Women, the Arts and Globalization: Eccentric Experience is the first anthology to bring transnational feminist theory and criticism together with women's art practices to discuss the connections between aesthetics, gender and identity in a global world. The essays in Women, the Arts and Globalization demonstrate that women in the arts are rarely positioned at the center of the art market, and the movement of women globally (as travelers or migrants, empowered artists/scholars or exiled practitioners), rarely corresponds with the dominant models of global exchange. Rather, contemporary women's art practices provide a fascinating instance of women's eccentric experiences of the myriad effects of globalization. Bringing scholarly essays on gender, art and globalization together with interviews and autobiographical accounts of personal experiences, the diversity of the book is relevant to artists, art historians, feminist theorists and humanities scholars interested in the impact of globalization on culture in the broadest sense.

This title offers a Marxist take on a selection of artistic and cultural achievements from the rap music of Tupac Shakur to the painting of Van Gogh, from HBO's Breaking Bad to Balzac's Cousin Bette , from the magical realm of Harry Potter to the apocalyptic landscape of The Walking Dead , from The Hunger Games to Game of Thrones .

Colour is largely assumed to be already in the world, a natural universal that everyone, everywhere understands. Yet cognitive scientists routinely tell us that colour is an illusion, and a private one for each of us; neither social nor material, it is held to be a product of individual brains and eyes rather than an aspect of things. This collection seeks to challenge these assumptions and examine their far-reaching consequences, arguing that colour is about practical involvement in the world, not a finalized set of theories, and getting to know colour is relative to the situation one is in – both ecologically and environmentally. Specialists from the fields of anthropology, psychology, cinematography, art history and linguistics explore the depths of colour in relation to light and movement, memory and landscape, language and narrative, in case studies with an emphasis on Australian First Peoples, but ranging as far afield as Russia and First Nations in British Columbia. What becomes apparent, is not only the complex but important role of colours in socializing the world; but also that the concept of colour only exists in some times and cultures. It should not be forgotten that the Munsell Chart, with its construction of colours as mathematical coordinates of hues, value and chroma, is not an abstraction of universals, as often claimed, but is itself a cultural artefact.

Peg Rawes examines a "minor tradition" of aesthetic geometries in ontological philosophy. Developed through Kant's aesthetic subject she explores a trajectory of geometric thinking and geometric figurations--reflective subjects, folds, passages, plenums, envelopes and horizons--in ancient Greek, post-Cartesian and twentieth-century Continental philosophies, through which productive understandings of space and embodies subjectivities are constructed.
Six chapters, explore the construction of these aesthetic geometric methods and figures in a series of "geometric" texts by Kant, Plato, Proclus, Spinoza, Leibniz, Bergson, Husserl and Deleuze. In each text, geometry is expressed as a uniquely embodies "aesthetic" activity because each respective geometric method and figure is imbued with aesthetic "sensibility" and geometric "sense" (rather than as disembodies scientific methods). An ontology of aesthetic geometric methods and figures is therefore traced from Kant's Critical writings, back to Plato and Proclus Greek philosophy, Spinoza and Leibniz's post-Cartesian philosophies, and forwards to Bergson's "duration" and Husserl's "horizons" towards Deleuze's philosophy of sense.

The Return of the Baroque in Modern Culture explores the re-invention of the early European Baroque within the philosophical, cultural, and literary thought of postmodernism in Europe, the United States, the Caribbean, and Latin America. Gregg Lambert argues that the return of the Baroque expresses a principle often hidden behind the cultural logic of postmodernism in its various national and cultural incarnations, a principal often in variance with Anglo-American modernism. Writers and theorists examined include Walter Benjamin, Paul de Man, Jacques Derrida, Michel Foucault, Octavio Paz, and Cuban novelists Alejo Carpentier and Severo Sarduy. A highly original and compelling reinterpretation of modernity, The Return of the Baroque in Modern Culture answers Raymond WilliamsGCO charge to create alternative national and international accounts of aesthetic and cultural history in order to challenge the centrality of Anglo-American modernism.

Outreach and engagement initiatives are crucial in promoting community development. This can be achieved through a number of methods, including avenues in the fine arts. The Handbook of Research on the Facilitation of Civic Engagement through Community Art is a comprehensive reference source for emerging perspectives on the incorporation of artistic works to facilitate improved civic engagement and social justice. Featuring innovative coverage across relevant topics, such as art education, service learning, and student engagement, this handbook is ideally designed for practitioners, artists, professionals, academics, and students interested in active citizen participation via artistic channels.

