Theory for Theatre Studies: Emotion explores how emotion is communicated in drama, theatre, and contemporary performance and therefore in society. From Aristotle and Shakespeare to Stanislavski, Brecht and Caryl Churchill, theatre reveals and, informs but also warns about the emotions. The term ‘emotion’ encompasses the emotions, emotional feelings, affect and mood, and the book explores how these concepts are embodied and experienced within theatrical practice and explained in theory. Since emotion is artistically staged, its composition and impact can be described and analysed in relation to interdisciplinary approaches. Readers are encouraged to consider how emotion is dramatically, aurally, and visually developed to create innovative performance. Case studies include: Medea, Twelfth Night, The Caucasian Chalk Circle, Ibsen’s A Doll’s House, and performances by Mabou Mines, Robert Lepage, Rimini Protokoll, Anna Deavere Smith, Socìetas Raffaello Sanzio, Marina Abramovic, and The Wooster Group. By way of these detailed case studies, readers will appreciate new methodologies and approaches for their own exploration of ‘emotion’ as a performance component. Online resources to accompany this book are available at https://www.bloomsbury.com/theory-for-theatre-studies-emotion-9781350030848/.

Comprised of 45 chapters, written especially for this volume by an international team of leading experts, The Routledge Companion to the Philosophies of Painting and Sculpture is the first handbook of its kind. The editors have organized the chapters helpfully across eight parts: I: Artforms II: History III: Questions of Form, Style, and Address IV: Art and Science V: Comparisons among the Arts VI: Questions of Value VII: Philosophers of Art VIII: Institutional Questions Individual topics include art and cognitive science, evolutionary origins of art, art and perception, pictorial realism, artistic taste, style, issues of race and gender, art and religion, art and philosophy, and the end of art. The work of selected philosophers is also discussed, including Diderot, Hegel, Ruskin, Gombrich, Goodman, Wollheim, and Danto. With a volume introduction from the editors and comprehensively indexed, The Routledge Companion to the Philosophies of Painting and Sculpture serves as a point of entry to the subject for a broad range of students as well as an up-to-date reference for scholars in the field.

This fully revised and updated third edition offers students and artists valuable insights into traditional color theory and its practical application using today's cutting-edge technology. The text is lavishly illustrated, stressing issues of contemporary color use and examining how today's artists and designers are using color in a multitude of mediums in their work. It is the only book that has parity between the male and female artists and designers represented, while containing more multicultural and global examples of art and design than any other text. This book begins with how we see color and its biological basis, progressing to the various theories about color and delving into the psychological meaning of color and its use. There are individual chapters on color use in art and design, as well as global and multicultural color use. One chapter investigates cross cultural life events such as marriages and funerals, while examining the six major religions' conceptual and psychological underpinnings of color use. The final chapter explores the future of color. Contemporary Color is the ideal text for color theory courses, but also for beginning art and design students, no matter what their future major discipline or emphasis may be. It provides the foundation on which to build their career and develop their own personal artistic voice and vision.

How does the avant-garde create spaces in everyday life that subvert regimes of economic and political control? How do art, aesthetics and activism inform one another? And how do strategic spaces of creativity become the basis for new forms of production and governance? The Composition of Movements to Come reconsiders the history and the practices of the avant-garde, from the Situationists to the Art Strike, revolutionary Constructivism to Laibach and Neue Slowenische Kunst, through an autonomist Marxist framework. Moving the framework beyond an overly narrow class analysis, the book explores broader questions of the changing nature of cultural labor and forms of resistance around this labor. It examines a doubly articulated process of refusal: the refusal of separating art from daily life and the re-fusing of these antagonistic energies by capitalist production and governance. This relationship opens up a new terrain for strategic thought in relation to everyday politics, where the history of the avant-garde is no longer separated from broader questions of political economy or movement, but becomes a point around which to reorient these considerations.

