This book investigates how identities have been constructed in Australian art from 1788 onwards. Ian McLean shows that Australian art, and the writing of its history, has, since settlement, been in a dialogue (although often submerged) with Aboriginal art and culture; and that this dialogue is inextricably interwoven with the struggle to find an identity in the antipodes. Beginning with a discussion of how Australia was imagined by Europeans before colonisation, McLean traces the representation of indigeneity through the history of Australian art, and the concomitant invention of an Australian subjectivity. He argues that the colonising culture invested far more in indigenous aspects of the country and its inhabitants than it has been willing to admit. McLean considers artists and their work within a cultural context, and also provides a contemporary theoretical and critical context for his claims.

How or what were doctors in the Renaissance trained to think, and how did they interpret the evidence at their disposal for making diagnoses and prognoses? This 2001 book addresses these questions in the broad context of the world of learning: its institutions, its means of conveying and disseminating information, and the relationship between university faculties. The uptake by doctors from the university arts course - the foundation for medical studies - is examined in detail, as are the theoretical and empirical bases for medical knowledge, including its concepts of nature, health, disease and normality. Logic, Signs and Nature in the Renaissance ends with a detailed investigation of semiotic, which was one of the five parts of the discipline of medicine, in the context of the various versions of semiology available to scholars. From this survey, Maclean makes an interesting assessment of the relationship of Renaissance medicine to the new science of the seventeenth century.

It is a commonplace of modern scholarship that there was no general theory of language available to Renaissance thinkers, and that studies of grammar confined themselves for the most part to the investigation of formal features of language. However, no community can operate without some shared assumptions about meaning and its transmission; and it is manifest from the plethora of works of interpretation at this time--commentaries, translations, paraphrases, editions, epitomes--that the practice of conveying significance was thriving, and giving rise to heated debates about correct interpretation in theology, law, medicine, philosophy and humanistic studies. This book investigates theories of interpretation and meaning in Renaissance jurisprudence. How do they relate to the institutions of the law, especially pedagogical institutions? What characterizes the most commonly adopted theories of the legal profession? In what form were they published? How do they relate to the principles of interpretation found in the trivium of grammar, dialectics and rhetoric? In what ways, if any, do they mark a departure from medieval approaches? How do they relate to modern canons of interpretation? And how do they relate to similar issues in modern semantics and the philosophy of language, such as speech act theory or the 'logic of the supplement'? An answer to these questions is sought through an investigation of Renaissance problems concerning the authority of interpreters, the questions of signification, definition, verbal propriety and verbal extension, the problem of cavillation, the alternative interpretative strategies of ratio legis and mens legislatoris, the performative functions of language, and custom and equity as means of interpretation. The theoretical issues raised are examined in the exemplary case of defamation.

This book examines Renaissance modes of interpretation as they arise in legal contexts, and relates them to modern debates about meaning and its determination. By placing legal hermeneutic theories in their institutional and pedagogical contexts, the author is able to give an account of Renaissance thought showing how it operates in its own terms, and in relation to the thought of the medieval period. Renaissance legal thought is also compared to modern discussions of interpretation, allowing a critical examination of its coherence and consistency.

The Political Responsibility of Intellectuals addresses the many problems in defining the relationship of intellectuals to the society in which they live. In what respects are they responsible for, and to, that society? Should they seek to act as independent arbiters of the values explicitly or implicity espoused by those around them? Should they seek to advise those in public life about the way in which they should act, or should they withdraw from any form of political involvement? And how should their preoccupations with truth and language find practical expression? The contributors to this volume seek to provide tentative answers to these questions. They come from a wide variety of disciplines, ranging from economics to linguistics and sociology to philosophy, and are drawn from both America and Eastern and Western Europe. The volume is given a particular interest by recent political upheavals in Eastern Europe, where many intellectuals have been confronted with sharply practical, sometimes dramatic, choices about their role in the political arena.

