Judging by most contemporary accounts, the virtues of cross-disciplinary research, teaching and scholarship are above reproach. Conference organisers announce with pride that 'l'interdisciplinarite a porte ses fruits'; governments and universities sponsor ever-growing numbers of interdisciplinary research teams. Such activity is especially pertinent to eighteenth-century studies. The Republic of Letters inspired scholars, scientists, artists, and writers to engage in spirited, multilingual and long-term correspondence with colleagues throughout Europe. As many contributors to this timely and provocative volume argue, a certain kind of interdisciplinarity is required for any consideration of eighteenth-century topics. But what impact has this enthusiasm for interdisciplinarity had on our understanding of objects, monuments, texts, and events of the past? Born of an intense series of debates, this volume takes on current controversies with unflinching honesty. Contributors address questions of theory and practice. Does interdisciplinary investigation carry any meaningful challenge to the disciplines themselves, or are we merely trading one kind of evidence for another? What institutional constraints work against such research and teaching? Is interdisciplinarity a pressing preoccupation of scholars in France and the UK, as it is in the US? The introduction provides a critical history of interdisciplinarity and outlines the key tensions of university life as experienced by students and scholars in the US, the UK and France. Position papers provide state-of-the-field analyses - some invigorating or even utopian, others darkly brooding. Case studies present examples of contemporary work, showing what might happen when a literary scholar confronts a pornographer's battles, when an art historian takes on an 'undisciplined' object' or, perhaps most intriguing, when a practising attorney evaluates 'legal' approaches to literature.

Philosophers say what art is and then scientists and then other scholars study how we are equipped, cognitively and socially, to make art and appreciate it. This time-honoured approach will not work. Recent science reveals that we have poor intuitive access to artistic and aesthetic phenomena. Dominic McIver Lopes argues for a new approach that mandates closer integration, from the start, between aesthetics and the human sciences. In these eleven essays he proposes a methodology especially suited to aesthetics, where problems in philosophy are addressed principally by examining how aesthetic phenomena are understood in the human sciences. Since the human sciences include much of the humanities as well as the social, behavioural, and brain sciences, the methodology promises to integrate arts research across the academy. Aesthetics on the Edge opens with a four essays outlining the methodology and its potential. The following essays put the methodology to work, shedding light on the perceptual and social-pragmatic capacities that are implicated in responding to works of art, especially images, but also music, literature, and conceptual art.

Focusing on fine art and documentary photography, this book provides a diverse and inclusive version of photography history and its contemporary manifestations. Through 40 interviews with and profiles of photographers from underrepresented communities—those of African, Asian, Latino, Native American, Pacific Islander and Aleutian heritage, and other indigenous communities—this collection turns on its head homogenous visual culture. Essential reading for photography students and practitioners, this book celebrates the diversity of the real world with fascinating accounts of artists and the broad range of their challenges and successes: aspirations, photo series and photobooks, earning a living, discrimination, photography education, photographic practice, technical conversations, and more.

Arts education is regarded as an essential part of quality education which not only enhances learners' social, personal and intellectual development, but also their critical and creative thinking skills. It provides learners with opportunities to work collaboratively with each other and in so doing, to develop respect for others' opinions and backgrounds. It is also a healthy outlet for emotions and ideas that learners may not otherwise be able to express. Creative arts education provides guidelines on how to teach dance, drama, visual arts and music in a more animated, vibrant and practical manner so as to allow each child to reach his full potential. Based on the grades 7-9 curricula, Creative arts education provides examples and activities to enable creative arts teachers to put theory into practice. Besides sections for each art form, a full chapter is devoted to inclusive education, learning barriers and how best to accommodate the different learning styles and needs of a diverse class of learners. Structural guidance according to CAPS requirements is also included. Creative arts education is aimed at all prospective and practising grades 7-9 teachers of visual arts, dance, music and drama.

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.

What Urig offers us in his book "Tips for the Contemporary Painter" is his version of artistic truths in painting. He has personally tested them all. He explains that we as artists need to set a good example. Developing a "Painters Code" will help rid our profession of myths and half-truths. Painters have an important role. What we create should add value and beauty to our world while providing respect for the painter and his work.

Written from the perspective of a practising artist, this book proposes that, against a groundswell of historians, museums and commentators claiming to speak on behalf of art, it is artists alone who may define what art really is. Jelinek contends that while there are objects called 'art' in museums from deep into human history and from around the globe - from Hans Sloane's collection, which became the foundation of the British Museum, to Alfred Barr's inclusion of 'primitive art' within the walls of MoMA, the Museum of Modern Art - only those that have been made with the knowledge and discipline of art should rightly be termed as such. Policing the definition of art in this way is not to entrench it as an elitist occupation, but in order to focus on its liberal democratic potential. Between Discipline and a Hard Place describes the value of art outside the current preoccupation with economic considerations yet without resorting to a range of stereotypical and ultimately instrumentalist political or social goods, such as social inclusion or education. A wider argument is also made for disciplinarity, as Jelinek discusses the great potential as well as the pitfalls of interdisciplinary and multidisciplinary working, particularly with the so-called 'creative' arts. A passionate treatise arguing for a new way of understanding art that forefronts the role of the artist and the importance of inclusion within both the concept of art and the art world.

Leo Sidebottom, a clerk in a Birmingham Factory went to war in 1915. This book is a collection of his postcards to his new wife from the trenches of France during the Great War. The images and messages will give you an experience of life in the war which changed the world. It starts with a week from his diary when he gets engaged, enlists, gets married and leaves for war with the Royal Engineers. He talks of the Politics, the topics of the day and the "rumours." With over 200 postcards depicting scenes of the devastation this book will transport you back to a different world.

Once in a while, it's just pure fun to peek inside other people's lives. In Una Voce, author Jennifer Larmore offers a look into her life and the lives of opera singers, their thoughts, their struggles, and their feelings. She narrates the story of her journey and working in the industry for almost thirty years. Una Voce presents a study of people who conquer fear and insecurity to stand on a stage and bare their hearts and souls. Larmore puts a positive spin on everything from anger, how money- if you can get it-changes you, dealing with crazy directors and conductors, jealousy, homesickness, friendship, philosophy, and shares her ideas on sabotage, procrastination, fear, hindsight, manipulation, plus the thrill and glory of success. Filled with anecdotes and practical tips for new musicians, Una Voce shares one singer's story of her long and illustrious music career and her life at large-one voice in a sea of many and yet, unique.