`One of the most interesting theorists in contemporary psychoanalysis, Bollas emphasizes both the creativity of subjectivity itself and the key place of experience in the formation of psychical constructions and fantasy' - Anthony Elliott, Centre for Critical Theory, University of the West of England This eclectic collection of essays reflects the far-reaching, multi-dimensional influence of Christopher Bollas. Bollas galvanises our understanding of what happens when people encounter the objects - the endlessly variegated content - of external reality. Each of us has our own unique idiom through which we endow objects - a painting, a football, a stranger - with special meaning. Bollas has added depth to our understanding of these relationships with vitality rarely found in psychoanalytic writing. The contributors to this volume offer definitions and illustrations that make Bollas' thought accessible for those approaching his work for the first time and illuminating for those more familiar with his canon. The Vitality of Objects reveals the possibilities for self-expression and growth that figure in the process of object relations and shows how and why thinkers and artists from so many different perspectives are attracted to Bollas' thought.
This collection of essays reflects the far-reaching multi-dimensional influence of Christopher Bollas. Bollas galvanises our understanding of what happens when people encounter the objects - the endlessly variegated content - of external reality.
A Cultural History of Objects in the Age of Enlightenment covers the period 1600 to 1760, a time marked by the movement of people, ideas and goods. The objects explored in this volume –from scientific instrumentation and Baroque paintings to slave ships and shackles –encapsulate the contradictory impulses of the age. The entwined forces of capitalism and colonialism created new patterns of consumption, facilitated by innovations in maritime transport, new forms of exchange relations, and the exploitation of non-Western peoples and lands. The world of objects in the Enlightenment reveal a Western material culture profoundly shaped by global encounters. The 6 volume set of the Cultural History of Objects examines how objects have been created, used, interpreted and set loose in the world over the last 2500 years. Over this time, the West has developed particular attitudes to the material world, at the centre of which is the idea of the object. The themes covered in each volume are objecthood; technology; economic objects; everyday objects; art; architecture; bodily objects; object worlds. Audrey Horning is Professor at William & Mary, USA, and at Queen's University Belfast, UK. Volume 4 in the Cultural History of Objects set. General Editors: Dan Hicks and William Whyte
Assessed against comparable documents of Scripture and the Qumran library, the Mishnah shows itself as a triumph of imagination. It exhibits remarkable capacity to think in new and astonishing ways about familiar things. This study compares the Mishnah to four biblical codes and two codes found among the Dead Sea Scrolls. The comparison provides perspective upon the uniqueness of the Mishnah in its Israelite context of Scripture and tradition. Linked to Scripture and in dialogue with Scripture, the Mishnah struck out in new paths altogether from those set forth by Scripture's codes and those that imitated them. The capacity to think in fresh ways about the Scripture's own imperatives and their implications attests to the validity of Rabbinic imagination that reaches concrete expression in the Mishnah, a triumph of reconstruction and creative recapitulation.
Alan Hollinghurst and the Vitality of Influence proposes a striking approach for reading the influences that interlace twentieth-century gay British writers. Focusing on the role of the textual image in literary influence, this book moves toward a new understanding of the interpenetration of literary and visual culture in the twentieth century.
Bioart -- art that uses either living materials (such as bacteria or transgenic organisms) or more traditional materials to comment on, or even transform, biotechnological practice -- now receives enormous media attention. Yet despite this attention, bioart is frequently misunderstood. Bioart and the Vitality of Media is the first comprehensive theoretical account of the art form, situating it in the contexts of art history, laboratory practice, and media theory. Mitchell begins by sketching a brief history of bioart in the twentieth and twenty-first centuries, describing the artistic, scientific, and social preconditions that made it conceptually and technologically possible. He illustrates how bioartists employ technologies and practices from the medical and life sciences in an effort to transform relationships among science, medicine, corporate interests, and the public. By illustrating the ways in which bioart links a biological understanding of media -- that is, �media� understood as the elements of an environment that facilitate the growth and development of living entities -- with communicational media, Bioart and the Vitality of Media demonstrates how art and biotechnology together change our conceptions and practices of mediation. Reading bioart through a range of resources, from Immanuel Kant�s discussion of disgust to Gilles Deleuze�s theory of affect to Gilbert Simondon�s concept of �individuation,� provides readers with a new theoretical approach for understanding bioart and its relationships to both new media and scientific institutions.
