Search results for ""yale university press""

Yemen is the dark horse of the Middle East. Every so often it enters the headlines for one alarming reason or another—links with al-Qaeda, kidnapped Westerners, explosive population growth—then sinks into obscurity again. But, as Victoria Clark argues in this riveting book, we ignore Yemen at our peril. The poorest state in the Arab world, it is still dominated by its tribal makeup and has become a perfect breeding ground for insurgent and terrorist movements. Clark returns to the country where she was born to discover a perilously fragile state that deserves more of our understanding and attention. On a series of visits to Yemen between 2004 and 2009, she meets politicians, influential tribesmen, oil workers and jihadists as well as ordinary Yemenis. Untangling Yemen’s history before examining the country’s role in both al-Qaeda and the wider jihadist movement today, Clark presents a lively, clear, and up-to-date account of a little-known state whose chronic instability is increasingly engaging the general reader.

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This superbly illustrated book accompanies an exhibition of thirty objects from the exceptional collection of English silver in the Moscow Kremlin Museums, where the world’s greatest surviving group of English sixteenth- and seventeenth-century silver is housed. Much of the silver from this period was melted down during the English Civil War, making the pieces at the Kremlin exceedingly rare and historically important.The silver items—a large water pot with snake-shaped handle and spout, a flat drinking cup, a magnificent flagon shaped like a leopard, and more—exemplify the developing ties between England and Russia. Some pieces were brought to Russia as diplomatic gifts, some were presented by English trading agents, while others were purchased for the Tsar’s Treasury. Setting these silver treasures in fuller context, the catalogue also features precious objects made by Russian craftsmen, a group of English firearms from the Kremlin collection, and portraits, engravings, books, and maps that illuminate the important diplomatic and commercial exchanges that were taking place between the two countries.In addition to essays by Kremlin curators Natalya Abramova, Elena Yablonskaya, and Irina Zagarodnaya, the catalogue will include writings by Paul Bushkovitch, Olga Dmitrieva, Philippa Glanville, Maija Jansson, and Edward Kasinec.Published in association with the Yale Center for British ArtExhibition Schedule:The Gilbert Collection, London (mid-October, 2006 – January 2007)Yale Center for British Art (May 25 – September 10, 2006)

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Bom Dia, Brasil is a completely revised and updated edition of the popular beginning Portuguese text Português Básico para Estrangeiros. It aims to teach the Portuguese language in a fast, interesting, and efficient way. The method employed engages students' interest by exploring personal, social, professional, and cultural topics, while providing them with the basic concepts needed to communicate effectively in Portuguese. Thirty-six thematic units in the book explore personal, social, professional, and cultural topics. Music, poetry, and other authentic materials present a panorama of contemporary Brazil. Bom Dia, Brasil features new illustrations, dialogues, pair activities, and research projects. Vocabulary, grammar, and listening exercises and activities are integrated into the book.

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This expanded and updated guide to the buildings of Worcestershire encompasses the entire county, from the dramatic Malvern Hills through the Severn Valley to the fringes of the Cotswolds. Medieval Worcestershire is represented by the fine Gothic cathedral of Worcester, the splendid remains of the abbeys and priories, and the many parish churches with their rich inheritance of Norman work. Timber-framed houses are abundant. But Worcestershire is also a county of red brick and sandstone, with such fine country houses as Jacobean Westwood, Hanbury Hall, Hagley Hall, and Witley Court. Among the towns are Stourport, the only English town created by the canals, the genteel spa resort at Great Malvern, and the leafy New Town at Redditch.

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This magnificent two-volume set explores one aspect of the outstanding collection of furniture that the great collector Sir William Lever, 1st Viscount Leverhulme (1851–1925), bequeathed to the Lady Lever Art Gallery in Port Sunlight, Merseyside: the pieces designed for support—primarily seat furniture, but also beds, footstools, and a coach model.While most of the collection is British, the largest and one of the most important sets was crafted in Rome for Napoleon’s uncle, Cardinal Fesch. The catalogue provides detailed information on patrons, designers, and makers, and on aspects of design, manufacture, upholstery, and usage for each piece in the collection.

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The ultimate gift edition of Walden for bibliophiles, aficionados, and scholars “Replaces all other available editions of Walden as the most attractive and reliable way to approach this great American book.”—Joel Porte, author of Consciousness and Culture: Emerson and Thoreau Reviewed This is the authoritative edition of an American literary classic: Henry David Thoreau’s Walden, an elegantly written record of his experiment in simple living. With this edition, Thoreau scholar Jeffrey S. Cramer has meticulously corrected errors and omissions from previous editions of Walden and provided illuminating notes on the biographical, historical, and geographical contexts of the great nineteenth-century writer and thinker’s life. Cramer’s newly edited text is based on the original 1854 edition of Walden, with emendations taken from Thoreau’s draft manuscripts, his own markings on the page proofs, and notes in his personal copy of the book. In the editor’s notes to the volume, Cramer quotes from sources Thoreau actually read, showing how he used, interpreted, and altered these sources. Cramer also glosses Walden with references to Thoreau’s essays, journals, and correspondence. With the wealth of material in this edition, readers will find an unprecedented opportunity to immerse themselves in the unique and fascinating world of Thoreau. Anyone who has read and loved Walden will want to own and treasure this gift edition. Those wishing to read Walden for the first time will not find a better guide than Jeffrey S. Cramer.

