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In this important and original book, Deanna Petherbridge―herself a practicing artist―affirms the significance of drawing as visual thinking in western art from the 15th century to the present. Scrutinizing a wide range of drawings, Petherbridge confirms a long historical commitment to the primal importance of sketching in generating ideas and problem solving, examines the production of autonomous drawings as gifts or for pleasure, and traces the importance of the life-class and theories of drawing in the training of artists until well into the 20th century. She also addresses the changing role of drawing in relation to contemporary practice and its importance for conceptual artists working in a nonhierarchical manner with a multiplicity of practices, techniques and technologies.  In addition to analyzing specific works by Leonardo, Michelangelo, Rembrandt, Goya, Picasso, and other great draftsmen, Petherbridge pays close attention to those artists traditionally regarded as “minor” because of their graphic elaboration or involvement with caricature and play, as well as to the important contribution of women artists in the 20th and 21st centuries. Responding to the vibrant rediscovery of drawing as significant practice in studios, exhibitions, and art schools, Petherbridge proposes an ambitious and novel agenda for the study and enjoyment of drawing.

This expanded second edition carries forward the initial insights into the biological and existential significances of animation by taking contemporary research findings in cognitive science and philosophy and in neuroscience into critical and constructive account. It first takes affectivity as its focal point, elucidating it within both an enactive and qualitative affective-kinetic dynamic. It follows through with a thoroughgoing interdisciplinary inquiry into movement from three perspectives: mind, brain, and the conceptually reciprocal realities of receptivity and responsivity as set forth in phenomenology and evolutionary biology, respectively. It ends with a substantive afterword on kinesthesia, pointing up the incontrovertible significance of the faculty to cognition and affectivity. Series A

In considering the issue which has divided Christians in the past and still divides them today, a group of Orthodox theologians from different theological perspectives reflect upon the scriptural passages which single out Peter among the disciples of Jesus. Koulomzine ("Peter's Place in the Primitive Church") and Kesich ("Peter's Primacy in the New Testament and the Early Tradition"), as exegetes, read the passages in the light of contemporary New Testament research. John Meyendorff ("St Peter in Byzantine Theology") looks at the history of exegesis: how were these passages read at the time when East and West split, quarrelling about the issue of authority in the Church? Finally, Schmemann ("The Idea of Primacy in Orthodox Ecclesiology") and Afanassieff ("The Church Which Presides in Love") look at the meaning of "primacy" as a permanent, through changing, factor of "catholic" ecclesiology. At a time when an ecumenical reconciliation between Rome and Eastern Christianity appears possible'but when new tensions (or are they actually the old ones?) are surging again'these studies set forth the Orthodox position of the primacy of Peter. CONTRIBUTORS: John Meyendorff is dean and professor of church history and patristics at St Vladimir's Seminary; Alexander Schmemann (†1983) was dean of St Vladimir's Seminary and taught church history and liturgical theology (1962-1983); Nicholas Afanassieff (†1966) was a professor of canon law and church history at the Orthodox Theological Institute in Paris; Nicholas Koulomzine is a professor of New Testament at the Orthodox Theological Institute in Paris; Veselin Kesich is professor emeritus of New Testament at St Vladimir's Seminary.

In this important and original book, Deanna Petherbridge―herself a practicing artist―affirms the significance of drawing as visual thinking in western art from the 15th century to the present. Scrutinizing a wide range of drawings, Petherbridge confirms a long historical commitment to the primal importance of sketching in generating ideas and problem solving, examines the production of autonomous drawings as gifts or for pleasure, and traces the importance of the life-class and theories of drawing in the training of artists until well into the 20th century. She also addresses the changing role of drawing in relation to contemporary practice and its importance for conceptual artists working in a nonhierarchical manner with a multiplicity of practices, techniques and technologies.  In addition to analyzing specific works by Leonardo, Michelangelo, Rembrandt, Goya, Picasso, and other great draftsmen, Petherbridge pays close attention to those artists traditionally regarded as “minor” because of their graphic elaboration or involvement with caricature and play, as well as to the important contribution of women artists in the 20th and 21st centuries. Responding to the vibrant rediscovery of drawing as significant practice in studios, exhibitions, and art schools, Petherbridge proposes an ambitious and novel agenda for the study and enjoyment of drawing.

Size: 4to 9 3/4 - 12". 72 pp. Internally clean. Binding firm, with minor wear to spine. Edges slightly marked. Covers slightly creased. Profusely illustrated. Quantity Available: 1. Shipped Weight: Under 500 grams. Category: Art & Design; ISBN: 1853320781. ISBN/EAN: 9781853320781. Pictures of this item not already displayed here available upon request. Inventory No: 56043.

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.

