A SCHOLARLY BOOK REPOSITORY
* explain eye anatomy and how healthy eyes work
* describe various eye diseases, including pink eye, cataract, glaucoma, age-related macular degeneration, and diabetic retinopathy
* provide up-to-date information on surgery
For each eye problem, the authors describe in simple, straightforward language:
* what it is
* the symptoms
* what, if anything, you can do to prevent it
* when to call the doctor
* diagnostic tests and treatment
* the likelihood of recovery
All about Your Eyes includes a glossary of technical terms and, following each entry, links to websites where further information may be found.
Contributors. Natalie A. Afshari, MD, Rosanna P. Bahadur, MD, Paramjit K. Bhullar, MD, Faith A. Birnbaum, MD, Cassandra C. Brooks, MD, Pratap Challa, MD, Melissa Mei-Hsia Chan, MBBS, Ravi Chandrashekhar, MD, MSEE, Nathan Cheung, OD, FAAO Claudia S. Cohen, MD, Vincent A. Deramo, MD, Cathy DiBernardo, RN, Laura B. Enyedi, MD, Sharon Fekrat, MD, Henry L. Feng, MD, Brenton D. Finklea, MD, Anna Ginter, MD, Tanya S. Glaser, MD, Michelle Sy Go, MD, MS, Mark Goerlitz-Jessen, MD, Herb Greenman, MD, Abhilash Guduru, MD, Preeya Gupta, MD, Renee Halberg, MSW, LCSW, S. Tammy Hsu, MD, Alessandro Iannaccone, MD, MS, FARVO, Charlene L. James, OD, Kim Jiramongkolchai, MD, Michael P. Kelly, FOPS, Muge R. Kesen, MD, Kirin Khan, MD, Wajiha Jurdi Kheir, MD, Jane S. Kim, MD, Jennifer Lira, MD, Katy C. Liu, MD, PhD, Ramiro S. Maldonado, MD, Ankur Mehra, MD, Priyatham S. Mettu, MD, Prithvi Mruthyunjaya, MD, MHS, Nisha Mukherjee, MD, Kenneth Neufeld, MD, Kristen Peterson, MD, James H. Powers, MD, S. Grace Prakalapakorn, MD, MPH, Michael Quist, MD, Leon Rafailov, MD, Roshni Ranjit-Reeves, MD, Nikolas Raufi, MD, William Raynor, BS, Cason Robbins, BS, Ananth Sastry, MD, Dianna L. Seldomridge, MD, MBA, Terry Semchyshyn, MD, Ann Shue, MD, Julia Song, MD, Brian Stagg, MD, Christopher Sun, MBBS, Anthony Therattil, BS, Daniel S.W. Ting, MBBS, Fay Jobe Tripp, MS, OTR/L, CLVT, CDRS, Obinna Umunakwe, MD, PhD, Lejla Vajzovic, MD, Susan M. Wakil, MD, C. Ellis Wisely, MD, MBA, Julie A. Woodward, MD
The extraordinary actor–director–writer who developed his talent for self-torture into art to become one of the most vital creative forces of the century.
Shapiro explores the whole range of Foucault's writings on visual art, including the theory of visual resistance, the concept of the phantasm or simulacrum, and his interrogation of the relation of painting, language, and power in artists from Bosch to Warhol. Shapiro also shows through an excavation of little-known writings that the visual is a major theme in Nietzsche's thought. In addition to explaining the significance of Nietzsche's analysis of Raphael, Dürer, and Claude Lorrain, he examines the philosopher's understanding of the visual dimension of Greek theater and Wagnerian opera and offers a powerful new reading of Thus Spoke Zarathustra.
Archaeologies of Vision will be a landmark work for all scholars of visual culture as well as for those engaged with continental philosophy.
Through autobiographical sketches, theoretical essays, interviews, and conversations with such luminaries as Jean-Luc Godard and Alberto Moravia, this compelling volume explores the director’s unique brand of narrative-defying cinema as well as the motivations and anxieties of the man behind the camera.
