Exploiting a link between early modern concepts of the medical and the literary, David Houston Wood suggests that the recent critical attention to the gendered, classed, and raced elements of the embodied early modern subject has been hampered by its failure to acknowledge the role time and temporality play within the scope of these admittedly crucial concerns. Wood examines the ways that depictions of time expressed in early modern medical texts reveal themselves in contemporary literary works, demonstrating that the early modern recognition of the self as a palpably volatile entity, viewed within the tenets of contemporary medical treatises, facilitated the realistic portrayal of literary characters and served as a structuring principle for narrative experimentation. The study centers on four canonical, early modern texts notorious among scholars for their structural- that is, narrative, or temporal- difficulties. Wood displays the cogency of such analysis by working across a range of generic boundaries: from the prose romance of Philip Sidney's Arcadia, to the staged plays of William Shakespeare's Othello and The Winter's Tale, to John Milton's stubborn reliance upon humoral theory in shaping his brief epic (or closet drama), Samson Agonistes. As well as adding a new dimension to the study of authors and texts that remain central to early modern English literary culture, the author proposes a new method for analyzing the conjunction of character emotion and narrative structure that will serve as a model for future scholarship in the areas of historicist, formalist, and critical temporal studies.

Exploiting a link between early modern concepts of the medical and the literary, David Houston Wood suggests that the recent critical attention to the gendered, classed, and raced elements of the embodied early modern subject has been hampered by its failure to acknowledge the role time and temporality play within the scope of these admittedly crucial concerns. Wood examines the ways that depictions of time expressed in early modern medical texts reveal themselves in contemporary literary works, demonstrating that the early modern recognition of the self as a palpably volatile entity, viewed within the tenets of contemporary medical treatises, facilitated the realistic portrayal of literary characters and served as a structuring principle for narrative experimentation. The study centers on four canonical, early modern texts notorious among scholars for their structural- that is, narrative, or temporal- difficulties. Wood displays the cogency of such analysis by working across a range of generic boundaries: from the prose romance of Philip Sidney's Arcadia, to the staged plays of William Shakespeare's Othello and The Winter's Tale, to John Milton's stubborn reliance upon humoral theory in shaping his brief epic (or closet drama), Samson Agonistes. As well as adding a new dimension to the study of authors and texts that remain central to early modern English literary culture, the author proposes a new method for analyzing the conjunction of character emotion and narrative structure that will serve as a model for future scholarship in the areas of historicist, formalist, and critical temporal studies.

On the leading edge of trauma and archival studies, this timely book engages with the recent growth in visual projects that respond to the archive, focusing in particular on installation art. It traces a line of argument from practitioners who explicitly depict the archive (Samuel Beckett, Christian Boltanski, Art & Language, Walid Raad) to those whose materials and practices are archival (Miroslaw Balka, Jean-Luc Godard, Silvia Kolbowski, Boltanski, Atom Egoyan). Jones considers in particular the widespread nostalgia for 'archival' media such as analogue photographs and film. He analyses the innovative strategies by which such artefacts are incorporated, examining five distinct types of archival practice: the intermedial, testimonial, personal, relational and monumentalist.

David Houston Jones builds a bridge between practices conventionally understood as forensic, such as crime scene investigation, and the broader field of activity which the forensic now designates, for example in performance and installation art as well as photography. Contemporary work in these areas responds both to forensic evidence, including crime scene photography, and to some of the assumptions underpinning its consumption. It asks how we look, and in whose name, foregrounding and scrutinising the enduring presence of voyeurism in visual media and instituting new forms of ethical engagement. Such work responds to the object-oriented culture associated with the forensic and offers a reassessment of the relationship of human voice and material evidence. It displays an enduring debt to the discursive model of testimony which has so far been insufficiently recognised, and which forms the basis for a new ethical understanding of the forensic. Jones's analysis brings this methodology to bear upon a strand of contemporary visual activity that has the power to significantly redefine our understandings of the production, analysis and deployment of evidence. Artists examined include Forensic Architecture, Simon Norfolk, Melanie Pullen, Angela Strassheim, John Gerrard, Julian Charriere, Trevor Paglen, Laura Poitras and Sophie Ristelhueber. The book will be of interest to scholars working in art history, visual culture, literary studies, modern languages, photography and critical theory.