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The Annotated Shakespeare Series allows readers to fully understand and enjoy the rich plays of the world’s greatest dramatist “A drama . . . get[s] Yale’s red-carpet treatment.”—Library Journal One of the most powerful dramas ever written for the stage, Othello is a story of revenge, illusion, passion, mistrust, jealousy, and murder. If in Iago Shakespeare created the most compelling villain in Western literature, in Othello and Desdemona he gave us our most tragic and unforgettable lovers. This extensively annotated version of Othello makes the play completely accessible to readers in the twenty-first century. Eminent linguist and translator Burton Raffel offers generous help with vocabulary, pronunciation, and prosody and provides alternative readings of phrases and lines. His on-page annotations give readers all the tools they need to comprehend the play and begin to explore its many possible interpretations. In his introduction, Raffel delves into the interpretive disagreement over Othello’s origins and provides an analysis of the characters Desdemona and Iago. In a concluding essay, Harold Bloom engages our attraction to both power and tragedy in his discussion of Iago, Shakespeare’s “radical invention.”

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The authoritative biography of James Fenimore Cooper, author of the Leather-Stocking Tales and representative figure of the early American republic"For Franklin, Cooper wasn't just a major American writer; he was one of the supreme inventors of the American imagination."—Christopher Benfey, New Republic James Fenimore Cooper (1789–1851) invented the key forms of American fiction—the Western, the sea tale, the Revolutionary War romance. Furthermore, Cooper turned novel writing from a polite diversion into a paying career. He influenced Herman Melville, Richard Henry Dana, Jr., Francis Parkman, and even Mark Twain—who felt the need to flagellate Cooper for his “literary offenses.” His novels mark the starting point for any history of our environmental conscience. Far from complicit in the cleansings of Native Americans that characterized the era, Cooper’s fictions traced native losses to their economic sources. Perhaps no other American writer stands in greater need of a major reevaluation than Cooper. This is the first treatment of Cooper’s life to be based on full access to his family papers. Cooper’s life, as Franklin relates it, is the story of how, in literature and countless other endeavors, Americans in his period sought to solidify their political and cultural economic independence from Britain and, as the Revolutionary generation died, stipulate what the maturing republic was to become. The first of two volumes, James Fenimore Cooper: The Early Years covers Cooper’s life from his boyhood up to 1826, when, at the age of thirty-six, he left with his wife and five children for Europe.

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In this volume, William Watson and Chuimei Ho begin with discussions of “fine” art and painting and progress to an analysis of carving and sculpture, ceramics, glassware, and textiles. The authors demonstrate how, in the age of the Emperors Kangxi, Yongzheng and Qianlong, the “decorative” arts rose to prominence in a way quite unlike the western experience. Avoiding misrepresentative categorization, they single out period styles, identify repeated phases of archaism and Buddhist art, and discuss characteristic groups of jade, ivory, ceramics, glassware, and textiles. They consider the importance of the imperial workshops and their role in developing craftsmen’s skills and encouraging the cross-over of techniques from different disciplines, and they direct attention to the compelling influence of Emperor Qianlong’s aesthetic innovations.In architecture, the vast plan and overwhelming authority of the imperial buildings is discussed in contrast with the restrained subtlety of domestic architecture and garden design, where magnificent rocks were the principal feature just as in landscape painting. The survey concludes by examining the development of East/West trade and the effects of commercialization on Chinese arts and crafts. This is a handsome, well-illustrated book that will be a valuable and illuminating resource for all who are interested in the arts of China.

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This is a detailed, authoritative, and easy-to-use guide to the architectural wealth of England’s second city, the “workshop of the world.” Birmingham’s major buildings include its splendid English Baroque cathedral, pioneering Neo-Roman town hall, and still controversial Central Library of the 1970s. Streets of rich and varied Victorian and Edwardian architecture bear witness to an earlier era when Birmingham’s civic initiatives were the admiration of the country. More recently, the city has been rejuvenated with architecture on a giant scale, including the iconoclastic Selfridges and the canalside precinct of Brindleyplace, where Modernism and Classical Revival are excitingly juxtaposed.The guide also explores a variety of outer districts and suburbs, among them the famous Jewellery Quarter, the stucco villas of Edgbaston, and Cadbury’s celebrated Garden Suburb at Bournville. A connecting theme is provided by the local Arts and Crafts school, which flourished well into the twentieth century.

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This lavish catalogue presents 150 European paintings, pastels, and drawings from the late fifteenth to the mid-nineteenth century that have been given to the Metropolitan Museum by Mr. and Mrs. Charles Wrightsman or are still held in Mrs. Wrightsman’s private collection. These notable works were collected over the past four decades, many of them with the Museum in mind; some were purchased by the Museum through the Wrightsman Fund. Highlights of the book include masterpieces by Vermeer, El Greco, Rubens, Van Dyck, Georges de La Tour, Jacques-Louis David, and Caspar David Friedrich as well as numerous paintings by the eighteenth-century Venetian artists Canaletto, Guardi, and the Tiepolos, father and son, plus a dozen remarkable portrait drawings by Ingres. Each work is reproduced in color and is accompanied by a short essay. Published in association with The Metropolitan Museum of Art