The first English translation of one of the earliest and most brilliant art-historical surveys, from one of the greatest modern art historians Alois Riegl (1858-1905) was one of the greatest modern art historians. The most important member of the so-called Vienna School, Riegl developed a highly refined technique of visual or formal analysis, as opposed to the iconological method championed by Erwin Panofsky with its emphasis on decoding motifs through recourse to texts. Riegl pioneered new understandings of the changing role of the viewer, the significance of non-high art objects such as ornament and textiles, and theories of art and art history, including his much-debated neologism Kunstwollen (the will of art). Finally, his Historical Grammar of the Visual Arts, which brings together many of the diverse threads of his thought, is available to an English-language audience in a superlative translation by Yale professor Jacqueline E. Jung. In one of the earliest and perhaps the most brilliant of all art historical "surveys," Riegl addresses the different visual arts within a sweeping conception of the history of culture. His account derives from Hegelian models but decisively opens onto alternative pathways that refuse attempts to reduce art merely to the artist's intentions or its social and historical functions.

Is gender implicated in how art does its work in the world created by global capital? Is a global imperative exclusive to capital's planetary expansion or also witnessed in oppositional practices in art and curating? And what is new in the gendered paradigms of art after the fall of the Berlin Wall? Angela Dimitrakaki addresses these questions in an insightful and highly original analysis of travel as artistic labour, the sexualisation of migration as a relationship between Eastern and Western Europe, the rise of female collectives, masculinity and globalisation's 'bad boys', the emergence of a gendered economic subject that has dethroned postmodernism, and the need for a renewed materialist feminism. Now available in paperback, this is a theoretically astute overview of developments in art and its contexts since the 1990s and the first study to attempt a critical refocusing of feminist politics in art history in the wake of globalisation. It will be essential reading in art history, gender, feminist and globalisation studies, curatorial theory, cultural studies and beyond. -- .

Georges Didi-Huberman is a philosopher of images whose work is overdue for attention from English-language readers. Since the publication of his first book in 1982, he has published 46 essays, mostly with the prestigious Editions de Minuit, on topics ranging from monographs on individual artists to critical excursions into political philosophy. He is recognised in France and elsewhere in Europe as one of the foremost philosophers of the image writing today. In Georges Didi-Huberman and Film, Alison Smith concentrates on how Didi-Huberman's work has been informed by cinema, especially in his major (and ongoing) recent work L'Oeil de l'Histoire (The Eye of History). The book traces the development of Didi-Huberman's visual thought towards a cinematic sensibility already inherent in his early work on images in relationship to each other. After exploring his increasingly political understanding of the vital role of cinematic montage, it traces his growing understanding of cinema as a medium for expressing a dynamic representation of peoples' memory and experience, and documents his engagement with contemporary filmmakers such as Laura Waddington and Vincent Dieutre.

Sjoerd van Tuinen argues for the inseparability of matter and manner in the form of a group portrait of Leibniz, Bergson, Whitehead, Souriau, Simondon, Deleuze, Stengers, and Agamben. Examining afresh the 16th-century style of mannerism, this book synthesizes philosophy and aesthetics to demonstrate not only the contemporary relevance of artists such as Michelangelo or Arcimboldo but their broader significance as incorporating a form of modal thinking and perceiving. While looking at mannerism as a style that spurned the balance and proportion of earlier Renaissance models in favour of compositional instability and tension, this book also conceives of mannerism a-historically to investigate what it can tell us about continental modal metaphysics. Whereas analytical metaphysics privileges logical essence and asks whether something is possible, real, contingent, or necessary, continental philosophy privileges existence and counts as many modes as there are ways of coming-into-being. In three main parts, van Tuinen first explores the ontological, aesthetic, and ethical ramifications of this distinction. He then develops this through an extended study of Leibniz as a modal and indeed mannerist philosopher, before outlining in the final part a (neo)-mannerist aesthetics that incorporates diagrammatics, alchemy, and contemporary technologies of speculative design.