On the leading edge of trauma and archival studies, this timely book engages with the recent growth in visual projects that respond to the archive, focusing in particular on installation art. It traces a line of argument from practitioners who explicitly depict the archive (Samuel Beckett, Christian Boltanski, Art & Language, Walid Raad) to those whose materials and practices are archival (Miroslaw Balka, Jean-Luc Godard, Silvia Kolbowski, Boltanski, Atom Egoyan). Jones considers in particular the widespread nostalgia for 'archival' media such as analogue photographs and film. He analyses the innovative strategies by which such artefacts are incorporated, examining five distinct types of archival practice: the intermedial, testimonial, personal, relational and monumentalist.

Fugue is a work of literary fiction that is coupled with a six track, musical concept album. The genre of the book blends dystopian, romantic, and suspense elements within a plot-driven narrative that unfolds across 30 years, four continents, and between three main characters. Finley Hughes, Katrina Scarlet Worthington, and Gregory Trueheart each face a dramatic, life-changing event around the age of eighteen, setting them upon a path that irrevocably intertwines their story and romantic involvement for better and for worse. The plot shifts in a dystopian direction halfway through the story after the "Annihilation of Ages" terrorist attacks redefine the geopolitical landscape of America and the entire world. Everything else is pure fugue, the title itself referring either to the style of musical composition I've adopted as a literary metaphor, the etymology of the word from Latin (meaning 'to flee'), or in reference to the psychological 'fugue state' (similar to amnesia). www.davidhoustonfugue.com

This book proposes an interdisciplinary integration of empirically grounded musicological evidence into linguistic curricula. Phonological, syntactic, and neurological convergences between music and language are identified. However, differences in semantic content and the deliberateness ascribed to a musical or linguistic event inhibit the extent to which a music-language comparison can advance without qualification. Two experiments were conducted, the first presenting a unique music-linguistic phenomenon, suggesting that the major and minor modes in music are non-arbitrarily associated with certain linguistic stimuli ('kiki' and 'bouba', respectively) in accord with their phonetic characteristics (e.g. vowel and consonant quality). This topic is considered in the light of evidence from synaesthesia and sound symbolism. The second experiment explores the level of accord between the linguistic and musical academic communities on subjects relevant to an interdisciplinary discussion. A questionnaire form was administered, with results indicating that an insufficient amount of agreement exists between the two fields to facilitate a productive exchange and evaluation of ideas.

Exhibited around the world yet rarely seen together, Steve Tobin s site-specific massive sculptures and select key smaller works and installations are chronicled within a comprehensive selection of 150 images. This comprehensive monograph draws parallels between themes from nature that underpin his body of work, from the interplay of chaos and order to that of growth and decay, establishing his art and practice firmly within the tradition of contemporary monumental art. Tracing the development of his nearly thirty-year practice and featured work is an original text by Phoebe Hoban, author of the best-selling biography Basquiat: A Quick Killing in Art. A foreword by art curator David Houston establishes Tobin within the tradition of contemporary monumental sculptors.

This groundbreaking collection from scholars and artists on the legacy of Beckett in contemporary art provides readers with a unique view of this important writer for page, stage, and screen. The volume argues that Beckett is more than an influence on contemporary arthe is, in fact, a contemporary artist, working alongside artists across disciplines in the 1960s, 1970s, and beyond. The volume explores Becketts formal experiments in drama, prose, and other media as contemporary, parallel revisions of modernisms theoretical presuppositions congruent with trends like Minimalism and Conceptual Art. Containing interviews with and pieces by working artists, alongside contributions of scholars of literature and the visual arts, this collection offers an essential reassessment of Becketts work. Perceiving Becketts ongoing importance from the perspective of contemporary art practices, dominated by installation and conceptual strategies, it offers a completely new frame through which to read perennial Beckettian themes of impotence, failure, and penury. From Becketts remains, as it were, contemporary artists find endless inspiration.