A visual feast of eclectic artwork informed and inspired by spiritual beliefs, magical techniques, mythology and otherworldly experiences. Mystical beliefs and practices have existed for millennia, but why do we still chase the esoteric? From the beginning of human creativity itself, image-makers have been drawn to these unknown spheres and have created curious artworks that transcend time and place - but what is it that attracts artists to these magical realms? From theosophy and kabbalah, to the zodiac and alchemy; spiritualism and ceremonial magic, to the elements and sacred geometry - The Art of the Occult introduces major occult themes and showcases the artists who have been influenced and led by them. Discover the symbolic and mythical images of the Pre-Raphaelites; the automatic drawing of Hilma af Klint and Madge Gill; Leonora Carrington's surrealist interpretation of myth, alchemy and kabbalah; and much more. Featuring prominent, marginalised and little-known artists, The Art of the Occult crosses mystical spheres in a bid to inspire and delight. Divided into thematic chapters (The Cosmos, Higher Beings, Practitioners), the book acts as an entertaining introduction to the art of mysticism - with essays examining each practice and over 175 artworks to discover. The art of the occult has always existed in the margins but inspired the masses, and this book will spark curiosity in all fans of magic, mysticism and the mysterious.

Gerard Manley Hopkins initially planned to become a poet-artist. For five years he trained his eye, learned about contemporary art and architecture, and made friends in the Pre-Raphaelite circle. In her fascinating and beautifully illustrated book, Catherine Phillips, whose knowledge of Hopkins's poems is second to none, uses letters, new archival material, and contemporary publications to reconstruct the visual world Hopkins knew between 1862 and 1889, and especially in the 1860s, with its illustrated journals, art exhibitions, Gothic architecture, photographic shows, and changing art criticism.
Phillips identifies three artistic contexts for the Hopkins's life: his childhood circle of artistic relatives who were important in shaping his early vision; his friends at university and the criticism he absorbed while there that inflected his view as a young man; and the mature religious beliefs which came to govern his understanding of a visual world interconnected with an eternal one.
With chapters devoted to Hopkins own drawings, and to visual theories of the time, Phillips is able to suggests fresh links between this visual world and the startling originality of Hopkins's mature writing that will impact radically on our understanding of Hopkins's practice as a poet.

This book is an analysis of the movement's functions and activities. It presents the history of the movement as it has been captured and recorded by the first generation of people who have been involved. Second edition with a new Introduction. It has been twenty-five years from the first printing of The Community Arts Council Movement: History, Opinions and Issues. So, what has changed? What is similar? Reviewing recent summaries of anniversaries and activities, one is struck by the resonance of the original concerns and the progress made: recognizing and keeping community arts issues a priority on all levels-in these years, they have become central; enabling the partnership among federal, state and local partnerships to grow and flourish perhaps beyond all expectation; developing a voice for effective advocacy-we've come a long way. But like everything else we have experienced on these levels, there is always work ahead and the "now" changes as people come into and exit the picture. No one, and no one group, is really independent of the others in the support fabric. The Community Arts Council Movement is a history of the movement which traces its beginnings to models in the health and welfare fields. It presents the history of the movement as it has been captured and recorded from people who have been involved. Research for the book includes written materials from various councils; about 150 discussions with specialists and practitioners from urban councils and regional, county and rural organizations; and questionnaires completed by movement founders, community arts administrator trainers, and local and national political figures who have promoted community arts to their peers. "This book should be required reading in order to understand the historical context of our own efforts as we map the future of the arts in our communities." - Peggy Spaeth, Director of Heights Arts "From arts administrators and arts educators, to government officials and interested citizens, this book has played a key role in illuminating the work of the nonprofit arts in America." - Robert L. Lynch, President and CEO, Americans for the Arts

Scottish and Irish Romanticism is the first single-author book to address the main non-English Romanticisms of the British Isles. Murray Pittock begins by questioning the terms of his chosen title as he searches for a definition of Romanticism and for the meaning of "national literature." He proposes certain determining "triggers" for the recognition of the presence of a national literature, and also deals with two major problems which are holding back the development of a new and broader understanding of British Isles Romanticisms: the survival of outdated assumptions in ostensibly more modern paradigms, and a lack of understanding of the full range of dialogues and relationships across the literatures of these islands. The theorists whose works chiefly inform the book are Bakhtin, Fanon and Habermas, although they do not define its arguments, and an alertness to the ways in which other literary theories inform each other is present throughout the book.
Pittock examines in turn the historiography, prejudices, and assumptions of Romantic criticism to date, and how our unexamined prejudices still stand in the way of our understanding of individual traditions and the dialogues between them. He then considers Allan Ramsay's role in song-collecting, hybridizing high cultural genres with broadside forms, creating in synthetic Scots a "language really used by men," and promoting a domestic public sphere. Chapters 3 and 4 discuss the Scottish and Irish public spheres in the later eighteenth century, together with the struggle for control over national pasts, and the development of the cults of Romance, the Picturesque and Sentiment: Macpherson, Thomson, Owenson and Moore are among thewriters discussed. Chapter 5 explores the work of Robert Fergusson and his contemporaries in both Scotland and Ireland, examining questions of literary hybridity across not only national but also linguistic borders, while Chapter 6 provides a brief literary history of Burns' descent into critical neglect combined with a revaluation of his poetry in the light of the general argument of the book. Chapter 7 analyzes the complexities of the linguistic and cultural politics of the national tale in Ireland through the work of Maria Edgeworth, while the following chapter considers of Scott in relation to the national tale, Enlightenment historiography, and the European nationalities question. Chapter 9 looks at the importance of the Gothic in Scottish and Irish Romanticism, particularly in the work of James Hogg and Charles Maturin, while Chapter 10, "Fratriotism," explores a new concept in the manner in which Scottish and Irish literary, political and military figures of the period related to Empire.