A revisionist reading of modern art that examines how artworks are captured as property to legitimize power In this provocative new account, David Joselit shows how art from the nineteenth to the twenty-first centuries began to function as a commodity, while the qualities of the artist, nation, or period themselves became valuable properties. Joselit explores repatriation, explaining that this is not just a contemporary conflict between the Global South and Euro-American museums, noting that the Louvre, the first modern museum, was built on looted works and faced demands for restitution and repatriation early in its history. Joselit argues that the property values of white supremacy underlie the ideology of possessive individualism animating modern art, and he considers issues of identity and proprietary authorship. Joselit redefines art's politics, arguing that these pertain not to an artwork's content or form but to the way it is "captured," made to represent powerful interests-whether a nation, a government, or a celebrity artist collected by oligarchs. Artworks themselves are not political but occupy at once the here and now and an "elsewhere"-an alterity-that can't ever be fully appropriated. The history of modern art, Joselit asserts, is the history of transforming this alterity into private property. Narrating scenes from the emergence and capture of modern art-touching on a range of topics that include the Byzantine church, French copyright law, the 1900 Paris Exposition, W.E.B. Du Bois, the conceptual artist Adrian Piper, and the controversy over Dana Schutz's painting Open Casket-Joselit argues that the meaning of art is its infinite capacity to generate experience over time.

Alois Riegl's art history has influenced thinkers as diverse as Erwin Panofsky, Georg Lukacs, Walter Benjamin, Paul Feyerabend, Gilles Deteuze, and Felix Guattari. One of the founders of the modern discipline of art history, Riegl is best known for his theories of representation. Yet his inquiries into the role of temporality in artistic production - including his argument that art conveys a culture's consciousness of time - show him to be a more wide-ranging and influential commentator on historiographical issues than has been previously acknowledged. In ""Time's Visible Surface"", Michael Gubser presents Riegl's work as a sustained examination of the categories of temporality and history in art. Supported by a rich exploration of Riegl's writings, Gubser argues that Riegl viewed artworks as registering historical time visibly in artistic forms. Gubser's discussion of Riegl's academic milieu also challenges the widespread belief that Austrian modernism adopted a self-consciously a historical worldview. By analyzing the works of Riegl's professors and colleagues at the University of Vienna, Gubser shows that Riegl's interest in temporality, from his early articles on calendar art through later volumes on the Roman art industry and Dutch portraiture, fit into a broad discourse on time, history, and empiricism that engaged Viennese thinkers such as the philosopher Franz Brentano, the historian Theodor von Sickel, and the art historian Franz Wickhoff. By expanding our understanding of Riegl and his intellectual context, ""Time's Visible Surface"" demonstrates that Riegl is a pivotal figure in cultural theory and that fin-de-siecle Vienna holds continued relevance for today's cultural and philosophical debates.

First published in 1952, John Constable and the Fishers is based on original letters which have never been published in full before. These have been woven into a connected narrative dealing with the friendship which existed between Constable and various members of the Fisher family, more particularly the Bishop of Salisbury (a personal friend of George III who entrusted him with the education of Princess Charlotte as heiress to the throne) and his nephew the Archdeacon of Berkshire. The Archdeacon's letters give a picture of life in a cathedral closed and country vicarages, reminiscent of Trollope's Barchester and Thomas Hardy's Wessex. In return Constable confides his ideals and ambitions; and as Mr. Grigson suggests in his introduction, the encouragement he received from the Fishers may have had a decisive effect on the future of landscape art. The letters are fully annotated and are illustrated with connected works done by Constable. This book will of interest to students of history, art and literature.

Perception of expression distinguishes our cognitive activity in a pervasive, significant and peculiar way, and manifests itself paradigmatically in the vast world of artistic production. Art and Expression examines the cognitive processes involved in artistic production, aesthetic reception, understanding and enjoyment. Using a phenomenological theoretical and methodological framework, developed by Rudolf Arnheim and other important scholars interested in expressive media, Alberto Argenton considers a wide range of artistic works, which span the whole arc of the history of western graphic and pictorial art. Argenton analyses the representational strategies of a dynamic and expressive character that can be reduced to basic aspects of perception, like obliqueness, amodal completion, and the bilateral function of contour, giving new directions relative to the functioning of cognitive activity. Art and Expression is a monument to the fruitful collaboration of art history and psychology, and Argenton has taken great care to construct a meaningful psychological approach to the arts based also on a knowledge of pictorial genres that allows him to systematically situate the works under scrutiny. Art and Expression is an essential resource for postgraduate researchers and scholars interested in visual perception, art, and gestalt psychology.

