Since the time of Aristotle, the making of knowledge and the making of objects have generally been considered separate enterprises. Yet during the late sixteenth and early seventeenth centuries, the two became linked through a "new" philosophy known as science. In The Body of the Artisan, Pamela H. Smith demonstrates how much early modern science owed to an unlikely source-artists and artisans. From goldsmiths to locksmiths and from carpenters to painters, artists and artisans were much sought after by the new scientists for their intimate, hands-on knowledge of natural materials and the ability to manipulate them. Drawing on a fascinating array of new evidence from northern Europe including artisans' objects and their writings, Smith shows how artisans saw all knowledge as rooted in matter and nature. With nearly two hundred images, The Body of the Artisan provides astonishingly vivid examples of this Renaissance synergy among art, craft, and science, and recovers a forgotten episode of the Scientific Revolution-an episode that forever altered the way we see the natural world.
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1977. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived
Bioarchaeology has relied on Darwinian perspectives and biocultural models to communicate information about the lives of past peoples. This book demonstrates how further theoretical expansion—a thoughtful engagement with critical social theorizing—can contribute insightful and more ethical outcomes. To do so, it focuses on social theoretical concepts of pertinence to bioarchaeological studies: habitus, the normal, intersectionality, necropolitics, and bioethos. These concepts can deepen study of plasticity, disease, gender, violence, and race and ethnicity, as well as advance the field’s decolonization efforts. This book also works to overcome the challenges presented by dense social theorizing, which has paid little attention to real bodies. It historicizes, explains, and adapts concepts, as well as discusses archaeological, historic, and contemporary case studies from around the world. Theorizing Bioarchaeology is intended for individuals who may have initially dismissed social theorizing as postmodern but now acknowledge this characterization as oversimplified. It is for readers who foster curiosity about bioarchaeology’s contradictions and common sense. The ideas contained in these pages may also be of use to students who know that it is naive at best and myopic at worst to presume data derived from bodies speak for themselves.
Goethe's ideas on colour and imagery crossed many borderlines: those of artistic processes and philosophical aesthetics, art history and colour theory, together with the science of perception. This investigation into his writings ranges across art from Antiquity, the Renaissance and the eighteenth century, as well as exploring the centrality of these issues to Goethe's literary work. Questions find answers, but also raise new questions. This systematic sequence of essays, originally written between 1999 and 2011, appeals to readers in all these separate areas, while drawing together their essential coherence.
The new edition of this bestselling textbook comes completely revised and updated to take students on a guided tour of criminological research. As a trusted companion, this book brings together a range of experts in the field to provide key perspectives on how to prepare, do and present research. Each chapter comes with a range of learning features and contextualised case studies, giving an in-depth review on conducting research projects. The book: Includes fascinating case studies on transnational crime and policing, victims, male offenders, institutional abuse and more Comes with study questions, activities, key terms and a glossary Includes visual material which highlights and illustrates key points Contains new chapters on mixed methods; web based criminological research; experimental criminological research and quantitative criminological research This is the go-to for any student studying criminology, essential to those conducting their own research in the field.
Aaron's Code tells the story of the first profound connection between art and computer technology. Here is the work of Harold Cohen - the renowned abstract painter who, at the height of a celebrated career in the late 1960's, abandoned the international scene of museums and galleries and sequestered himself with the most powerful computers he could get his hands on. What emerged from his long years of solitary struggle is an elaborate computer program that makes drawings autonomously, without human intervention - an electronic apprentice and alter ego called Aaron.
The Crescent on the Temple" by Pamela Berger elucidates an obscured tradition—how the Dome of the Rock came to stand for the Temple of Solomon in Christian, Muslim, and Jewish art. The crusaders called the Dome of the Rock the “Temple of the Lord,” while Muslim imagery depicted Solomon enthroned within the domed structure. Jews knew that the ancient Temple had been destroyed. Nevertheless, in their imagery, they commonly labeled the Muslim shrine “The Temple.” That domed “Temple” was often represented with a crescent on top. This iconography, long hidden in plain sight, reflects one aspect of an historical affinity between Jews and Muslims.
Use the Internet to teach visual arts and refine students' critical thinking skills! This book is based on the Discipline-Based Art Education program, a proven art instruction program that teaches everything from the creative process and art history to criticism and aesthetics. An abundance of primary source Web sites and background information is offered. The main focus of the book is western art history and painting, but examples of sculpture, drawings, prints, and architecture are included, along with a chapter on diversity. Part I provides background material. A brief history of art education is presented, followed by a review of the components of design elements and principles. The book describes using the Internet as a primary source by identifying and evaluating websites. Part II follows the program through the main historical periods, from prehistoric and ancient Middle Eastern art, through the Renaissance, through the 20th century. A bibliography and index are included.
