In this stimulating study, the author explores how Conrad, T.S.Eliot, Woolf, Joyce, Faulkner, Hemingway, Huxley and others responded to the immediate challenges of their time, to the implications of Freudian psychology, molecular theory, relativist theory, and the general weakening of religious faith. Assuming that artists and writers, in coping with those problems, would develop techniques in many ways comparable, even where there was no direct contact, he positions Modernist literature within the context of contemporary painting, architecture and sculpture, thereby providing some fascinating insights into the nature of the literary works themselves.

An examination of how visual and aesthetic dimensions amplify the functional interpretation of cultural landscape.

First published in 2009. Routledge is an imprint of Taylor & Francis, an informa company.

This book challenges current views that public life is in decline and that contemporary urban design trends reliant on privatisation, control, events, and thematic designs are to be blamed. Drawing on detailed and extensive analysis of a case study that illustrates well such urban design trends, it shows that informal social life and interaction occur more than its necessary in new master planned environments and new designed public settings, whether public or private owned and/or managed. Furthermore, it reveals the existence of a new category of informal public social settings which it calls fourth places because of their close relationship to Oldenburg's third places in terms of social and behavioural characteristics - radical departure from the routines of home and work, inclusivity and social comfort - but distinct in terms of activities, locations and spatial conditions - being characterised by spatial, temporal and managerial in-betweenness, i.e. indeterminacy in form, function and times, and a great sense of publicness. The acceptance of these findings problematises well-established urban design theories about master planning, expands existing social theories about the optimal conditions for public social life by empirically and spatially elaborating on them and redefines several spatial concepts for designing public space in relation to the specific dynamics of informal social interaction. More importantly, it brings optimism to urban design practice, offering new insights into designing more lively and inclusive public spaces.

From her seminal Eros the Bittersweet (1986) to her experimental Float (2016), Bakkhai (2017) and Norma Jeane Baker of Troy (2019), Anne Carson's engagement with antiquity has been deeply influential to generations of readers, both inside and outside of academia. One reason for her success is the versatile scope of her classically-oriented oeuvre, which she rethinks across multiple media and categories. Yet an equally significant reason is her profile as a classicist. In this role, Carson unfailingly refuses to conform to the established conventions and situated practices of her discipline, in favour of a mode of reading classical literature that allows for interpretative and creative freedom. From a multi-praxis, cross-disciplinary perspective, the volume explores the erudite indiscipline of Carson's classicism as it emerges in her poetry, translations, essays, and visual artistry. It argues that her classicism is irreducible to a single vision, and that it is best approached as integral to the protean character of her artistic thought. Anne Carson/Antiquity collects twenty essays by poets, translators, artists, practitioners and scholars. It offers the first collective study of the author's classicism, while drawing attention to one of the most avant-garde, multifaceted readings of the classical past.

'Craftsmanship has again become fashionable in high places, just as it did in the last few recessions.' The concept of craftsmanship has never been as relevant and timely as it is today. Assailed on all sides by - among many other tendencies - flexible working, short-termism, portfolio careers, quick-fix training and the cult of celebrity, it has recently re-entered public debate with a new sense of urgency. Why? A bestseller in hardback, this series of linked essays by the man who ran the Royal College of Art for many years is now available in paperback, and explores the crafts in education, in history and literature, in the contemporary arts landscape, in the language, in the digital age, taking an unsentimental, hard-headed look at craftsmanship today. Only when the romantic cobwebs have been blown away, it argues, can the key importance of the crafts be fully understood.

There are no lines in nature--they are always the creation of humans, manifestations of human action, perception, and design. Lines can divide or connect, may be static or full of movement, and represent and create forms in space and time. And in many cultures, lines take center stage in science, art, writing, drawing, and construction. Employing a vast array of academic perspectives, this fascinating collection delves into the phenomenon of the line, as well as the power it holds for us. From the history of art and science to philosophy, the essays in The Power of Line elucidate the semantic and conceptual depth of the line in European, Asian, and Islamic cultures. As they trace the continuity and transformation of the line over the course of centuries, the authors not only reveal it to be a constitutive element in architecture, art, and writing, but also uncover its importance as a medium of expression in both choreography and the scientific and technological fields. With copious full-color images, The Power of Line is a captivating exploration of the line as an essential artistic and cultural means of expression.