This monograph, dealing with the intellectual notions held during the Renaissance of what "woman" is, surveys the ideas of the nature of woman, sex difference and sex discrimination, and the emergence of a feminist movement in the first half of the 17th century.

This is the first anthology to chronicle the global critical reception of Aboriginal art since the early 1980s, when the art world began to understand it as contemporary art. Featuring 96 authors--including art critics and historians, curators, art center co-ordinators and managers, artists, anthropologists, sociologists, philosophers and novelists--it conveys a diversity of thinking and approaches. Together with editor Ian McLean's substantial introductory essay and epilogue, the anthology argues for a reevaluation of Aboriginal art's critical intervention into contemporary art since its seduction of the art world a quarter-century ago.

Ian McLean is a well-known commentator on Aboriginal and non-Aboriginal Australian art and the intersection of Indigenous and settler cultures. He is the author of "The Art of Gordon Bennett" and "White Aborigines: Identity Politics in Australian Art." He is a member of the Advisory Council of Third Text and professor of Australian art history at the University of Wollongong.

"How Aborigines Invented the Idea of Contemporary Art: Writings on Aboriginal Contemporary Art" is part of the four-book series Australian Studies in Art and Art Theory and is published with the assistance of the Getty Foundation and the Nelson Meers Foundation.

Creating standards-compliant animations for the Web just got a lot easier. With this concise guide, you'll learn how to convert Flash animations into HTML5, using Wallaby--the experimental tool from Adobe. Wallaby makes Flash content available for devices that don't support Flash runtimes, including the iPhone and iPad.

Developing HTML5 animations is time-consuming with all the coding required. This book shows you how to create compelling content for HTML5 environments with relative ease, whether you know Flash or not. After a quick introduction to simple animation building with Flash, you'll learn how Wallaby helps you convert those animations into HTML5 code. Learn how to create a simple Flash animation, using Flash Professional CS5 Become familiar with the Flash Library, Stage drawing canvas, and animation Timeline Take the right approach to building a complex Flash animation for HTML5 Get performance tips to optimize animations for desktops and mobile devices Use simple JavaScript and CSS code to place the Wallaby animation in a web page Add interactivity to your HTML5 animation with jQuery

Covering many locations not seen in the first two volumes, this book is a continuation of Ian McLean's series on the popular Class 47 loco. Beginning in 1987 and continuing through the following year, it features many previously unpublished photographs of Class 47s in operation the length and breadth of the UK. The informative captions detail this period of great change, when the years of Corporate Blue livery gave way to a myriad of more colourful liveries.

In this major new account Ian McLean traces the history of Australian art, from colonial art practice to the search for a national art in the twentieth century. Two key themes structure the narrative: the transformation of a British art practice into an Australian one; and the troubled pursuit for the aesthetic means to claim an Indigenous heritage. As well as introducing the canonical artists and artworks of the Australian tradition, McLean assesses why certain artists have come to prominence, and why others have been neglected. In the process, he links the changing fortunes of artists to social and political developments both at home and abroad. With 170 superb illustrations, many in colour, this is essential reading for all interested in the history of Australian art.

The traveller, aristocratic adventurer, political activist, ethnographer and publisher Jan Potocki (1761-1815) is a legendary figure in Poland, not least for his literary masterpiece The Manuscript Found in Saragossa.

The novel's narrator Alphonse van Worden, a young Walloon officer journeying to join his regiment in Madrid in 1739, is diverted into the Sierra Morena and mysteriously detained in the company of thieves, cannibalists, noblemen and gypsies whose stories he records for us as he hears them, day by day over a period of sixty-six days.

The Manuscript Found in Saragossa, which has counted Alexander Pushkin among its many admirers, was published only in part in its author's lifetime, and thereafter has only been known fully through a Polish translation which appeared long after his death; controversy still rages over the original French text and the meaning to be attributed to it. A novel of stories-within-stories, it combines the picaresque with gothic horror and the supernatural, wit with erotic lyricism and inventiveness and, like the Decameron and the One Thousand and One Nights, it offers entertainment on an epic scale.

