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Dispossession has a long and tortuous history in Ireland, reaching back to the eleventh century. In the Victorian era, evictions became major social, cultural and political events, especially with the notorious clearances of the Great Famine years. In numbers, evictions declined dramatically after the mid-1850s, but in terms of media attention and political import they reached their zenith in the 1880s after the founding of the Irish National Land League. When tenantry defended their abodes, reporters and artists flocked to the scene and their descriptions of these conflicts form the central part of this book. Drawing on memoirs, ballads, poems, folklore and novels and providing numerous illustrations of contemporary prints and photographs, Curtis provides the first book-length study of rural evictions over a period of sixty years.

Award-winning editorial cartoonist Michael de Adder presents his favourite cartoons from the past six years. The over 100 colour cartoons included here run the gamut from national politics to regional affairs and international controversies. Includes a foreword from the Halifax Chronicle-Herald’s Bruce MacKinnon.

Text: English (translation) Original Language: French

304 pages. What happened? How did we get from Mantegna s Crucifixion to balloon dogs, from worshipping the sublime to idolising the sub-par? Arikha was one of the most interesting and accomplished figurative painters of the latter decades of the twentieth century. His paintings, drawings, pastels, engravings, and other works adorn the walls of museums around the world. But he was also an art historian with a voice equally as exciting and learned. Better read in the history of art than many academics and career critics, his writings, anthologised by their author in this volume, tackle the great questions of art in a deep and personal manner. Arikha speaks up against the discrediting of talent, the wiping out of difference in short, against the fear of hierarchy. For him, art has become increasingly futile, hollow, and internally contradictory, prey to the miserable and indefensible compulsion of avant-gardism and novelty: every month a new genius is discovered, and people keep talking about revolution in painting or sculpture in the same way one talks about revolution in refrigerators or toilet paper.

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This important book develops a philosophical inquiry into the nature of depiction by analyzing the work of four artists--Donatello, Rembrandt, Chardin, and Hogarth. Michael Podro explains how it is that a painter sees a subject and decides what techniques and materials are necessary to depict it--and how the viewer interacts with the finished work.

Cast shadows have been exploited in art to enhance the impression of the surrounding light as well as that of the solidity of the casting objects. They can contribute to the mood of the scene, and can reveal the presence of features outside the space represented, but as Professor Gombrich points out, they appear only sporadicaly and have been more frequently ignored or suppressed in Western art.Gombrich touches on the ambiguous nature of shadows in myth, legend, and philosophy, and briefly analyses the factors governing their shape: the location and form of the light source, the shape of the illuminated object and that of the surface on which the shadow falls, and the position of the viewer.Early Renaissance painters such as Masaccio and Campin, intent on a faithful rendering of visual reality, did incorporate shadows in their art, but artists of Leonardo's time largely avoided painting them, and it was not until early in the seventeenth century that painters - particualrly Caravaggio and Rembrandt - were again interested in the effects of shadows. In subsequent centuries artists of the Romantic, Impressionist and Surrealist movements exploited the device of the cast shadow to enhance the realism or drama of their images.

In this intriguing book, E.H. Gombrich, who was one of the world’s foremost art historians, traces how cast shadows have been depicted in Western art through the centuries. Gombrich discusses the way shadows were represented―or ignored―by artists from the Renaissance to the 17th century and then describes how Romantic, Impressionist, and Surrealist artists exploited the device of the cast shadow to enhance the illusion of realism or drama in their representations. First published to accompany an exhibition at the National Gallery, London, in 1995, it is reissued here with additional color illustrations and a new introduction by esteemed scholar Nicholas Penny. It is also now available as an enhanced eBook, with zoomable images and accompanying film footage. 

This monumental study examines issues of anthropomorphism in the three Abrahamic Faiths, as viewed through the texts of the Hebrew Bible, the New Testament and the Qur an. Throughout history Christianity and Judaism have tried to make sense of God. While juxtaposing the Islamic position against this, the author addresses the Judeo-Christian worldview and how each has chosen to framework its encounter with God, to what extent this has been the result of actual scripture and to what extent the product of theological debate, or church decrees of later centuries and absorption of Hellenistic philosophy. Shah also examines Islam s heavily anti-anthropomorphic stance and Islamic theological discourse on Tawhid as well as the Ninety-Nine Names of God and what these have meant in relation to Muslim understanding of God and His attributes. Describing how these became the touchstone of Muslim discourse with Judaism and Christianity he critiques theological statements and perspectives that came to dilute if not counter strict monotheism. As secularism debates whether God is dead, the issue of anthropomorphism has become of immense importance. The quest for God, especially in this day and age, is partly one of intellectual longing. To Shah, anthropomorphic concepts and corporeal depictions of the Divine are perhaps among the leading factors of modern atheism. As such he ultimately draws the conclusion that the postmodern longing for God will not be quenched by pre-modern anthropomorphic and corporeal concepts of the Divine which have simply brought God down to this cosmos, with a precise historical function and a specified location, reducing the intellectual and spiritual force of what God is and represents, causing the soul to detract from a sense of the sacred and thereby belief in Him.

Were movies in the East Bloc propaganda or carefully veiled dissent? In the first major study in English of East German film, Joshua Feinstein argues that the answer to this question is decidedly complex. Drawing on newly opened archives as well as interviews with East German directors, actors, and state officials, Feinstein traces how the cinematic depiction of East Germany changed in response to national political developments and transnational cultural trends such as the spread of television and rock 'n' roll. Celluloid images fed a larger sense of East German identity, an identity that persists today, more than a decade after German reunification. But even as they attempted to satisfy calls for "authentic" images of the German Democratic Republic that would legitimize socialist rule, filmmakers challenged the regime's self-understanding. Beginning in the late 1960s, East German films dwelled increasingly on everyday life itself, no longer seeing it merely as a stage in the development toward communism. By presenting an image of a static rather than an evolving society, filmmakers helped transform East German identity from one based on a commitment to socialist progress to one that accepted the GDR as it was.

