Search results for ""Author Christopher Brown""

Providing much needed context for current events like the sub-prime mortgage crisis, this timely book presents a vision of an economy evolved to greater dependence on consumer credit and analyzes the trade-offs and risks associated with it. While synthesizing the Keynesian theory of consumption with the Institutional theory of habit selection (brought up to date with new knowledge from evolutionary biology and neuroscience), this book represents an in-depth treatment of the macroeconomic dimensions of consumer credit and implications of recent financial innovations from a non-traditional economic approach.Some of the effects of consumer credit dependence include the potential for illiquidity in markets for debt-collateralized securities, sub-prime contagion, or the possibility of a Minsky-type debt deflation episode. The author also argues that a sharp increase in borrowing by US households over the past 20 years, aided by financial innovations such as the securitization of consumer loans and sub-prime lending, have lessened the harmful consequences of income inequality, and that the collapse of personal saving after 1993 is actually a gradual trend of consumer habits conforming to the imperatives of corporatism.The book's primary audience will be academic economists in sympathy with heterodox and pluralist approaches. It sets forth an institutional or 'top-down' theory of household spending behavior that should be of interest to readers in fields such as sociology, consumer or family studies, psychology, or anthropology. Much of the book is technically accessible for non-economists and students.

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London is the only city in the world where you could ever find Gilbert and George sharing space with the Gherkin and the Globe while the Great Fire burns and a gin drinker glugs her favorite tipple, and where members of the Bloomsbury Group hail a black cab while barrage balloons hover over Broadcasting House during the Blitz. In A London Alphabet, Christopher Brown presents a series of wonderfully whimsical linocuts illustrating every aspect of London past and present, including personalities, buildings, monuments, legends, historic events, and other metropolitan icons. From Dickens, Dr Johnson, Tower Bridge, and the Shard to the Diamond Jubilee, Wimbledon, pigeons, and jellied eels, all London life is here. A born-and-bred Londoner, Brown recounts his own memories of growing up in the capital, and also describes how he creates his distinctive prints. His unique, often humorous take on London will delight anyone who lives in or visits the city.

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Investigates how geographical environments are mapped in Taiwanese cinema

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Contemporary Practice in Studio Art Therapy discovers where studio practice stands in the profession today and reflects on how changing social, political, and economic contexts have influenced its ethos and development. This is the first UK volume devoted to studio art therapy, and the writers explore what is meant by a studio approach and how they are adapting art-based practices in radical new ways and settings. It comprises three parts – Part I: Frames of reference explores how particular social, cultural, and political contexts have led to the discourses within practice; Part II: Models of practice gives accounts of current studio art therapy practice, describing rationale for working methods and providing a resource for practitioners; Part III: Curating, exhibiting and archiving considers how the display and disposal of artworks, particularly relevant to studio approaches, may be thought about and implemented. The book includes chapters from North American authors who illustrate a trajectory of practice that has the potential to point to future developments. The book will be essential reading for practitioners and students who are interested in taking a fresh perspective on art therapy and will be encouraged by new ways of thinking about the studio approach in today’s changing world.

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In Race and the Senses, Sachi Sekimoto and Christopher Brown explore the sensorial and phenomenological materiality of race as it is felt and sensed by the racialized subjects. Situating the lived body as an active, affective, and sensing participant in racialized realities, they argue that race is not simply marked on our bodies, but rather felt and registered through our senses. They illuminate the sensorial landscape of racialized world by combining the scholarship in sensory studies, phenomenology, and intercultural communication. Each chapter elaborates on the felt bodily sensations of race, racism, and racialization that illuminate how somatic labor plays a significant role in the construction of racialized relations of sensing. Their thought-provoking theorizing about the relationship between race and the senses include race as a sensory assemblage, the phenomenology of the racialized face and tongue, kinesthetic feelings of blackness, as well as the possibility of cross-racial empathy. Race is not merely socially constructed, but multisensorially assembled, engaged, and experienced. Grounded in the authors’ experiences, one as a Japanese woman living in the USA, and the other as an African American man from Chicago, Race and the Senses is a book about how we feel the racialized world into being.

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Young Rembrandt concentrates on the first ten years of the career of Rembrandt van Rijn (1606-1669). Born in Leiden, he trained there with Isaac van Swanenburg and in Amsterdam with Pieter Lastman. After a short stay in Amsterdam he returned to Leiden and set up a studio where he began his extraordinary career, painting scenes from the Bible and classical mythology and history, as well as a handful of genre scenes and portraits. His progress is remarkable: from the earliest hesitant paintings of the Five Senses in about 1624 to the wonderfully assured Jeremiah of 1630 it is almost possible to trace his development and his increasing fluency and self-confidence from month to month and certainly from year to year.

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In See Justice Done: The Problem of Law in the African American Literary Tradition, author Christopher Brown argues that African American literature has profound and deliberate legal roots. Tracing this throughline from the eighteenth century to the present, Brown demonstrates that engaging with legal culture in its many forms—including its conventions, paradoxes, and contradictions—is paramount to understanding Black writing.Brown begins by examining petitions submitted by free and enslaved Blacks to colonial and early republic legislatures. A virtually unexplored archive, these petitions aimed to demonstrate the autonomy and competence of their authors. Brown also examines early slave autobiographies such as Equiano’s Interesting Narrative and Mary Prince’s History, which were both written in the form of legal petitions. These works invoke scenes of black competence and of black madness, repeatedly and simultaneously.Early Black writings reflect how a Black Atlantic world, organized by slavery, refused to acknowledge Black competence. By including scenes of black madness, these narratives critique the violence of the law and predict the failure of future legal counterparts, such as Plessy v. Ferguson, to remedy injustice. Later chapters examine the works of more contemporary writers, such as Sutton E. Griggs, George Schuyler, Toni Morrison, and Edward P. Jones, and explore varied topics from American exceptionalism to the legal trope of "colorblindness." In chronicling these interactions with jurisprudential logics, See Justice Done reveals the tensions between US law and Black experiences of both its possibilities and its perils.

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