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Thomas Tomkins (1572-1656), a major figure of the Golden Age of British music, was arguably the greatest of all Welsh-born composers. Living through one of the most revolutionary periods in British history, his professional life was spent in the service of the Crown and the Church at both the Chapel Royal and Worcester Cathedral. Surviving the Civil War, the suppression of the music of the English Church, the closure of the Chapel Royal, the destruction of his organ at Worcester and the devastation of the city, Tomkins was able to find the strength and inspiration to continue composing secular music of fine quality. Much of Tomkins's output has survived, including his collection of music for the Anglican rite, Musica Deo Sacra, published posthumously in 1668. His work embraced both sacred and secular vocal music, pieces for keyboard and for viol consort, thereby proving him to be one of the most versatile figures of English Renaissance music. The first part of the book provides an absorbing biography of Tomkins, setting his life into fascinating historical context. The second and third parts include major essays on Tomkins by Denis Stevens, Bernard Rose, Peter James and David Evans, all authorities on the music of the period with each providing perceptive insights into Tomkins's music. The result is a successful piece of collective work that properly places Tomkins and his achievements in his time and enables readers to reassess him properly in relation to his elders and contemporaries. Tomkins has still not reached the 'household name' status of his great teacher, William Byrd, or of his close friend and colleague, Orlando Gibbons, but he is undoubtedly worthy of much greater recognition. The book complements the increasing number of live performances and recordings of Tomkins's music, both sacred and secular, and such a comprehensive account of the man and his work should appeal to early music scholars, performers and music lovers alike.

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Tomkin one light flush mount fixture in white supplies ample lighting for your daily needs, while adding a layer of today's style to your home's decor. Tomkin ceiling flush mount lighting fixtures by are ideal for use in foyers, hallways, bedrooms, utility work areas and stairways. Brushed Nickel, Heirloom Bronze, or White finishes and Smooth White globe shade will complement a wide array of decor. Also available in a pull-chain version. Tomkin ceiling fixture will help you achieve your desired functional needs with no compromise on quality. Both incandescent lamping and ENERGY STAR-qualified LED lamping are available.

The Affect Theory of Silvan Tomkins for Psychoanalysis and Psychotherapy explores central issues in current clinical work, using the theories put forward by Silvan Tomkins and presenting them in detail, as well as integrating them with the most up-to-date neuroscience findings and infancy research, all based on a biopsychosocial, dynamic systems approach.Part I describes the essentials of life, based on our evolutionary and biological heritage, namely a need for a coherent understanding of one’s world and the capacity to act in that world; the infant's capacities are described in detail as embodying both. Longitudinal data is provided beginning at birth into the third year of life. Part II reviews current debates in psychoanalysis relating to motivation, and the lack of an internally consistent theory. Recent neuroscience findings are presented, which both negate drive theory, and support Tomkins' theory. His theory is then described in detail. In Part III, two case histories are presented: one is a clinical case illustrating one of Tomkins' affect powered scripts. The second case is drawn from a longitudinal study extending from birth, into early adulthood, which is made sense of with the help of Tomkins' theory. Demos concludes with a look at competing approaches to theory and responds to recent cognitive-based attempts to disprove both Tomkins' work and the latest findings from neuroscience. The Affect Theory of Silvan Tomkins for Psychoanalysis and Psychotherapy will appeal to psychoanalysts and psychoanalytic psychotherapists, as well as psychiatrists, psychologists, social workers, and psychiatric nurses.

