What begins as a meditation on "the museum" by one of the world's leading art historians becomes, in this book, a far-reaching critical examination of how art history and museums have guided and controlled not only the way we look at art but the ways in which we understand modernity itself. Originally delivered as the 2001 Slade Lectures in the Fine Arts at Oxford University, the book makes its deeply complex argument remarkably accessible and powerfully clear. Concentrating on a period from the beginning of the nineteenth century to the beginning of the twentieth, Donald Preziosi presents case studies of major institutions that, he argues, have defined--and are still defining--the possible limits of museological and art historical theory and practice. These include Sir John Soane's Museum in London, preserved in its 1837 state; the Crystal Palace Exhibition of 1851; and four museums founded by Europeans in Egypt in the late nineteenth century, which divided up that country's history into "ethnically marked" aesthetic hierarchies and genealogies that accorded with Europe's construction of itself as the present of the world's past, and the "brain of the earth's body." Through this epistemological and institutional archaeology, Preziosi unearths the outlines of the more radical Enlightenment project that academic art history, professional museology, and art criticism have rendered marginal or invisible. Finally, he sketches a new theory about art, artifice, and visual signification in the cracks and around the margins of the "secular theologisms" of the globalized imperial capital called modernity. Addressed equally to the theoretical and philosophical foundations of art history,museology, history, and anthropology, this book goes to the heart of recent debates about race, ethnicity, nationality, colonialism, and multiculturalisms--and to the very foundations of modernity and modern modes of knowledge production.
Art, Religion, Amnesia addresses the relationship between art and religion in contemporary culture, directly challenging contemporary notions of art and religion as distinct social phenomena and explaining how such Western terms represent alternative and even antithetical modes of world-making. In this new book, Professor Preziosi offers a critique of the main thrust of writing in recent years on the subjects of art, religion, and their interconnections, outlining in detail a perspective which redefines the basic terms in which recent debates and discussions have been articulated both in the scholarly and popular literature, and in artistic, political and religious practice. Art, Religion and Amnesia proposes an alternative to the two conventional traditions of writing on the subject which have been devoted on the one hand to the ‘spiritual’ dimensions of artistry, and on the other hand to the (equally spurious) ‘aesthetic’ aspects of religion. The book interrogates the fundamental assumptions fuelling many current controversies over representation, idolatry, blasphemy, and political culture. Drawing on debates from Plato’s proposal to banish representational art from his ideal city-state to the Danish cartoons of Mohamed, Preziosi argues that recent debates have echoed a number of very ancient controversies in political philosophy, theology, and art history over the problem of representation and its functions in individual and social life. This book is a unique re-evaluation of the essential indeterminacy of meaning-making, marking a radically new approach to understanding the inextricability of aesthetics and theology and will be of interest to students and researchers in art history, philosophy and religion and cultural theory.
What is art history? Why, how, and where did it originate, and how have its methods changed over time? The history of art has been written and rewritten since classical antiquity. Since the foundation of the modern discipline of art history in Germany in the late eighteenth century, debates about art and its histories have intensified. Historians, philosophers, psychologists, and anthropologists among others have changed our notions of what art history has been, is, and might be. This anthology is a guide to understanding art history through critical reading of the field’s most innovative and influential texts, focusing on the past two centuries. Each section focuses on a key issue: art as history; aesthetics; form, content, and style; anthropology; meaning and interpretation; authorship and identity; and the phenomenon of globalization. More than thirty readings from writers as diverse as Winckelmann, Kant, Mary Kelly, and Michel Foucault are brought together, with editorial introductions to each topic providing background information, bibliographies, and critical elucidations of the issues at stake. This updated and expanded edition contains sixteen newly included extracts from key thinkers in the history of art, from Giorgio Vasari to Walter Benjamin and Satya Mohanty; a new section on globalization; and also a new concluding essay from Donald Preziosi on the tasks of the art historian today.