“The Architecture of Vision provides a filmmaker’s absorbing reflections and insights on his career. . . . Antonioni’s comments . . . deepen and humanize a sometimes cerebral book.”—Publishers Weekly
“[Antonioni’s] erudition is astonishing . . . few of his peers can match his verbal articulateness.”—Film Quarterly
“This valuable resource offers entrée to material difficult to gain access to under other circumstances.”—Library Journal
The essays in this volume highlight precisely the entanglements that ekphrasis suggests and/or rejects: not merely of word and image, but also of sign and thing, stasis and mobility, medieval and (early) modern, absence and presence, the rhetorical and the visual, thinking and feeling, knowledge and desire, and many more. The Art of Vision furthers our understanding of the complexities of medieval ekphrasis while also complicating later understandings of this device. As such, it offers a more diverse account of medieval ekphrasis than previous studies of medieval text–image relationships, which have normally focused on a single country, language, or even manuscript.
Akira Mizuta Lippit focuses on historical moments in which such modes of avisuality came into being—the arrival of cinema, which brought imagination to life; psychoanalysis, which exposed the psyche; the discovery of x-rays, which disclosed the inside of the body; and the “catastrophic light” of Hiroshima and Nagasaki, which instituted an era of atomic discourses.
With a taut, poetic style, Lippit produces speculative readings of secret and shadow archives and visual structures or phenomenologies of the inside, charting the materiality of what both can and cannot be seen in the radioactive light of the twentieth century.
Akira Mizuta Lippit is professor of cinema, comparative literature, and Japanese culture at the University of Southern California. He is the author of Electric Animal: Toward a Rhetoric of Wildlife (Minnesota, 2000).
Chicago began as a trading post, which grew into a market for goods from the west, sprouting the still-largest rail hub in America. As people began to trade virtual representations of those goods—futures—the city became a hub of finance and law. And as academics studied the city’s growth and its economy, it became a hub of intellect, where the University of Chicago’s pioneering sociologists shaped how cities at home and abroad understood themselves. Looking inward, Moser explores how Chicago thinks of itself, too, tracing the development of and current changes in its neighborhoods. From Boystown to Chinatown, Edgewater to Englewood, the Ukrainian Village to Little Village, Chicago is famous for them—and infamous for the segregation between them.
With insight sure to enlighten both residents and anyone lucky enough to visit the City of Big Shoulders, Moser offers an informed local’s perspective on everything from Chicago’s enduring paradoxes to tips on its most interesting sights and best eats. An affectionate, beautifully illustrated urban portrait, his book takes us from the very beginnings of Chicago as an idea—a vision in the minds of the region’s first explorers—to the global city it has become.
Contributors. Jordanna Bailkin, Roger Benjamin, Daniela Bleichmar, Zeynep Çelik, David Ciarlo, Natasha Eaton, Simon Gikandi, Serge Gruzinski, James L. Hevia, Martin Jay, Brian Larkin, Olu Oguibe, Ricardo Padrón, Christopher Pinney, Sumathi Ramaswamy, Benjamin Schmidt, Terry Smith, Robert Stam, Eric A. Stein, Nicholas Thomas, Krista A. Thompson
In this contemplative collection of essays, Lisa Knopp moves out from the prairies of Nebraska and Iowa to encompass a fully developed vision of light, memory, change, separateness, time, symbols, responsibility, and unity. Knopp charts a stimulating course among the individual, community, and culture that removes the boundaries between self and other, allowing one to become fully present in the world. Her keen vision sees beyond the ordinary to illuminate the mysteries and meanings of our personal and natural worlds.
A classic work of history, ethnography, and botany, and an examination of the life and environs of the 18th-century south
William Bartram was a naturalist, artist, and author of Travels through North and South Carolina, Georgia, East and West Florida, the Cherokee Country, the ExtensiveTerritories of the Muscogulees, or Creek Confederacy, and the Country of the Choctaws. The book, based on his journey across the South, reflects a remarkable coming of age. In 1773, Bartram departed his family home near Philadelphia, Pennsylvania, as a British colonist; in 1777, he returned as a citizen of an emerging nation of the United States. The account of his journey, published in 1791, established a national benchmark for nature writing and remains a classic of American literature, scientific writing, and history. Brought up as a Quaker, Bartram portrayed nature through a poetic lens of experience as well as scientific observation, and his work provides a window on 18th-century southern landscapes. Particularly enlightening and appealing are Bartram’s detailed accounts of Seminole, Creek, and Cherokee peoples.The Bartram Trail Conference fosters Bartram scholarship through biennial conferences held along the route of his travels. This richly illustrated volume of essays, a selection from recent conferences, brings together scholarly contributions from history, archaeology, and botany. The authors discuss the political and personal context of his travels; species of interest to Bartram; Creek architecture; foodways in the 18th-century south, particularly those of Indian groups that Bartram encountered; rediscovery of a lost Bartram manuscript; new techniques for charting Bartram’s trail and imaging his collections; and a fine analysis of Bartram’s place in contemporary environmental issues.
