Skin Crafts discusses multiple artists from global contexts who employ craft materials in works that address historical and contemporary violence. These artists are deliberately embracing the fragility of textiles and ceramics to evoke the vulnerability of human skin and - in so doing - are demanding visceral responses from viewers. Drawing on a range of theories including affect theory, material feminism, skin studies, phenomenology and global art history, the book illuminates the various ways in which artists are harnessing the affective power of craft materials to address and cope with violence. Artists from Mexico, Africa, China, the Netherlands and Indigenous artists based in the unceded territory known as Canada are examined in relation to one another to illuminate the connections and differences across their bodies of work. Skin Crafts interrogates ongoing material violence towards women and marginalized others, and demonstrates the power of contemporary art to force viewers and scholars into facing their ethical responsibilities as human beings.
This pioneering book explores the notion of 'radical decadence' as concept, aesthetic and lived experience, and as an analytical framework for the study of contemporary feminist textile art. Gendered discourses of decadence that perpetuate anxieties about women's power, consumption and pleasure are deconstructed through images of drug use, female sexuality and 'excessive' living, in artworks by several contemporary textile artists including Orly Cogan, Tracey Emin, Allyson Mitchell, and Rozanne Hawksley. Perceptions of decadence are invariably bound to the negative connotations of decay and degradation, particularly with regard to the transgression of social norms related to femininity and the female body. Excessive consumption by women has historically been represented as grotesque, and until now, women's pleasure in relation to drug and alcohol use has largely gone unexamined in feminist art history and craft studies. Here, representations of female consumption, from cupcakes to alcohol and cocaine, are opened up for critical discussion. Drawing on feminist and queer theories, Julia Skelly considers portrayals of 'bad girls' in artworks that explore female sexuality - performative pieces designed to subvert and exceed feminine roles. In this provocative book, decadence is understood not as a destructive force but as a liberating aesthetic.
Skin Crafts discusses multiple artists from global contexts who employ craft materials in works that address historical and contemporary violence. These artists are deliberately embracing the fragility of textiles and ceramics to evoke the vulnerability of human skin and - in so doing - are demanding visceral responses from viewers. Drawing on a range of theories including affect theory, material feminism, skin studies, phenomenology and global art history, the book illuminates the various ways in which artists are harnessing the affective power of craft materials to address and cope with violence. Artists from Mexico, Africa, China, the Netherlands and Indigenous artists based in the unceded territory known as Canada are examined in relation to one another to illuminate the connections and differences across their bodies of work. Skin Crafts interrogates ongoing material violence towards women and marginalized others, and demonstrates the power of contemporary art to force viewers and scholars into facing their ethical responsibilities as human beings.
Highly innovative and long overdue, this study analyzes the visual culture of addiction produced in Britain during the long nineteenth century. The book examines well-known images such as William Hogarth's Gin Lane (1751), as well as lesser-known artworks including Alfred Priest's painting Cocaine (1919), in order to demonstrate how visual culture was both informed by, and contributed to, discourses of addiction in the period between 1751 and 1919. Through her analysis of more than 30 images, Julia Skelly deconstructs beliefs and stereotypes related to addicted individuals that remain entrenched in the popular imagination today. Drawing upon both feminist and queer methodologies, as well as upon extensive archival research, Addiction and British Visual Culture, 1751-1919 investigates and problematizes the long-held belief that addiction is legible from the body, thus positioning visual images as unreliable sources in attempts to identify alcoholics and drug addicts. Examining paintings, graphic satire, photographs, advertisements and architectural sites, Skelly explores such issues as ongoing anxieties about maternal drinking; the punishment and confinement of addicted individuals; the mobility of female alcoholics through the streets and spaces of nineteenth-century London; and soldiers' use of addictive substances such as cocaine and tobacco to cope with traumatic memories following the First World War.