The crime fiction world of the late 1970s, with its increasingly diverse landscape, is a natural beginning for this collection of critical studies focusing on the intersections of class, culture and crime--each nuanced with shades of gender, ethnicity, race and politics. The ten new essays herein raise broad and complicated questions about the role of class and culture in transatlantic crime fiction beyond the Golden Age: How is "class" understood in detective fiction, other than as a socioeconomic marker? Can we distinguish between major British and American class concerns as they relate to crime? How politically informed is popular detective fiction in responding to economic crises in Scotland, Ireland, England and the United States? When issues of race and gender intersect with concerns of class and culture, does the crime writer privilege one or another factor? Do values and preoccupations of a primarily middle-class readership get reflected in popular detective fiction?
Return to Twin Peaks offers new critical considerations and approaches to the Twin Peaks series, as well as reflections on its significance and legacy. With texts that analyze the ways in which readers and viewers endow texts with meaning in light of historically situated and culturally shared emphases and interpretive strategies, this volume showcases the ways in which new theoretical paradigms can reinvigorate and enrich understanding of what Twin Peaks was and what it has become since it went off the air in 1991.
States that the critical theory of the Frankfurt School is as important today, if not more so, as it was at its inception during the 1930s. This title looks at the distinguishing features of this tradition and how it is critical, yet also complementary, of other approaches in the social sciences, especially in sociology.
Experience the creative explosion that transformed American art, in the words of the artists, writers, and critics who were there: In the quarter century after the end of World War II, a new generation of painters, sculptors, and photographers transformed the face of American art and shifted the center of the art world from Paris to New York. Signaled by the triumph of abstraction and the ascendancy of painters such as Pollock, Rothko, de Kooning, and Kline, this revolution generated an exuberant and contentious body of writing without parallel in our cultural history. In the words of editor Jed Perl, “there has never been a period when the visual arts have been written about with more mongrel energy—with more unexpected mixtures of reportage, rhapsody, analysis, advocacy, editorializing, and philosophy.” Perl has gathered the best of this writing together for the first time, interwoven with fascinating headnotes that establish the historical background, the outsized personalities of the artists and critics, and the nature of the aesthetic battles that defined the era. Here are statements by the most significant artists, and major critical essays by Clement Greenberg, Susan Sontag, Hilton Kramer, and other influential figures. Here too is an electrifying array of responses by poets and novelists, reflecting the free interplay between different art forms: John Ashbery on Andy Warhol, James Agee on Helen Levitt, James Baldwin on Beauford Delaney, Truman Capote on Richard Avedon, Tennessee Williams on Hans Hofmann, Jack Kerouac on Robert Frank. The atmosphere of the time comes to vivid life in memoirs, diaries, and journalism by Peggy Guggenheim, Dwight Macdonald, Calvin Tomkins, and others. Lavishly illustrated with scores of black-and-white images and a 32-page color insert, this is a book that every art lover will treasure.
This book explores the usage and significance of the word "like" across a wide range of disciplines, focusing in particular on its influence in education and pedagogy. From the advent of the "like button" on Facebook to the common verbal tic, liking has become an integral part of our everyday lives. By drawing on feminist, queer, and other critical traditions, the authors evaluate this phenomenon in order to interrogate its history, its linguistic function, its role in labor and economics, and its ties to, and separation from, religion. As the notion of "like" becomes more and more ubiquitous, this critical volume demonstrates the need to consider like, liking, and likeability when thinking about the institutions that impact us daily.