Modernity theory approaches modern experience as it incorporates a sense of itself as 'modern' (modernity), along with the possibilities and limitations of representing this in the arts and culture generally (modernism). The book interrogates modernity in the name of a fluid, unsettled, unsettling modernism. As the offspring of the Enlightenment and the Age of Sensibility, modernity is framed here through a cultural aesthetics that highlights not just an instrumental, exploitative approach to the world but the distinctive configuration of embodiment, feeling, and imagination, that we refer to as 'civilization', in turn both explored and subverted through modernist experimentalism and reflexive thinking in culture and the arts. This discloses the rationalizing pretensions that underlie the modern project and have resulted in the sensationalist, melodramatic conflicts of good and evil that traverse our contemporary world of politics and popular culture alike. This innovative approach permits modernity theory to link otherwise fragmented insights of separate humanities disciplines, aspects of sociology, and cultural studies, by identifying and contributing to a central strand of modern thought running from Kant through Benjamin to the present. One aspect of modernity theory that results is that it cannot escape the paradoxes inherent in reflexive involvement in its own history.

Precarious objects explores the traffic between design and activism by telling stories drawn from contemporary counter-precarity cases in Italy. As a category of labour and of global social experience in general, precarity is a wicked problem that affects all aspects of life, regulating the production and circulation of a wide range of material and immaterial effects. In this book, three microhistories of counter-precarity explore existent forms of resistance and resilience to precarity. Drawing on ethnographies and archives and bringing together debates from design theory, cultural studies and geography, this study shows how design objects and practices recode political communication and reorient how things are imagined, produced and circulated. It also shows how design as a practice can reconfigure material conditions and prefigure ways to repair some of the effects of precarity on everyday life. -- .

"The Field of Cultural Production" brings together Bourdieu's most important writings on art, literature and aesthetics. Bourdieu develops a highly original approach to the study of literary and artistic works, addressing many of the key issues that have preoccupied literary, art and cultural criticism in the late twentieth century: aesthetic value and judgement, the social contexts of cultural practice, the role of intellectuals and artists, and the structures of literary and artistic authority.

Bourdieu elaborates a theory of the cultural field which situates artistic works within the social conditions of their production, circulation and consumption. He examines the individuals in institutions involved in making products: not only the writers and artists, but also the publishers, critics, dealers, galleries and academies. He analyses the structure of the cultural field itself, as well as its position within the broader social structures of power.

The essays gathered together in this volume examine a variety of substantive topics, including Flaubert's point of view, Manet's aesthetic revolution, the historical creation of the pure gaze, and the relationship between art and power. "The Field of Cultural Production" will be of interest to students and scholars from a wide range of disciplines: sociology and social theory, literature, art and cultural studies.

This book explores the collaborations, during the mid-20th century, between the Metropolitan Museum of Art and the Book-of-the-Month Club. Between 1948 and 1962 the two institutions collaborated on three book projects-The Metropolitan Museum of Art Miniatures (1948-1957), The Metropolitan Seminars in Art (1958-60), and a print reproduction of Rembrandt's Aristotle Contemplating the Bust of Homer (1962)-bringing art from the Met's collections right into the homes of subscribers. The Met and the Masses places these commercial enterprises in a variety of contemporary and historical contexts, including the relation of cultural education to democracy in America, the history of the Met as an educational institution, the rise of art education in postwar America, and the concurrent transformation of the home into a space that mediated familial privacy and the public sphere. Using never before published archival material, the book demonstrates how the Met sought to bring art to the masses in postwar America, whilst upholding its reputation as an institution of high culture. It is essential reading for scholars, researchers and curators interested in the history of modern art, museum and curatorial studies, arts and cultural management, heritage studies, as well as the history of art publications.