Thomas Tomkins (1572-1656), a major figure of the Golden Age of British music, was arguably the greatest of all Welsh-born composers. Living through one of the most revolutionary periods in British history, his professional life was spent in the service of the Crown and the Church at both the Chapel Royal and Worcester Cathedral. Surviving the Civil War, the suppression of the music of the English Church, the closure of the Chapel Royal, the destruction of his organ at Worcester and the devastation of the city, Tomkins was able to find the strength and inspiration to continue composing secular music of fine quality. Much of Tomkins's output has survived, including his collection of music for the Anglican rite, Musica Deo Sacra, published posthumously in 1668. His work embraced both sacred and secular vocal music, pieces for keyboard and for viol consort, thereby proving him to be one of the most versatile figures of English Renaissance music. The first part of the book provides an absorbing biography of Tomkins, setting his life into fascinating historical context. The second and third parts include major essays on Tomkins by Denis Stevens, Bernard Rose, Peter James and David Evans, all authorities on the music of the period with each providing perceptive insights into Tomkins's music. The result is a successful piece of collective work that properly places Tomkins and his achievements in his time and enables readers to reassess him properly in relation to his elders and contemporaries. Tomkins has still not reached the 'household name' status of his great teacher, William Byrd, or of his close friend and colleague, Orlando Gibbons, but he is undoubtedly worthy of much greater recognition. The book complements the increasing number of live performances and recordings of Tomkins's music, both sacred and secular, and such a comprehensive account of the man and his work should appeal to early music scholars, performers and music lovers alike.

The Affect Theory of Silvan Tomkins for Psychoanalysis and Psychotherapy explores central issues in current clinical work, using the theories put forward by Silvan Tomkins and presenting them in detail, as well as integrating them with the most up-to-date neuroscience findings and infancy research, all based on a biopsychosocial, dynamic systems approach.Part I describes the essentials of life, based on our evolutionary and biological heritage, namely a need for a coherent understanding of one’s world and the capacity to act in that world; the infant's capacities are described in detail as embodying both. Longitudinal data is provided beginning at birth into the third year of life. Part II reviews current debates in psychoanalysis relating to motivation, and the lack of an internally consistent theory. Recent neuroscience findings are presented, which both negate drive theory, and support Tomkins' theory. His theory is then described in detail. In Part III, two case histories are presented: one is a clinical case illustrating one of Tomkins' affect powered scripts. The second case is drawn from a longitudinal study extending from birth, into early adulthood, which is made sense of with the help of Tomkins' theory. Demos concludes with a look at competing approaches to theory and responds to recent cognitive-based attempts to disprove both Tomkins' work and the latest findings from neuroscience. The Affect Theory of Silvan Tomkins for Psychoanalysis and Psychotherapy will appeal to psychoanalysts and psychoanalytic psychotherapists, as well as psychiatrists, psychologists, social workers, and psychiatric nurses.

Silvan Tomkins was one of the most influential theorists on emotion and emotional expression. Over a period of forty years--until his death in 1991--he developed a set of original, important ideas about the nature of affect and its relationship to cognition and personality. Tomkins dealt with fundamental questions in a fresh and provocative way, establishing affect as a separate, biological system, and providing compelling data on discrete affect expressions. Virginia Demos has undertaken the enormous task of compiling Professor Tomkins' papers and writing connective material for this volume, which brings together his works of four decades and makes them available at a more receptive time in the field. It is a rich compilation of insightful and relevant ideas appropriate for researchers and graduate students in personality and social psychology.

Silvan Tomkins was one of the most influential theorists on emotion and emotional expression. Over a period of forty years--until his death in 1991--he developed a set of original, important ideas about the nature of affect and its relationship to cognition and personality. Tomkins dealt with fundamental questions in a fresh and provocative way, establishing affect as a separate, biological system, and providing compelling data on discrete affect expressions. Virginia Demos has undertaken the enormous task of compiling Professor Tomkins' papers and writing connective material for this volume, which brings together his works of four decades and makes them available at a more receptive time in the field. It is a rich compilation of insightful and relevant ideas appropriate for researchers and graduate students in personality and social psychology.

