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This interdisciplinary volume explains the phenomenon of
nationalism in nineteenth-century Europe through the prism of
Graeco-Roman antiquity. Through a series of case studies covering a
broad range of source material, it demonstrates the different
purposes the heritage of the classical world was put to during a
turbulent period in European history. Contributors include
classicists, historians, archaeologists, art historians and others.
This concise handbook looks at psoriasis and psoriatic arthritis as
separate but often related conditions, focusing on a background
around the indications, such as disease overview and epidemiology;
going on to look at the etiology and immunopathogenesis of each
indication; looking at the clinical presentation and diagnosis;
before focusing on the current and emerging treatment options,
including a brief section on the issues of quality of life and
comorbidities associated with these indications.
Taking a multi-disciplinary perspective, and one grounded in human
rights, Unaccompanied young migrants explores in-depth the journeys
migrant youths take through the UK legal and care systems. Arriving
with little agency, what becomes of these children as they grow and
assume new roles and identities, only to risk losing legal
protection as they reach eighteen? Through international studies
and crucially the voices of the young migrants themselves, the book
examines the narratives they present and the frameworks of culture
and legislation into which they are placed. It challenges existing
policy and questions, from a social justice perspective, what the
treatment of this group tells us about our systems and the cultural
presuppositions on which they depend.
Taking a multi-disciplinary perspective, and one grounded in human
rights, Unaccompanied young migrants explores in-depth the journeys
migrant youths take through the UK legal and care systems. Arriving
with little agency, what becomes of these children as they grow and
assume new roles and identities, only to risk losing legal
protection as they reach eighteen? Through international studies
and crucially the voices of the young migrants themselves, the book
examines the narratives they present and the frameworks of culture
and legislation into which they are placed. It challenges existing
policy and questions, from a social justice perspective, what the
treatment of this group tells us about our systems and the cultural
presuppositions on which they depend.
This book explores Symbolist artists’ fascination with ancient
Greek art and myth, and how the erotic played a major role in this.
For a brief period at the end of the 19th century the Symbolist
movement inspired artists to turn inwards to the unconscious mind,
endeavouring to unveil the secrets of human nature through their
symbolic art. But above all their greatest interest, and fear, was
man (and woman’s) sexuality. Building upon the traditions of
Academic neoclassicism, but fired with a new zeal, they turned back
to Greek art and myth for inspiration. That classical legacy was
once again a vehicle for artists to express their dreams, ideas and
revelries. And so too their anxieties. For at times the frightening
spectre of the sexual unconscious drove them to a new and
innovative engagement with antiquity, including in ways never
before tried in the history of the classical tradition. The
unnerving sirens of Gustave Moreau, unearthly heroines of Odilon
Redon, or leering fauns of Felicien Rops all played their role,
among others, in this novel and unprecedented chapter in that
tradition. This book shows how in their painting, drawing and
sculpture the Symbolists re-invented Greek statuary and transposed
it to new and unwonted contexts, as the imaginary inner worlds of
artists were mapped onto the landscapes of Greek myth. It shows how
they made of the Greek body, whether female, male, androgyne or
sexual other, at once an object of beauty, desire, fear, and - at
times - of horror.
In Forging the Modern World: A History, Third Edition, authors
James Carter and Richard Warren offer an accessible explanation of
key transformations in global economic, political, and ideological
relationships since the fourteenth century. The book is distinct
from most world history texts in three important ways. First, it
explores the ways in which historians use and produce information.
Each chapter delves deeply into one or two specific issues of
historical inquiry related to the chapter theme, showing how new
primary sources, methodologies, or intellectual trends have changed
how we engage with the past. Second, it clearly explains the
political, economic, and ideological concepts that students need to
understand in order to compare events and trends across time and
space. Finally, the chapters are organized around global historical
themes, which are explored through an array of conceptual and
comparative lenses. While the book chapters proceed
chronologically, each chapter is written with some chronological
overlap linking it to preceding and subsequent chapters. This
strategy emphasizes the interconnectedness between the events and
themes of one chapter and those of surrounding chapters.
Art Nouveau was a style for a new age, but it was also one that
continued to look back to the past. This new study shows how in
expressing many of their most essential concerns - sexuality, death
and the nature of art - its artists drew heavily upon classical
literature and the iconography of classical art. It challenges the
conventional view that Art Nouveau's adherents turned their backs
on Classicism in their quest for new forms. Across Europe and North
America, artists continued to turn back to the ancient world, and
in particular to Greece, for the vitality with which they sought to
infuse their creations. The works of many well-known artists are
considered through this prism, including those of Gustav Klimt,
Aubrey Beardsley and Louis Comfort Tiffany. But, breaking new
ground in its comparative approach, this study also considers some
of the movement's less well-known painters, sculptors, jewellers
and architects, including in central and eastern Europe, and their
use of classical iconography to express new ideas of nationhood.
Across the world, while Art Nouveau was a plural style drawing on
multiple influences, the Classics remained a key artistic
vocabulary for its artists, whether blended with Orientalist and
other iconographies, or preserving the purity of classical form.
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