"Scruton's Aesthetics" is a comprehensive critical evaluation of one of the major aestheticians of our age. The lead essay by Scruton is followed by fourteen essays by international commentators plus Scruton's reply. All discuss matters of enduring importance.

Just over a century after his death, Walter Pater's critical reputation now stands as high as it has ever been. In the English-speaking world, this has involved recovery from the widespread neglect and indifference which attended his work in the first half of the twentieth century. In Europe, however, enthusiastic disciples such as Hugo von Hofmannsthal in the German-speaking world and Charles Du Bos in France, helped to fuel a growing awareness of his writings as central to the emergence of modernist literature. Translations of works like Imaginary Portraits, established his distinctive voice as an aesthetic critic and his novel, Marius the Epicurean, was enthusiastically received in Paris in the 1920s and published in Turin on the eve of the Second World War. This collection traces the fortunes of Pater's writings in these three major literatures and their reception in Spain, Portugal, Poland, Hungary, and the Czech Republic.
Series Editor: Dr Elinor Shaffer: Institute of Germanic Studies, School of Advanced Study, University of London.
Contributors: Stefano Evangelista, University of Bristol Stephen Bann, University of Bristol Benedetta Bini, University of Tuscia Maurizio Ascari, University of Bologna Elisa Bizzotto, University of Venice-Ca'Foscari Emily Eells, University of Paris X-Nanterre Benedicte Coste, Stendhal University, Grenoble Wolfgang Iser Ulrike Stamm, Berlin Martina Lauster, University of Exeter Mihaly Szegedy-Maszak, Eotvos University, Budapest Martin Prochazka, Charles University, Prague Adam Mickiewicz University, Poznan Maria Teresa Malafaia, University of Lisbon Jorge Miguel Bastos da Silva, University of Oporto Jacqueline Hurtley, University of Barcelona

Stop curating! And think what curating is all about. This book starts from this simple premise: thinking the activity of curating. To do that, it distinguishes between 'curating' and 'the curatorial'. If 'curating' is a gamut of professional practices for setting up exhibitions, then 'the curatorial' explores what takes place on the stage set up, both intentionally and unintentionally, by the curator. It therefore refers not to the staging of an event, but to the event of knowledge itself. In order to start thinking about curating, this book takes a new approach to the topic. Instead of relying on conventional art historical narratives (for example, identifying the moments when artistic and curatorial practices merged or when the global curator-author was first identified), this book puts forward a multiplicity of perspectives that go from the anecdotal to the theoretical and from the personal to the philosophical. These perspectives allow for a fresh reflection on curating, one in which, suddenly, curating becomes an activity that implicates us all (artists, curators, and viewers), not just as passive recipients, but as active members. As such, the Curatorial is a book without compromise: it asks us to think again, fight against sweeping art historical generalizations, the sedimentation of ideas and the draw of the sound bite. Curating will not stop, but at least with this book it can begin to allow itself to be challenged by some of the most complex and ethics-driven thought of our times.

This book examines how Massachusetts Normal Art School became the alma mater par excellence for generations of art educators, designers, and artists. The founding myth of American art education is the story of Walter Smith, the school's first principal. This historical case study argues that Smith's students formed the professional network to disperse art education across the United States, establishing college art departments and supervising school art for industrial cities. As administrative progressives they created institutions and set norms for the growing field of art education. Nineteenth-century artists argued that anyone could learn to draw; by the 1920s, every child was an artist whose creativity waited to be awakened. Arguments for systematic art instruction under careful direction gave way to charismatic artist-teachers who sought to release artistic spirits. The task for art education had been redefined in terms of living the good life within a consumer culture of work and leisure.

This innovative book takes the concept of translation beyond its traditional boundaries, adding to the growing body of literature which challenges the idea of translation as a primarily linguistic transfer. To gain a fresh perspective on the work of translation in the complex processes of meaning-making across physical, social and cultural domains (conceptualized as translationality), Piotr Blumczynski revisits one of the earliest and most fundamental senses of translation: corporeal transfer. His study of translated religious officials and translated relics reframes our understanding of translation as a process creating a sense of connection with another time, place, object or person. He argues that a promise of translationality animates a broad spectrum of cultural, artistic and commercial endeavours: it is invoked, for example, in museum exhibitions, art galleries, celebrity endorsements, and the manufacturing of musical instruments. Translationality offers a way to reimagine the dynamic entanglements of matter and meaning, space and time, past and present. This book will be of interest to students and scholars in translation studies as well as related disciplines such as the history of religion, anthropology of art, and material culture.