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A perceptive literary critic, a world-famous writer of witty and playful verses for children, a leading authority on children’s linguistic creativity, and a highly skilled translator, Kornei Chukovsky was a complete man of letters. As benefactor to many writers including Alexander Solzhenitsyn and Joseph Brodsky, he stood for several decades at the center of the Russian literary milieu. It is no exaggeration to claim that Chukovsky knew everyone involved in shaping the course of twentieth-century Russian literature. His voluminous diary, here translated into English for the first time, begins in prerevolutionary Russia and spans nearly the entire Soviet era. It is the candid commentary of a brilliant observer who documents fifty years of Soviet literary activity and the personal predicament of the writer under a totalitarian regime.From descriptions of friendship with such major literary figures as Anna Akhmatova and Isaac Babel to accounts of the struggle with obtuse and hostile censorship, from the heartbreaking story of the death of the daughter who had inspired so many stories to candid political statements, the extraordinary diary of Kornei Chukovsky is a unique account of the twentieth-century Russian experience.

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This important and welcome volume is the first English-language anthology of writings on Latin American modern art of the twentieth century. The book includes some fifty seminal essays and documents—including statements, interviews, and manifestoes by artists—that encompass the broad diversity of this emerging field. Many of these materials are difficult to access and some are translated here for the first time. Together the selections explore the breadth and depth of Latin American modern art as well as its distinctive evolution apart from American and European art history.Included in this collection are fascinating ideas and insights on the impact of the avant-garde in the 1920s, the Mexican mural movement, Surrealism and other fantasy-based styles, modern architecture, geometric and optical art, concrete and neo-concrete art, and political conceptualism. For students and scholars of Latin American art, the volume offers an invaluable collection of primary and secondary sources.

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William Holman Hunt was one of the three major artistic talents of the Pre-Raphaelite brotherhood. Hunt’s work was always characterized by great seriousness of purpose, and his paintings include many of the most beautiful and powerful images of that midcentury explosion of creativity. This catalogue raisonée gives him the attention he deserves.The book includes an introduction that assesses Hunt’s life and artistic practice and discusses his aims, philosophy, and religious beliefs, which shed light on his works. While many of his paintings, with their extraordinary effects of light and color, are immediately accessible, his mature works incorporate symbolism that cannot be fully understood without a detailed knowledge of his intentions, and the catalogue entries thoroughly explore this. The volume presents Hunt’s oils and works on paper in two separate sections, and appendixes provide additional information on his illustrated letters, etchings, published illustrations, sculpture, and furniture. Published for the Paul Mellon Centre for Studies in British Art

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Dramatic social and economic change during the middle ages altered the lives of the people of Britain in far-reaching ways, from the structure of their families to the ways they made their livings. In this masterly book, preeminent medieval historian Christopher Dyer presents a fresh view of the British economy from the ninth to the sixteenth century and a vivid new account of medieval life. He begins his volume with the formation of towns and villages in the ninth and tenth centuries and ends with the inflation, population rise, and colonial expansion of the sixteenth century.This is a book about ideas and attitudes as well as the material world, and Dyer shows how people regarded the economy and responded to economic change. He examines the growth of towns, the clearing of lands, the Great Famine, the Black Death, and the upheavals of the fifteenth century through the eyes of those who experienced them. He also explores the dilemmas and decisions of those who were making a living in a changing world—from peasants, artisans, and wage earners to barons and monks. Drawing on archaeological and landscape evidence along with more conventional archives and records, the author offers here an engaging survey of British medieval economic history unrivaled in breadth and clarity.

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A long-awaited, new interpretation of Charlotte Salomon’s singular and complex modern artwork, Life? or Theatre? Charlotte Salomon (1917–1943) is renowned for a single, monumental, modernist artwork, Life? or Theatre? (Leben? oder Theater?), comprising 784 paintings and created between 1941 and 1942. This major art‑historical study sheds new light on the remarkable combination of image, text, and music, revealing Salomon’s wealth of references to cinema, opera, Berlin cabaret, and the painter’s self‑consciously deployed modernist engagements with artists such as Van Gogh, Munch, and Kollwitz. Additionally, Griselda Pollock draws attention to affinities in Salomon’s work with that of others who shared her experience of statelessness and menaced exile in Nazi‑dominated Europe, including Hannah Arendt, Sigmund Freud, and Walter Benjamin. Confronting new evidence for the extremity of the young artist’s last months, Pollock examines this significant work for its equally profound testimony to the crimes of the everyday: the sexual abuse of women in their own families. Seeking to reconcile the grandeur of this project’s sweep of a violent history with its unique testimony to the anguish of women, Pollock challenges the prevailing interpretations of Salomon’s paintings as a kind of visual autobiography by threading into her detailed and illuminating visual analyses of the painter’s philosophical art-making a dynamic range of insights from feminist and Jewish studies of modern subjectivity, story-telling, memory work, and historical trauma.

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This volume provides a survey of this region of Scotland stretching from the Atlantic islands and sea-lochs of Argyll to the softer landscape of Bute and the banks of the Clyde. The gazetteer introduces readers and visitors to a range of buildings.

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A comprehensive architectural guide encompassing three centuries of metropolitan growth spanning an area from Georgian St Marylebone and the riverside terraces of Chelsea and Chiswick to Heathrow Airport and the outer fringes of Middlesex.