The physics and materials science behind paintings: the pigments, binders, canvas, and varnish that go into making a painting appear the way it does. The text discusses the physical principles behind the colors seen and how these change with illumination, the various types of paint and binders used in both old and modern paintings, and the optics and microscopic structure of paint films. Chapters on dating, binders, and dendochronology have been contributed by experts in the respective fields.

Art therapy enables the client and therapist to explore issues that may ordinarily be difficult to articulate in words; one such issue is the complexity of gender, which can be a subject of therapy in a range of ways. Gender identity is at the heart of our self-understanding. The contributors to this book cover such topics as internalised homophobia in both therapist and client, art and pregnancy, art therapy with women only and men-only groups, feminist art therapy, gay and lesbian issues, and gender stereotypes. These wide-ranging papers cover both theoretical and practical topics, giving clinical examples and instances of clients' artwork in illustration. The contributors, all established art therapists, bring a wide range of experiences and perspectives to the topic of gender in art therapy. Professionals and students in this field will find the insights contained in this book both fascinating and valuable.

Seeing in Spanish brings together 22 chapters which share a focus on aspects of visual cultures from the Spanish speaking world. Together these chapters address film, photography, cover art, body art, posters, television, architecture, ekphrasis, biography, murals, graffiti, and digital photo-montage. Between Don Quixote and Daddy Yankee, the essays move from the seventeenth century to the present and traverse Europe, the Americas, and cyberspace.The book is divided into five sections. The first of these, on Spain, includes chapters on the representation of women on LP covers in Spain in the 60s and 70s; portrayals in Spanish cinema of Saint Teresa; Luis Bunuel's adaptation of Tristana; urban and rural space in recent Spanish documentary film; Catalan television; fine art in Don Quixote; and visions of adoption in three narratives by Spanish writers and filmmakers. The second section, on Mexico and Peru, includes chapters on the fragmentary body in images of Mexico; the art of Abraham Angel; Jesus Ruiz Durand's agrarian reform posters; Diego Rivera's murals; and the role of artistic production in staging the 2006 Oaxaca conflict. The third section, on Cuba, looks at the portrayal of women and of children in recent cinema from the island. It also examines Nancy Morejon's celebration of the life and art of exiled Cuban artist Ana Mendieta. Section four includes chapters on Chile and Argentina. It addresses street art and graffiti; new forms of publishing; Chilean cinema after Pinochet; and Violeta Parra's applique and collage works. Section five embraces Colombia, Bolivia, and virtual spaces. The contributions to this last section of the book examine childhood in Colombian cinema; the online creativity of pro- and anti-fans of reggaeton; and the photographic diaries of T. Ifor Rees, the UK's first ambassador to Bolivia. In addition to the geo-political structure which underpins the book's five sections, the introduction suggests pathways through the contributions focussed on public art and graffiti, women, children, cyberspace and diplomacy, and reconstruction and disintegration.Seeing in Spanish includes 50 illustrations-stills from films, photographs, reproductions of paintings, and screen grabs from the internet-which complement the chapters' analyses of aspects of Hispanic visual cultures. To aid accessibility, footnotes throughout the book provide English translations of all references from texts in other languages. Taken together, the book's 22 chapters make a valuable contribution to the existing literature on figures like Don Quixote and Saint Teresa. They also break new ground in approaches to novel areas of scholarship such as sleeve design, artisanal book production, and digital image manipulation. The book will appeal to students and scholars of Spain and Latin America as well as to a general readership with an interest in the visual cultures of the Spanish speaking world.