This is a major work by Ian Maclean exploring the foundations of learning in the Renaissance. Logic, Signs and Nature offers a profoundly learned, compelling and original account of the range of what was thinkable and knowable by learned medics of the period c.1530-1630. This is a study of great significance to the history of medicine, as well as the history of European ideas in general.

Insects are far and away the largest group of animals on earth, with over a million described species, and they occupy a wide range of ecological niches - they may be herbivores, predators, parasites or decomposers. Some are of particular economic importance as pests of agriculture and forestry, as vectors of animal and human disease, or as species of interest to wildlife conservation, so an understanding of the processes determining their numbers is of considerable practical value. Entomologists have played a leading role in developing a theoretical basis to population ecology, but we still do not have adequate experimental and observational proof for many of the theoretical ideas that have been proposed. As a result, the subject has been beset with arguments for more than 50 years. This volume attempts to reconcile some of those controversies, while also reviewing the state of our knowledge at the end of the 20th century. The editors have drawn together views which reflect the full range of opinions on how natural populations are stabilized. The book covers the main alternative views in population theory and contains recent field studies of insect populations. This Royal Entomological Society Symposium volume should be of interest to all entomologists and ecologists, particularly those who wish to know more about population dynamics.

This book investigates how identities have been constructed in Australian art from 1788 onwards. Ian McLean shows that Australian art, and the writing of its history, has, since settlement, been in a dialogue (although often submerged) with Aboriginal art and culture; and that this dialogue is inextricably interwoven with the struggle to find an identity in the antipodes. Beginning with a discussion of how Australia was imagined by Europeans before colonisation, McLean traces the representation of indigeneity through the history of Australian art, and the concomitant invention of an Australian subjectivity. He argues that the colonising culture invested far more in indigenous aspects of the country and its inhabitants than it has been willing to admit. McLean considers artists and their work within a cultural context, and also provides a contemporary theoretical and critical context for his claims.

Contains: Don Juan, Precious Provincials, The Reluctant Doctor, George Dandin, The Miser, The Would-be Gentleman, Scapin the Schemer Since the second half of the seventeenth century, when Moli`re composed and performed his comedies, scarcely a decade has passed in which they have not been revived, imitated, or adapted; their appeal to twenty-first century audiences remains as great as to their initial public. This selection of seven of Moli`re's prose plays shows his versatility and indicates the reason for his enduring popularity. Whether he writes in a strictly defined historical context (as in Precious Provincials or The Would-be Gentleman) or whether he sets his plays in an almost mythical world (as in Don Juan); whether his plays are exuberant celebrations of light heartedness, ingenuity, and wit (The Reluctant Doctor and Scapin the Schemer) or whether they come closer in spirit to black humour (The Miser and George Dandin), they remain as fresh and vivid as ever. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

A decade ago in the Times Literary Supplement, Roderick Conway Morris claimed that "almost everything that was going to happen in book publishing-from pocket books, instant books and pirated books, to the concept of author's copyright, company mergers, and remainders-occurred during the early days of printing." Ian Maclean's colorful survey of the flourishing learned book trade of the late Renaissance brings this assertion to life. The story he tells covers most of Europe, with Frankfurt and its Fair as the hub of intellectual exchanges among scholars and of commercial dealings among publishers. The three major religious confessions jostled for position there, and this rivalry affected nearly all aspects of learning. Few scholars were exempt from religious or financial pressures. Maclean's chosen example is the literary agent and representative of international Calvinism, Melchior Goldast von Haiminsfeld, whose activities included opportunistic involvement in the political disputes of the day. Maclean surveys the predicament of underfunded authors, the activities of greedy publishing entrepreneurs, the fitful interventions of regimes of censorship and licensing, and the struggles faced by sellers and buyers to achieve their ends in an increasingly overheated market. The story ends with an account of the dramatic decline of the scholarly book trade in the 1620s, and the connivance of humanist scholars in the values of the commercial world through which they aspired to international recognition. Their fate invites comparison with today's writers of learned books, as they too come to terms with new technologies and changing academic environments.

