Historic structures need to be restored in line with international guidance and charters developed by architects and archaeologists, but technical understanding of structural engineering and materials is crucial, particularly with respect to response to earthquake loading. This guide to structural assessment and restoration of masonry monuments and historical buildings outlines the techniques, materials and design procedures used. It begins with principles, theory and practice and then presents case studies. The assessment focusses on Building materials and construction techniques used in the past The mechanics of masonry The structural behaviour of masonry monuments and historical buildings In-situ investigation and laboratory tests for existing and restoration materials. The restoration elaborates on Techniques and materials available for structural restoration Structural analysis and design Deciding on the restoration scheme Emergency measures and protective measures.

Can Parliament and the Union Government deprive Indians of their cultural heritage right to monuments? How has this deprivation been achieved by using the legislative process? Has the judicial culture of the Supreme Court been able to return to Indians this cultural heritage right? Can nationally important monuments be protected in a contrary political economy? How to retrieve and restore to Indians the fundamental right to the distinct culture of monuments by understanding what a monument is?

A collection of revised and expanded writings culled from the author's popular Washington Post Book World "Poet's Choice" column demonstrates how poetry responds to world challenges and introduces the work of more than 130 writers.

“Wright has found a way to wed fragments of an iconic America to a luminously strange idiom, eerie as a tin whistle, which she uses to evoke the haunted quality of our carnal existence.”—The New Yorker Inspired by numerous visits inside Louisiana state prisons—where MacArthur Fellow C.D. Wright served as a “factotum” for a portrait photographer—One Big Self bears witness to incarcerated men and women and speaks to the psychic toll of protracted time passed in constricted space. It is a riveting mosaic of distinct voices, epistolary pieces, elements from a moralistic board game, road signage, prison data, inmate correspondence, and “counts” of things—from baby’s teeth to chigger bites: Count your folding money Count the times you said you wouldn’t go back Count your debts Count the roaches when the light comes on Count your kids after the housefire One Big Self—originally published as a large-format limited edition that featured photographs and text—was selected by The New York Times and The Village Voice as a notable book of the year. This edition features the poem exclusively. C.D. Wright is the author of ten books of poetry, including several collaborations with photographer Deborah Luster. She is a professor at Brown University.

An intimate first book of personal essays and incisive commentary from the editor of Poetry.

Like A New Sun: An Anthology of Indigenous Mexican Poetry features poetry from Huastecan Nahuatl, Isthmus Zapotec, Mazatec, Tzotzil, Yucatec Maya, and Zoque languages. Co-edited by Isthmus Zapotec poet Víctor Terán and translator David Shook, this groundbreaking anthology introduces six indigenous Mexican poets—three women and three men—each writing in a different language. Well-established names like Juan Gregorio Regino (Mazatec) appear alongside exciting new voices like Mikeas Sánchez (Zoque). Each poet's work is contextualized and introduced by its translator. Forward by Eliot Weinberger. Poets include Víctor Terán (Isthmus Zapotec), Mikeas Sánchez (Zoque), Juan Gregorio Regino (Mazatec), Briceida Cuevas Cob (Yucatec Maya), Juan Hernández (Huastecan Nahuatl), and Ruperta Bautista (Tzotzil).

The Artist and Academia explores the relationship between artistic and academic ways of knowing. Historically, these have often been presented as opposites; the former characterized as passionate and intuitive and the latter portrayed as systematic and rigorous. Recent scholarship presents a more complex picture. Artistic knowledge demands high levels of skill and rigor, while academic research requires creativity and innovative thinking. This edited collection brings together leading artists and scholars (as well as artist-scholars) to offer a variety of philosophical, educational, experiential, reflexive and imaginative perspectives on the artist and academia. The contributions include in-depth, scholarly discussions on the nature of knowledge and creativity, as well as personal artistic statements from musicians, dancers, actors and writers. Additionally, it explores both the mediational and subversive spaces created by the meeting of artistic and academic traditions. While the book addresses global themes by global writers, its core case study is an educational experiment called the Irish World Academy of Music and Dance at the University of Limerick in Ireland. Established in 1994, it set out to reconfigure the place of the artist in the context of contemporary higher education. The material is clustered into three parts. Part One and Part Two explore the artist as mediator, educator and subversive in academia. Grounded in close-to-practice research, Part Three concludes the volume with a set of case studies from the Irish World Academy. Artistic and academic knowledge come together in this unique set of pieces to explore the development of more inclusive and imaginative pedagogical values.

The centuries have changed little in this art, The subjects are still the same.—Kenneth Rexroth Why poetry? What is poetry and why do people write it and read it? Why, as Dana Levin has written, "this urge to making a scrapbook of stars"? Every poet, by accident or design, has responded to "Why poetry" by writing a poem about poetry (an ars poetica). Whether these poems focus on the personal, political, or philosophical, each recognizes that our world is more complicated than a direct statement. As Marvin Bell has written, "Writing is all and everything." This anthology of poems about the art and life of poetry—which draws widely from Copper Canyon’s 30-year backlist of poetry books—proves him right. Poets write out of love and longing: Lord, let me live / long enough to dare /a love poem —Cyrus Cassells Poets confront suffering: since we will always have a suffering world, we must also always have a song.—David Budbill And poets write in order to live fully: We all stumble into ourselves /like this, fitting our fingers to the shape of letters,/ while the page gallops out of our reach—Rebecca Seiferle Only poetry lasts.—Ho Xuan Huong Michael Wiegers is the Managing Editor at Copper Canyon Press. CONTRIBUTORS Included: [box] Kay Boyle, Olga Broumas, Hayden Carruth, Norman Dubie, Han Shan, Jim Harrison, Carolyn Kizer, W.S. Merwin, Jane Miller, Kenneth Rexroth, Ruth Stone, Anna Swir

The Cambridge Companion to Latin American Poetry provides historical context on the evolution of the Latin American poetic tradition from the sixteenth century to the present day. It is organized into three parts. Part I provides a comprehensive, chronological survey of Latin American poetry and includes separate chapters on Colonial poetry, Romanticism/modernism, the avant-garde, conversational poetry, and contemporary poetry. Part II contains six succinct essays on the major figures Sor Juana Inés de la Cruz, Gabriela Mistral, César Vallejo, Pablo Neruda, Carlos Drummond de Andrade, and Octavio Paz. Part III analyses specific and distinctive trends within the poetic canon, including women's, LGBT, Quechua, Afro-Hispanic, Latino/a and New Media poetry. This Companion also contains a guide to further reading as well as an essay on the best English translations of Latin American poetry. It will be a key resource for students and instructors of Latin American literature and poetry.

In a long poem, the Chilean poet says farewell to his land and people and considers the human spirit, personal commitment, and the history of his culture.