Six Suites for Unaccompanied Cello Tanya Tomkins - CD 822252221220

...brilliant..."--Malcolm Gladwell, Author of Blink The writings for which this essay is offered as a Prologue consumed him from the mid-1950s through the end of his life in 1991. Knowing it was his "lifework," Tomkins conflated "life" and "work," reifying the superstition that its completion would equal death and refusing to release for publication long-completed material. He knew the risks associated with this obsessive, neurotic behavior, and the results were as bad as predicted. The first two volumes of Affect Imagery Consciousness (AIC) were released in 1962 and 1963, Volume III in 1991 shortly before he succumbed to a particularly virulent strain of small cell lymphoma, and Volume IV a year after his death. This last book contains Tomkins's understanding of neocortical cognition, ideas that are even now exciting, but until this current publication of his work as a single supervolume, almost nobody has read it. The bulk of his audience had died along with the enthusiasm generated by his ideas. Big science is now more a matter of big machines and unifocal discoveries as the basis for pars pro toto reasoning than big ideas based on the assembly and analysis of all that is known. Tomkins ignored nothing from any science past or present that might lead him toward a more certain understanding of the mind. Every idea, every theory deserved attention if only because significant observations can loiter in blind alleys."--From the Prologue by Donald L. Nathanson, MD Volume 1 of Springer's magisterial new two-volume edition of Tomkins's magnum opus comprises The Positive Affects and The Negative Affects."

The Thematic Apperception Test. Silvan S. Tomkins. Copyright 1947, Grune & Stratton, NY. Hardcover in very good condition. Binding is secure, cover and spine are clean with minimal wear. NO writing or highlighting was observerd in text. NO dust jacket. Shelved in Medicine. The Bookman serving Colorado Springs since 1990.

“Reproducing some 60 paintings and drawings along with vintage press clippings, Albert York is a gorgeous, serious-minded thing.” –Martin Herbert, ArtReviewArt critic Calvin Tomkins has called Albert York (1928–2009) “the most highly admired unknown artist in America.” Over the course of three decades, York’s small paintings of landscapes, flowers, cows and figures have proven among the most quietly transcendent pictures of our time. Because he worked on the east end of Long Island, far from the center of the Manhattan art world, York’s art remained something of a secret, albeit one with a devoted following. His admirers included Fairfield Porter, Susan Rothenberg, Paul Mellon, Jacqueline Kennedy Onassis and Edward Gorey, who once said he would “buy anything of York’s, sight unseen, if anything were available.”Originally published in 2015 and quickly going out of print, this book provides the first substantial overview of this reclusive artist. Including full-color plates of over 60 works spanning York’s career, a new essay by poet and art critic Bruce Hainley, plus earlier essays by Fairfield Porter and Calvin Tomkins, a chronology, a complete bibliography and a detailed catalog of works, this publication is a testament to, as Hainley puts it, York’s “pursuit of lyric intensity while negotiating a point-blank confrontation with history―all in stealth relation to the leopard-alive instant at the end of the brush.”

Who knows what cats do when nobody's looking? Jasper Tomkins knows, and shows, in this charming picture book. One day a man takes his seven cats for a walk in the country. When his back is turned, they do magical cat-things: walk on their hind legs, frolic over water, and form a feline pyramid to navigate through tall grass. Wonderful illustrations and lighthearted text capture the amazing lives of these quizzical creatures.

In November 1977, The New Yorker published a feature-length biography of artist Romare Bearden by Calvin Tomkins as part of its "Profiles" series. The essay, titled Profile: Putting Something Over Something Else (using Bearden's words to describe the creative process), brought national focus to Bearden, whose rise had seemed meteoric since the late 1960s.The experience of the interview prompted Bearden to launch an autobiographical collection he called Profiles. He sequenced the project in two parts: Part I, The Twenties, featuring memories from his youth in the South and in Pittsburgh, and Part II, The Thirties, about his early adult life in New York. Bearden collaborated with friend and writer Albert Murray on a short statement to accompany each piece. These appeared scripted onto the walls of the Profile exhibition to lead viewers on a visual and poetic journey.This landmark volume, reassembles and reconsiders Bearden's Profile series. Beyond providing the opportunity to explore an understudied body of work, the project will investigate the roles of narrative and self-presentation for an artist who made a career of creating works based on memory and experience. It will also reveal Bearden's own gestures away from the autobiographical and toward a broader view.