This title was first published in 2003. Problem pictures were very popular during the Edwardian period. These pictures invited multiple interpretations of modern life and were often slightly risque. Pamela Fletcher explores how these works of art engaged with questions of gender, sexuality and identity during their heyday.
How and why early modern European artisans began to record their knowledge. In From Lived Experience to the Written Word, Pamela H. Smith considers how and why, beginning in 1400 CE, European craftspeople began to write down their making practices. Rather than simply passing along knowledge in the workshop, these literate artisans chose to publish handbooks, guides, treatises, tip sheets, graphs, and recipe books, sparking early technical writing and laying the groundwork for how we think about scientific knowledge today. Focusing on metalworking from 1400–1800 CE, Smith looks at the nature of craft knowledge and skill, studying present-day and historical practices, objects, recipes, and artisanal manuals. From these sources, she considers how we can reconstruct centuries of largely lost knowledge. In doing so, she aims not only to unearth the techniques, material processes, and embodied experience of the past but also to gain insight into the lifeworld of artisans and their understandings of matter.
A history of the book and intellectual property that includes military technology and military secrets. Winner of The Morris D. Forkosch Prize from the Journal of the History of Ideas In today's world of intellectual property disputes, industrial espionage, and book signings by famous authors, one easily loses sight of the historical nature of the attribution and ownership of texts. In Openness, Secrecy, Authorship: Technical Arts and the Culture of Knowledge from Antiquity to the Renaissance, Pamela Long combines intellectual history with the history of science and technology to explore the culture of authorship. Using classical Greek as well as medieval and Renaissance European examples, Long traces the definitions, limitations, and traditions of intellectual and scientific creation and attribution. She examines these attitudes as they pertain to the technical and the practical. Although Long's study follows a chronological development, this is not merely a general work. Long is able to examine events and sources within their historical context and locale. By looking at Aristotelian ideas of Praxis, Techne, and Episteme. She explains the tension between craft and ideas, authors and producers. She discusses, with solid research and clear prose, the rise, wane, and resurgence of priority in the crediting and lionizing of authors. Long illuminates the creation and re-creation of ideas like "trade secrets," "plagiarism," "mechanical arts," and "scribal culture." Her historical study complicates prevailing assumptions while inviting a closer look at issues that define so much of our society and thought to this day. She argues that "a useful working definition of authorship permits a gradation of meaning between the poles of authority and originality," and guides us through the term's nuances with clarity rarely matched in a historical study.
Making Modernism Soviet provides a new understanding of the ideological engagement of Russian modern artists such as Kazimir Malevich, Alexander Rodchenko, and Vera Ermolaeva with the political and social agenda of the Bolsheviks in the chaotic years immediately following the Russian Revolution. Focusing on the relationship between power brokers and cultural institutions under conditions of state patronage, Pamela Kachurin lays to rest the myth of the imposition of control from above upon a victimized artistic community. Drawing on extensive archival research, she shows that Russian modernists used their positions within the expanding Soviet arts bureaucracy to build up networks of like-minded colleagues. Their commitment to one another and to the task of creating a socially transformative visual language for the new Soviet context allowed them to produce some of their most famous works of art. But it also contributed to the "Sovietization" of the art world that eventually sealed their fate.
The Uses of Photography examines a network of artists who were active in Southern California between the late 1960s and early 1980s and whose experiments with photography opened the medium to a profusion of new strategies and subjects. These artists introduced urgent social issues and themes of everyday life into the seemingly neutral territory of conceptual art, through photographic works that took on hybrid forms, from books and postcards to video and text-and-image installations. Tracing a crucial history of photoconceptual practice, The Uses of Photography focuses on an artistic community that formed in and around the young University of California San Diego, founded in 1960, and its visual arts department, founded in 1967. Artists such as Eleanor Antin, Allan Kaprow, Fred Lonidier, Martha Rosler, Allan Sekula, and Carrie Mae Weems employed photography and its expanded forms as a means to dismantle modernist autonomy, to contest notions of photographic truth, and to engage in political critique. The work of these artists shaped emergent accounts of postmodernism in the visual arts and their influence is felt throughout the global contemporary art world today. Contributors include David Antin, Pamela M. Lee, Judith Rodenbeck, and Benjamin J. Young. Published in association with the Museum of Contemporary Art San Diego. Exhibition dates: Museum of Contemporary Art San Diego: September 24, 2016ÐJanuary 2, 2017
The third edition of Pamela Howard’s What is Scenography? expands on the author’s holistic analysis of scenography as comprising space, text, research, art, performers, directors and spectators, to examine the changing nature of scenography in the twenty-first century. The book includes new investigations of recent production projects from Howard’s celebrated career, including Carmen and Charlotte: A Tri-Coloured Play with Music, full-colour illustrations of her recent work and updated commentary from a wide spectrum of contemporary theatre makers. This book is suitable for students in Scenography and Theatre Design courses, along with theatre professionals.