Here is a brief but comprehensive tour of the physiology of vision, guided by one of the grand masters of the discipline. Offering first a solid grounding in structure and function, the book emphasizes those areas that the author considers to be of most significance in current research. Much attention is given to the role of vision in circadian timekeeping, the development of the visual system, the effect of aging on the eye, and the provocative questions of perception and illusion.
An eminently readable text, Focus on Vision will more than satisfy the needs of students in ophthalmology, optometry, physiological optics, biology, psychology, and art. It is fully illustrated and contains lists of references and further reading. The questions at the end of each chapter may be used to test understanding or simply to excite discussion.
This book is an accessible biography of Francis of Assisi, founder of the Franciscan religious order and one of the most venerated figures in Christianity. In it, Michael F. Cusato explores how Francis and his early brothers embraced a life of poverty in solidarity with the lowest ranks of society, preaching a message of justice and dignity for all. He examines how and why Francis’s vision ultimately expanded to embrace non-Christians and Muslims in particular following Francis’s celebrated encounter with the Sultan al-Malik al-Kamil in 1219. Finally, Cusato considers the clash between Francis and newer members of his Order, his reception of the stigmata, and his final years defending his vision among his own brothers, all while living as an exemplar of the gospel life.
From the temptation of Eve to the venomous murder of the mighty Thor, the serpent appears throughout time and cultures as a figure of mischief and misery. The worldwide prominence of snakes in religion, myth, and folklore underscores our deep connection to the serpent—but why, when so few of us have firsthand experience? The surprising answer, this book suggests, lies in the singular impact of snakes on primate evolution. Predation pressure from snakes, Lynne Isbell tells us, is ultimately responsible for the superior vision and large brains of primates—and for a critical aspect of human evolution.
Drawing on extensive research, Isbell further speculates how snakes could have influenced the development of a distinctively human behavior: our ability to point for the purpose of directing attention. A social activity (no one points when alone) dependent on fast and accurate localization, pointing would have reduced deadly snake bites among our hominin ancestors. It might have also figured in later human behavior: snakes, this book eloquently argues, may well have given bipedal hominins, already equipped with a non-human primate communication system, the evolutionary nudge to point to communicate for social good, a critical step toward the evolution of language, and all that followed.
The American West has taken on a rich and evocative array of regional identities since the late nineteenth century. Wilderness wonderland, Hispanic borderland, homesteader’s frontier, cattle kingdom, urban dynamo, Native American homeland. Hell of a Vision explores the evolution of these diverse identities during the twentieth century, revealing how Western regionalism has been defined by generations of people seeking to understand the West’s vast landscapes and varied cultures.
Focusing on the American West from the 1890s up to the present, Dorman provides us with a wide-ranging view of the impact of regionalist ideas in pop culture and diverse fields such as geography, land-use planning, anthropology, journalism, and environmental policy-making.
Going well beyond the realm of literature, Dorman broadens the discussion by examining a unique mix of texts. He looks at major novelists such as Cather, Steinbeck, and Stegner, as well as leading Native American writers. But he also analyzes a variety of nonliterary sources in his book, such as government reports, planning documents, and environmental impact studies.
Hell of a Vision is a compelling journey through the modern history of the American West—a key region in the nation of regions known as the United States.
Modern life is steeped in images, image-making, and attempts to control the world through vision. Mastery of images has been advanced by technologies that expand and reshape vision and enable us to create, store, transmit, and display images. The three essays in Image, written by leading philosophers of religion Mark C. Taylor, Mary-Jane Rubenstein, and Thomas A. Carlson, explore the power of the visual at the intersection of the human and the technological. Building on Heidegger’s notion that modern humanity aims to master the world by picturing or representing the real, they investigate the contemporary culture of the image in its philosophical, religious, economic, political, imperial, and military dimensions, challenging the abstraction, anonymity, and dangerous disconnection of contemporary images.
