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This book presents an innovative relational and community based therapeutic model to ensure children's essential attachment needs are catered for in intensive mental health care.The text combines an overview of theory relating to attachment and trauma before laying out a model for working with children and adolescents in an attachment-informed way. The approach applies to a diverse range of settings - from in-patient psychiatric settings, through to schools-based programs, and provides the reader with the knowledge and guidance they need to introduce the approach in their own service. It also addresses the complexities of working with specific clinical populations, including children with ADHD, ASD, RAD and psychosis. Accessible for entry level clinical caretakers, yet sophisticated enough for clinical supervisors, this book is essential reading for professionals looking to improve the effectiveness of child and adolescent treatment programs.

A non-Western female artist arriving in the US as Pop art and Minimalism were beginning to take shape, Yayoi Kusama (born 1929) was part of these milieus but also remained somewhat outside of them, developing a highly distinctive artistic universe. Yayoi Kusama: In Infinity offers an extensive overview of the major stages of Kusama’s work: from her abstract, intensively hand-crafted Infinity Net paintings (which made Kusama’s initial reputation in New York) to the soft, eroticized furniture sculptures covered in hundreds of white, penis-like forms, ending with Kusama’s recent works that shape whole spaces as intense environments. This volume also includes new essays discussing Kusama’s artistic and literary work and four of Kusama’s own poems.

Each bilingual volume in The Defiant Muse series includes 60 to 80 poems by both well-known and rediscovered poets, selected on the basis of their individual merit and as illustrations of the evolution of feminist thought and feeling.Reflecting their own cultural milieus as well as enduring themes, the poets write of love and friendship, revolution and peace, religion, nature, isolation, work, and family. The Dutch, French, German, and Italian volumes represent their respective countries; the Hispanic volume includes poems from the many Spanish-speaking nations; and the Hebrew volume encompasses writing in Hebrew from around the world. The poems are presented in their original languages alongside English translations. Each volume includes an introduction, placing the poetry in historical and aesthetic perspective, and full biographical and bibliographical notes on the poets.

Each bilingual volume in The Defiant Muse series includes 60 to 80 poems by both well-known and rediscovered poets, selected on the basis of their individual merit and as illustrations of the evolution of feminist thought and feeling.Reflecting their own cultural milieus as well as enduring themes, the poets write of love and friendship, revolution and peace, religion, nature, isolation, work, and family. The Dutch, French, German, and Italian volumes represent their respective countries; the Hispanic volume includes poems from the many Spanish-speaking nations; and the Hebrew volume encompasses writing in Hebrew from around the world. The poems are presented in their original languages alongside English translations. Each volume includes an introduction, placing the poetry in historical and aesthetic perspective, and full biographical and bibliographical notes on the poets.

Candid photographs of jazz greats both onstage and off chronicle the history of jazz from its earliest roots to the present day, reflecting the social, political, and cultural milieus out of which it evolved

This biography describes the intellectual and political milieus that helped shape Noam Chomsky, a pivotal figure in contemporary linguistics, politics, cognitive psychology, and philosophy. It also presents an engaging political history of the last several decades, including such events as the Spanish Civil War, the dropping of atomic bombs on Hiroshima and Nagasaki, and the march on the Pentagon to protest the Vietnam War. The book highlights Chomsky's views on the uses and misuses of the university as an institution, his assessment of useful political engagement, and his doubts about postmodernism. Because Chomsky is given ample space to articulate his views on many of the major issues relating to his work, both linguistic and political, this book reads like the autobiography that Chomsky says he will never write. Barsky's account reveals the remarkable consistency in Chomsky's interests and principles over the course of his life. The book contains well-placed excerpts from Chomsky's published writings and unpublished correspondence, including the author's own years-long correspondence with Chomsky.

Each bilingual volume in The Defiant Muse series includes 60 to 80 poems by both well-known and rediscovered poets, selected on the basis of their individual merit and as illustrations of the evolution of feminist thought and feeling.   Reflecting their own cultural milieus as well as enduring themes, the poets write of love and friendship, revolution and peace, religion, nature, isolation, work, and family. The Dutch, French, German, and Italian volumes represent their respective countries; the Hispanic volume includes poems from the many Spanish-speaking nations; and the Hebrew volume encompasses writing in Hebrew from around the world. The poems are presented in their original languages alongside English translations. Each volume includes an introduction, placing the poetry in historical and aesthetic perspective, and full biographical and bibliographical notes on the poets.

