A remarkable team of expert authors provide firsthand accounts from survivors of disasters around the globe, helping readers to understand the impact of trauma as well as interventions to heal. Around the world, scores of those who survive disasters have demonstrated a remarkable resilience that enables them to live happy, productive lives. Mass Trauma and Emotional Healing around the World: Rituals and Practices for Resilience and Meaning-Making documents the unique yet universal reaction to traumatic events and sets the agenda for future development of therapeutic interventions research and theory. An integrative approach to rituals and healing methods is highlighted to address and help prevent human-made traumas and prepare generations to cope with natural disasters in a more effective way. Chapters focus on rituals and practices for resilience after mass trauma, showing, among other findings, that storytelling, music, humor, and a belief in fate help people survive disasters worldwide.
The IMF Working Papers series is designed to make IMF staff research available to a wide audience. Almost 300 Working Papers are released each year, covering a wide range of theoretical and analytical topics, including balance of payments, monetary and fiscal issues, global liquidity, and national and international economic developments.
Around the world, scores of those who survive disasters have demonstrated a remarkable resilience that enables them to live happy, productive lives. This book documents the unique yet universal reaction to traumatic events and sets the agenda for future development of therapeutic interventions research and theory. An integrative approach to rituals and healing methods is highlighted to address and help prevent human-made traumas and prepare generations to cope with natural disasters in a more effective way.
Around the world, scores of those who survive disasters have demonstrated a remarkable resilience that enables them to live happy, productive lives. This book documents the unique yet universal reaction to traumatic events and sets the agenda for future development of therapeutic interventions research and theory. An integrative approach to rituals and healing methods is highlighted to address and help prevent human-made traumas and prepare generations to cope with natural disasters in a more effective way.
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana} Eugène Delacroix (1798–1863) was one of the towering figures to emerge in France in the wake of Napoleon. No other artist of the nineteenth century balanced a reverence for the past with such a strong ambition and spirit of innovation. Distinguishing himself from many other talented young artists in Paris, he gained renown in the 1820s for his novel subject matter, theatrical sense of composition, vibrant palette, and vigorous painterly technique. His vast production—including some eight hundred paintings, prints in a variety of media, and thousands of drawings and pages of writing—won the admiration of countless writers and artists, including Charles Baudelaire, Paul Cèzanne, and Pablo Picasso. This comprehensive monograph closely examines the full breadth of Delacroix’s career, including his engagement with the work of his predecessors, his fascination with the natural world, his interest in Lord Byron and the Greek War of Independence, and the profound influence of his voyage to North Africa in 1832. It brings to life his relationships with his contemporaries, ranging from the painters Pierre Narcisse Guèrin and Antoine Jean Gros to Gustave Courbet, as well as his exploration of literary, historical, and biblical themes, his writing in personal journals, and his triumphant exhibition at the Exposition Universelle of 1855. Richly illustrated and encompassing the entire range and diversity of his art, from grand paintings to intimate drawings, Delacroix illuminates how this intrepid figure changed the course of European painting by heeding “a call for the liberty of art.”
Ink painting together with calligraphy, constitutes one of the foundation stones of Chinese civilisations. Its contemporary manifestations, diverse as they are and richly illustrated in this publication, therefore draw deeply from the classical canon. However the aesthetic legacy derived from the those of their literati predecessors has engendered a certain lofty detachment rom the opinion of the outside world, so the contemporary ink artists feel free to confront their central challenge - how to deploy this traditional medium and its derivatives in a way that is relevant and meaningful for the modern world. This major comprehensive study of the New Ink Art at the Saatchi Gallery is therefore exceptionally timely. It coincides not only with the growing awareness of its vital contribution to contemporary Chinese culture, but in particular to the current revival of interest in artistsic fundamentals.
Beggars, outcasts, urchins, waifs, prostitutes, criminals, convicts, madmen, fallen women, lunatics, degenerates—part reality, part fantasy, these are the grotesque faces that populate the underworld, the dark inverse of our everyday world. Lurking in the mirror that we hold up to our society, they are our counterparts and our doubles, repelling us and yet offering the tantalizing promise of escape. Although these images testify to undeniable social realities, the sordid lower depths make up a symbolic and social imaginary that reflects our fears and anxieties—as well as our desires. In Vice, Crime, and Poverty, Dominique Kalifa traces the untold history of the concept of the underworld and its representations in popular culture. He examines how the myth of the lower depths came into being in nineteenth-century Europe, as biblical figures and Christian traditions were adapted for a world turned upside-down by the era of industrialization, democratization, and mass culture. From the Parisian demimonde to Victorian squalor, from the slums of New York to the sewers of Buenos Aires, Kalifa deciphers the making of an image that has cast an enduring spell on its audience. While the social conditions that created that underworld have changed, Vice, Crime, and Poverty shows that, from social-scientific ideas of the underclass to contemporary cinema and steampunk culture, its shadows continue to haunt us.
Ils contournèrent l'obélisque avant de faire demi-tour. Le soleil rougeoyait derrière l'Arc de Triomphe. Les enfants avaient abandonné depuis longtemps leur passe-temps préféré : la voiture aux chèvres. Des forains, des marchands ambulants avaient investi leur territoire de jeux. La " tête de Turc " interpellait des badauds, les exhortant à venir se mesurer à sa force, pendant que des cracheurs de feu et des acrobates exécutaient leurs numéros devant la foule dense des soirs de chaleur. Alix, qui depuis des années avait eu le couvent pour seul horizon, laissait éclater son enthousiasme. Fini le cocon protecteur ! Il était temps de se frotter à la réalité, de s'imprégner des idées de cette société qu'elle allait côtoyer... " 1851. Paris est à nouveau la capitale des plaisirs et des fastes. Dans son modeste atelier, Jérôme, fougueux disciple de Delacroix, guette la gloire en peignant des portraits de femmes, tandis qu'au cœur des beaux quartiers, Clara, qui s'ennuie auprès d'un époux détestable, et Alix, sa nièce, guettent l'amour vrai... De l'autre côté de la Manche, un armateur anglais, lord Lewis Robinson, ne supporte plus d'être le centre d'intérêt et de convoitise des Londoniennes. Entraînés dans les tourbillons et les caprices d'une époque frénétique où les fêtes étaient reines, les destins de ces quatre personnages vont se croiser, à Londres, lors de l'Exposition universelle, sous la voûte de verre et d'acier d'un monument à l'architecture audacieuse qui marquait l'aube des temps modernes : Crystal Palace.
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