Public Administration and Law has been edited for use as a supplement for an undergraduate or MPA level course on administrative law. The selections, all from the pages of Public Administration Review, have been chosen to enlighten and enliven the contents of any standard administrative law textbook. Each of the book's main sections begins with introductory text and discussion questions by the volume editors, Julia Beckett and Heidi Koenig, followed by relevant readings from PAR. The book's contents follow the standard pattern established by the field's major textbooks to facilitate the instructor's ability to assign readings that illuminate lectures and text material. The book concludes with two invaluable resources - a bibliography of 65 years of PAR articles concerning public law, plus a bibliography of law-related articles appearing in other journals published by ASPA.
Regularly the subject of cartoonists and satirical novelists, Mary Robinson achieved public notoriety as the mistress of the young Prince of Wales (George IV). Her association with figures such as William Godwin and Mary Wollstonecraft, and comparisons with Charlotte Smith, make her a serious figure for scholarly research.
In In the Bleak Midwinter, Julia Spencer-Fleming's Malice Domestic-winning first mystery, Reverend Clare Fergusson was quickly introduced to a more eventful life than she had expected after moving to the small town of Millers Kill in upstate New York. But the Episcopal priest and former Army Air Force chopper pilot proved to her flock—and to police chief Russ Van Alstyne—that she could cope with the unexpected, even when it was as dire as murder. In this new adventure for the two ill-matched friends (who are gamely resisting something beyond friendship), evidence shows that a small town can hold just as much evil as the Wicked City. The Chicago Tribune says "[Spencer-Fleming] pulls it off again" in A Fountain Filled With Blood.
An introduction to the multidisciplinary field of hominin paleoecology for advanced undergraduate students and beginning graduate students, Early Hominin Paleoecology offers an up?to?date review of the relevant literature, exploring new research and synthesizing old and new ideas. Recent advances in the field and the laboratory are not only improving our understanding of human evolution but are also transforming it. Given the increasing specialization of the individual fields of study in hominin paleontology, communicating research results and data is difficult, especially to a broad audience of graduate students, advanced undergraduates, and the interested public. Early Hominin Paleoecology provides a good working knowledge of the subject while also presenting a solid grounding in the sundry ways this knowledge has been constructed. The book is divided into three sections—climate and environment (with a particular focus on the latter), adaptation and behavior, and modern analogs and models—and features contributors from various fields of study, including archaeology, primatology, paleoclimatology, sedimentology, and geochemistry. Early Hominin Paleoecology is an accessible entrée into this fascinating and ever-evolving field and will be essential to any student interested in pursuing research in human paleoecology.
Award winning author Julia Spencer-Fleming does it again in this third mystery featuring Rev. Clare Fergusson and Sheriff Russ Van Alstyne in the small town of Millers Kill, N.Y. As the small town's gossip increasingly speculates about the Rev.'s ambigous relationship with the married Sheriff, a more urgent problem is the disappearance of the doctor of Millers Kill's free clinic, a town institution with roots in events from the 20s and 30s. Digging into the roots of these disturbing happenings, Russ and Clare find that painful events from the town's past can still roil the peace of Millers Kill. Out of the Deep I Cry is a 2005 Edgar Award Nominee for Best Novel.
Varney's Midwifery continues to be the gold standard for midwifery practice in an updated seventh edition. New lead editors assembled a team of expert contributors and authors to continue the legacy of Varney's Midwifery as the trusted, must-have resource for students, professional midwives, and women's health practitioners. Varney's Midwifery uses current evidence-based guidelines to address the care of women throughout the lifespan, including primary care, gynecology, maternity care in a variety of settings, and newborn care. The Seventh Edition reflects the new Core Competencies for Basic Midwifery Practice published in 2020, including care of transgender individuals and abortion-related care. It also provides updated information on chronic conditions in pregnancy including a section discussing COVID-19, new techniques for fetal screening, diagnosis across the lifespan, and updated content on health equity.
This comprehensive volume describes how ecosystem services-based approaches can assist in addressing major global and regional water challenges, such as climate change, biodiversity loss, and water security in the developing world, by integrating scientific knowledge from different disciplines, such as hydrological modelling, environmental economics, psychology and international law. Empirical assessments at the national, catchment and regional levels are used to critically appraise this systemic approach, and the merits and potential limitations are presented. The practicalities of this approach with regard to water resources management, nature conservation, and sustainable business practices are discussed, and the role of society in underpinning the concept of ecosystem services is explored. Presenting new insights and perspectives on how to shape future strategies, this contributory volume is a valuable reference for researchers, academics, students and policy makers, in environmental studies, hydrology, water resource management, ecology, environmental law, policy and economics, and conservation biology." -- Provided by publisher.