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London 2: South is a uniquely comprehensive guide to the twelve southern boroughs. Its riverside buildings range from the royal splendours of Hampton Court and Greenwich and the Georgian delights of Richmond, to the monuments of Victorian commerce in Lambeth and Southwark. But the book also charts lesser known suburbs, from former villages such as Clapham to still rural, Edwardian Chislehurst, as well as the results of twentieth-century planners' dreams from Roehampton to Thamesmead. Full accounts are given of London landmarks as diverse as Southwark Cathedral, Soane's Dulwich Picture Gallery and the arts complex of the South Bank. The outer boroughs include diverse former country houses - Edward IV's Eltham Palace, the Jacobean Charlton House, and the Palladian Marble Hill. The rich Victorian churches and school buildings are covered in detail, as are the exceptional structures of Kew Gardens.

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A famous art collector, dealer, and indomitable champion of modern art, Emmy (Galka) Scheyer (1889–1945) is best known as the founder of the Blue Four artists’ group, whose members were Lyonel Feininger, Paul Klee, Alexei Jawlensky, and Vasily Kandinsky. Through her contacts with the art world in Europe and America, Scheyer acquired a remarkable collection of paintings, works on paper, and sculpture. This book presents almost five hundred items from the collection, reproducing most in full color. It features numerous works by the Blue Four, as well as those by eminent European artists and artists Scheyer knew in California.Published in association with the Norton Simon Art Foundation

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This volume covers the vast area of the Highland region, the Western Isles, Orkney and Shetland and highlights buildings and monuments as varied as its landscapes: brochs, cairns and ceremonial settings of standing stones; cathedrals and abbeys, both medieval and Victorian; churches of every period and denomination, their interiors and graveyards often housing unexpected delights. Castles and tower-houses and a string of Hanoverian forts contrast with prehistoric farmsteads and Georgian and Victorian farmhouses. Country houses range from the display of ducal splendour at Dunrobin, through the Georgian elegance of Cromarty and Culloden and a mass of Victorian baronial, to expressions of the high ideals and simple life of the Arts-&-Crafts movement.

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The New Paradigm in Architecture tells the story of a movement that has changed the face of architecture over the last forty years.The book begins by surveying the counter culture of the 1960s, when Jane Jacobs and Robert Venturi called for a more complex urbanism and architecture. It concludes by showing how such demands began to be realized by the 1990s in a new architecture that is aided by computer design—more convivial, sensuous, and articulate than the Modern architecture it challenges. Promoted by such architects as Frank Gehry, Daniel Libeskind, and Peter Eisenman, it has also been adopted by many schools and offices around the world. Charles Jencks traces the history of computer design which is, at its heart, built on the desire for an architecture that communicates with its users, one based on the heterogeneity of cities and global culture.This book, the first to explore the broad issue of Postmodernism, has fostered its growth in other fields such as philosophy and the arts. First written at the start of an architectural movement in the mid-1970s, it has been translated into eleven languages and has gone through six editions. Now completely rewritten and with two new chapters, this edition brings the history up to date with the latest twists in the narrative and the turn to a new complexity in architecture.

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Richard Cork is one of the most serious, most influential, and best-informed art critics in Britain today. These four volumes contain a selection of his articles from the seventies, eighties, nineties, and the year 2000. The result is a fascinating chronicle and invaluable record of a turbulent period that gives an overview and survey of British art and its reception over the past thirty years which is wholly unprecedented in its scope.

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Richard Cork is one of the most serious, most influential, and best-informed art critics in Britain today. These four volumes contain a selection of his articles from the seventies, eighties, nineties, and the year 2000. The result is a fascinating chronicle and invaluable record of a turbulent period that gives an overview and survey of British art and its reception over the past thirty years which is wholly unprecedented in its scope.

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It will come as a surprise to many that a wealth of Gothic art and architecture can still be found in Ireland. This groundbreaking book examines for the first time the most westerly expression of Gothic—on the edge of Europe—and traces its development from the beginning of the thirteenth century to the Reformation. Colum Hourihane offers new insights into Gothic Irish art, and he presents a revised view of art in Ireland in the Middle Ages. Brought to Ireland by the Anglo-Normans and religious reform movements, the style was adopted and adapted locally, first appearing in monastic architecture and subsequently in the other arts. The book looks at what survives of Gothic art in Ireland, examines previously unknown material, and discusses such wide-ranging topics as the historiography of the style, its metalwork, iconography, and forms. Published for the Paul Mellon Centre for Studies in British Art

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Hernán Cortés’s Cartas de Relacíon, written over a seven-year period to Charles V of Spain, provide an extraordinary narrative account of the conquest of Mexico from the founding of the coastal town of Veracruz until Cortés’s journey to Honduras in 1525. Pagden’s English translation has been prepared from a close examination of the earliest surviving manuscript and of the first printed editions, and he also provides a new introduction offering a bold and innovative interpretation of the nature of the conquest and Cortes’s involvement in it. J. H. Elliot’s introductory essay explains Cortes’s conflicts with the Crown and with Diego Velazquez, the governor of Cuba.“The definitive edition [of the letters] in any language. . . . The book is a ’must’ for all those who are seriously interested in this traumatic clash of civilizations and the consequences, both for good and ill, which ensued.”—C. R. Boxer, English Historical Review“One of the most fascinating Machiavellian documents to come out of the Renaissance.”—Carlos Fuentes, Guardian “[Pagden] provides us with two important innovations: the first reliable edition of the most important Spanish text . . . and annotations that draw on Pagden’s own profound knowledge of Mesoamerican cultures.”—Helen Nader, Sixteenth Century Journal