In The Eye and the Beholder the author singles out a topic already touched upon in her previous book, Colour in Sculpture. By raising the question of how significant the colouring of the eye is to figurative representations of the late medieval and early modern period, Hannelore Hagele examines the different solutions open to the sculptor, which vary depending on historical and cultural parameters. The created eye must suit purpose and style. She discusses a number of unusual aspects of this: sculpted eyes in antiquity; the art and craft of polychromy; partial polychromy; emotions and expressions; the gaze and the glance; from the sculpted eye to colour and the glass eye; and what the eye cannot see. Dr Hagele asks whether advances in optics and other sciences, or theological concepts such as the eye of God and the inner eye, determined the way in which eyes were perceived and represented. It is the beholder, whether as maker or viewer, who engages with and judges the worth of any creative effort and what it contributes to an understanding of the seen and the unseen. The illustrations and the many coloured plates accompanying the text offer an overview of the subject.

Unread book in perfect condition.

Unread book in perfect condition.

This monumental study examines issues of anthropomorphism in the three Abrahamic Faiths, as viewed through the texts of the Hebrew Bible, the New Testament and the Qur an. Throughout history Christianity and Judaism have tried to make sense of God. While juxtaposing the Islamic position against this, the author addresses the Judeo-Christian worldview and how each has chosen to framework its encounter with God, to what extent this has been the result of actual scripture and to what extent the product of theological debate, or church decrees of later centuries and absorption of Hellenistic philosophy. Shah also examines Islam s heavily anti-anthropomorphic stance and Islamic theological discourse on Tawhid as well as the Ninety-Nine Names of God and what these have meant in relation to Muslim understanding of God and His attributes. Describing how these became the touchstone of Muslim discourse with Judaism and Christianity he critiques theological statements and perspectives that came to dilute if not counter strict monotheism. As secularism debates whether God is dead, the issue of anthropomorphism has become of immense importance. The quest for God, especially in this day and age, is partly one of intellectual longing. To Shah, anthropomorphic concepts and corporeal depictions of the Divine are perhaps among the leading factors of modern atheism. As such he ultimately draws the conclusion that the postmodern longing for God will not be quenched by pre-modern anthropomorphic and corporeal concepts of the Divine which have simply brought God down to this cosmos, with a precise historical function and a specified location, reducing the intellectual and spiritual force of what God is and represents, causing the soul to detract from a sense of the sacred and thereby belief in Him.

162 pages. 10.00x7.00x0.33 inches. In Stock.

Kinesis: The Ancient Depiction of Gesture, Motion, and Emotion analyzes the depiction of emotions, gestures, and nonverbal behaviors in ancient Greek and Roman texts, and considers the precise language depicting them. Individual contributors examine genres ranging from historiography and epic to tragedy, philosophy, and vase decoration. They explore evidence as disparate as Pliny’s depiction of animal emotions, Plato’s presentation of Aristophanes’ hiccups, and Thucydides’ use of verb tenses. Sophocles’ deployment of silence is considered, as are Lucan’s depiction of death and the speaking objects of the medieval Alexander Romance.Ancient authors’ depictions of emotion, gesture, and nonverbal behavior are intrinsically relevant to psychological, social, and anthropological studies of the ancient world, and are perhaps even more important to those who study the texts themselves and try to understand them. The volume will be relevant to scholars studying Greek and Roman society and literature, as well as to those who study the imitation of ancient literature in later societies. Since jargon is avoided and all passages in ancient languages are translated, the volume will be suitable for students from the upper undergraduate level.Contributors in addition to the volume editors include Jeffrey Rusten, Rosaria Vignolo Munson, Hans-Peter Stahl, Carolyn Dewald, Rachel Kitzinger, Deborah Boedeker, Daniel P. Tompkins, John Marincola, Carolin Hahnemann, Ellen Finkelpearl, Hanna M. Roisman, Eliot Wirshbo, James V. Morrison, Bruce Heiden, Daniel B. Levine, and Brad L. Cook.

The senses are used within New Testament texts as instruments of knowledge and power and thus constitute important mediators of cultural knowledge and experience. Likewise, those instances where sensory faculty is perceived to be "disabled" in some way also become key sites for ideological commentary and critique. However, often biblical scholarship, itself "disabled" by eye-centric and textocentric "norms," has read sensory-disabled characters as nothing more than inert sites of healing; their agency, including their alternative sensory modes of communication and resistance to oppression, remain largely unaddressed. In response, Louise J. Lawrence seeks to initiate a variety of interdisciplinary dialogues with disability studies and sensory anthropology in a quest to refigure characters with sensory disabilities featured in the gospels and provide alternative interpretations of their conditions and social interactions. In each instance the identity of those stigmatised as "other" (according to particular physiological, social and cultural "norms") are recovered by exploring ethnographic accounts which document the stories of those experiencing similar rejection on account of perceived sensory "difference" in diverse cross-cultural settings. Through this process these "disabled" characters are recast as individuals capable of employing certain strategies which destabilize the stigma imposed upon them and tactical performers who can subversively achieve their social goals.

The editors and contributors focus on the visual dimension of social relations, showing that depiction and picturing are ubiquitous aspects of human interaction. This book should be of interest to postgraduate students of sociology, cultural studies, art history.

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