Lucky That Way, a nuanced, richly engaging memoir, chronicles the joys and tribulations of a daughter who rediscovers her father as he nears the end of his life. Ernie Gerhardt, an artist and teacher, is largely estranged from his five children, but when he suffers a debilitating stroke, his daughter Pamela must fly to Las Vegas to tend to him. When she arrives to find Ernie newly and shockingly fragile, she is hit by an unexpected wave of tenderness. Pamela Gerhardt's heartfelt story about a family coming to terms with their aging father's illness and imminent death takes readers on an emotional rollercoaster that highlights love, loss, humor, and sadness.
Barron’s newest edition of TOEFL iBT provides flexible study options and key skills review to help you study what you need to know for the test. This edition includes: Eight full-length TOEFL iBT practice tests with answer explanations in both the book and online 8 one-hour practice tests A review of required academic and language skills with four video lessons and a grammar review that supports the Speaking and Writing Sections An online pronunciation guide that features over 200 campus flashcards with vocabulary terms and example sentences Audio files online for all prompts A general overview of the TOEFL iBT PowerPoint review presentations with handouts and resources for tutors and teachers Note: In July 2023, a new, streamlined version of the TOEFL iBT was administered. The test-makers have made some modifications to offer a smoother testing experience: A shorter test time: Test will be 2 hours rather than 3 hours Reading: 20 questions, 35 minutes Listening: 28 questions, 36 minutes Speaking: 4 tasks, 16 minutes Writing: 2 tasks (1 new style), 29 minutes Total Time: 2 hours Streamlined instructions and navigation throughout the test A new “Writing for an Academic Discussion” task, which will replace the previous Independent Writing task A shorter Reading section A shorter Listening Section The removal of all unscored test questions Great News! Barron’s TOEFL iBT 17th Edition is still your best choice for TOEFL preparation for the new TOEFL format. The changes that you will see on the official TOEFL test provide a shorter test experience, but the longer Model Tests our book gives you the same test prompts and questions for the Reading, Listening, and Speaking sections. The Writing section on the new TOEFL includes a new question, which you will find in Barron’s TOEFL iBT 18th Edition. Watch for the release of the 18th Edition in April 2024.
Art and Human Experience discusses the various art traditions from different time periods and cultural origin. The title details the problems faced by artists, the basic principles of design. The text first tackles the importance of art in human life, and then proceeds to covering various forms of art. Next, the selection deals with the art culture from different time and location. The coverage of the title includes Stone Age art, African, Amerindian, Egyptian, Greek, Roman, Chinese, and European. The last chapter talks about contemporary art design. The book will be of great interest to individuals who have a keen interest in art history.
In this landmark exploration of the origins of nationalism and cultural identity in China, Pamela Kyle Crossley traces the ways in which a large, early modern empire of Eurasia, the Qing (1636-1912), incorporated neighboring, but disparate, political traditions into a new style of emperorship. Drawing on a wide variety of primary sources, including Manchu, Korean, and Chinese archival materials, Crossley argues that distortions introduced in seventeenth- and eighteenth-century historical records have blinded scholars to the actual course of events in the early years of the dynasty. This groundbreaking study examines the relationship between the increasingly abstract ideology of the centralizing emperorship of the Qing and the establishment of concepts of identity in the seventeenth and eighteenth centuries, before the advent of nationalism in China. Concluding with a broad-ranging postscript on the implications of her research for studies of nationalism and nation-building throughout modern Chinese history, A Translucent Mirror combines a readable narrative with a sophisticated, revisionary look at China's history. Crossley's book will alter current understandings of the Qing emperorship, the evolution of concepts of ethnicity, and the legacy of Qing rule for modern Chinese nationalism.
