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Design and the Question of History is not a work of Design History.
Rather, it is a mixture of mediation, advocacy and polemic that
takes seriously the directive force of design as an historical
actor in and upon the world. Understanding design as a shaper of
worlds within which the political, ethical and historical character
of human being is at stake, this text demands radically transformed
notions of both design and history. Above all, the authors posit
history as the generational site of the future. Blindness to
history, it is suggested, blinds us both to possibility, and to the
foreclosure of possibilities, enacted through our designing. The
text is not a resolved, continuous work, presented through one
voice. Rather, the three authors cut across each other, presenting
readers with the task of disclosing, to themselves, the
commonalities, repetitions and differences within the deployed
arguments, issues, approaches and styles from which the text is
constituted. This is a work of friendship, of solidarity in
difference, an act of cultural politics. It invites the reader to
take a position - it seeks engagement over agreement.
This book reviews the interplay between domestic contexts and
democracy promotion efforts in selected countries of the former
Soviet Union and the Western Balkans. The idea behind the six case
studies is twofold. In the three cases where 'colour revolutions'
occurred (Serbia, Georgia, Ukraine), the authors explore the extent
to which external democracy promoters adapted their strategies to
respond to new domestic contexts. In the other three cases
(Azerbaijan, Belarus, Russia) the authors investigate how the
political leadership has reacted to 'colour revolutions' elsewhere
and which consequences their reactions have had for democracy
promotion. In all cases an assessment of democratization processes
in the country is provided as a basis for drawing conclusions about
the potential for domestic and foreign actors to promote democratic
development. An introduction and conclusion embed the case studies
in the existing literature on democracy promotion and generalize
the findings across the countries studied. On the practical level,
the volume offers suggestions for improving democracy promotion
endeavours, proposing in particular a more balanced approach which
goes beyond supporting specific individuals and organizations to
include addressing the structural level. This book was published as
a special issue of Democratization.
Over the last decade the "transition paradigm", which is based on
the conviction that authoritarian political systems would over time
necessarily develop into democracies, has been subjected to serious
criticism. The complex political and societal developments in the
post-Soviet region in particular have exposed flaws in the claim
that a shift from authoritarianism to democracy is inevitable.
Using case studies from the post-Soviet region, a broad range of
international contributors present an original and innovative
contribution to the debate. They explore the character of
post-Soviet regimes and review the political transformations they
have experienced since the end of the Cold War. Through a
combination of theoretical approaches and detailed, empirical
analysis the authors highlight the difficulties and benefits of
applying the concepts of hybrid regimes, competitive
authoritarianism and neopatrimonialism to the countries of the
post-Soviet space. Through this in-depth approach the authors
demonstrate how "Presidents, Oligarchs and Bureaucrats" in the
region lead their countries, examine the sources of their
legitimacy and their relationship to the societies they govern and
advance the general theoretical debate on regime change and
transition paths.
Over the last decade the "transition paradigm", which is based on
the conviction that authoritarian political systems would over time
necessarily develop into democracies, has been subjected to serious
criticism. The complex political and societal developments in the
post-Soviet region in particular have exposed flaws in the claim
that a shift from authoritarianism to democracy is inevitable.
Using case studies from the post-Soviet region, a broad range of
international contributors present an original and innovative
contribution to the debate. They explore the character of
post-Soviet regimes and review the political transformations they
have experienced since the end of the Cold War. Through a
combination of theoretical approaches and detailed, empirical
analysis the authors highlight the difficulties and benefits of
applying the concepts of hybrid regimes, competitive
authoritarianism and neopatrimonialism to the countries of the
post-Soviet space. Through this in-depth approach the authors
demonstrate how "Presidents, Oligarchs and Bureaucrats" in the
region lead their countries, examine the sources of their
legitimacy and their relationship to the societies they govern and
advance the general theoretical debate on regime change and
transition paths.