Taylor traces a history of capitalism, focusing on its lack of humility, particularly in the face of mortality, and he considers art as a possible way to reconnect us to the earth. Through a genealogy of iconic views from space, Rubenstein exposes the delusions of conquest associated with extraterrestrial travel. Starting with the pressing issues of surveillance capitalism and facial recognition technology, Carlson extends Heidegger’s analysis through a meditation on the telematic elimination of the individual brought about by totalizing technologies. Together, these essays call for a consideration of how we can act responsibly toward the past in a way that preserves the earth for future generations. Attending to the fragility of material things and to our own mortality, they propose new practices of imagination grounded in love and humility.
Christine Buci-Glucksmann’s The Madness of Vision is one of the most influential studies in phenomenological aesthetics of the baroque. Integrating the work of Merleau-Ponty with Lacanian psychoanalysis, Renaissance studies in optics, and twentieth-century mathematics, the author asserts the materiality of the body and world in her aesthetic theory. All vision is embodied vision, with the body and the emotions continually at play on the visual field. Thus vision, once considered a clear, uniform, and totalizing way of understanding the material world, actually dazzles and distorts the perception of reality.
In each of the nine essays that form The Madness of Vision Buci-Glucksmann develops her theoretical argument via a study of a major painting, sculpture, or influential visual image—Arabic script, Bettini’s “The Eye of Cardinal Colonna,” Bernini’s Saint Teresa and his 1661 fireworks display to celebrate the birth of the French dauphin, Caravaggio’s Judith Beheading Holofernes, the Paris arcades, and Arnulf Rainer’s self-portrait, among others—and deftly crosses historical, national, and artistic boundaries to address Gracián’s El Criticón; Monteverdi’s opera Orfeo; the poetry of Hafiz, John Donne, and Baudelaire; as well as baroque architecture and Anselm Kiefer’s Holocaust paintings. In doing so, Buci-Glucksmann makes the case for the pervasive influence of the baroque throughout history and the continuing importance of the baroque in contemporary arts.
As commissioner of the Arkansas Department of Education from 1953 to 1978, Arch Ford served under five governors. His vision was to expand educational opportunities because he believed education was the foundation for improving people’s lives. Throughout his career, he campaigned for increased educational funding, better-qualified teachers, and higher teachers’ salaries. Ford helped lead the state in peacefully integrating its schools and established twenty-three vocational-technical schools across the state. During Ford’s tenure, the Arkansas Children’s Colony was established to provide educational services to the developmentally disabled, and the Arkansas Educational Television Network was set up to provide instructional programming across the state.
The state also expanded educational opportunities to include kindergarten, special education, community colleges, and adult education. His leadership left Arkansas with a strong educational system that continued to advance. This was his legacy.
A prolific writer and versatile social critic, Canadian novelist and poet Margaret Atwood has recently published Bluebeard’s Egg (short stories), Interlunar (poetry), and The Handmaid’s Tale a critically acclaimed best-selling novel.
This international collection of essays evaluates the complete body of her work—both the acclaimed fiction and the innovative poetry. The critics represented here—American, Australian, and Canadian—address Atwood’s handling of such themes as feminism, ecology, the gothic novel, and the political relationship between Canada and the United States.
The essays on Atwood’s novels introduce the general reader to her development as a writer, as she matures from a basically subjective, poetic vision, seen in Surfacing and The Edible Woman, to an increasingly engaged, political stance, exemplified by The Handmaid’s Tale. Other essays examine Atwood’s poetry, from her transformation of the Homeric model to her criticisms of the United States’ relationship with Canada. The last two critical essays offer a unique view of Atwood through an investigation of her use of the concept of shamanism and through a presentation of eight of her vivid watercolors.
The volume ends with Atwood presenting her own views in an interview with Jan Garden Castro and in a conversation between Atwood and students at the University of Tampa, Florida.
As the NATO Alliance enters its seventh decade, it finds itself involved in an array of military missions ranging from Afghanistan to Kosovo to Sudan. It also stands at the center of a host of regional and global partnerships. Yet, NATO has still to articulate a grand strategic vision designed to determine how, when, and where its capabilities should be used, the values underpinning its new missions, and its relationship to other international actors such as the European Union and the United Nations.
The drafting of a new strategic concept, begun during NATO’s 60th anniversary summit, presents an opportunity to shape a new transatlantic vision that is anchored in the liberal democratic principles so crucial to NATO’s successes during its Cold War years. Furthermore, that vision should be focused on equipping the Alliance to anticipate and address the increasingly global and less predictable threats of the post-9/11 world.