All loved, and were loved by, their artists, and inspired them with an intensity of emotion akin to Eros.

In a brilliant, wry, and provocative book, National Book Award finalist Francine Prose explores the complex relationship between the artist and his muse. In so doing, she illuminates with great sensitivity and intelligence the elusive emotional wellsprings of the creative process.

The nature of fiction has long been debated across the humanities, and is of considerable importance for philosophical aesthetics, literary theory, narratology and the history of ideas. This volume offers something entirely new: a selection of multidisciplinary perspectives on fiction written by an international team of contributors at the forefront of their fields, providing a spectrum of approaches to compare and contrast. This volume, divided between historical, cognitive, aesthetic and non-western approaches, targets a wide range of topics, including mathematics, history, religion and metaphysics. This is a seminal volume on one of the most important topics in the humanities.

It proposes that decolonizing, ecocritical, feminist art's histories can unravel the anthropocentric legacies of Eurocentric universalism, to create transformative conversations between and across many and more-than-human worlds. It demonstrates how planetary feminisms can foster interdependent flourishing as they story pluriversal worlds, and world pluriversal stories, with art. It is essential reading for students and researchers in art history, theory and practice, visual culture studies, feminism and gender studies, environmental humanities and cultural geography.

Pailthorpe's important contributions to the development of psychoanalysis are largely overlooked now * Many of her key writings are published here for the first time * Her work ties into the contemporary interest in links between psychoanalysis and creative endeavour

Counterfactual thinking has become an established method to evaluate decisions in a range of disciplines, including history, psychology and literature. Elke Reinhuber argues it also has valuable applications in the fine arts and popular media. A fascination with the path not taken is a logical consequence of a world saturated with choices. Art which provokes and explores these tendencies can help to recognise and contextualise the impulse to avoid or endlessly revisit individual or collective decisions. Reinhuber describes the term in broad strokes through the disciplines to show how counterfactualism finds shape in contemporary art forms, especially in photography, film, and immersive and interactive media art (such as 360 Degrees content, virtual reality and augmented reality). She analyses the different stages of counterfactuals with examples where artists experience counterfactual thoughts in the process of art production, explore these thoughts in their artwork, and where the artwork itself evokes counterfactual thoughts in the audience. A fascinating exploration for scholars and students of art, media and the humanities, and anybody else with an interest in choices, the art of decisionmaking and counterfactualism.

Provides a broad a bottom-up set of multiple international examples of projects initiated by social practitioners and by artists - and by collaboration between the two - in varied settings and domains. Provides a set of examples, methods, and ideas for including social workers, community workers, social change advocates, art therapists, psychologists, human geographers, and town and urban planners, but also social artists, cultural policy makers, and those interested in using social arts in participatory research. Will be of interest to community workers, social change advocates, art therapists, psychologists, human geographers, and town and urban planners and will inspire and guide all of the above groups on the theoretical, academic, training, and practice levels of using social arts.

Ireland and the North is an edited collection of chapters engaging with the relationship between Ireland and the Nordic countries. As a spatial and geographical point of reference for the formation of political and cultural identities in Ireland, the idea of "the North" encourages the identification of overlooked connections between Ireland and the Nordic countries, which, like Ireland, are also small nation states on the periphery of Europe. Importantly, the book employs a double conceptualisation of "the North" to include Northern Ireland. Moving beyond the nation state as a key framework for analysis of human activity, this collection engages with the transnational and transcultural in a mapping of connectivity and exchange. Relationships explored are imaginary and material exchanges, civic and personal linkages, literary adaptation and appropriation, transfers of cultural artefacts, political institutions and ideas. Chapters are drawn from a wide-ranging field of study that includes art history, literary history and theory, archaeology, antiquarianism, and media studies in addition to political analysis. With three sections on Material Culture, Political Culture and Print Culture, the book moves beyond the predominant literary paradigm in Irish Studies to make a significant contribution to expanding and developing the field.