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Much has been written about London’s terraced houses with their simple dignity, their economical use of space, and their sense of comfort and human scale. Yet the small gardens that lie before or behind the houses in this great city have until now been overlooked. In this groundbreaking account of the development of the private garden in London, eminent garden historian Todd Longstaffe-Gowan provides a delightful remedy to the oversight. Recognizing the contribution of modest domestic gardens to the texture of eighteenth- and early nineteenth-century London, Longstaffe-Gowan explores in full detail the small gardens, their owners, and their significance to the development of the metropolis. Some two hundred illustrations enhance this rich and fascinating discussion.Town gardening was conventionally maligned as a trifling pursuit conducted within inhospitable and infertile enclosures. This view changed during the eighteenth century as middle class Londoners found in gardening activities an outlet for personal enjoyment and expression. This book describes how gardening affected the lives of many, becoming part of the ritual of the daily round and gratifying material aspirations.

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This compelling work of documentary history tells a story of idealism betrayed, a story of how the Comintern (Communist International), an organization established by Lenin in 1919 to direct and assist revolutionary movements throughout the world, participated in and was ultimately destroyed by the Stalinist repression in the late 1930s. Presenting and drawing on recently declassified archival documents, William J. Chase analyzes the Comintern’s roles as agent, instrument, and victim of terror.In both principle and practice, the Comintern was an international organization, with a staff that consisted primarily of Communist émigrés who had fled dictatorial regimes in Europe and Asia. It was, however, headquartered in Moscow and controlled by Soviet leaders. This book examines the rise of suspicions and xenophobia among Soviet and Comintern leaders and cadres for whom many foreigners were no longer the heroes of the class struggle but rather possible enemy agents. Some Comintern members internalized and acted on Stalin’s theories about the infiltration of foreign spies into Soviet society, supplying the Soviet police with information that led to the exile or execution of imigris. Thousands of other imigris also became victims of the purges. Together the text and documents of this book convey graphically the essential roles played by the Comintern, providing a unique perspective on the era of Stalinist repression and terror.

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The complex relationship between Mozart and his father has fascinated music lovers for centuries, and much effort has been spent examining the letters exchanged by the two men. This provocative book offers a new reading of these letters, placing them in the context of the stylized strategies of the eighteenth-century epistolary tradition and arguing that they reveal a rebelliousness deep within Mozart’s life and work.David Schroeder contends that Mozart’s father, Leopold, intended to write a biography of his son and designed his correspondence to be published as a type of moral biography. He bombarded his son with letters that often began with amusing anecdotes and then offered a torrent of advice on every imaginable subject. Dealing with these often biting letters presented Mozart with a challenge. He could react with anger, but that type of revolt only fired Leopold’s criticism, and it proved much more effective to be evasive or dissimulating. Mozart’s letters, in contrast to the moral German-styled letters he received, came closer to the more wily French letters of the philosophes, Voltaire especially, whose style he would have discovered while living in Paris. Like Voltaire, Mozart wore different epistolary masks, playing the comedian, moralist, intimate friend, or even, with scatological outbursts, protester against the sanitized moral and enlightened world of authority. Eventually Mozart turned the correspondence into an epistolary game, willfully making his letters unprintable and deliberately subverting his father’s plans.

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Recent theory has tended to understand the meaning of art primarily as a function of original contexts of production and reception or in its relation to fashionable notions of gender, multiculturalism, and "scopic regimes." These approaches, however, fail to negotiate adequately art’s transhistorical and transcultural significance, a shortcoming that is particularly serious in relation to twentieth-century works because it confines their significance to contexts that are regulated by the specialist interests of a narrow managerial class of curators, critics, and historians. In this important book, Paul Crowther provides a radical reinterpretation of key phases and figures in twentieth-century art, focusing on the way artists and critics negotiate philosophically significant ideas.Crowther begins by discussing how and why form is significant. Using Derrida’s notion of "iterability"—a sign’s capacity to be used across different contexts—he links this possibility to key reciprocal cognitive relations that are the structural basis of self-consciousness. He then argues that while such relations are necessarily involved in any pictorial work, they are especially manifest in aesthetically valuable representation, and even more so in those twentieth-century works that radically transform or abandon conventional modes of representation. The involvement of key reciprocal relations gives such works a transhistorical and transcultural significance. To show this, Crowther investigates the theory and practice of important artists such as Malevich, Pollock, Mondrian, and Newman, and major tendencies such as Futurism, Surrealism, and Conceptual Art. By linking them to reciprocal relations, he is able to illuminate a language of twentieth-century art that cuts across those boundaries set out by such conventional notions as modern, avant-garde, and postmodern.

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In this outstanding new translation of Lancelot, Burton Raffel brings to English language readers the fourth of Chrétien’s five surviving romantic Arthurian poems. This poem was the first to introduce Lancelot as an important figure in the King Arthur legend.