This volume brings together scholars and policy experts from both sides of the Atlantic to examine the key issues that NATO must address in formulating a new strategic vision. With thoughtful and reasoned analysis, it offers both an assessment of NATO’s recent evolution and an analysis of where the Alliance must go if it is to remain relevant in the twenty-first century.
Longlist finalist, 2015 Historia Nova Prize for Best Book on Russian Intellectual and Cultural History
Julia Bekman Chadaga’s ambitious study posits that glass—in its uses as a material and as captured in culture—is a key to understanding the evolution of Russian identity from the eighteenth century onward. From the contemporary perspective, it is easy to overlook how glass has profoundly transformed vision. Chadaga shows the far-reaching effects of this phenomenon.
Her book examines the similarities between glass and language, the ideological uses of glass, and the material’s associations with modernity, while illuminating the work of Lomonosov, Dostoevsky, Zamyatin, and Eisenstein, among others. In particular, Chadaga explores the prominent role of glass in the discourse around Russia’s contentious relationship with the West—by turns admiring and antagonistic—as the nation crafted a vision for its own future. Chadaga returns throughout to the spectacular aspect of glass and shows how both the tendentious capacity and the playfulness of this material have shaped Russian culture.
Phenomenology’s Material Presence draws on recent work in phenomenology, embodiment, and cinema and extends the field by examining metaphysical presence in postcolonial cinema. Where other scholarship has assimilated insight from individual phenomenological thinkers, Phenomenology’s Material Presence utilizes the methods of these thinkers—Husserl, Heidegger, and Merleau-Ponty—to produce a richly textured and poetic essay that brings them into conversation. Through a meditation on three experimental videos by Trinidadian filmmaker Robert Yao Ramesar, this book makes the case that video performs an act of phenomenological inquiry. Phenomenology’s Material Presence extends our theorizing in both film studies and philosophy.
Hadot carefully examines Plotinus's views on the self, existence, love, virtue, gentleness, and solitude. He shows that Plotinus, like other philosophers of his day, believed that Plato and Aristotle had already articulated the essential truths; for him, the purpose of practicing philosophy was not to profess new truths but to engage in spiritual exercises so as to live philosophically. Seen in this light, Plotinus's counsel against fixation on the body and all earthly matters stemmed not from disgust or fear, but rather from his awareness of the negative effect that bodily preoccupation and material concern could have on spiritual exercises.
One of the masterpieces of Latin and, indeed, world literature, Virgil's Aeneid was written during the Augustan "renaissance" of architecture, art, and literature that redefined the Roman world in the early years of the empire. This period was marked by a transition from the use of rhetoric as a means of public persuasion to the use of images to display imperial power. Taking a fresh approach to Virgil's epic poem, Riggs Alden Smith argues that the Aeneid fundamentally participates in the Augustan shift from rhetoric to imagery because it gives primacy to vision over speech as the principal means of gathering and conveying information as it recounts the heroic adventures of Aeneas, the legendary founder of Rome.
Working from the theories of French phenomenologist Maurice Merleau-Ponty, Smith characterizes Aeneas as a voyant-visible, a person who both sees and is seen and who approaches the world through the faculty of vision. Engaging in close readings of key episodes throughout the poem, Smith shows how Aeneas repeatedly acts on what he sees rather than what he hears. Smith views Aeneas' final act of slaying Turnus, a character associated with the power of oratory, as the victory of vision over rhetoric, a triumph that reflects the ascendancy of visual symbols within Augustan society. Smith's new interpretation of the predominance of vision in the Aeneid makes it plain that Virgil's epic contributes to a new visual culture and a new mythology of Imperial Rome.
With Resisting Abstraction, the first English-language study of Delaunay in more than thirty years, Gordon Hughes mounts a powerful argument that Delaunay was not only one of the earliest artists to tackle abstraction, but the only artist to present his abstraction as a response to new scientific theories of vision. The colorful, optically driven canvases that Delaunay produced, Hughes shows, set him apart from the more ethereal abstraction of contemporaries like Kandinsky, Mondrian, Kazimir Malevich, and František Kupka. In fact, Delaunay emphatically rejected the spiritual motivations and idealism of that group, rooting his work instead in contemporary science and optics. Thus he set the stage not only for the modern artists who would follow, but for the critics who celebrated them as well.
David C. Lindberg is professor and chairman of the department of the history of science at the University of Wisconsin, Madison.