A general overview of the theoretical and institutional history of the discipline of art history. Refuting the image of art history as a discipline in crisis, Preziosi asserts that many of the dilemmas and contradictions of art history today are not new but can be traced back to problems surrounding the founding of the discipline, its institutionalization, and its academic expansion since the 1870s. "Donald Preziosi has written a timely and incisive study of the methods and assumptions of art history in the modern period. As the book unfolds, one realizes that art history was never as unitary and monolithic as the phrase 'the discipline of art history' suggests, but is in fact a complicated and highly contradictory range of practices whose disciplinary coherence may be more mythical than real. This is a deliberately discomforting book; however, for its clear-sightedness, rigor, and wit, it is a book to be welcomes by everyone concerned with the present condition and future direction of visual studies."--Norman Bryson, Harvard University "An important and courageous book, Rethinking Art History is a rigorous and original contribution to the current post-structuralist and postmodernist debates in cultural studies here and abroad."--Steven Z. Levine, Bryn Mawr College "Through this kind of reading of the discourse of art history, Preziosi provides some acute analysis of the metaphors and stratagems which continue to discipline the discipline of art history.
Art, Religion, Amnesia addresses the relationship between art and religion in contemporary culture, directly challenging contemporary notions of art and religion as distinct social phenomena and explaining how such Western terms represent alternative and even antithetical modes of world-making. In this new book, Professor Preziosi offers a critique of the main thrust of writing in recent years on the subjects of art, religion, and their interconnections, outlining in detail a perspective which redefines the basic terms in which recent debates and discussions have been articulated both in the scholarly and popular literature, and in artistic, political and religious practice. Art, Religion and Amnesia proposes an alternative to the two conventional traditions of writing on the subject which have been devoted on the one hand to the ‘spiritual’ dimensions of artistry, and on the other hand to the (equally spurious) ‘aesthetic’ aspects of religion. The book interrogates the fundamental assumptions fuelling many current controversies over representation, idolatry, blasphemy, and political culture. Drawing on debates from Plato’s proposal to banish representational art from his ideal city-state to the Danish cartoons of Mohamed, Preziosi argues that recent debates have echoed a number of very ancient controversies in political philosophy, theology, and art history over the problem of representation and its functions in individual and social life. This book is a unique re-evaluation of the essential indeterminacy of meaning-making, marking a radically new approach to understanding the inextricability of aesthetics and theology and will be of interest to students and researchers in art history, philosophy and religion and cultural theory.
Art Is Not What You Think It Is utilizes original research to present a series of critical incursions into the current state of debate on the idea of art, making manifest what has been largely missing or unsaid in those discussions. Links museology, history, theory, and criticism to the realities of contemporary social conditions and shows how they have structurally functioned in a variety of contexts Deals with divisive and controversial problems such as blasphemy and idolatry, and the problem of artistic truth Addresses relations between European notions about art and artifice and those developed in other and especially indigenous cultural traditions
Art Is Not What You Think It Is utilizes original research to present a series of critical incursions into the current state of debate on the idea of art, making manifest what has been largely missing or unsaid in those discussions. Links museology, history, theory, and criticism to the realities of contemporary social conditions and shows how they have structurally functioned in a variety of contexts Deals with divisive and controversial problems such as blasphemy and idolatry, and the problem of artistic truth Addresses relations between European notions about art and artifice and those developed in other and especially indigenous cultural traditions
By juxtaposing issues and problems, Donald Preziosi's latest collection of essays, In the Aftermath of Art, opens up multiple interpretive possibilities by bringing to the surface hidden resonances in the implications of each text. In re-reading his own writings, Preziosi opens up alternatives to contemporary discourses on art history and visual culture. A critical commentary by critic, historian, and theorist Johanne Lamoureux complements the author's own introduction, mirroring the multiple interpretations within the essays themselves.
