One of the issues underlying current debates between practitioners of art history, visual culture and aesthetics is whether the visual is a unique, irreducible category, or whether it can be assimilated with the textual or verbal without any significant loss. Can paintings, buildings or installations be 'read' in the way texts are read or deciphered, or do works of visual art ask for their own kind of appreciation? This is not only a question of choosing the right method in dealing with visual works of art, but also an issue that touches on the roots of the disciplines involved: can a case be made for the visual as an irreducible category of art, and if so, how is it best studied and appreciated? In this anthology, this question is approached from the angles of three disciplines: aesthetics, visual culture and art history. Unlike many existing overviews of visual culture studies, it includes both painting and architecture, and investigates historical ways of defining and appreciating the visual in their own, contemporary terms. Dealing with the Visual will be of great use to advanced students because it offers an overview of current debates, and to graduate students and professionals in the field because the essays offer in-depth investigations of the methodological issues involved and various historical ways of defining visuality. The topics included range from early modern ways of viewing pictures and sixteenth-century views of Palladio's villas in their landscape settings to contemporary debate about whether there is life yet in painting.

The fine arts are traditionally seen to have intrinsic value: that is, they are valuable in themselves. But this poses a problem for architecture: its works are designed to serve our purposes, and therefore it is classed as functional. Carving out a new space, Edward Winters argues why architecture is a fine art and finds a place for the fine art of architecture in the cultural environment in which we structure our lives. Winters reconciles intrinsic value, as a fine art, with extrinsic value, as shelter, security and comfort, without collapsing into the modernist conception of Functionalism. He draws on the Apollonian and the Dionysian to resolve the apparent conflict between the two values: the former requiring contemplative, detached reflection, the latter an engaged, embodied entanglement with the festive mood inspired by the immediate situation. Architecture, Winters claims, is to be regarded as functional; but this functionality is subsumed under the intrinsic aesthetic value of living well. Introducing the main positions in the philosophy of architecture through the lens of the timeless argument about what constitutes art, Winters lays out a humanistic view of the medium and extends our understanding of aesthetics and the everyday.

One of the issues underlying current debates between practitioners of art history, visual culture and aesthetics is whether the visual is a unique, irreducible category, or whether it can be assimilated with the textual or verbal without any significant loss. Can paintings, buildings or installations be 'read' in the way texts are read or deciphered, or do works of visual art ask for their own kind of appreciation? This is not only a question of choosing the right method in dealing with visual works of art, but also an issue that touches on the roots of the disciplines involved: can a case be made for the visual as an irreducible category of art, and if so, how is it best studied and appreciated? In this anthology, this question is approached from the angles of three disciplines: aesthetics, visual culture and art history. Unlike many existing overviews of visual culture studies, it includes both painting and architecture, and investigates historical ways of defining and appreciating the visual in their own, contemporary terms. Dealing with the Visual will be of great use to advanced students because it offers an overview of current debates, and to graduate students and professionals in the field because the essays offer in-depth investigations of the methodological issues involved and various historical ways of defining visuality. The topics included range from early modern ways of viewing pictures and sixteenth-century views of Palladio's villas in their landscape settings to contemporary debate about whether there is life yet in painting.

Chess has developed such a large body of myth and folklore that sorting fact from fiction is not easy. As with Edward Winter's previous volumes in his ""Chess Notes"" series - ""Chess Explorations"" (1996), ""Kings, Commoners and Knaves"" (1999) and ""A Chess Omnibus"" (2003) - this work (from a new publisher) features in-depth research into chess lore, corrections of popular misconceptions, biographical notes on famous players, and authenticated quotations. There is a rich selection of forgotten games, and many items include contributions from the author's correspondents worldwide. Written for the general chess enthusiast and the devotee of chess history, the book is illustrated with more than 220 rare photographs and 122 diagrams of chess positions. It concludes with a bibliography and indexes of players, games and openings, illustrations, and general subjects.

The fine arts are traditionally seen to have intrinsic value: that is, they are valuable in themselves. But this poses a problem for architecture: its works are designed to serve our purposes, and therefore it is classed as functional. Carving out a new space, Edward Winters argues why architecture is a fine art and finds a place for the fine art of architecture in the cultural environment in which we structure our lives. Winters reconciles intrinsic value, as a fine art, with extrinsic value, as shelter, security and comfort, without collapsing into the modernist conception of Functionalism. He draws on the Apollonian and the Dionysian to resolve the apparent conflict between the two values: the former requiring contemplative, detached reflection, the latter an engaged, embodied entanglement with the festive mood inspired by the immediate situation. Architecture, Winters claims, is to be regarded as functional; but this functionality is subsumed under the intrinsic aesthetic value of living well. Introducing the main positions in the philosophy of architecture through the lens of the timeless argument about what constitutes art, Winters lays out a humanistic view of the medium and extends our understanding of aesthetics and the everyday.