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More than two hundred years ago, Russian Empress Catherine the Great and some of her courtiers developed a taste for British art and collected some spectacular items including paintings, drawings, sculpture, silver, and Wedgwood ceramics. This sumptuously illustrated book tells the story of the acquisition of these treasures and of the cultural relations between Britain and Russia in the eighteenth century. Distinguished critic John Russell provides the introduction for this book, and eminent British and Russian scholars offer chapters on such topics as British gardeners and the vogue of the English Garden, the Houghton sale, British architects in Russia, and English porcelain and the Russian court. The book includes color illustrations of 164 items from the Hermitage collections of British art, including such highlights as full-length portraits by Van Dyck painted in England, assorted pieces of the celebrated Green Frog dinner service commissioned from Josiah Wedgwood for the Chesmensky Palace, Charles Kandler's huge Rococo silver "Jerningham" wine cooler, other silver items by Augustine Courtauld and Paul de Lamerie, and some furniture and important architectural drawings by Charles Cameron. The collection also includes sculpture, jewelry, watches, clocks, medals, cameos, and gems. Published for the Yale Center for British Art, The Toledo Museum of Art, The Saint Louis Art Museum,

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Louis François Roubiliac, the most compelling sculptor in eighteenth-century Britain, was responsible for many complex and dramatic monuments that can be seen in Westminster Abbey and churches throughout the country. This book is not only the first extended treatment of the artist since 1928 but is also an exploration of tomb sculpture in the context of the period.The first section, written by David Bindman, discusses the reasons for the commissioning of tomb sculpture, ideas of death and the afterlife, the setting of the tomb, the themes that govern its imagery, and the negotiations between sculptor and patron. The second section, written by Malcolm Baker, examines in detail the processes involved in the design and making of the monuments. Through an analysis of the monuments themselves, the surviving models, and a range of documentary evidence, Baker considers Roubiliac's technical procedures and compares them to those of other sculptors in Britain and on the continent. The volume ends with a full catalogue raisonné of Roubiliac's known monuments. Each commission is discussed in detail, with full accounts of contemporary documentation, inscriptions, physical construction, and related models.By examining the particular social and religious conditions of the time it becomes possible to account not only for the distinctive features of Roubiliac's work and practice but also for how such theatrical works came to be accepted and admired. The book is fully illustrated, all the major works having been newly photographed to make visible details that are impossible to see under normal viewing conditions.Published for the Paul Mellon Center for Studies in British Art

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When the story of modern art is told, British artists are mentioned infrequently or not at all. In this book, distinguished art historians attempt to explain the marginal position of British modern art by examining the development of the London art world—its institutions and individual artists—over the past two centuries.Chapters discuss artists as diverse as William Hogarth, Sir Joshua Reynolds, W.P. Frith, Walter Sickert, and Henry Moore and also describe academies, public exhibitions, and commercial galleries throughout the era. Introduced by David Solkin, the volume consists of contributions from Caroline Arscott, Ann Bermingham, John Brewer, Marilyn Butler, Julie Codell, Peter Funnell, John Gage, Charles Harrison, Andrew Hemingway, Ludmilla Jordanova, Ronald Paulson, Martin Postle, and Stella Tillyard.This volume is the first of a new serial publication, Studies in British Art, published for the Yale Center for British Art and the Paul Mellon Centre for Studies in British Art.Published for the Paul Mellon Center for Studies in British Art

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In Dachau, Auschwitz, Yad Vashem, and thousands of other locations throughout the world, memorials to the Holocaust are erected to commemorate its victims and its significance. This fascinating work by James E. Young examines Holocaust monuments and museums in Europe, Israel, and America, exploring how every nation remembers the Holocaust according to its own traditions, ideals, and experiences, and how these memorials reflect their place in contemporary aesthetic and architectural discourse. The result is a groundbreaking study of Holocaust memory, public art, and their fusion in contemporary life.Among the issues Young discusses are: how memorials suppress as much as they commemorate; how museums tell as much about their makers as about events; the differences between memorials conceived by victims and by victimizers; and the political uses and abuses of officially cast memory. Young describes, for example, Germany's "counter monuments," one of which was designed to disappear over time, and the Polish memorials that commemorate the whole of Polish destruction through the figure of its murdered Jewish part. He compares European museums and monuments that focus primarily on the internment and killing process with Israeli memorials that include portrayals of Jewish life before and after the destruction. In his concluding chapters, he finds that American Holocaust memorials are guided no less by distinctly American ideals, such as liberty and pluralism.Interweaving graceful prose and arresting photographs, the book is eloquent testimony to the way varied cultures and nations commemorate an era that breeds guilt, shame, pain, and amnesia, but rarely pride. By reinvigorating these memorials with the stories of their origins, Young highlights the ever-changing life of memory over its seemingly frozen face in the landscape.

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This important new book presents a comprehensive integration of psychoanalytic theories of human development from Freud to the present, showing their implications for the evaluation and treatment of children and adults. Phyllis Tyson and Robert L. Tyson not only review the literature on emotional growth but also provide a developmental theory of their own, one that examines psychosexual development in the context of a number of other simultaneously evolving systems—emotional, behavioral, cognitive, and social—all of which work in relation to one another in a dynamic way. The authors describe the developmental sequences of these systems and how they coalesce to form the human personality. The Tysons view development as it occurs rather than retrospectively from reconstructions of earlier life experience. They begin by tracing the history of this perspective, describing the developmental process, then critically reviewing psychoanalytic theories of development. The authors present developmental sequences for psychosexuality, object relations, the sense of self, affect, cognition, the superego, gender identity, and the ego. Throughout they maintain a central and orienting focus on the intrapsychic—on what happens in the mind as it evolves. In contrast to recent psychoanalytic emphases on interpersonal aspects of early development, they view perceived and felt interpersonal interactions as working in conjunction with innate factors to provide the basis for the internal world. According to the Tysons, it is the evolution and elaboration of this internal world that is the domain of psychoanalytic theory of development.