This comprehensive overview of the many types of animal-assisted therapy provides the perfect reference for students, general readers, pet owners, animal care specialists, psychologists, occupational and physical therapists, and mental health professionals. The use of animals for therapy is a burgeoning form of treatment for individuals with physical, emotional, or psychological illnesses. Written for students and general readers, Animal-Assisted Therapy offers a historical overview of the practice, detailing its growth and the many ways it is practiced today. Filled with illustrative examples, such as successful programs where children with reading problems read aloud to canine companions, the book illuminates the expansive nature and effectiveness of this therapy as it is practiced both generally and among special populations, including children, the elderly, autistic individuals, and the incarcerated. The book also provides specific information that will be of interest to pet owners who want to get involved in these programs and includes information on U.S. government requirements allowing guide dogs in public and private facilities.
This comprehensive handbook summarizes dermatological drugs for feline and canine patients. It covers oral, topical and injectable medications suitable for cats and dogs. Vital information given for each drug includes: indications, contraindications, mechanism of action, dosage, formulations, side-effects, drug interactions and monitoring. Both American and European trade names are provided alongside generic names for ease of reference. The book is divided into 4 sections. The first covers systemic dermatological agents. The second section presents topical dermatological agents. The third section covers allergen-specific immunotherapy. The fourth section lists dermatological conditions and the drugs commonly used to treat each disease, and directs the reader to the information on those drugs. Canine and Feline Dermatology Drug Handbook is an essential reference for quick daily use in a clinical setting. Ideal for veterinarians in first opinion practice as well as those specializing in dermatology. KEY FEATURES Lists drugs alphabetically for treatment of dermatological diseases in dogs and cats Covers oral, topical and injectable drugs Includes both American and European trade names Written by dermatology and pharmacology specialists Presented in an easy-to-use reference format
Responding to many recent calls for redress and restitution, Richardson summarises the historical and current situation and attributes its problematics to the fact that theorists and historians have taken the concept art as a generic that includes both design and craft – which are actually and validly distinguishable from art by application of the concept function/al – or else ignored the two entirely. Considering the concept function/al, he maintains, calls into question the view that the three may be sub-classes of the one class: whereas in a work of art, typically there is a resolution of the tension between form and content, in works of design and craft the resolution is between form and function. How this recognition can clarify the issue informs the entire book. The book’s other major thesis is the realisation that aesthetic values are inherently human and that, therefore, they apply not only to art but to life in general. Far from being frivolous or a mere ‘emotion’, the aesthetic is a sense of equivalent psychic status to sight and hearing and, like them, is employed at almost every moment of our daily lives – which fact grounds art, design and craft deeply in human life. This is reflected in the universal use of the human form (including the exhibition of sexual characteristics) in art. The eternal conflict between making art and making a living from making art is examined and contrasted to the rarely-recognised, but positive, role of design in planning and industry. Richardson also critiques common theories of representation and composition, including ‘creativity’, Albertian perspective and scientific and geometric theories of beauty and composition; also the relevance of the camera and the computer in the field.
Mathematical Models of Plant-Herbivore Interactions addresses mathematical models in the study of practical questions in ecology, particularly factors that affect herbivory, including plant defense, herbivore natural enemies, and adaptive herbivory, as well as the effects of these on plant community dynamics. The result of extensive research on the use of mathematical modeling to investigate the effects of plant defenses on plant-herbivore dynamics, this book describes a toxin-determined functional response model (TDFRM) that helps explains field observations of these interactions. This book is intended for graduate students and researchers interested in mathematical biology and ecology.