Gendering Modernism offers a critical reappraisal of the modernist movement, asking how gender norms of the time shaped the rebellion of the self-avowed modernists and examining the impact of radical gender reformers on modernism. Focusing primarily on the connections between North American and European modernists, Maria Bucur explains why it is imperative that we consider the gender angles of modernism as a way to understand the legacies of the movement. She provides an overview of the scholarship on modernism and an analysis of how definitions of modernism have evolved with that scholarship. Interweaving vivid case studies from before the Great War to the interwar period - looking at individual modernists from Ibsen to Picasso, Hannah Hoech to Josephine Baker - she covers various fields such as art, literature, theatre and film, whilst also demonstrating how modernism manifested itself in the major social-political and cultural shifts of the 20th century, including feminism, psychology, sexology, eugenics, nudism, anarchism, communism and fascism. This is a fresh and wide-ranging investigation of modernism which expands our definition of the movement, integrating gender analysis and thereby opening up new lines of enquiry. Written in a lively and accessible style, Gendering Modernism is a crucial intervention into the literature which should be read by all students and scholars of the modernist movement as well 20th-century history and gender studies more broadly.

Design Studies: A Reader is the ideal entry point for any student who wants to understand the many complex roles of design - as process, product, function, symbol, and use. Reflecting the diverse range of perspectives on design, the reader brings together over seventy key texts. The essays are presented in themed sections covering history, methods, theory, visuality, identity, consumption, labor, industrialization, new technology, sustainability, and globalization. Each section is separately introduced and each concludes with a guide to further reading. In addition, a final section of specially commissioned essays analyzes ten seminal designs of the twentieth century, from Helvetica to the cell phone. Bringing together the best classic and contemporary writing, Design Studies: A Reader will be invaluable to all students of Design as well as to students of Architecture, Art, Material Culture, and Sociology. Authors include: Theodor Adorno, Arjun Appadurai, Reyner Banham, Jean Baudrillard, Zygmunt Bauman, Pierre Bourdieu, Cheryl Buckley, Michel de Certeau, Margaret Crawford, Arthur C Danto, Adrian Forty, Michel Foucault, Buckminster Fuller, Paul du Gay, Erving Goffman, Donna Haraway, Dick Hebdige, John Chris Jones, Guy Julier, Naomi Klein, Ezio Manzini, Victor Margolin, Karl Marx, Daniel Miller, Victor Papanek, Nikolaus Pevsner, John Styles, and John Walker.

Concentrating on scholarship over the past four decades, this multidisciplinary approach to representation considers conceptual issues about representation and applies different theories to various arts. Following an introduction that traces the historical debates surrounding the concept of representation, Part One focuses on representation and language, epistemology, politics and history, sacrificial rites, possible world and postmodernism. Part Two applies current theories to painting, photography, literature, music, dance, and film. Writings highlight the vital role representation plays in the formation and appreciation of major genres of art.

This work will appeal to art philosophy and aesthetics scholars and to cultural studies and linguistic scholars. Rather than advocate certain theories, the essays illustrate the inherent complexities of representation.

Flashes of lightning, resounding thunder, gloomy fog, brilliant sunshine...these are the life manifestations of the skies. The concrete visceral experiences that living under those skies stir within us are the ground for individual impulses, emotions, sentiments that in their interaction generate their own ever-changing clouds. While our intellect concentrates on the discovery of our cosmic position, on the architecture of the universe, our imagination is informed by the gloomy vapors, the glimmers of fleeting light, and the glory of the skies. Reconnoitering from the soil of human life and striving towards the infinite, the elan of imagination gets caught up in the clouds of the skies. There in that dimness, sensory receptivity, dispositions, emotions, passionate strivings, yearnings, elevations gather and propagate. From the "Passions of the Skies" spring innermost intuitions that nourish literature and the arts. "

In this ground-breaking book, a theory of 'distortion' - of the way in which the processes of human life are subject to interference, diversion and transformation - is developed by way of the art of one of Britain's greatest twentieth-century painters and that art's public reception. Devoted to his native village of Cookham-on-Thames, Stanley Spencer painted not only landscapes and portraits with loving detail but also the 'memory-feelings' which he felt were a 'sacred' part of his consciousness. Yet Spencer was also a controversial public figure, with some taking the view that his visionary paintings were ugly distortions of human life, even marks of an immoral nature. Examining how Spencer lived his vision, how he painted it and wrote it, and also how his attempts to communicate that vision were received by his contemporaries and have continued to be interpreted since his death, the author posits distortion as key: an intrinsic aspect both of human creation and of human interaction. What we intend to make, to say, to do and have done, often mutates in the process of being expressed or put into effect: we live amid distortion. Love - the affective appreciation of one another - is then a means by which we accommodate distortion and its consequences in our lives. An illustration, through Stanley Spencer's story, of significant aspects of a human condition, this book will appeal across disciplines, including to art historians and students of Spencer's work, as well as to scholars of anthropology with interests in creativity, perception and interpretation.