The Primacy of Perception brings together a number of important studies by Maurice Merleau-Ponty that appeared in various publications from 1947 to 1961. The title essay, which is in essence a presentation of the underlying thesis of his Phenomenology of Perception, is followed by two courses given by Merleau-Ponty at the Sorbonne on phenomenological psychology. "Eye and Mind" and the concluding chapters present applications of Merleau-Ponty's ideas to the realms of art, philosophy of history, and politics. Taken together, the studies in this volume provide a systematic introduction to the major themes of Merleau-Ponty's philosophy.

In "The Primacy of Structure" Althea Horner argues that effective psychotherapeutic intervention depends on the understanding of clinical symptoms in terms of the patient's underlying character structure. For example, obsessive behavior that functions to hold together a fragile, inadequately integrated self must be distinguished from obsessive behavior that defends against awareness of guilt and anxiety. In evaluating patients, Dr Horner asks herself whether he or she was well integrated and well differentiated before the presenting complaint, or a borderline individual already at risk. These facts are critical for the patient's therapy. In Part I Dr Horner discusses the development of character, in Part II character pathology, and in Part III the treatment of character pathology. Mental health professionals will find this a useful guide to psychotherapy of the character problems that lie behind their patients' presenting symptoms.

Drawing on natural history and phenomenological accounts of kinetic phenomena, particularly the phenomenon of self-movement, this text addresses the topic of animate form and the significance of animation. It also addresses methodological and foundational issues at length. The text draws on previous examinations and analyses of movement, including: Aristotle's recognition of motion; the common notion of movement as a change of position; present-day materialists' trivializations of movement as mere output; kinesthetically-tethered accounts of the qualia of movement; and the pan-human phenomenon of learning to move oneself.

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The Dutch Republic, despite its small size and population, functioned as the hub of world trade, shipping, and finance for over a century following the fall of Antwerp in 1585. This is the first general account of Dutch world-trade hegemony in all its aspects from its origins as a depot for "bulk-carrying" in the fifteenth and sixteenth centuries to its collapse in the eighteenth century.

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This expanded second edition carries forward the initial insights into the biological and existential significances of animation by taking contemporary research findings in cognitive science and philosophy and in neuroscience into critical and constructive account. It first takes affectivity as its focal point, elucidating it within both an enactive and qualitative affective-kinetic dynamic. It follows through with a thoroughgoing interdisciplinary inquiry into movement from three perspectives: mind, brain, and the conceptually reciprocal realities of receptivity and responsivity as set forth in phenomenology and evolutionary biology, respectively. It ends with a substantive afterword on kinesthesia, pointing up the incontrovertible significance of the faculty to cognition and affectivity. Series A

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Acceptable/Fair condition. Book is worn, but the pages are complete, and the text is legible. Has wear to binding and pages, may be ex-library. 1.8

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.

Every drawing by great printmaker: combine surreal, antic, erotic elements with technical virtuosity.

Political history in the industrial world has indeed ended, argues this pioneering study, but the winner has been social democracy - an ideology and political movement that has been as influential as it has been misunderstood. Berman looks at the history of social democracy from its origins in the late nineteenth century to today and shows how it beat out competitors such as classical liberalism, orthodox Marxism, and its cousins, Fascism and National Socialism by solving the central challenge of modern politics - reconciling the competing needs of capitalism and democracy. Bursting on to the scene in the interwar years, the social democratic model spread across Europe after the Second World War and formed the basis of the postwar settlement. This is a study of European social democracy that rewrites the intellectual and political history of the modern era while putting contemporary debates about globalization in their proper intellectual and historical context.

The primacy of the bishop of Rome, the pope, as it was finally shaped in the Middle Ages and later defined by Vatican I and II has been one of the thorniest issues in the history of the Western and Eastern Churches. This issue was a primary cause of the division between the two Churches and the events that followed the schism of 1054: the sack of Constantinople by the crusaders in 1204, the appointment by Pope Innocent III of a Latin patriarch of Constantinople, and the establishment of Uniatism as a method and model of union. Always a topic in ecumenical dialogue, the issue of primacy has appeared to be an insurmountable obstacle to the realization of full unity between Roman Catholicism and the Orthodox Christianity. In this timely and comprehensive work, Maximos Vgenopoulos analyzes the response of major Orthodox thinkers to the Catholic understanding of the primary of the pope over the last two centuries, showing the strengths and weaknesses of these positions. Covering a broad range of primary and secondary sources and thinkers, Vgenopoulos approaches the issue of primacy with an open and ecumenical manner that looks forward to a way of resolving this most divisive issue between the two Churches. For the first time here the thought of Greek and Russian Orthodox theologians regarding primacy is brought together systematically and compared to demonstrate the emergence of a coherent view of primacy in accordance with the canonical principles of the Orthodox Church. In looking at crucial Greek-language sources Vgenopoulos makes a unique contribution by providing an account of the debate on primacy within the Greek Orthodox Church. Primacy in the Church from Vatican I to Vatican II is an invaluable resource on the official dialogue taking place between the Orthodox Church and the Roman Catholic Church today. This important book will be of broad interest to historians, theologians, seminarians, and all those interested in Orthodox-Catholic relations.

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