Krieger's touching memoir explores the ways that outer landscapes may change and sight may be lost, but inner visions persist, giving meaning, jarring the senses with a very different picture than what appears before the eyes. This book will reward both the general reader and those interested in disability studies, feminist ethnography, and lesbian studies.
In Unseen Art, Claudia Brittenham unravels one of the most puzzling phenomena in Mesoamerican art history: why many of the objects that we view in museums today were once so difficult to see. She examines the importance that ancient Mesoamerican people assigned to the process of making and enlivening the things we now call art, as well as Mesoamerican understandings of sight as an especially godlike and elite power, in order to trace a gradual evolution in the uses of secrecy and concealment, from a communal practice that fostered social memory to a tool of imperial power.
Addressing some of the most charismatic of all Mesoamerican sculptures, such as Olmec buried offerings, Maya lintels, and carvings on the undersides of Aztec sculptures, Brittenham shows that the creation of unseen art has important implications both for understanding status in ancient Mesoamerica and for analyzing art in the present. Spanning nearly three thousand years of the Indigenous art of Mexico, Guatemala, Honduras, and Belize, Unseen Art connects the dots between vision, power, and inequality, providing a critical perspective on our own way of looking.
Through their various (and sometimes contrasting) critical points of view, these essays call attention to ideas or connections that demand a reappraisal of conventional attitudes or ingrained responses. Ranging in focus from the period of the mid-nineteenth century to the present day, they treat indisputably canonical figures such as Hawthorne, Faulkner, James, Hemingway, Cather, Bellow, Porter, Welty, and Warren in the same breath and often refreshingly on the same terms with Wallace Stegner, Cormac McCarthy, Dunstan Thompson, neglected Civil War poets, and the New Formalist critics of the last ten years.
In celebration and in reflection of the important critical contribution Ray Lewis White has made to the study of American literature, these writers, each a noted scholar in the field of literary studies, present a picture of American literature that manages to value the past at the same time that it asks us to envision that past anew.
The Victorian Eye’s innovative interdisciplinary approach—and generous illustrations—will captivate a range of readers interested in the history of modern Britain, visual culture, technology, and urbanization.
Phelps Dodge Corporation has shaped the landscape of America from the industrial revolution to the information technology revolution. A name synonymous with copper, Phelps Dodge has grown from a cotton and metal trading firm founded in 1834 to its present position as the world's largest publicly traded copper company.
Carlos Schwantes has written a sweeping corporate history of Phelps Dodge. Using landscape as an organizing concept to underscore the company's impact and accomplishments, he offers a close look at this corporate giant within the context of American technological and social history. In tracing the progress of Phelps Dodge through its 165-year history, Schwantes takes readers from the streets of Bisbee, Arizona, to the boardrooms of New York and Phoenix in order to examine the impact the company has had on the many landscapes in which it figures so prominently. Considering factors ranging from the environment to labor, he examines how Phelps Dodge has influenced, and has been influenced by, such forces as the global economy, technological innovation, urban growth, and social change.
Exhaustively researched and profusely illustrated with over 200 photographs, Vision and Enterprise makes a unique contribution to the history of the United States and the evolution of industry by considering the changing face of labor, the environment, and technology from one dynamic company's point of view.
With essays by Rosalind Krauss, Hal Foster, Norman Bryson, Victor Burgin, Martin Jay, Louis Marin, Thomas Crow, Griselda Pollock, and others, the volume is organized into sections devoted to the discipline of art history, the implications of semiotics, the new cultural history of art, and the impact of psychoanalysis. The works discussed in these essays range from Rembrandt’s Danae to Jorge Immendorf’s Café Deutschland, from Vauxhall Gardens to Max Ernst, and from the Imagines of Philostratus to William Godwin’s novel Caleb Williams. Each section is preceded by a short introduction that offers further contexts for considering the essays that follow, while the editors’ general introduction presents an overall exploration of the relation between vision and textuality in a variety of both institutional and theoretical contexts. Among other issues, it examines the relevance of aesthetics, the current concern with modernism and postmodernism, and the possible development of new disciplinary formations in the humanities.