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In this book, a prominent historian revises his comprehensive overview of Germany since 1945 to take into account the momentous events that swept away one of the German states and united the country under the constitution of the other. Reviews of The Two Germanies since 1945 "A well-organized, clearly written, and meaty book."—Gordon A. Craig, New York Review of Books "A basic, comprehensive text, valuable for an understanding of a central and changing aspect of European politics."—David P. Calleo, Foreign Affairs "A brief, balanced, and well-written history."—William E. Griffith, New York Times Book Review "A marvelously clear, concise, and judicious survey that will be very instructive for the general reader and extraordinarily useful for courses dealing with post-World War II Germany."—William Sheridan Allen, author of The Nazi Seizure of Power

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Demonstrating a poet’s imaginative ear and a critic’s range of concern, John Hollander here writes about the "melodious guile" with which poetry speaks to us. Through analysis of formal and rhetorical patterns in examples chosen from the whole spectrum of English and American poetry, Hollander describes how poems form self-reflexive parable in order to represent realms beyond themselves. "As astute a book about poetry as anyone has produced in the last five years."—David Lehman, Newsday"A lively and enlivening work of criticism."—Library Journal"Hollander, himself a fine poet, is such a generalist; and Melodious Guile, to my mind the best of his critical books, takes its place . . . among the very few enjoyable and enriching studies of how poetry works."—Alastair Fowler, London Review of Books"An incisive display of beautifully integrated erudition. John Hollander demonstrates, just as post-structuralism is waning, that there are other, more cogent theoretical terms for thinking about poetry and for a return to the reading of poetry."—Robert Alter, University of California, BerkeleyNominated for a 1988 National Book Circle Award in Criticism

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Beowulf, the primary epic of the English language, is a powerful heroic poem eloquently expressive of the Anglo-Saxon culture that produced it. In this beautiful book a designer, a poet, and a specialist in Anglo-Saxon literature recreate Beowulf for a modern audience. Interweaving evocative images, a new interpretation in verse, and a running commentary that helps clarify the action and setting of the poem as well as the imagery, the book brings new life to this ancient masterpiece. Randolph Swearer’s oblique and allusive images create an archaic, mysterious atmosphere by depicting in forms and shadows the world of Germanic antiquity—Scandinavian and Anglo-Saxon art, artifacts, and scenery. At the same time, Raymond Oliver gives Beowulf a world in which to live, filling in the cultural gaps not with a thick matrix of footnotes but with poetry itself. Unlike many translations of Beowulf in existence, Oliver’s retelling of the epic uses modern verse forms for poetic effect and includes a wealth of historically authentic descriptions, characterizations, and explanations necessary for modern readers. Marijane Osborn completes the process of restoring context to the poem by supplying a commentary to clarify the historical and geographical dimensions of the story as well as the imagery that accompanies it. All three work together to bring a likeness of an old and elusive tale to today’s reader.“The book’s design and the commentary on it provide a unique visual complement to Oliver’s poem… A strange and moving story, compellingly told and seriously interesting to any serious reader of books.”—Fred C. Robinson, from the Introduction

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The fairy tale collection of the brothers Grimm has been a central document in German social and literary history for generations, mined for various purposes by scholars of many persuasions. This book, the first in more than fifty years to examine the entire body of tales, provides a thorough content analysis, focusing in particular on the use of gender in the stories. Ruth B. Bottigheimer’s close analysis of several major editions of Grimms’ Tales reveals coherent patterns of motif, plot, and image and also affords insight into the moral and social vision of the collection. Bottigheimer discusses, for example, the relationship between transgression and punishment, noting that gender distinctions rather than the severity of the sin determined the consequences of transgressing prohibitions. She finds that in the course of the Tales’ editorial history, speech was systematically taken away from women and given to men. She shows how common elements unite images and themes as disparate as abandonment in the forest, subliminal eroticism, violence, and Christianity in the Tales. And she treats their social and ethical bases, analyzing such aspects of the plots as the workings of the judicial process and the relation of anti-Semitism to the economics of work and money. According to Bottigheimer, Freudians praise fairy tales as contributing to children’s moral education; although Jungians recognize the gender distinctions inherent in the tales, they treat the collection ahistorically, ignoring its nineteenth-century German origins. By combining a sociohistorical analysis of these stories with close scrutiny of the language in which they are told, Bottigheimer radically alters the uses to which Grimms’ Tales can be put in the future by historians, psychologists, feminists, and educators.

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Captain James Cook’s three voyages of exploration to the Pacific between 1768 and 1780 were the first of the great European voyages of discovery to carry professional artists. The Art of Captain Cook’s Voyages contains all the known drawings and paintings done for these voyages as well as a fascinating narrative and explanatory text by Bernard Smith and Rudiger Joppien. Volume III, describing Cook’s final voyages, is of particular interest for its descriptions of the Pacific Northwest of America as well as Australia, New Zealand, and the Pacific Islands.

