Excerpt from Essays on the Anatomy of Expression in Painting But we are still far from possessing sufficient materials for a theory of the science: and all that I can venture to hope, is that some of my suggestions may prove useful to those who indulge in these pleasing speculations; or be serviceable to artists, who, while they are solicitous to attain the perfection Of mechanical practice, derive satisfaction from studying the principles of their art. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Though popular opinion would have us see Alice’s Adventures in Wonderland and Through the Looking Glass and What Alice Found There as whimsical, nonsensical, and thoroughly enjoyable stories told mostly for children; contemporary research has shown us there is a vastly greater depth to the stories than would been seen at first glance. Building on the now popular idea amongst Alice enthusiasts, that the Alice books - at heart - were intended for adults as well as children, Laura White takes current research in a new, fascinating direction. During the Victorian era of the book’s original publication, ideas about nature and our relation to nature were changing drastically. The Alice Books and the Contested Ground of the Natural World argues that Lewis Carroll used the book’s charm, wit, and often puzzling conclusions to counter the emerging tendencies of the time which favored Darwinism and theories of evolution and challenged the then-conventional thinking of the relationship between mankind and nature. Though a scientist and ardent student of nature himself, Carroll used his famously playful language, fantastic worlds and brilliant, often impossible characters to support more the traditional, Christian ideology of the time in which mankind holds absolute sovereignty over animals and nature.

"Originally a courtly art, ballet experienced dramatic evolution (but never, significantly, the prospect of extinction) as attitudes toward courtliness itself shifted in the aftermath of the French Revolution. As a result, it afforded a valuable model to poets who, like Wordsworth and his successors, aspired to make the traditionally codified, formal, and, to some degree, aristocratic art of poetry compatible with "the very language of men" and, therefore, relevant to a new class of readers. Moreover, as a model, ballet was visible as well as valuable. Dance historians recount the extraordinary popularity of ballet and its practitioners in the nineteenth century, and 'The Pointe of the Pen' challenges literary historians' assertions - sometimes implicit, sometimes explicit - that writers were immune to the balletomania that shaped both Romantic and Victorian England, as well as Europe more broadly. The book draws on both primary documents (such as dance treatises and performance reviews) and scholarly histories of dance to describe the ways in which ballet's unique culture and aesthetic manifest in the forms, images, and ideologies of significant poems by Wordsworth, Byron, Shelley, and Barrett Browning."--taken from back cover.

Known as the "century of anatomy," the 16th century in Italy saw an explosion of studies and treatises on the discipline. Medical science advanced at an unprecedented rate, and physicians published on anatomy as never before. Simultaneously, many of the period's most prominent artists--including Leonardo and Michelangelo in Florence, Raphael in Rome, and Rubens working in Italy--turned to the study of anatomy to inform their own drawings and sculptures, some by working directly with anatomists and helping to illustrate their discoveries. The result was a rich corpus of art objects detailing the workings of the human body with an accuracy never before attained. "Art and Anatomy in Renaissance Italy "examines this crossroads between art and science, showing how the attempt to depict bone structure, musculature, and our inner workings--both in drawings and in three dimensions--constituted an important step forward in how the body was represented in art. While already remarkable at the time of their original publication, the anatomical drawings by 16th-century masters have even foreshadowed developments in anatomic studies in modern times.

Excellent line drawings and annotations of anatomical structure provide the beginning artist with just about everything one needs to know about drawing all parts of the human anatomy. 179 black-and-white illustrations.

Human body.

John Lewis Krimmel was the first professional artist in the United States to base his reputation on the genre subject. The author's study documents the artist's career from three points of view: Krimmel's life in Europe and the United States from his birth in 1786 to his drowning in 1821; an analysis of his surviving works; and an interpretation of his relationship to contemporary American esthetic and intellectual movements. American Art Series. Illustrated.

How the new brain sciences are transforming our understanding of what it means to be human The brain sciences are influencing our understanding of human behavior as never before, from neuropsychiatry and neuroeconomics to neurotheology and neuroaesthetics. Many now believe that the brain is what makes us human, and it seems that neuroscientists are poised to become the new experts in the management of human conduct. Neuro describes the key developments—theoretical, technological, economic, and biopolitical—that have enabled the neurosciences to gain such traction outside the laboratory. It explores the ways neurobiological conceptions of personhood are influencing everything from child rearing to criminal justice, and are transforming the ways we "know ourselves" as human beings. In this emerging neuro-ontology, we are not "determined" by our neurobiology: on the contrary, it appears that we can and should seek to improve ourselves by understanding and acting on our brains. Neuro examines the implications of this emerging trend, weighing the promises against the perils, and evaluating some widely held concerns about a neurobiological "colonization" of the social and human sciences. Despite identifying many exaggerated claims and premature promises, Neuro argues that the openness provided by the new styles of thought taking shape in neuroscience, with its contemporary conceptions of the neuromolecular, plastic, and social brain, could make possible a new and productive engagement between the social and brain sciences. Copyright note: Reproduction, including downloading of Joan Miro works is prohibited by copyright laws and international conventions without the express written permission of Artists Rights Society (ARS), New York.

"She's hysterical." For centuries, the term "hysteria" has been used by physicians and laymen to diagnose and dismiss the extreme emotionality and mysterious physical disorders presumed to bedevil others—especially women. How did this medical concept assume its power? What cultural purposes does it serve? Why do different centuries and different circumstances produce different kinds of hysteria? These are among the questions pursued in this absorbing, erudite reevaluation of the history of hysteria. The widely respected authors draw upon the insights of social and cultural history, rather than Freudian psychoanalysis, to examine the ways in which hysteria has been conceived by doctors and patients, writers and artists, in Europe and North America, from antiquity to the early years of the twentieth century. In so doing, they show that a history of hysteria is a history of how we understand the mind. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1993.