documenting consent, perhaps with formal risk agreements, provides clarity for all involved and assists in determining how and who is responsible for enacting choices. Reviewing and reflecting upon the decisions and actions to enact choices are familiar to prudent LTC managers who implement and monitor robust governance systems. Learning from these experiences is essential to better meet individual resident, staff, organizational, and community expectations. Improving practice at each of the six steps should reduce adverse professional and legal repercussions and enable the resident, families, and staff to better cope with respecting choices when a known harmful outcome eventuates.

吳作人(1908~1997)의 생애와 작품 연구 - 油畵를 중심으로

Wu Zuoren is the painter who exerted immense influence in the Chinese modern world of artists by advancing the paintings based on the realism style of painting so that they suit the reality of China. This study aims to examine the oil painting of Wu Zuoren that have been focused since the 1950s and the art view he pursued and his world of paintings.BR During the modern and contemporary age, China underwent dramatic changes such as the foundation of New China, the Cultural Revolution, and the economic reform. In this regard, a variety of paintings appeared in the field of art and Wu Zuoren actively accommodated the social change demand into his own paintings. Moreover, he asserted that the public should be able to understand art easily by including reality in his own writings. Wu Zuoren sought various ways for the reform of Chinese paintings and his works that reflected the society of the day showed that art was loyally playing the social role.BR In 1926, Wu Zuoren learned drawing techniques from Xu Beihong and mastered the basis of the realism creation style. The initial oil paintings by Wu Zuoren made use of the realist style of painting after being influenced by Xu Beihong. Also, during the Sino-Japanese War, Wu Zuoren created a history painting under the influence of Xu Beihong. Afterwards, he studied in Belgium and mastered the realism style of painting through the lessons by Bastian. Wu Zuoren painted the works that denounced the horrendous reality of the Second Sino-Japanese War and began to accomplish various changes of oil paintings so as to create ethnic oil paintings. Furthermore, he created the watercolor paintings based on animals and ethnic minorities for a year and four months in the northwestern part and attempted to create ink paintings. After the foundation of the New China, he became a trustworthy and active party member and his works during this time faithfully conformed to the tendency of the party. However, he was forbidden to carry on with his art activities during the Cultural Revolution but he created a monumental work of the party thanks to the assistance by Zhou Enlai in 1972.BR As previously examined, Wu Zuoren-the master in the modern Chinese world of painting-did not merely imitate the realism style of painting by Xu Beihong but actively reflected the traditional elements of ink paintings in his paintings. Through the Chinese style paintings, Wu Zuoren played a huge role in newly establishing the modern Chinese painting by reflecting the political and periodical changes in the process of China moving from the modern era to the contemporary era.

Japan's Return to Great Power Politics: Abe's Restoration

Japan's Return to Great Power Politics:Abe's Restoration Kenneth B. Pyle (bio) keywords japan, shinzo abe, foreign policy, U.S.-Japan alliance [End Page 69] executive summary This essay explains how Prime Minister Shinzo Abe is engineering a seismic shift in Japan's foreign policy from a postwar position of dependence and subordination in the U.S.-led order to a proactive and independent role, which in the uncertain regional environment is likely to gain increasing popular support. main argument After more than 70 years of subordination in the U.S.-led world order, Japan is pulling free from its self-binding constraints and restoring an activist foreign policy not seen since 1945. Coming to power with a surge of conservative nationalist support in the Liberal Democratic Party, Abe has engineered Japan's return to great-power politics. He has achieved a historic reinterpretation of the constitution to permit collective self-defense, ended the ban on arms exports and other self-binding policies, and pressed for new offensive military capacity, all of which have made possible a much more cohesive and integrated U.S.-Japan alliance. Although Abe and the policy elite have had to override public opposition in returning Japan to this activist role, in such circumstances of transition in the international order, Japan has historically experienced rapid swings in geopolitical position. With the growing uncertainty of regional conditions, we should not be surprised if the pacifist identity that postwar generations have long embraced gives way and we see changes in the prolonged resistance of the Japanese public to revision of the constitution and to an activist and assertive foreign policy. policy implications • Japan will closely weigh the reliability of U.S. assurances and the future direction of U.S. policy in Asia, especially as they relate to the management of the nuclear threat from North Korea and to Japanese interests vis-à-vis China. • Japan's immediate priority will be to strengthen its alignment with the U.S., but in the longer term it will increasingly move toward a more independent foreign policy that offers greater autonomy and room to adjust to its perception of the shifting regional balance of power. • Although Abe appears likely to remain in office until 2021, even should his term be shortened, his policies now have a momentum that will be very difficult to reverse. These policies are supported by all likely LDP candidates to succeed him, and the political opposition is weaker than at any time in the postwar period. [End Page 70] In 2018, Japan is celebrating the 150th anniversary of its modern revolution, the Meiji Restoration of 1868. The nature of a country's modern revolution illuminates a great deal about the national character, the strategic principles, and the logic of a people. Just as 1776 tells Americans so much about ourselves—the ideals and purposes that we hold central—so the Meiji Restoration reveals much about the nature and purpose of modern Japan. The restoration was not a class upheaval proclaiming new values. Rather, it was a conservative nationalist revolution, carried out "from above" by a party within the old samurai elite and driven by the dangers posed by the Western imperial powers. Its purpose was to strengthen Japan, adapt to the changes in the external environment, restore the independence that was infringed by the West, and bring Japan into the company of the great powers. Over the next two decades, borrowing broadly from the Western powers, the Meiji Restoration achieved one of the most remarkable institutional innovations in world history: Japan became Asia's first rising power. This formative experience of Japan's entry into the modern world established a strategic style of realism and pragmatism in response to shifts in the international system. In the prime ministership of Shinzo Abe, we are witnessing a similar accommodation to changes in the international system. Like the Meiji Restoration—albeit on a more limited historical scale—Abe is engineering a foreign policy revolution carried out from above by a conservative elite. When his cabinet in 2014 approved a radical reinterpretation of the constitution to allow collective self-defense, Abe reportedly told leaders of the ruling Liberal Democratic Party (LDP...