This anthology has been significantly expanded for this edition to include a wider range of contemporary issues. The most important addition is a new section on multicultural theory, including important and controversial selections ranging from discussions of art in other cultures to discussions of the appropriation of nonWestern art in Western cultures. The material from Kant's Critique of Judgment has been expanded to include his writing on aesthetical ideas and the sublime. The selections from Derrida have been updated and considerably expanded for this edition, primarily from The Truth in Painting. One of Derrida's most interesting provocations has also been added, his letter to Peter Eisenman on architecture. In addition, the section on feminist theory now includes a chapter from Irigaray's Speculum of the Other Woman. This anthology includes the most important writings on the theory of art in the Western tradition, including selections from Plato, Aristotle, Hume, Kant, Hegel, and Nietzsche; the most important philosophical writings of the last hundred years on the theory of art, including selections from Collingwood, Langer, Goodman, Heidegger, and Merleau-Ponty; contemporary Continental writings on art and interpretation, including selections from Gadamer, Ricoeur, Derrida, Lyotard, and Foucault; also writings on the psychology of art by Freud and Jung, from the Frankfurt School by Benjamin, Adorno, and Marcuse, in feminist theory, multiculturalism, and postmodernism. The anthology also includes twentieth-century writings by artists including discussions of futurism, suprematism, and conceptual art.

Visually appealing, conceptually startling, and intellectually engaging-these phrases aptly describe the art of Liliana Porter. Florencia Bazzano-Nelson's study focuses on the principal theme in the Argentine-born artist's work since the 1970s: her playful but subversive dismantling of the limits that separate everyday reality from the world of illusion and simulacra. Over the years, Porter's own evolving interest in perception lead the author to explore a series of interconnected and timely issues in her artistic production, such as the representative function of art, the structural links between art and language, and the witty re-signification of the art-historical images and mass-produced kitsch figurines she has so often featured in her art. Strongly founded in critical theory, Bazzano-Nelson's approach considers Porter's art as the site of conceptually exciting dialogues with Jorge Luis Borges, Rene Magritte, Michel Foucault, and Jean Baudrillard. Her carefully crafted interdisciplinary analysis not only combines art-historical, literary, and theoretical perspectives but also addresses the artist's work in different media, such as printmaking, conceptual art, photography, and film.

Terror, dread, and violence against civilian populations constitute a true predicament of our contemporary political world. Authoritarian governments develop methods to capitalize on the arts in support of terror, where violence and trauma provoke more of the same in a vicious circle. This book argues that the arts--from film and literature to painting and comics--offers qualitatively different readings of terror and trauma, readings that endeavor to resist the exploitation and perpetuation of violence. The contributors suggest that political inquiry into the phenomenon of terror may benefit profoundly by developing non-reductive ways of reading the arts.

"The Foundations of Aesthetics, Art, and Art Education" addresses the need for a single reference that will provide educators and educational psychologists with fundamental information and an appraisal of current research in this challenging area. The contributors to this informative volume assert that aesthetics is a basic human response and that attendant educational issues are best understood from the perspective of the social and behavioral sciences--pyschology, sociology, and biology. They present the latest theoretical and empirical knowledge of the biological, social, cognitive, and philosophical bases of aesthetics as it relates to the teaching of the arts. The introductory chapters review psycho-biological and sociological perspectives of aesthetics. These are followed by chapters discussing the psychological dimensions of aesthetics, including creativity, personality, visual thinking, problem finding, and developmental processes.

An inspiring, foundational book that defines the burgeoning field of community cultural development. An inspiring, foundational book that defines the burgeoning field of community cultural development. Through personal stories, rousing accounts, detailed observation and histories, Arlene Goldbard describes how communities express and develop themselves via the creative arts. This comprehensive, photographically-illustrated book, which covers community-based arts such as theater grounded in oral history and murals celebrating cultural heritage, will appeal to the curious non-specialist reader as well as the practitioner and student. Author Arlene Goldbard is one of the best-known authors on community cultural development. Her seminal books and essays are widely read in the US and other English-speaking countries -- among them, Community, Culture and Globalization and this book's antecedent, Creative Community.