“Donald Crafton, our lively guide, shows us around a Tooniverse populated by performers, not just images, who engage us in all the ways their flesh-and-blood counterparts do, and then some. Taking classical animation as his terrain, Crafton nevertheless pushes ongoing discussions of performance, liveness, and corporeality in the directions in which they need to go if they are to help us describe and navigate our increasingly virtual worlds.” Philip Auslander, author of Liveness: Performance in a Mediatized Culture "Every once in a while a book comes along that marks a transformational point in its discipline. Such a book is Donald Crafton's Shadow of a Mouse. Crafton skillfully draws together theoretical sources, animation history, technological development, and social analysis, deftly weaving together thinkers from Disney to Deleuze and Sito to Stanislavsky. The result is a substantial rethinking of animation that will reshape traditional approaches to the medium. Crafton's magisterial grasp of theory and history is livened by a true fan's passion for the subject and a keen sense of humor. Shadow of a Mouse is a must-read for anyone with an interest in performance, embodiment, popular culture, race, or reception." Mark Langer, Associate Professor of Film Studies, Carleton University
Crystal pulling is an industrial process and provides the bulk of semiconductor crystals for the semiconductor industry. Initially a purely empirical process, the increase in importance and size of the industry has led to basic research into the fundamentals of the process - particularly the modelling of heat and mass transfer. The book has been written by the recognized authority on Czochralski crystal-growth techniques. It is an attempt to strengthen the interface between the practical crystal grower and the applied mathematician involved in analytical and computer modelling. Its focus is on the physics, chemistry and metallurgy of the process. From reviews: "... There is a need for a modern, non-trivial text on Czochralski growth ... and Dr. Hurle is eminently suited to write such a text."; "Dr. Hurle is probably uniquely qualified to write a book on ... (the Czochralski) growth process. ... He has published a great deal of very substantial as well as innovative work in this area.
Praised for its scope and depth, Asia in the Making of Europe is the first comprehensive study of Asian influences on Western culture. For volumes I and II, the author has sifted through virtually every European reference to Asia published in the sixteenth-century; he surveys a vast array of writings describing Asian life and society, the images of Asia that emerge from those writings, and, in turn, the reflections of those images in European literature and art. This monumental achievement reveals profound and pervasive influences of Asian societies on developing Western culture; in doing so, it provides a perspective necessary for a balanced view of world history. Volume I: The Century of Discovery brings together "everything that a European could know of India, Southeast Asia, China, and Japan, from printed books, missionary reports, traders' accounts and maps" (The New York Review of Books). Volume II: A Century of Wonder examines the influence of that vast new body of information about Asia on the arts, institutions, literatures, and ideas of sixteenth-century Europe.
The fundamental concept of The Biology and Identification of the Coccidia (Apicomplexa) of Carnivores of the World is to provide an up-to-date reference guide to the identification, taxonomy, and known biology of apicomplexan intestinal and tissue parasites of carnivores including, but not limited to, geographic distribution, prevalence, sporulation, prepatent and patent periods, site(s) of infection in the definitive and (if known) intermediate hosts, endogenous development, cross-transmission, pathology, phylogeny, and (if known) their treatments. These data will allow easy parasite recognition with a summation of virtually everything now known about the biology of each parasite species covered. The last (very modest) and only treatise published on this subject was in 1981 so this book fills a fundamental gap in our knowledge of what is now known, and what is not, about the coccidian parasites that infect and sometimes kill carnivores and/or their prey that can harbor intermediate stages, including many domestic and game animals. - Offers line drawings and photomicrographs of many parasite species that will allow easy diagnosis and identification by both laypersons and professionals (veterinarians, wildlife biologists, etc.) - Presents a complete historical rendition of all known publications on carnivore coccidia for all carnivore families and evaluates the scientific and scholarly merit of each apicomplexan species relative to the current body of knowledge - Provides a complete species analysis and their known biology of all coccidia described from each carnivore lineage and species - Reviews the most current taxonomy of carnivores and their phylogenetic relationships to help assess host-specificity patterns that may be apparent - Evaluates what little cross-transmission work is available to help understand the complexities of those coccidians that use two hosts (e.g., Sarcocystis, Besnoitia, and others) - Provides known treatments for the various parasite genera/species
