Focusing on literary and cultural texts from the late eighteenth century to the early twentieth, Patrick R. O'Malley argues that in order to understand both the literature and the varieties of nationalist politics in nineteenth-century Ireland, we must understand the various modes in which the very notion of the historical past was articulated. He proposes that nineteenth-century Irish literature and culture present two competing modes of political historiography: one that eludes the unresolved wounds of Ireland's violent history through the strategic representation of a unified past that could be the model for a liberal future; and one that locates its roots not in a culturally triumphant past but rather in an account of colonial and specifically sectarian bloodshed and insists upon the moral necessity of naming that history. From myths of pre-Christian Celtic glories to medieval Catholic scholarship to the rise of the Protestant Ascendancy to narratives of colonial violence against Irish people by British power, Irish historiography strove to be the basis of a new nationalism following the 1801 Union with Great Britain, and yet it was itself riven with contention.
Introduction to Art Therapy: Sources and Resources, is the thoroughly updated and revised second edition of Judith Rubin’s landmark 1999 text, the first to describe the history of art in both assessment and therapy, and to clarify the differences between artists or teachers who provide "therapeutic" art activities, psychologists or social workers who request drawings, and those who are trained as art therapists to do a kind of work which is similar, but qualitatively different. This new edition contains a DVD-ROM with over 400 still images and 250 edited video clips for much richer illustration than is possible with figures alone; an additional chapter describing the work that art therapists do; and new material on education with updated information on standards, ethics, and informing others. To further make the information accessible to practitioners, students, and teachers, the author has included a section on treatment planning and evaluation, an updated list of resources – selected professional associations and proceedings – references, expanded citations, and clinical vignettes and illustrations. Three key chapters describe and expand the work that art therapists do: "People We Help," deals with all ages; "Problems We Treat," focuses on different disorders and disabilities; and "Places We Practice," reflects the expansion of art therapy beyond its original home in psychiatry. The author’s own introduction to the therapeutic power of art – as a person, a worker, and a parent – will resonate with both experienced and novice readers alike. Most importantly, however, this book provides a definition of art therapy that contains its history, diversity, challenges, and accomplishments.
In this new and expanded edition of The Art Direction Handbook, author Michael Rizzo now covers art direction for television, in addition to updated coverage of film design. This comprehensive, professional manual details the set-up of the art department and the day-to-day job duties: scouting for locations, research, executing the design concept, supervising scenery construction, and surviving production. Beyond that, there is an emphasis on not just how to do the job, but how to succeed and secure other jobs. Rounding out the text is an extensive collection of useful forms and checklists, as well as interviews with prominent art directors.
In recent decades, the evidence for an oral epic tradition in ancient Greece has grown enormously along with our ever-increasing awareness of worldwide oral traditions. John Foley here examines the artistic implications that oral tradition holds for the understanding of the Iliad and Odyssey in order to establish a context for their original performance and modern-day reception. In Homer's Traditional Art, Foley addresses three crucially interlocking areas that lead us to a fuller appreciation of the Homeric poems. He first explores the reality of Homer as their actual author, examining historical and comparative evidence to propose that "Homer" is a legendary and anthropomorphic figure rather than a real-life author. He next presents the poetic tradition as a specialized and highly resonant language bristling with idiomatic implication. Finally, he looks at Homer's overall artistic achievement, showing that it is best evaluated via a poetics aimed specifically at works that emerge from oral tradition. Along the way, Foley offers new perspectives on such topics as characterization and personal interaction in the epics, the nature of Penelope's heroism, the implications of feasting and lament, and the problematic ending of the Odyssey. His comparative references to the South Slavic oral epic open up new vistas on Homer's language, narrative patterning, and identity. Homer's Traditional Art represents a disentangling of the interwoven strands of orality, textuality, and verbal art. It shows how we can learn to appreciate how Homer's art succeeds not in spite of the oral tradition in which it was composed but rather through its unique agency.
Evolutionary aesthetics is the attempt to understand the aesthetic judgement of human beings and their spontaneous distinction between "beauty" and "ugliness" as a biologically adapted ability to make important decisions in life. The hypothesis is - both in the area of "natural beauty" and in sexuality, with regard to landscape preferences, but also in the area of "artificial beauty" (i.e. in art and design) - that beauty opens up fitness opportunities, while ugliness holds fitness risks. In this book, this adaptive view of aesthetics is developed theoretically, presented on the basis of numerous examples, and its consequences for evolutionary anthropology are illuminated.