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The twelfth-century French poet Chrétien de Troyes is a major figure in European literature. His courtly romances fathered the Arthurian tradition and influenced countless other poets in England as well as on the continent. Yet because of the difficulty of capturing his swift-moving style in translation, English-speaking audiences are largely unfamiliar with the pleasures of reading his poems.Now, for the first time, an experienced translator of medieval verse who is himself a poet provides a translation of Chrétien’s major poem, Yvain, in verse that fully and satisfyingly captures the movement, the sense, and the spirit of the Old French original. Yvain is a courtly romance with a moral tenor; it is ironic and sometimes bawdy; the poetry is crisp and vivid. In addition, the psychological and the socio-historical perceptions of the poem are of profound literary and historical importance, for it evokes the emotions and the values of a flourishing, vibrant medieval past.

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This book is a general introduction to Shi’i Islam—specifically to Twelver Shi’ism, to which the majority of Shi’is belong today. It deals with the history and development of this important religion, giving an account of Shi’i doctrines and focusing in particular on those areas in which it differs from Sunni Islam. “Momen’s book fills an important gap in the general literature in English on Twelver Shi’ism, and should be carefully studied by anyone who wants to know more about what is happening in the Middle East today….This is a fine work which deserves the widest possible readership.”—Malise Ruthven, The Middle East “An extremely useful reference source on the establishment and evolution of the Shi’ite branch of the Islamic religion.”—Cecil V. Crabb, Jr., Perspective “An unpretentious style, interpretive clarity and . . . sound judgment characterize Momen’s writings. The various aspects of Twelver Shi’ism are carefully distinguished to satisfy both the general reader and the aspiring student.”—Norman Calder, Times Literary Supplement “Specialist and nonspecialist alike will benefit from its lucid exposition of both elite and popular Shi’ism. Especially valuable is the way the work presents modern critical scholarship on Shi’i history alongside the orthodox history, which still has great influence on the religion’s self-understanding.”—Mel Piehl, Library Journal Moojan Momen has written extensively on Iran and Middle East religion.

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The ninth and tenth volumes of the diary cover the years from January 1808 up to December 1810. Among the public events that preoccupy Joseph Farington are the wars in Europe and South America and the spectacular scandal that erupted in 1809 over Duke of York’s association with Mary Anne Clark.This period finds Farington embarking on extended tours—one to the north of England and two to the West Country—making sketches to illustrate the survey of Britain, Britannica Depicta, compiled by his friends Samuel and Daniel Lysons. Farington’s association with this and other projects for the publishers Cadell and Davies involves him in negotiations with many engravers, among them Joseph Landseer, James Heath, and Samuel Middiman.Within the Royal Academy (to which Landseer is pressing that a number of engravers be admitted) feelings run high over the lecture by John Soane criticizing the architecture of Covent Garden Theatre, which was the work of Robert Smirke, the son of Farington’s oldest friends. At the end of 1810 Farington is occupied with assessing Robert Smirke’s prospects at the coming election of academicians. In common with many others in the diarist’s wide circle of acquaintances, Thomas Lawrence and John Constable continue to seek Farington’s advice on professional and practical affairs. Published for the Paul Mellon Centre for Studies in British Art.

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These seventh and eighth volumes of Farrington's diary chronicle a period of troubled time for the Royal Academy and record political events such as the battle of Trafalgar and the death of Pitt and Fox.

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The surviving sermons of Samuel Johnson, presented in a scholarly edition for the first time It has been known since the publication of pre-Boswellian biographies that Samuel Johnson wrote sermons that were preached by others. The twenty-eight that have survived are presented here in their first scholarly edition, with full explanations and textual notes. They include a hitherto unpublished manuscript sermon and the celebrated Convict’s Address to His Unhappy Brethren, written for the notorious forger Dr. William Dodd for delivery to his fellow prisoners on the eve of his execution at Newgate. In the sermons one finds the famous Johnsonian rhetoric and logic applied to such subjects as marriage and friendship, the meaning of moral and physical evil, the need to adjust punishment so that it fits the crime, and the desirability of tradition in religion. Equally eloquent are Johnson’s indignant and fiery attacks on intellectual pride, “the vanity of human wishes,” perjury, defamation, fraud, skepticism, and infidelity. In their introduction, the editors discuss the circumstances surrounding the composition, preaching, and publication of the sermons. Certain to interest students of Johnson’s thought, this volume should also appeal to those concerned with the development of English style and with the venerable and once admired English homiletical tradition.

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Sexual harassment of working women has been widely practiced and systematically ignored. Men’s control over women’s jobs has often made coerced sexual relations the price of women’s material survival. Considered trivial or personal, or natural and inevitable, sexual harassment has become a social institution.MacKinnon offers here the first major attempt to understand sexual harassment as a pervasive social problem and to present a legal argument that it is discrimination based on sex. Beginning with an analysis of victims’ experiences, she then examines sex discrimination doctrine as a whole, both for its potential in prohibiting sexual harassment and for its limitations.Two distinct approaches to sex discrimination are seen to animate the law: one based on an analysis of the differences between the sexes, the other upon women’s social inequality. Arguing that sexual harassment at work is sex discrimination under both approaches, she criticizes the effectiveness of the law in reaching the real determinants of women’s social status. She concludes that a recognition of sexual harassment as illegal would support women’s economic equality and sexual self-determination at a point where the two are linked.

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