Biomass for Renewable Energy, Fuels, and Chemicals serves as a comprehensive introduction to the subject for the student and educator, and is useful for researchers who are interested in the technical details of biomass energy production. The coverage and discussion are multidisciplinary, reflecting the many scientific and engineering disciplines involved. The book will appeal to a broad range of energy professionals and specialists, farmers and foresters who are searching for methods of selecting, growing, and converting energy crops, entrepreneurs who are commercializing biomass energy projects, and those involved in designing solid and liquid waste disposal-energy recovery systems. Presents a graduated treatment from basic principles to the details of specific technologies Includes a critical analysis of many biomass energy research and commercialization activities Proposes several new technical approaches to improve efficiencies, net energy production, and economics Reviews failed projects, as well as successes, and methods for overcoming barriers to commercialization Written by a leader in the field with 40 years of educational, research, and commercialization experience
Pediatric Gastroenterology and Clinical Nutrition provides in-depth coverage of major clinical nutrition problems in pediatrics, and highlights the importance of nutrition in the care of complex gastrointestinal complications. Includes detailed information on the diagnosis and management of major gastrointestinal and nutritional disorders. The comprehensive appendices provide the latest information on infant formulas and supplements, updated to July 2002, together with US and UK nutrition guidelines - providing an essential reference source for all those involved in pediatric nutrition. Unlike many clinical nutrition textbooks of this magnitude this book is written entirely by three authors, affording continuity of style and content. Their complementary expertise provide an authoritative volume that will be of immense practical value to those involved in this field of clinical practice.
What begins as a meditation on "the museum" by one of the world's leading art historians becomes, in this book, a far-reaching critical examination of how art history and museums have guided and controlled not only the way we look at art but the ways in which we understand modernity itself. Originally delivered as the 2001 Slade Lectures in the Fine Arts at Oxford University, the book makes its deeply complex argument remarkably accessible and powerfully clear. Concentrating on a period from the beginning of the nineteenth century to the beginning of the twentieth, Donald Preziosi presents case studies of major institutions that, he argues, have defined--and are still defining--the possible limits of museological and art historical theory and practice. These include Sir John Soane's Museum in London, preserved in its 1837 state; the Crystal Palace Exhibition of 1851; and four museums founded by Europeans in Egypt in the late nineteenth century, which divided up that country's history into "ethnically marked" aesthetic hierarchies and genealogies that accorded with Europe's construction of itself as the present of the world's past, and the "brain of the earth's body." Through this epistemological and institutional archaeology, Preziosi unearths the outlines of the more radical Enlightenment project that academic art history, professional museology, and art criticism have rendered marginal or invisible. Finally, he sketches a new theory about art, artifice, and visual signification in the cracks and around the margins of the "secular theologisms" of the globalized imperial capital called modernity. Addressed equally to the theoretical and philosophical foundations of art history,museology, history, and anthropology, this book goes to the heart of recent debates about race, ethnicity, nationality, colonialism, and multiculturalisms--and to the very foundations of modernity and modern modes of knowledge produ
The discoveries in Crete, Greece, and the Aegean islands that began a century ago were nothing less than stunning, and seemed to give shape and substance to tales of the Minotaur and the Labyrinth, of Theseus and Ariadne, of Minos and Icarus.Ancient Aegean Artis the first comprehensive historical introduction to the art and architecture Crete, mainland Greece, and the Cycladic islands in the Aegean, beginning with the Neolithic period, before 3000 BCE, and ending at the close of the Bronze Age and the transition to the Iron Age of Hellenic Greece (c.1000 BCE). Covering a broad range of objects and artefacts, from sealstones to pots to buildings and settlements, Preziosi and Hitchcock discuss both the historiography of the field of ancient art history and explain the artefacts original intentions and functions. In chronologically organized chapters, the authors emphasize the more widely known images and structures, with a glimpse at the lesser-known but important discoveries, explaining their design, uses, meanings, and formal developments.Ancient Aegean Artincorporates the latest archeological discoveries and theoretical and methodological developments, in the only volume to examine both Crete and the mainland.
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