Ιταλικός κινηματογραφικός νεορεαλισμός και ελληνική μεταπολεμική πεζογραφία: Νεορεαλιστική γραφή στο Άνθρωποι και σπίτια του Αντρέα Φραγκιά.

The years 1951-1961 mark the reception of Italian neorealist cinema in Greece with the production of films influenced by neorealism and the discussion of the nature of neorealism by Greek film critics. The novel Anthropi ke spitia [Of Houses and Men] by Adreas Fragkias, published in 1955, four years after the first viewing of De Sica’s Bicycle Thief in Greece, shows significant similarities to the themes and style of the Italian neorealist cinema. Discussing unemployment as a crucial problem of post-war Greek society Anthropi ke spitia presents the life in a poor urban neighbourhood in a series of seemingly random episodes that B. Klaras in his review of the book called ‘cinematic tableaux’. Most importantly, however, it seems that Fragkias’ novel explores the boundaries and the style of realism in post-war literature in a way that resonates the aesthetic principles of the Italian neorealistic films.

Interpreting Folding Beijing through the Prism of Science Fiction Realism

With its distinctive sci-fi realism style, Hao Jingfang’s Folding Beijing serves as a strong voice for social critique. A typical dystopian literature assumes a binary class structure, while in Folding Beijing, a middle class is introduced so the binary structure is now triple-layered. Also, setting the story in the mega capital city Beijing adds an even grimmer sense of reality. In addition to highlighting the worsening condition of social stratification and class solidification in China, the story, by pointedly disclosing some social problems, mirrors the living conditions of a proportion of the population in big cities. The story also contains a deeper theme: How would machines and automation affect the economy? Supposing that in the future more and more robots have replaced workers, what would happen to the unemployed? If the basic value of labor is jeopardized and most people’s work has lost its meaning, how would they demonstrate their existence as human beings? A somber and profound contemplation is hidden behind this seemingly mild and composed story. The advances of society create inequality, and though mankind has been devoted to studying and eliminating inequality, it appears that it only leads to more inequality.

In the Spirit of Négritude

In 1997 Kehinde Wiley made his first trip to Africa to meet his father, a Nigerian man he had never known. This journey resonated deeply with the artist, who returned several times and established a studio practice there. Wiley documented each visit through portraiture, creating paintings of young men inspired by his African surroundings. This essay traces the impact of these experiences on the art of Kehinde Wiley, particularly his aesthetic sensibility and conceptual mindset. Wiley embraced the art of Africa as a reference, posing his subjects after traditional sculpture and postcolonial monuments while incorporating colors and patterns from textiles into elaborate backgrounds. However, Wiley’s response to Africa extends beyond formal considerations. In the spirit of Négritude he mined a collective African identity to contest former colonial hegemonies, critiquing the representation of race, status, and power in the process. Akin to the Pan-African advocates of the twentieth century, the artist employed a realist style and located a shared heritage among the African diaspora. Much like the intellectuals of Négritude who attempted to reimagine notions of “blackness,” Wiley reclaims the African subject in portraits that contest traditional, colonial, and contemporary histories. Ultimately, Kehinde Wiley’s dialogue with Africa complicates identity and representation, repositioning the African subject within the history of art to challenge the normalizing power of figuration.

“All One Life”: Celebrity and Intimacy in the Photographs of Annie Leibovitz

Few photographers are as well known or as representative of American celebrity culture in the contemporary media age as Annie Leibovitz. This essay analyzes Leibovitz’s influential style by situating it within the complexities of both celebrity and snapshot photography. Taking as its jumping off point Leibovitz’s 2006 retrospective, A Photographer’s Life, which pairs the photographer’s iconic celebrity portraits with dramatically personal photographs of her family, friends, and lover Susan Sontag, it examines the interrelations between celebrity artifice and interpersonal intimacy intimated by Leibovitz’s claim that together, her photographs represent “one life.” This essay offers an analysis of key shifts and contradictions in Leibovitz’s work: the evolution from the gritty realist style of her early Rolling Stone work to the highly manufactured “conceptual” work that characterizes her Portraits campaign for American Express and her more recent work for Vanity Fair, and the contradiction between Leibovitz’s iconoclast reputation and the surprisingly normative politics it supports. Yet despite these contradictions, it argues, there is a coherence in Leibovitz’s work in its reliance on manufactured intimacies. In both her personal and her professional work, Leibovitz offers a visceral, sensational image experience, but one that tells us little we didn’t already know.