Contributors. Mieke Bal, John Bender, Norman Bryson, Victor Burgin, Thomas Crow, Peter de Bolla, Hal Foster, Michael Holly, Martin Jay, Rosalind Krauss, Françoise Lucbert, Louis Martin, Stephen Melville, Griselda Pollock, Bill Readings, Irit Rogoff, Bennet Schaber, John Tagg
A concise introduction to Christian ethics, this book surveys the moral values of the Catholic tradition and applies them to contemporary issues. Prominent authors address such topics as scriptural sources, reverence for human life, sexuality and intimacy, family responsibilities, the concept of peace in the modern world, economics, and Catholic higher education.
Vision and Values is both an overview of the major perspectives which inform moral decisions and a guide to how these principles interrelate. It can help readers determine how to make complex moral judgments in a Christian context as it demonstrates the vitality of the Catholic theological tradition.
Much of the book is devoted to an examination of the persistence of the apocalyptic heritage from ancient Greek and Hebrew civilizations, through the religious revivals of the Middle Ages and the Enlightenment belief in progress, to its importance in Hegelian and Bolshevik thought, and finally to its expression today in the resurgence of religious fundamentalism in Judaism, Christianity, and Islam.
Mendel concludes his remarkable book with an appeal for the more modest and humane philosophy of the "repair of the world," which, he argues, is central to biblical teaching.
The late Arthur P. Mendel was Professor of History, University of Michigan, specializing in Russian intellectual history. His first book, Dilemmas of Progress in Tsarist Russia: Legal Marxism and Legal Populism, established him as one of the outstanding historians of his generation. Richard Landes is co-founder, with Stephen O'Leary, of the Center for Millennial Studies. He is also Associate Professor of History, Boston University, and author of Relics, Apocalypse, and the Deceits of History: Ademar of Chabannes, 989-1034.
According to Peter L. Benson, the capacity to generate vision is among life's most beautiful and unheralded gifts. To him, a vision is more than just a goal, more than just a dream of what could be—it is a summons, a pull towards the future, an inspired call to make real that which should be. In Vision: Awakening Your Potential to Create a Better World, Benson takes readers on an uplifting exploration of this powerful concept.
Bringing together a renowned international group of contributors, Vision in Motion explores one of the most vexing problems in the study of vision and cognition: To make sense of the sensations we experience when we see something, we must configure many moments into a synchronous image. This volume offers a critical reexamination of seeing that restores a concept of “vision in motion” that avoids reducing the sensations we experience to narrative chronological sequencing. The contributors draw on Hume, Bergson, and Deleuze, among others, to establish a nuanced idea of how we perceive.
A fresh look at the Priestly narrative that places less weight on linguistic criteria alone in favor of narrative coherence
Boorer explores the theology of an originally independent Priestly narrative (Pg), extending through Genesis–Numbers, as a whole. In this book she describes the structure of the Priestly narrative, in particular its coherent sequential and parallel patterns. Boorer argues that at every point in the narrative’s sequential and parallel structure, it reshapes past traditions, synthesizing these with contemporary and unique elements into future visions, in a way that is akin to the timelessness of liturgical texts. The book sheds new light on what this material might have sought to accomplish as a whole, and how it might have functioned for, its original audience.
- Solid arguments based on genre and themes, with regard to a once separate Priestly narrative (Pg) that concludes in Numbers 27*
- Thorough discussion of the overall interpretation of the Priestly narrative (Pg), by bringing together consideration of its structure and genre
- Clear illustration of how understanding the genre of the material and its hermeneutics of time is vital for interpreting Pg as a whole
Story-telling is foundational to the forms of the fine arts, but it is no less foundational to human reason. Human life in turn constitutes a specific kind of form—a story form. The ancient conception of human life as a pilgrimage to beauty itself is one that we can fully embrace only if we see the essential correlation between reason and story and the essential convertibility of truth, goodness and beauty in beauty. By turns a study in fundamental ontology, aesthetics, and political philosophy, Wilson’s book invites its readers to a renewal of the West’s intellectual tradition.
In this innovative volume, Kristie S. Fleckenstein explores how the intersection of vision, rhetoric, and writing pedagogy in the classroom can help students become compassionate citizens who participate in the world as they become more critically aware of the world. Fleckenstein argues that all social action—behavior designed to increase human dignity, value, and quality of life—depends on a person’s repertoire of visual and rhetorical habits. To develop this repertoire in students, the author advocates the incorporation of visual habits—or ways of seeing—into a language-based pedagogical approach in the writing classroom. According to Fleckenstein, interweaving the visual and rhetorical in composition pedagogy enables students to more readily perceive the need for change, while arming them with the abilities and desire to enact it.