'I concluded that I was a substance whose whole essence or nature resides only in thinking, and which, in order to exist, has no need of place and is not dependent on any material thing.' Descartes's A Discourse on the Method of Correctly Conducting One's Reason and Seeking Truth in the Sciences marks a watershed in European thought; in it, the author provides an informal intellectual autobiography in the vernacular for a non-specialist readership, sweeps away all previous philosophical traditions, and sets out in brief his radical new philosophy, which begins with a proof of the existence of the self (the famous 'cogito ergo sum'), next deduces from it the existence and nature of God, and ends by offering a radical new account of the physical world and of human and animal nature. This new translation is accompanied by a substantial introductory essay which draws on Descartes's correspondence to examine his motivation and the impact of his great work on his contemporaries. Detailed notes explain his philosophical terminology and ideas. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Following on from Class 47s: Inverness to Penzance: 1982-85, this volume picks up the story and runs to the end of the summer 1986 timetable. It was a period of change, as the first 47s to be withdrawn started to fall by the wayside in the spring of 1986, since seriously damaged crash victims were no longer likely to be rebuilt. The first non-crash-damaged locos were withdrawn - sacrificed to provide a spares pool for the others. It was also a time of change with regard to how trains were heated, as steam heat became rare south of Hadrian's Wall. Christmas 1985 was a watershed as the relief trains were now routinely electrically heated, with the latest ETH conversions emerging from Crewe Works from November 1985. In 1986, regular trips to Scotland were required to sample the delights of steam heat. Further changes came in summer 1986 as InterCity started to operate some routes in Kent, and Dover Western Docks was now on the map. With over 200 images, this volume provides a visual journey of the Class 47s in 1985-86.

The Class 47 diesel locomotive was a mainstay of British Rail, with 512 built in the 1960s. As such, they were a daily sight throughout the UK, working express passenger and heavy freight trains as well as more mundane local passenger and wagon-load freight all over Britain. For rail enthusiasts, 'bashing' emerged as the art of trying to ride behind as many locos as possible. Largely due to their prolific numbers, the 47s were often disliked by bashers and the 47s were often given the disparaging nickname 'Duffs', but to those who followed them, they were 'Brush', an abbreviation of Brush Type 4, which was how BR originally referred to them. However, as time passed and other classes of locomotive fell by the wayside, a far greater appreciation of them is now the norm. This book records 1982 to 1985 and many days spent trying to travel behind all 507 of the Class 47s that were still in traffic at that time. There were triumphs and disasters in the course of these travels, but you got to go the length and breadth of the country and the book contains a wide variety of colour photographs of Class 47s at work from Inverness to Penzance.

The period between the fifteenth and the middle of the seventeenth centuries saw a great many changes and innovations in scientific thinking. These were communicated to various publics in diverse ways; not only through discursive prose and formal notations, but also in the form of instruments and images accompanying texts. The collected essays of this volume examine the modes of transmission of this knowledge in a variety of contexts. The schematic representation of instruments is examined in the case of the 'navicula' (a versatile version of a sundial) and the 'squadro' (a surveying instrument); the new forms of illustration of plants and the human body are investigated through the work of Fuchs and Vesalius; theories of optics and of matter are discussed in relation to the illustrations which accompany the texts of Ausonio and Descartes. The different diagrammatic strategies adopted to explain the complex medical theory of the latitude of health are charted through the work of medieval and sixteenth-century physicians; Kepler's use of illustration in his handbook of cosmology is placed in the context of book production and Copernican propaganda. The conception of astronomical instruments as either calculating devices or as cosmological models is examined in the case of Tycho Brahe and others. A study is devoted to the multiple functions of frontispieces and to the various readerships for which they were conceived. The papers in the volume are all based on new research, and they constitute together a coherent and convergent set of case studies which demonstrate the vitality and inventiveness of early modern natural philosophers, and their awareness of the media available to them for transmitting knowledge.