In Gold and Spices eminent medievalist Jean Favier introduces and analyzes the political, social, moral, and economic milieus of the late Middle Ages that engendered Europe's transformation from feudalism to capitalism. Favier presents striking portraits of the era's important and emerging centers of commerce such as London, Bruges, and Lbeck in the north, Genoa and Venice in the south, and Constantinople in the east and their various impacts at the dawn of Europe's slow march to its modern economic state are detailed. In indicating the extent of these cities' inter-dependence, he charts the many commercial land and sea routes that became the conduits of increased social and economic activity. But the book's central theme is the evolution of the medieval businessman. The merchant-entrepreneur is the hero of Gold and Spices and Favier examines the risks that led to the invention of new concepts, activities, relationships, organizations and communities. Among those risks were new markets, trade routes, forms of credit, means of production, and bold, new methods of speculation. Favier also reveals that the ultimate consequence of such actions was not merely the accumulation of wealth by such families as the Medici and the Fuggers, but the transposition of social and aesthetic values upon the populace, leading to the rise of the middle class. As a descriptive social history Gold and Spices excels at not only recreating the past but connecting it to the present. In several highly informative chapters Favier traces the development of currency, methods of payment, banking, accounting and the often tricky relationship between the homme des affaires and the Prince. He also clearly reveals the diversity of commerce at that time, and the fundamental adaptability needed by those who played a part in re-ordering the conditions of life.

In this book, Lane remasters milieus, attitudes, and cultural touchstones of the 20th century: wry slice-of-life vignettes are depicted in moodily crosshatched, noir-inflected drawings. Jazz clubs and pool halls, ballparks and graveyards, casinos and coffeehouses, back alleys and bus stops are populated by roughed-up boxers, bleary gamblers, rowdy winos, philosophical rail-riders, acrobatic fire-swallowers, and femme fatales - woven together into a uniquely designed collection of images and prose.

This biography describes the intellectual and political milieus that helped shape Noam Chomsky, a pivotal figure in contemporary linguistics, politics, cognitive psychology, and philosophy. It also presents an engaging political history of the last several decades, including such events as the Spanish Civil War, the dropping of atomic bombs on Hiroshima and Nagasaki, and the march on the Pentagon to protest the Vietnam War. The book highlights Chomsky's views on the uses and misuses of the university as an institution, his assessment of useful political engagement, and his doubts about postmodernism. Because Chomsky is given ample space to articulate his views on many of the major issues relating to his work, both linguistic and political, this book reads like the autobiography that Chomsky says he will never write.Barsky's account reveals the remarkable consistency in Chomsky's interests and principles over the course of his life. The book contains well-placed excerpts from Chomsky's published writings and unpublished correspondence, including the author's own years-long correspondence with Chomsky.*Not for sale in Canada

Manga from the Floating World is the first full-length study in English of the kibyōshi, a genre of woodblock-printed comic book widely read in late-eighteenth-century Japan. By combining analysis of the socioeconomic and historical milieus in which the genre was produced and consumed with three annotated translations of works by major author-artist Santō Kyōden (1761–1816) that closely reproduce the experience of encountering the originals, Adam Kern offers a sustained close reading of the vibrant popular imagination of the mid-Edo period. The kibyōshi, Kern argues, became an influential form of political satire that seemed poised to transform the uniquely Edoesque brand of urban commoner culture into something more, perhaps even a national culture, until the shogunal government intervened.Based on extensive research using primary sources in their original Edo editions, the volume is copiously illustrated with rare prints from Japanese archival collections. It serves as an introduction not only to the kibyōshi but also to the genre’s readers and critics, narratological conventions, modes of visuality, format, and relationship to the modern Japanese manga and to the popular literature and wit of Edo. Filled with graphic puns and caricatures, these entertaining works will appeal to the general reader as well as to the more experienced student of Japanese cultural history―and anyone interested in the global history of comics, graphic novels, and manga.

Even though there were relatively few people of color in postrevolutionary France, images of and discussions about black women in particular appeared repeatedly in a variety of French cultural sectors and social milieus. In Vénus Noire, Robin Mitchell shows how these literary and visual depictions of black women helped to shape the country’s postrevolutionary national identity, particularly in response to the trauma of the French defeat in the Haitian Revolution.Vénus Noire explores the ramifications of this defeat in examining visual and literary representations of three black women who achieved fame in the years that followed. Sarah Baartmann, popularly known as the Hottentot Venus, represented distorted memories of Haiti in the French imagination, and Mitchell shows how her display, treatment, and representation embodied residual anger harbored by the French. Ourika, a young Senegalese girl brought to live in France by the Maréchal Prince de Beauvau, inspired plays, poems, and clothing and jewelry fads, and Mitchell examines how the French appropriated black female identity through these representations while at the same time perpetuating stereotypes of the hypersexual black woman. Finally, Mitchell shows how demonization of Jeanne Duval, longtime lover of the poet Charles Baudelaire, expressed France’s need to rid itself of black bodies even as images and discourses about these bodies proliferated. The stories of these women, carefully contextualized by Mitchell and put into dialogue with one another, reveal a blind spot about race in French national identity that persists in the postcolonial present.

Each bilingual volume in The Defiant Muse series includes 60 to 80 poems by both well-known and rediscovered poets, selected on the basis of their individual merit and as illustrations of the evolution of feminist thought and feeling.   Reflecting their own cultural milieus as well as enduring themes, the poets write of love and friendship, revolution and peace, religion, nature, isolation, work, and family. The Dutch, French, German, and Italian volumes represent their respective countries; the Hispanic volume includes poems from the many Spanish-speaking nations; and the Hebrew volume encompasses writing in Hebrew from around the world. The poems are presented in their original languages alongside English translations. Each volume includes an introduction, placing the poetry in historical and aesthetic perspective, and full biographical and bibliographical notes on the poets.