This book reviews the interplay between domestic contexts and
democracy promotion efforts in selected countries of the former
Soviet Union and the Western Balkans. The idea behind the six case
studies is twofold. In the three cases where 'colour revolutions'
occurred (Serbia, Georgia, Ukraine), the authors explore the extent
to which external democracy promoters adapted their strategies to
respond to new domestic contexts. In the other three cases
(Azerbaijan, Belarus, Russia) the authors investigate how the
political leadership has reacted to 'colour revolutions' elsewhere
and which consequences their reactions have had for democracy
promotion. In all cases an assessment of democratization processes
in the country is provided as a basis for drawing conclusions about
the potential for domestic and foreign actors to promote democratic
development. An introduction and conclusion embed the case studies
in the existing literature on democracy promotion and generalize
the findings across the countries studied. On the practical level,
the volume offers suggestions for improving democracy promotion
endeavours, proposing in particular a more balanced approach which
goes beyond supporting specific individuals and organizations to
include addressing the structural level. This book was published as
a special issue of Democratization.
Miniature books, eighteenth-century novels, Tom Thumb weddings,
tall tales, and objects of tourism and nostalgia: this diverse
group of cultural forms is the subject of On Longing, a fascinating
analysis of the ways in which everyday objects are narrated to
animate or realize certain versions of the world. Originally
published in 1984 (Johns Hopkins University Press), and now
available in paperback for the first time, this highly original
book draws on insights from semiotics and from psychoanalytic,
feminist, and Marxist criticism. Addressing the relations of
language to experience, the body to scale, and narratives to
objects, Susan Stewart looks at the "miniature" as a metaphor for
interiority and at the "gigantic" as an exaggeration of aspects of
the exterior. In the final part of her essay Stewart examines the
ways in which the "souvenir" and the "collection" are objects
mediating experience in time and space.
Lamanna/Riedmann/Stewart's bestselling MARRIAGES, FAMILIES, AND
RELATIONSHIPS: MAKING CHOICES IN A DIVERSE SOCIETY, 14th edition,
emphasizes a theme that is especially relevant in our modern and
global world: making choices in a diverse society. Combining
various theoretical perspectives with relevant examples, the text
will help you understand how people are influenced by the society
around them, how social conditions change in ways that affect
family life, the interplay between families and the larger society,
and the family-related choices that individuals make throughout
adulthood. You'll gain insightful perspectives on different ethnic
traditions and family forms. You will also be empowered to question
assumptions and reconcile conflicting ideas and values as you make
informed choices in your own life. In addition, MindTap digital
learning solution helps you learn on your own terms.
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Historiae (Paperback)
Antonella Anedda, Susan Stewart
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R451
R368
Discovery Miles 3 680
Save R83 (18%)
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Ships in 9 - 15 working days
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Why do we need new art? How free is the artist in making? And
why is the artist, and particularly the poet, a figure of freedom
in Western culture? The MacArthur Award-winning poet and critic
Susan Stewart ponders these questions in "The Poet's Freedom."
Through a series of evocative essays, she not only argues that
freedom is necessary to making and is itself something made, but
also shows how artists give rules to their practices and model a
self-determination that might serve in other spheres of
work.Stewart traces the ideas of freedom and making through
insightful readings of an array of Western philosophers and
poets--Plato, Homer, Marx, Heidegger, Arendt, Dante, and Coleridge
are among her key sources. She begins by considering the theme of
making in the Hebrew Scriptures, examining their accountof a god
who creates the world and leaves humans free to rearrange and
reform the materials of nature. She goes on to follow the force of
moods, sounds, rhythms, images, metrical rules, rhetorical
traditions, the traps of the passions, and the nature of language
in the cycle of making and remaking. Throughout the book she weaves
the insight that the freedom to reverse any act of artistic making
is as essential as the freedom to create. A book about the
pleasures of making and thinking as means of life, "The Poet's
Freedom" explores and celebrates the freedom of artists who,
working under finite conditions, make considered choices and shape
surprising consequences. This engaging and beautifully written
notebook on making will attract anyone interested in the creation
of art and literature.
Winner of the 2003 National Book Critics Circle Award in the
category of poetry.