This reference work provides broad and up-to-date coverage of the major perspectives--ethological, neurobehavioral, developmental, dynamic systems, and componential--on facial expression. The text reviews Darwin's legacy in the context of Izard and Tomkins' new theories as well as Fridlund's recently proposed Behavioural Ecology theory. Other contributions explore continuing controversies on universality and innateness, and update the research guidelines of Ekman, Friesen and Ellsworth. This book anticipates emerging research questions, such as the role of culture in children's understanding of faces, the precise ways faces depend on the immediate context, and the ecology of facial expression. The Psychology of Facial Expression is aimed at students, researchers, and educators in psychology, anthropology, and sociology who are interested in the emotive and communicative uses of facial expression.

From the reviews: "I recommend it to anyone with an interest in binary stars who wants to learn more about these fascinating objects." (Jocelyn Tomkin, The Observatory, April 2005)

Tomkins' magnum opus, Affect, Imagery, Consciousness, was published by Springer Publishing Company in four volumes over 30 years. When Tomkins began writing the book in the 1950's, American psychology was dominated by psychoanalytic and behaviorist theories - neither of which placed much importance on the role of basic emotions in everyday human behavior. Tomkins challenged the status quo by developing - over the span of nearly 2,000 pages -- a theory of consciousness and motivation that placed emotion at the core of the human experience. Because so few psychologists were studying emotion at that time, Tomkins drew liberally from other academic disciplines to help formulate his ideas and support his arguments: evolutionary biology, ethology, cybernetics, literature, philosophy, psychoanalysis, and neurophysiology, among others. In the process, Tomkins practically invented the field of "nonverbal behavior" through close observation of emotional expressions in people, including his own infant son. His work was a brilliantly eccentric pastiche of ideas that adhered to no strict disciplinary or ideological boundaries. In time, however, AIC came to prominence through the research of his disciples, notably Paul Ekman and Carroll Izzard, who went on to become major researchers in the psychology of emotion. Today, Tomkins's book is influential not just in psychology but in philosophy, sociology, communication studies, even in "affective computing. Springer Publishing Company is pleased to continue to offer this magisterial work in four volumes.

First published to great acclaim in 1996, New Yorker writer and art critic Calvin Tomkins’ biography of the influential artist Marcel Duchamp (1887–1968) has been out of print for many years. Now, The Museum of Modern Art, New York, is publishing a new and revised edition of the landmark biography to commemorate the 100th anniversary of Duchamp’s first Readymade, “Bicycle Wheel,” a later version of which is in MoMA’s collection. Duchamp is widely considered one of the most important artists of the twentieth century, yet his personal life remained an enigma throughout his avidly scrutinized career. Tomkins, from his unique vantage point as both an accomplished art critic and a friend of Duchamp’s since the late 1950s, presents a piercing portrait of Duchamp, adeptly analyzing his art and career while also recounting his personal life, influences and relationships. This thoroughly researched, eminently readable book is by far the most authoritative Duchamp biography.

Another delightfully whimsical book by Jasper Tomkins, author of The Catalog, Nimby, When a Bear Bakes a Cake, and many others. This one has to do with 3 mountains "who ordered their favorite animals from a catalog..... and refrigerators full of food" for them. Amusing line drawings and fun wording.

The Other Hampton: Photographs by Judy Tomkins / Text by Calvin Tomkins. Grossman Publishers, New York, 1974. ISBN # 0670529400. Bridgehampton, as the name implies, is a town in between. It lies about midway between Southampton and East Hampton, two of the wealthiest and most fashionable beach resorts on the Atlantic seaboard, but until recently Bridgehampton attracted few of the wealthy or the fashionable. It has retained and still retains, clings to, its 300-year-old traditions as a farm town, although more and more of the potato fields are passing into the hands of real estate investors.....Bridgehampton also differs from its more elegant neighbors in that more than half its year-round residents are black...."In the spring of 1971, Judy Tomkins began photographing some of the black people in Bridgehampton. What she had in mind were portraits - portraits of individual men and women and children, in their homes, or, as it so often turned out, on their front porches.