Based on five decades of diaries by the poet-author of The Battle of Aughrim, a literary and political memoir discusses the often violent legacies of Anglo-Irish history; his sexual orientation; the literary milieus of London, Dublin, and New York; his exploration of the west Ireland coast and the Protestant gentry; and his relationships with fellow writers.

In an 1828 letter to his partner, Nicéphore Niépce, Louis Daguerre wrote, "I am burning with desire to see your experiments from nature." In this book, Geoffrey Batchen analyzes the desire to photograph as it emerged within the philosophical and scientific milieus that preceded the actual invention of photography. Recent accounts of photography's identity tend to divide between the postmodern view that all identity is determined by context and a formalist effort to define the fundamental characteristics of photography as a medium. Batchen critiques both approaches by way of a detailed discussion of photography's conception in the late eighteenth and early nineteenth centuries. He examines the output of the various nominees for "first photographer," then incorporates this information into a mode of historical criticism informed by the work of Michel Foucault and Jacques Derrida. The result is a way of thinking about photography that persuasively accords with the medium's undeniable conceptual, political, and historical complexity.

Manga from the Floating World is the first full-length study in English of the kibyōshi, a genre of woodblock-printed comic book widely read in late-eighteenth-century Japan. By combining analysis of the socioeconomic and historical milieus in which the genre was produced and consumed with three annotated translations of works by major author-artist Santō Kyōden (1761–1816) that closely reproduce the experience of encountering the originals, Adam Kern offers a sustained close reading of the vibrant popular imagination of the mid-Edo period. The kibyōshi, Kern argues, became an influential form of political satire that seemed poised to transform the uniquely Edoesque brand of urban commoner culture into something more, perhaps even a national culture, until the shogunal government intervened.Based on extensive research using primary sources in their original Edo editions, the volume is copiously illustrated with rare prints from Japanese archival collections. It serves as an introduction not only to the kibyōshi but also to the genre’s readers and critics, narratological conventions, modes of visuality, format, and relationship to the modern Japanese manga and to the popular literature and wit of Edo. Filled with graphic puns and caricatures, these entertaining works will appeal to the general reader as well as to the more experienced student of Japanese cultural history―and anyone interested in the global history of comics, graphic novels, and manga.

In an 1828 letter to his partner, Nicéphore Niépce, Louis Daguerre wrote, "I am burning with desire to see your experiments from nature." In this book, Geoffrey Batchen analyzes the desire to photograph as it emerged within the philosophical and scientific milieus that preceded the actual invention of photography. Recent accounts of photography's identity tend to divide between the postmodern view that all identity is determined by context and a formalist effort to define the fundamental characteristics of photography as a medium. Batchen critiques both approaches by way of a detailed discussion of photography's conception in the late eighteenth and early nineteenth centuries. He examines the output of the various nominees for "first photographer," then incorporates this information into a mode of historical criticism informed by the work of Michel Foucault and Jacques Derrida. The result is a way of thinking about photography that persuasively accords with the medium's undeniable conceptual, political, and historical complexity.

Drawn from several sources, this catalogue includes works by Marcel Duchamp and Man Ray that address the enduring friendship and shared interests of these two artists. The works included explore five decades of the shared milieus and aesthetics of these artist-peers, both of whom so significantly altered the making and understanding of art in the twentieth century. Loosely grouped around thematic concerns, it includes works that exemplify the artists' fascination with the game of chess, the study of optics, and the influence of such diverse sources as African sculpture, as well as the photographic recording of their mutual friends, including portraits of artists, poets and literary figures pivotal to the Dadaist and Surrealist movements. Ingeniously designed, this small volume is both a documentary of the artists' friendship and a study of art in the early 1920s.

A diaristic novel on contemporary friendship and its importance.Isabelle Graws latest book reflects on the purposes and struggles of friendship in competitive social milieus. By focusing on her own social milieu-the art world-Graw demonstrates how friendships are neither totally disinterested nor reduceable to their use. Written in the intimate form of a fictional diary, this book laments useful friendships while praising true friendship in all its forms. For Graw, friendship is an existential necessity-if only because it points to how we relate to and depend on others. Friendship, she finds, is as important as the air we breathe-with it, we are able to fully live.

In an 1828 letter to his partner, Nicéphore Niépce, Louis Daguerre wrote, "I am burning with desire to see your experiments from nature." In this book, Geoffrey Batchen analyzes the desire to photograph as it emerged within the philosophical and scientific milieus that preceded the actual invention of photography. Recent accounts of photography's identity tend to divide between the postmodern view that all identity is determined by context and a formalist effort to define the fundamental characteristics of photography as a medium. Batchen critiques both approaches by way of a detailed discussion of photography's conception in the late eighteenth and early nineteenth centuries. He examines the output of the various nominees for "first photographer," then incorporates this information into a mode of historical criticism informed by the work of Michel Foucault and Jacques Derrida. The result is a way of thinking about photography that persuasively accords with the medium's undeniable conceptual, political, and historical complexity.