In her long-awaited fourth book of poetry, Susan Stewart gives us a
series of splendid, numinous poems about truths learned with the
mind but set free through the senses. Modeled on the
seventeenth-century practice of century forms, or books of one
hundred pages, Columbarium expresses the bond between the living
and the dead in voices of parent to child, lover to beloved, and
mortal to the gods. The book arrives as a meditative gift from one
of our most respected poet-critics.
Stewart frames her "Columbarium" with four poems paying homage to
the elements-to their destructive and creative aspects and to their
roles in the human and more than human worlds. Both nest and crypt,
the book's center holds an alphabet of "shadow georgics," poems of
instruction and doubt that link knowledge and the unconscious.
Questions of mortality, of goodness and suffering, and of the
fragility and power of memory animate these poems. In one poem an
apple calls the narrator back from the dead to savor the echoes of
its varieties in myth and literature. In another, the seeds of a
pear tree reveal the essential unity that makes the diversity of
existence possible.
Stewart's "Columbarium" is both a memorial to the dead and a
testament to life.
This series supports learners through the Cambridge International
AS & A Level Travel & Tourism syllabus (9395). Teaching
inspiration, language guidance and lesson ideas - our new digital
teacher's resource provides additional support to help you teach
the syllabus. You will find ideas for differentiation and formative
assessment, as well as guidance to help you assess students'
answers to the exam-style questions in the coursebook. The
teacher's resource supports the Cambridge International AS & A
Level Travel & Tourism syllabus (9395), for examination from
2024. Access your digital resource via Cambridge GO.
This best-selling text on marriages, families, and relationships
combines an authoritative, yet applied approach with a theme that
is especially relevant today: making choices in a diverse society.
A balance of various theoretical perspectives along with many
examples helps you understand how people are influenced by the
society around them, how social conditions change in ways that
affect family life, the interplay between families and the larger
society, and the family-related choices that individuals make
throughout adulthood. You'll gain insightful perspectives on the
diversity of our modern society, including different ethnic
traditions and family forms, and be encouraged to question
assumptions and reconcile conflicting ideas and values as you make
informed choices in your own life.
Alda Merini is one of Italy's most important, and most beloved,
living poets. She has won many of the major national literary
prizes and has twice been nominated for the Nobel Prize--by the
French Academy in 1996 and by Italian PEN in 2001. In Love Lessons,
the distinguished American poet Susan Stewart brings us the largest
and most comprehensive selection of Merini's poetry to appear in
English. Complete with the original Italian on facing pages, a
critical introduction, and explanatory notes, this collection
gathers lyrics, meditations, and aphorisms that span fifty years,
from Merini's first books of the 1950s to an unpublished poem from
2001. These accessible and moving poems reflect the experiences of
a writer who, after beginning her career at the center of Italian
Modernist circles when she was a teenager, went silent in her
twenties, spending much of the next two decades in mental
hospitals, only to reemerge in the 1970s to a full renewal of her
gifts, an outpouring of new work, and great renown. Whether she is
working in the briefest, most incisive lyric mode or the complex
time schemes of longer meditations, Merini's deep knowledge of
classical and Christian myth gives her work a universal,
philosophical resonance, revealing what is at heart her tragic
sense of life. At the same time, her ironic wit, delight in nature,
and affection for her native Milan underlie even her most harrowing
poems of suffering. In Stewart's skillful translations readers will
discover a true sibyl of the twentieth and twenty-first centuries.
From the origins of modern copyright in early eighteenth-century
culture to the efforts to represent nature and death in postmodern
fiction, this pioneering book explores a series of problems
regarding the containment of representation. Stewart focuses on
specific cases of "crimes of writing"--the forgeries of George
Psalmanazar, the production of "fakelore," the "ballad scandals" of
the eighteenth and nineteenth centuries, the imposture of Thomas
Chatterton, and contemporary legislation regarding graffiti and
pornography. In this way, she emphasizes the issues which arise
once language is seen as a matter of property and authorship is
viewed as a matter of originality. Finally, Stewart demonstrates
that crimes of writing are delineated by the law because they
specifically undermine the status of the law itself: the crimes
illuminate the irreducible fact that law is written and therefore
subject to temporality and interpretation.
Throughout history, women (and men) have applied make-up to
enhance, alter, conceal and even to disguise their appearance.