The long-awaited companion volume to the extremely popular Angles on Psychology AS text has arrived! This excellent new book provides coverage of the Edexcel A2 specification.
This pioneering book explores the notion of 'radical decadence' as concept, aesthetic and lived experience, and as an analytical framework for the study of contemporary feminist textile art. Gendered discourses of decadence that perpetuate anxieties about women's power, consumption and pleasure are deconstructed through images of drug use, female sexuality and 'excessive' living, in artworks by several contemporary textile artists including Orly Cogan, Tracey Emin, Allyson Mitchell, and Rozanne Hawksley. Perceptions of decadence are invariably bound to the negative connotations of decay and degradation, particularly with regard to the transgression of social norms related to femininity and the female body. Excessive consumption by women has historically been represented as grotesque, and until now, women's pleasure in relation to drug and alcohol use has largely gone unexamined in feminist art history and craft studies. Here, representations of female consumption, from cupcakes to alcohol and cocaine, are opened up for critical discussion. Drawing on feminist and queer theories, Julia Skelly considers portrayals of 'bad girls' in artworks that explore female sexuality - performative pieces designed to subvert and exceed feminine roles. In this provocative book, decadence is understood not as a destructive force but as a liberating aesthetic.
Highly innovative and long overdue, this study analyzes the visual culture of addiction produced in Britain during the long nineteenth century. The book examines well-known images such as William Hogarth's Gin Lane (1751), as well as lesser-known artworks including Alfred Priest's painting Cocaine (1919), in order to demonstrate how visual culture was both informed by, and contributed to, discourses of addiction in the period between 1751 and 1919. Through her analysis of more than 30 images, Julia Skelly deconstructs beliefs and stereotypes related to addicted individuals that remain entrenched in the popular imagination today. Drawing upon both feminist and queer methodologies, as well as upon extensive archival research, Addiction and British Visual Culture, 1751-1919 investigates and problematizes the long-held belief that addiction is legible from the body, thus positioning visual images as unreliable sources in attempts to identify alcoholics and drug addicts. Examining paintings, graphic satire, photographs, advertisements and architectural sites, Skelly explores such issues as ongoing anxieties about maternal drinking; the punishment and confinement of addicted individuals; the mobility of female alcoholics through the streets and spaces of nineteenth-century London; and soldiers' use of addictive substances such as cocaine and tobacco to cope with traumatic memories following the First World War.
Highly innovative and long overdue, this study analyzes the visual culture of addiction produced in Britain during the long nineteenth century. The book examines well-known images such as William Hogarth's Gin Lane (1751), as well as lesser-known artworks including Alfred Priest's painting Cocaine (1919), in order to demonstrate how visual culture was both informed by, and contributed to, discourses of addiction in the period between 1751 and 1919. Through her analysis of more than 30 images, Julia Skelly deconstructs beliefs and stereotypes related to addicted individuals that remain entrenched in the popular imagination today. Drawing upon both feminist and queer methodologies, as well as upon extensive archival research, Addiction and British Visual Culture, 1751-1919 investigates and problematizes the long-held belief that addiction is legible from the body, thus positioning visual images as unreliable sources in attempts to identify alcoholics and drug addicts. Examining paintings, graphic satire, photographs, advertisements and architectural sites, Skelly explores such issues as ongoing anxieties about maternal drinking; the punishment and confinement of addicted individuals; the mobility of female alcoholics through the streets and spaces of nineteenth-century London; and soldiers' use of addictive substances such as cocaine and tobacco to cope with traumatic memories following the First World War."--Provided by publisher.
Following Julia Strachey's death, her life-long friend Frances Partridge was presented with an extraordinary assortment of her papers. Combining material from this source and extracts from the correspondence between the two friends, this book presents an account of the life of a remarkable woman.
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