This volume sheds light on contemporary perception of William Godwin, Mary Wollstonecraft and Mary Shelley, a biographically and intellectually compelling literary family of the Romantic period. The writings reveal the personalities of the subjects, and the motives and agendas of the biographers.
Alternative Iran offers a unique contribution to the field of contemporary art, investigating how Iranian artists engage with space and site amid the pressures of the art market and the state's regulatory regimes. Since the 1980s, political, economic, and intellectual forces have driven Iran's creative class toward increasingly original forms of artmaking not meant for official venues. Instead, these art forms appear in private homes with "trusted" audiences, derelict buildings, leftover urban zones, and remote natural sites. While many of these venues operate independently, others are fully sanctioned by the state. Drawing on interviews with over a hundred artists, gallerists, theater experts, musicians, and designers, Pamela Karimi throws into sharp relief the extraordinary art and performance activities that have received little attention outside Iran. Attending to nonconforming curatorial projects, independent guerrilla installations, escapist practices, and tacitly subversive performances, Karimi discloses the push-and-pull between the art community and the authorities, and discusses myriad instances of tentative coalition as opposed to outright partnership or uncompromising resistance. Illustrated with more than 120 full-color images, this book provides entry into unique artistic experiences without catering to voyeuristic curiosity around Iran's often-perceived "underground" culture.
The front covers of books written by Algerian women serve as the primary source of investigation in Front Cover Iconography and Algerian Women Writers. These covers have implications that extend beyond selling the book. What we see on one side of the page—or in this case, the cover, (recto) controls what we read on the reverse—in this case, the text itself (verso). Using theories of the paratext, including those of Gérard Genette and Jonathan Gray, this book determines how four dominant iconographies used on the covers of Algerian women’s writing – Orientalist art, the veil, the desert, and the author portrait – work with and against the texts they represent. These images have an impact on the initial reception of the book, but beyond that, book covers determine how both the informed and uninformed reader categorize and interpret francophone Algerian women’s writing in France and beyond. As the covers help to sell the works, they also produce messages, represented via their iconographies that embed themselves into the texts. A sometimes explicit, and at the very least, implicit dialog between the visual paratextual representation and the written textual one is created: a dialog that extends beyond the life of the physical book to a sort of canonical paradigm for reading these authors’ works. Thus, even if the cover image appears ephemeral, it never truly disappears. Its powerful control over critical reception and, ultimately, interpretation of francophone Algerian women’s writing remains.
In her book, Pamela Genova suggests that as critics move in general from a literal to a more metaphoric understanding and presentation of Japonisme, the mutability of the phenomenon is highlighted in a rich and illuminating manner. By exploring the conditions of the creation of these works, accenting the original aims of the artists, the manipulations carried out by art dealers, gallery owners, and boutique managers, as well as the gestures of explanation, interpretation, and judgment offered by the professional and amateur critics, Japonisme takes on an even more versatile nature. Further, a complex web of correspondence germinates among these artists—both French and Japanese—and their many critics. It is in this light that the truly rich character of Japonisme comes forth, since the undesirability, even the impossibility of the attempt to reduce it to a single genre, style, era, or cultural cadre attests to its elusiveness and its Protean nature. Japonisme does not correspond to a single dictionary definition, no matter how subtle or self-aware that definition might be. By situating the dynamics of Japonisme as a response on the part of French culture to the culture of Japan, we gain a keener sense of the multiplicity of modern French sensibility itself, of how the awareness of a nation’s language, history, and art forms can be creatively reflected in the images of a culture seemingly radically different from its own.
This volume sheds light on contemporary perception of William Godwin, Mary Wollstonecraft and Mary Shelley, a biographically and intellectually compelling literary family of the Romantic period. The writings reveal the personalities of the subjects, and the motives and agendas of the biographers.
These eight volumes contain the works of Mary Shelley and include introductions and prefatory notes to each volume. Included in this edition are "Frankenstein" (1818), "Matilda" ((1819), "Valperga" (1823), "The Last Man" (1826), "Perkin Warbeck" (1830) and "Lodore" (1835).