Also, to a greater or lesser degree over time, cosmetics have been
used as a visible marker of social status, gender, wealth and
well-being. A closer look at the world of make-up gives us not only
a mirror reflecting day-to-day life in the past, but also an
indicator of the culture and politics of earlier periods in
history. Susan Stewart guides the reader through the bewildering,
fascinating and complex story of cosmetics, from the ancient world
to the present day. Anyone who has ever wondered how the Romans
used algae to colour their faces and urine to whiten their teeth,
how Radium came to be a popular 1930s beauty trend, or how make-up
survived the war will enjoy this colourful journey through the
human obsession with improving how we look.
What is the role of the senses in the creation and reception of
poetry? How does poetry carry on the long tradition of making
experience and suffering understood by others? With "Poetry and the
Fate of the Senses," Susan Stewart traces the path of the aesthetic
in search of an explanation for the role of poetry in our culture.
The task of poetry, she tells us, is to counter the loneliness of
the mind, or to help it glean, out of the darkness of solitude, the
outline of others. Poetry, she contends, makes tangible, visible,
and audible the contours of our shared humanity. It sustains and
transforms the threshold between individual and social existence.
Herself an acclaimed poet, Stewart not only brings the intelligence
of a critic to the question of poetry, but the insight of a
practitioner as well. Her new study draws on reading from the
ancient Greeks to the postmoderns to explain how poetry creates
meanings between persons. "Poetry and the Fate of the Senses"
includes close discussions of poems by Stevens, Hopkins, Keats,
Hardy, Bishop, and Traherne, of the sense of vertigo in Baroque and
Romantic works, and of the rich tradition of nocturnes in visual,
musical, and verbal art. Ultimately, Stewart explores the pivotal
role of poetry in contemporary culture. She argues that poetry can
counter the denigration of the senses and can expand our
imagination of the range of human expression.
"Poetry and the Fate of the Senses" won the 2004 Truman Capote
Award for Literary Criticism in Memory of Newton Arvin,
administered for the Truman Capote Estate by the University of Iowa
Writers' Workshop. It also won the Phi Beta Kappa Society's 2002
Christian Gauss Award for Literary Criticism.
"Red Rover" is both the name of a children's game and a formless
spirit, a god of release and permission, called upon in the course
of that game. The "red rover" is also a thread of desire, and a
clue to the forces of love and antipathy that shape our fate. In
her most innovative work to date, award-winning poet and critic
Susan Stewart remembers the antithetical forces--falling and
rising, coming and going, circling and centering--revealed in such
games and traces them out to many other cycles. Ranging among
traditional, open, and newly-invented forms, and including a series
of free translations of medieval dream visions and love poems, "Red
Rover" begins as a historical meditation on our fall and grows into
a song of praise for the green and turning world.
Poets often have responded vitally to the art of their time, and
ever since Susan Stewart began writing about art in the early
1980s, her work has resonated with practicing artists, curators,
art historians, and art critics. Rooted in a broad and learned
range of references, Stewart's fresh and independent essays bridge
the fields of literature, aesthetics, and contemporary art.
Gathering most of Stewart's writing on contemporary art--long and
short pieces first published in small magazines, museum and gallery
publications, and edited collections--"The Open Studio" illuminates
work ranging from the installation art of Ann Hamilton to the
sculptures and watercolors of Thomas Schutte, the prints and
animations of William Kentridge to the films of Tacita Dean.
Stewart's essays are often the record of studio conversations with
living artists and curators, and of the afterlife of those
experiences in the solitude of her own study. Considering a wide
variety of art forms, Stewart finds pathbreaking ways to explore
them. Whether she is following central traditions of painting,
drawing, sculpture, film, photography, and printmaking or exploring
the less well-known realms of portrait miniatures, collecting
practices, doll-making, music boxes, and gardening, Stewart speaks
to the creative process in general and to the relation between art
and ethics.
"The Open Studio" will be read eagerly by scholars of art, poetry,
and visual theory; by historians interested in the links between
contemporary and classic literature and art; and by teachers,
students, and practitioners of the visual arts.