A double bill of teen-sex comedies. 'Porky's (1981) is set in 1950s Florida and a group of high school teens try to release their sexual frustration by going to Porky's, the local brothel. However, when the owner throws them out into the local swamp, the boys' interest switches from getting laid to getting even. A huge 'sleeper' hit at the box office, this film spawned two sequels and a spate of nostalgic teen sex comedies. In the first sequel 'Porky's 2' (1983), the high school kids do battle with puritanical grown-ups and the Ku Klux Klan, winning the day through a combination of schoolboy pranks and sexual hi-jinx.

The Continuum Aesthetics Series looks at the aesthetic questions and issues raised by all major art forms. Stimulating, engaging and highly readable, the series offers food for thought not only for students of aesthetics, but also for anyone with an interest in philosophy and the arts. Aesthetics and Architecture" places analytical philosophical aesthetics at the heart of thinking about, and looking at, architecture. The book looks at classic and contemporary aesthetic and philosophical views of architecture. It considers, with stimulating insight and great clarity, how Classicism, Modernism, Structuralism, Post-structuralism and Situationism have influenced architectural aesthetics and shaped our view of the built environment. It also explores the challenges to the various intellectual and cultural movements that inform how people create and look at buildings. The book moves on to investigate the aesthetic qualities, demands and approaches specific to architecture and architectural thinking, concluding with 'a programme for contemporary architecture'. Anyone studying or interested in architecture or philosophical aesthetics will find this book a rich source of ideas, insight and information. Combining a clear and engaging style with a sophisticated treatment of a fascinating subject, Aesthetics and Architecture" is a valuable contribution to contemporary aesthetics - one that revitalises the way we look at the form, purpose and meaning of our built environment.>

A cornucopia of games, positions, biographies, mysteries, howlers, reviews, quotations, etc., featuring a cast of hundreds from the chess world of today and yesteryear -- the champions and the under-achievers; the scholars and the bunglers; the saints and the sinners. Every page provides fascinating, little-known material from an author who is prepared to name names.

All the episodes from the first five series of the 1980s action drama featuring the avenging soldiers of fortune John 'Hannibal' Smith (George Peppard), Templeton Peck (Dirk Benedict), 'Howling Mad' Murdock (Dwight Schultz) and B. A. Baracus (Mr T). Series 1 episodes are: 'Mexican Slayride', 'Children of Jamestown', 'Pros and Cons', 'A Small and Deadly War', 'Black Day at Bad Rock', 'The Rabbit Who Ate Las Vegas', 'The Out-of-Towners', 'Holiday in the Hills', 'West Coast Turnaround', 'One More Time', 'Till Death Do Us Part', 'The Beast from the Belly of a Boeing' and 'A Nice Place to Visit'. Series 2 episodes are: 'Diamonds 'n' Dust', 'Recipe for Heavy Bread', 'The Only Church in Town', 'Bad Time On the Border', 'When You Comin' Back, Range Rider? (Part 1)', 'When You Comin' Back, Range Rider? (Part 2)', 'The Taxicab Wars', 'Labor Pains', 'There's Always a Catch', 'Water, Water Everywhere', 'Steel', 'The White Ballot', 'The Maltese Cow', 'In Plane Sight', 'The Battle of Bel Air', 'Say It With Bullets', 'Pure-Dee Poison', 'It's a Desert Out There', 'Chopping Spree', 'Harder Than It Looks', 'Deadly Manoeuvres', 'Semi-Friendly Persuasion' and 'Curtain Call'. Series 3 episodes are: 'Bullets and Bikinis', 'The Bend in the River (Part 1)', 'The Bend in the River (Part 2)', 'Fire', 'Timber!', 'Double Heat', 'Trouble On Wheels', 'The Island', 'Showdown!', 'Sheriffs of Rivertown', 'The Bells of St. Mary's', 'Hot Styles', 'Breakout!', 'Cup a' Joe', 'The Big Squeeze', 'Champ!', 'Skins', 'Road Games', 'Moving Targets', 'Knights of the Road', 'Waste 'Em!', 'Bounty', 'Beverly Hills Assault', 'Trouble Brewing' and 'Incident at Crystal Lake'. Series 4 episodes are: 'Judgement Day (Part 1)', 'Judgement Day (Part 2)', 'Where Is the Monster When You Need Him?', 'Lease With an Option to Die', 'The Road to Hope', 'The Heart of Rock 'n' Roll', 'Body Slam', 'Blood, Sweat and Cheers', 'Mind Games', 'There Goes the Neighbourhood', 'The Doctor Is Out', 'Uncle Buckle-Up', 'Wheel of Fortune', 'The A-Team Is Coming, the A-Team Is Coming', 'Members Only', 'Cowboy George', 'Waiting for Insane Wayne', 'The Duke of Whispering Pines', 'Beneath the Surface', 'Mission of Peace', 'The Trouble With Harry', 'A Little Town With an Accent' and 'The Sound of Thunder'. Series 5 episodes are: 'Dishpan Man', 'Trial By Fire', 'Firing Line', 'Quarterback Sneak', 'The Theory of Revolution', 'The Say UNCLE Affair', 'Alive at Five', 'Family Reunion', 'Point of No Return', 'The Crystal Skull', 'The Spy Who Mugged Me', 'The Grey Team' and 'Without Reservations'.