The world is losing species and biodiversity at an unprecedented rate. The causes go deep and the losses are driven by a complex array of social, economic, political and biological factors at different levels. Immediate causes such as over-harvesting, pollution and habitat change have been well studied, but the socioeconomic factors driving people to degrade their environment are less well understood. This book examines the underlying causes. It provides analyses of a range of case studies from Brazil, Cameroon, China, Danube River Basin, India, Mexico, Pakistan, Philippines, Tanzania and Vietnam, and integrates them into a new and interdisciplinary framework for understanding what is happening. From these results, the editors are able to derive policy conclusions and recommendations for operational and institutional approaches to address the root causes and reverse the current trends. It makes a contribution to the understanding of all those - from ecologists and conservationists to economists and policy makers - working on one of the major challenges we face.
Shakespeare's plays have long been open to reimagining and reinterpretation, from John Fletcher's riposte to The Taming of the Shrew in 1611 to present day spin-offs in a whole range of media, including YouTube videos and Manga comics. This book offers a clear route map through the world of adaptation, selecting examples from film, drama, prose fiction, ballet, the visual arts and poetry, and exploring their respective political and cultural interactions with Shakespeare's plays. 36 specific case studies are discussed, three for each of the 12 plays covered, offering additional guidance for readers new to this important area of Shakespeare studies. The introduction signals key adaptation issues that are subsequently explored through the chapters on individual plays, including Shakespeare's own adaptive art and its Renaissance context, production and performance as adaptation, and generic expectation and transmedial practice. Organized chronologically, the chapters cover the most commonly studied plays, allowing readers to dip in to read about specific plays or trace how technological developments have fundamentally changed ways in which Shakespeare is experienced. With examples encompassing British, North American, South and East Asian, European and Middle Eastern adaptations of Shakespeare's plays, the volume offers readers a wealth of insights drawn from different ages, territories and media.
When Pam Valois, a young photographer, met Jacomena Maybeck in 1979, she saw the woman she wanted to be in her own later years. Tarring roofs and splitting logs into her eighties, Jackie presided over the legacy of Bernard Maybeck and his clan on Berkeley’s legendary Nut Hill. The friendship between the two women led to a best-selling book—Gifts of Age, a treasury of stories about successful aging. Blooming in Winter is an intimate portrait of Jackie that gives us a paradigm for living exuberantly until the very end.
In The City in Time, Pamela N. Corey provides new ways of understanding contemporary artistic practices in a region that continues to linger in international perceptions as perpetually “postwar.” Focusing on art from the last two decades, Corey connects artistic developments with social transformations as reflected through the urban landscapes of Ho Chi Minh City and Phnom Penh. As she argues, artists’ engagements with urban space and form reveal ways of grasping multiple and layered senses and concepts of time, whether aligned with colonialism, postcolonial modernity, communism, or postsocialism. The City in Time traces the process through which collective memory and aspiration are mapped onto landscape and built space to shed light on how these vibrant Southeast Asian cities shape artistic practices as the art simultaneously consolidates the city as image and imaginary. Featuring a dynamic array of creative productions that include staged and documentary photography, the moving image, and public performance and installation, The City in Time illustrates how artists from Vietnam and Cambodia have envisioned their rapidly changing worlds.
Imagination. It is a word that conjures up so much and can cover so many emotions. In this collection of nine unique stories and a poem, you will cross centuries, hang in suspense, chuckle and perhaps even laugh, and wonder did the character imagine that or not. Dari LaRoche starts this anthology with a poem that explores what sparks the imagination as it moves between conscious thought and the sublime, reflecting the beauty that surrounds us. In Metro Takes a Road Trip, Susie Slanina returns to the adventures of a dog named Metro discovering new places and talents. In The Watching Game, Lisa de Nikolits crafts a story that explores invisible friends, suspense, and the power of suggestion. Diana McCollum’s story, Son-ja’s Journey, explores the story of a lost child who wanders into a Native American tribe’s camp and is raised as one of their own. Pamela Cowan’s story, Mars, moves away from earth to outer space, in her futuristic tale with a twist about a young man coming of age. Back on earth, Mary Vine provides a story of romance, suspense, and humor in Grandma Harper’s Imagination. Maggie Lynch pits fantasy against reality in Sky Painter, as a young girl develops unusual talents. Another Life, by Paty Jager, provides a conundrum for the reader to unravel whether a battered wife and a dead husband is a tale of delirium or truth. In Project I.M.A.G.I.N.E. Anna Brentwood and Colton Long pen a cautionary tale of artificial intelligence that begins in the 1980s. Kimila Kay closes out the anthology with Rattlesnake Ravine, a suspense novella that plays with imagination versus truth and the consequences of having to choose only one side.
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