How have ruins become so valued in Western culture and so central
to our art and literature? Covering a vast chronological and
geographical range, from ancient Egyptian inscriptions to
twentieth-century memorials, Susan Stewart seeks to answer this
question as she traces the appeal of ruins and ruins images, and
the lessons that writers and artists have drawn from their haunting
forms. Stewart takes us on a sweeping journey through founding
legends of broken covenants and original sin, the Christian
appropriation of the classical past, and images of decay in early
modern allegory. Stewart looks in depth at the works of Goethe,
Piranesi, Blake, and Wordsworth, each of whom found in ruins a
means of reinventing his art. Lively and engaging, The Ruins Lesson
ultimately asks what can resist ruination-and finds in the
self-transforming, ever-fleeting practices of language and thought
a clue to what might truly endure.
In Andromache, Euripides depicts the aftermath of the Trojan war, when Andromache, the widow of Hector, has become the concubine to Achilles' son Neoptolemus and has borne a child, Molossus, to him, As the play opens, Andromache and Molossus are threatened with death by Neoptolemus' young wife, Hermione, who has been unable to conceive a child. The struggle between the two women is mirrored in the conflict between Peleus, who defends Andromache, and Menelaus, who arrives to help Hermione complete her bid for power. Susan Stewart, a poet, and Wesley Smith, a classicist, have combined their talents to create this latest addition to our Greek Tragedy in New Translations series. Each play in the series is preceded by a critical introduction and is accompanied by notes designed to clarify obscure references and explain the conventions on the Athenian stage.
Featuring illuminating chapters written by scholars within the
discipline, Multicultural Stepfamilies presents readers with new
research and insight into the composition and diversity of modern
stepfamilies. Through the lenses of diversity, inclusiveness, and
intersectionality, the text explores the ways in which race,
ethnicity, religion, and culture can influence stepfamily structure
and dynamics. Over the course of eight chapters, readers increase
their awareness of the growing population of non-white,
non-Christian stepfamilies. The text summarizes and critiques the
existing literature on stepfamilies among various groups and
proposes avenues for future policy, practice, and research. It
features scholars' original data analysis, providing new
information on cultural differences in stepfamily structure,
attitudes, perceptions, and more. Each chapter contains a vignette
designed to deepen readers' understanding of stepfamily life "on
the ground" as opposed to relying solely on hypothetical,
theoretical, and empirical models. Dedicated chapters address
stepfamily research bias, religious diversity in stepfamilies, and
the unique features and dynamics of African American, Hispanic,
American Indian, and East Asian stepfamilies. Filling a gap in
current literature and providing direction for future research in
the discipline, Multicultural Stepfamilies is an ideal text for
courses in sociology, social work, and family studies.
From a sequence, "The Countries Surrounding the Garden of Eden":
Gihon, that compasseth the whole land At the first frost we found
our sheep with strangled hearts, lying on their backs in the frozen
clover, their eyes wide open as if they were surprised by a
constellation of drought or endless winter. The wolves walked into
the snow, like men who have given up living without love; cows
would no longer let go of their calves, hiding them deep in the
birch groves. Everywhere the roads gave off their wild animal
cries, running toward the edge of what we had thought was the
world. And the names of things as we knew them would no longer
bring them to us.
Design and the Question of History is not a work of Design History.
Rather, it is a mixture of mediation, advocacy and polemic that
takes seriously the directive force of design as an historical
actor in and upon the world. Understanding design as a shaper of
worlds within which the political, ethical and historical character
of human being is at stake, this text demands radically transformed
notions of both design and history. Above all, the authors posit
history as the generational site of the future. Blindness to
history, it is suggested, blinds us both to possibility, and to the
foreclosure of possibilities, enacted through our designing. The
text is not a resolved, continuous work, presented through one
voice. Rather, the three authors cut across each other, presenting
readers with the task of disclosing, to themselves, the
commonalities, repetitions and differences within the deployed
arguments, issues, approaches and styles from which the text is
constituted. This is a work of friendship, of solidarity in
difference, an act of cultural politics. It invites the reader to
take a position - it seeks engagement over agreement.
|
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