Indonesian art entered the global contemporary art world of independent curators, art fairs and biennales in the 1990s. By the mid-2000s, Indonesian works were well-established on the Asian secondary art market, achieving record-breaking prices at auction houses in Singapore and Hong Kong. This comprehensive overview introduces Indonesian contemporary art in a fresh and stimulating manner, demonstrating how contemporary art breaks from colonial and post-colonial power structures, and grapples with issues of identity and nation-building in Indonesia. Across different media, in performance and installation, it amalgamates ethnic, cultural and religious references in its visuals, and confidently brings together the traditional (batik, woodcut, dance, Javanese shadow puppet theatre) with the contemporary (comics and manga, graffiti, advertising, pop culture). Spielmann's Contemporary Indonesian Art surveys the key artists, curators, institutions and collectors in the local art scene, and looks at the significance of Indonesian art in the Asian context. Through this book, originally published in German, Spielmann stakes a claim for global relevance of Indonesian art.

The sequel to the acclaimed Made in Niugini, which explored in unparalleled depth the material world of the Wola comprising moveable artefacts, Built in Niugini continues Paul Sillitoe's project in exemplary fashion, documenting the built environment, architecture and construction techniques in a tour de force of ethnography. But this is more than a book about building houses. Sillitoe also shows how material constructions can serve to further our understandings of intellectual constructions. Allowing his ethnography to take the lead, and paying close attention to the role of tacit understandings and know-how in both skilled work and everyday dwelling, his close experiential analyses inform a phenomenologically inflected discussion of profound philosophical questions - such as what can we know of being-in-the-world - from startlingly different cultural directions. The book also forms part of a long-term project to understand a radically different 'economy', which is set in an acephalous order that extends individual freedom and equality in a manner difficult to imagine from the perspective of a nation-state - an intriguing way of being-in-the-world that is entwined with tacit aspects of knowing via personal and emotional experience. This brings us back to the explanatory power of a focus on technology, which Sillitoe argues for in the context of 'materiality' approaches that feature prominently in current debates about the sociology of knowledge. Archaeology has long been to the fore in considering technology and buildings, along with vernacular architecture, and Sillitoe contributes to a much-needed dialogue between anthropology and these disciplines, assessing the potential and obstacles for a fruitful rapprochement. Built in Niugini represents the culmination of Sillitoe's luminous scholarship as an anthropologist who dialogues fluidly with the literature and ideas of numerous disciplines. The arguments throughout engage with key concepts and theories from anthropology, archaeology, architecture, material culture studies, cognitive science, neuroscience and philosophy. The result is a significant work that contributes to not only our regional knowledge of the New Guinea Highlands but also to studies of tacit knowledge and the anthropology of architecture and building practices. Trevor Marchand, Emeritus Professor of Social Anthropology, School of Oriental and African Studies

This book (hardcover) is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make thousands of international literature classics available in printed format again - worldwide.

The modern media world came into being in the nineteenth century, when machines were harnessed to produce texts and images in unprecedented numbers. In the visual realm, new industrial techniques generated a deluge of affordable pictorial items, mass-printed photographs, posters, cartoons, and illustrations. These alluring objects of the Victorian parlor were miniaturized spectacles that served as portals onto phantasmagoric versions of 'the world.' Although new kinds of pictures transformed everyday life, these ephemeral items have received remarkably little scholarly attention. Picture World shines a welcome new light onto these critically neglected yet fascinating visual objects. They serve as entryways into the nineteenth century's key aesthetic concepts. Each chapter pairs a new type of picture with a foundational keyword in Victorian aesthetics, a familiar term reconceived through the lens of new media. 'Character' appears differently when considered with caricature, in the new comics and cartoons appearing in the mass press in the 1830s; likewise, the book approaches 'realism' through pictorial journalism; 'illustration' via illustrated Bibles; 'sensation' through carte-de-visite portrait photographs; 'the picturesque' by way of stereoscopic views; and 'decadence' through advertising posters. Picture World studies the aesthetic effects of the nineteenth century's media revolution: it uses the relics of a previous era's cultural life to interrogate the Victorian world's most deeply-held values, arriving at insights still relevant in our own media age.

Part of a series of handy, luxurious Flame Tree Pocket Books. Combining high-quality production with magnificent fine art, the covers are printed on foil in five colours, embossed then foil stamped. And they're delightfully practical: a pocket at the back for receipts and scraps, two bookmarks and a solid magnetic side flap. These are perfect for personal use, handbags and make a dazzling gift. This example features one of Hiroshige's stunning views of Mount Fuji. In this artwork, we see Mount Fuji as viewed across the slopes of a small-scale replica of the mountain. These mini-Fujis were quite a common feature as they enabled the pious-but-busy to make at least an approximation of the great pilgrimage up Mount Fuji and derive some of the same spiritual benefits.