The author addresses social action from the perspective of three visual habits: spectacle, which fosters disengagement; animation, or fusing body with meaning; and antinomy, which invites the invention of new realities. Fleckenstein then examines the ways in which particular visual habits interact with rhetorical habits and with classroom methods, resulting in the emergence of various forms of social action. To enhance the understanding of the concepts she discusses, the author represents the intertwining relationships of vision, rhetoric, and writing pedagogy graphically as what she calls symbiotic knots. In tracing the modes of social action privileged by a visual habit and a teacher’s pedagogical choices, Fleckenstein attends particularly to the experiences of students who have been traditionally barred from participation in the public sphere because of gender, race, or class. The book culminates in a call for visually and rhetorically robust writing pedagogies.
In Vision, Rhetoric, and Social Action in the Composition Classroom, Fleckenstein combines classic methods of rhetorical teaching with fresh perspectives to provide a unique guide for initiating important improvements in teaching social action. The result is a remarkable volume that empowers teachers to best inspire students to take part in their world at that most crucial moment when they are discovering it.
D. H. Lawrence, asserts Jack Stewart, expresses a painter’s vision in words, supplementing visual images with verbal rhythms. With the help of twenty-three illustrations, Stewart examines Lawrence’s painterly vision in The White Peacock, Sons and Lovers, The Rainbow, Women in Love, Kangaroo, and The Plumed Serpent. He concludes by synthesizing the themes that pervade this interarts study: vision and expression, art and ontology.
It has become commonplace these days to speak of “unpacking” texts. Voice and Vision is a book about packing that prose in the first place. While history is scholarship, it is also art—that is, literature. And while it has no need to emulate fiction, slump into memoir, or become self-referential text, its composition does need to be conscious and informed.
Voice and Vision is for those who wish to understand the ways in which literary considerations can enhance nonfiction writing. At issue is not whether writing is scholarly or popular, narrative or analytical, but whether it is good. Fiction has guidebooks galore; journalism has shelves stocked with manuals; certain hybrids such as creative nonfiction and the new journalism have evolved standards, esthetics, and justifications for how to transfer the dominant modes of fiction to topics in nonfiction. But history and other serious or scholarly nonfiction have nothing comparable.
Now this curious omission is addressed by Stephen Pyne as he analyzes and teaches the craft that undergirds whole realms of nonfiction and book-based academic disciplines. With eminent good sense concerning the unique problems posed by research-based writing and with a wealth of examples from accomplished writers, Pyne, an experienced and skilled writer himself, explores the many ways to understand what makes good nonfiction, and explains how to achieve it. His counsel and guidance will be invaluable to experts as well as novices in the art of writing serious and scholarly nonfiction.
Legends and rising stars of feminist film and video tell their stories.
Alexandra Juhasz asked twenty-one women to tell their stories-women whose names make up a who is (and who will be) who of independent and experimental film and video. What emerged in the resulting conversations is a compelling (and previously underdocumented) history of feminism and feminist film and video, from its origins in the fifties and sixties to its apex in the seventies, to today.
Women of Vision is a companion piece to Juhasz’s 1998 documentary of the same name. The book presents the complete interviews, allowing readers to hear directly the voices of these articulate, passionate women in an interactive remembering of feminist media history. Juhasz’s introduction provides a historical, theoretical, and aesthetic context for the interviews. These subjects have all shaped late twentieth-century film and video in fundamental ways, either as artists, producers, distributors, critics, or scholars, and they all believe that media are the most powerful tools for effecting change. Yet they are a very diverse group, with widely varying personal and professional backgrounds. By presenting their interviews together, Juhasz shows the differences among those involved in feminist media, but also the connections among them, and the way in which the field has been enriched by their sharing of knowledge and power. In the end, Juhasz not only records these women’s careers, she broadens our understanding of feminism and shows how feminist history and documentary are made.Interviewees: Pearl Bowser; Margaret Caples; Michelle Citron; Megan Cunningham; Cheryl Dunye; Vanalyne Green; Barbara Hammer; Kate Horsfield; Carol Leigh; Susan Mogul; Juanita Mohammed; Frances Negrón-Muntaner; Eve Oishi; Constance Penley; Wendy Quinn; Julia Reichert; Carolee Schneemann; Valerie Soe; Victoria Vesna; and Yvonne Welbon.
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