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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.

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.

Tomkin one light flush mount fixture in white provides abundant light to your home, while adding style and interest. 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.

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

Affect Theory, Genre, and the Example of Tragedy employs Silvan Tomkins’ Affect-Script theory of human psychology to explore the largely unacknowledged emotions of disgust and shame in tragedy. The book begins with an overview of Tomkins’ relationship to both traditional psychoanalysis and theories of human motivation and emotion, before considering tragedy via case studies of Oedipus, Hamlet, and Death of a Salesman.  Aligning Affect-Script theory with literary genre studies, this text explores what motivates fictional characters within the closed conditions of their imagined worlds and how we as an audience relate to and understand fictional characters as motivated humans. 

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.

Handsome volume collects one work each by two eighteenth-century masters of calligraphy. Tomkins’ Beauties of Writing (1777) and Milns’s The Penman’s Repository (1795). Authentic, beautiful calligraphic alphabets, flourishes, messages and other decorative elements. 75 plates.

Nathanson and his colleagues explore contemporary affect studies, focusing on the work of Silvan Tomkins, and examine their impact on the theory and practice of psychotherapy.

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.

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.

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)

“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.”

Calvin Tomkins first discovered the work of Robert Rauschenberg in the late 1950s, when he began to look seriously at contemporary art. While gazing at Rauschenberg's painting Double Feature, Tomkins felt compelled to make some kind of literal connection to the work, and it is in that sprit that "for the last forty years it's been [his] ambition to write about contemporary art not as a critic or a judge, but as a participant." Tomkins has spent many of those years writing about Robert Rauschenberg, whom he rapidly came to see as "one of the most inventive and influential artists of his generation." So it seemed natural to make Rauschenberg the focus of Off the Wall, which deals with the radical changes that have made advanced visual art such a powerful force in the world.Off the Wall chronicles the astonishingly creative period of the 1950s and 1960s, a high point in American art. In his in his collaborations with Merce Cunningham and John Cage, and as a pivotal figure linking abstract expressionism and pop art, Rauschenberg was part of a revolution during which artists moved art off the walls of museums and galleries and into the center of the social scene. Rauschenberg's vitally important and productive career spans this revolution, reaching beyond it to the present day. Featuring the artists and the art world surrounding Rauschenberg--from Jackson Pollock, and Willem de Kooning to Jasper Johns, Frank Stella, and Andy Warhol, together with dealers Betty Parsons, and Leo Castelli, and the patron Peggy Guggenheim--Tomkins's stylish and witty portrait of one of America's most original and inspiring artists is fascinating, enlightening, and very entertaining.

The definitive collection of artist profiles by legendary journalist and New Yorker writer Calvin Tomkins, from the 1960s to todayIn 1959, Calvin Tomkins interviewed Marcel Duchamp for Newsweek, beginning his sixdecade- long career writing about art. He then joined The New Yorker, where he has contributed dozens of profiles on the most interesting artists of the time, from Jasper Johns and Robert Rauschenberg to Cindy Sherman and Mark Bradford. This six-volume set includes 82 of Tomkins's most significant profiles dating from 1962 to 2019. Part art history, part human interest, Tomkins offers insights and observations about the artists, their work, and the ever-changing art world they inhabit.

“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.”

First published in 1971 and now available for a younger generation with a new introduction by the author, Living Well Is the Best Revenge is Calvin Tomkins' now-classic account of the lives of Gerald and Sara Murphy, two American expatriates who formed an extraordinary circle of friends in France during the 1920s. First in Paris and then in the seaside town of Antibes, they played host to a cast of some of the most memorable artists and writers of the era, including Cole Porter, Pablo Picasso, Fernand Léger, Ernest Hemingway and Scott and Zelda Fitzgerald. It was in Paris that Gerald Murphy first encountered Cubist painting, which prompted him to embark on an all-too-brief career as a painter--roughly from 1922 to 1929--during which he produced 15 works, seven of which survive, and every one of which is a unique American modernist masterpiece. This dazzling phase of work was brought to a close in 1929, when one of the Murphys' sons, Patrick, was diagnosed with tuberculosis and the family returned to New York. When their second son, Boath, succumbed to meningitis in 1935, and Patrick's death followed shortly thereafter in 1937, Murphy hung up his brush. Despite the brevity of Murphy's oeuvre, the intensity of its conception and its recently acknowledged status as a crucial precedent to Pop art have elevated Murphy's reputation considerably. In 1974, The Museum of Modern Art mounted the first Gerald Murphy retrospective. Illustrated with nearly 70 photographs from the Murphys' family album and with a special section on Murphy's paintings, Living Well presents a fascinating Lost Generation chronicle as charming and enticing as the couple themselves.