An interdisciplinary and comprehensive treatment of bodily self-consciousness, considering representation of the body, the sense of bodily ownership, and representation of the self. The body may be the object we know the best. It is the only object from which we constantly receive a flow of information through sight and touch; and it is the only object we can experience from the inside, through our proprioceptive, vestibular, and visceral senses. Yet there have been very few books that have attempted to consolidate our understanding of the body as it figures in our experience and self-awareness. This volume offers an interdisciplinary and comprehensive treatment of bodily self-awareness, the first book to do so since the landmark 1995 collection The Body and the Self, edited by José Bermúdez, Naomi Eilan, and Anthony Marcel (MIT Press). Since 1995, the study of the body in such psychological disciplines as cognitive psychology, cognitive neuroscience, psychiatry, and neuropsychology has advanced dramatically, accompanied by a resurgence of philosophical interest in the significance of the body in our mental life. The sixteen specially commissioned essays in this book reflect the advances in these fields. The book is divided into three parts, each part covering a topic central to an explanation of bodily self-awareness: representation of the body; the sense of bodily ownership; and representation of the self. Contributors Adrian Alsmith, Brianna Beck, José Luis Bermúdez, Anna Berti, Alexandre Billon, Andrew J. Bremner, Lucilla Cardinali, Tony Cheng, Frédérique de Vignemont, Francesca Fardo, Alessandro Farnè, Carlotta Fossataro, Shaun Gallagher, Francesca Garbarini, Patrick Haggard, Jakob Hohwy, Matthew R. Longo, Tamar Makin, Marie Martel, Melvin Mezue, John Michael, Christopher Peacocke, Lorenzo Pia, Louise Richardson, Alice C. Roy, Manos Tsakiris, Hong Yu Wong

With this sweeping reinterpretation of early cultural encounters between the English and American natives, Joyce E. Chaplin thoroughly alters our historical view of the origins of English presumptions of racial superiority, and of the role science and technology played in shaping these notions. By placing the history of science and medicine at the very center of the story of early English colonization, Chaplin shows how contemporary European theories of nature and science dramatically influenced relations between the English and Indians within the formation of the British Empire. In Chaplin's account of the earliest contacts, we find the English--impressed by the Indians' way with food, tools, and iron--inclined to consider Indians as partners in the conquest and control of nature. Only when it came to the Indians' bodies, so susceptible to disease, were the English confident in their superiority. Chaplin traces the way in which this tentative notion of racial inferiority hardened and expanded to include the Indians' once admirable mental and technical capacities. Here we see how the English, beginning from a sense of bodily superiority, moved little by little toward the idea of their mastery over nature, America, and the Indians--and how this progression is inextricably linked to the impetus and rationale for empire.

Perspectives on Patentable Subject Matter brings together leading scholars to offer diverse perspectives on one of the most pressing issues in patent law: the basic question about which types of subject matter are even eligible for patent protection, setting aside the widely known requirement that a claimed invention avoid the prior art and be adequately disclosed. Some leading commentators and policy-making bodies and individuals envision patentable subject matter to include anything under the sun made by humans, whereas other leaders envision a range of restrictions for particular fields of endeavor, from business methods and computer software to matters involving life, such as DNA and methods for screening or treating disease. Employing approaches that are both theoretically rigorous and grounded in the real world, this book is well suited for practicing lawyers, managers, lawmakers, and analysts, as well as academics conducting research or teaching a range of courses in law schools, business schools, public policy schools, and in economics and political science departments, at either the undergraduate or graduate level.

To achieve quality education in American schools, we need a better understanding of the way classroom instruction works. Susan S. Stodolsky addresses this need with her pioneering analysis of the interrelations between forms of instruction, levels of student involvement, and subject matter. Her intensive observation of fifth-grade math and social studies classes reveals that subject matter, a variable overlooked in recent research, has a profound effect on instructional practice. Stodolsky presents a challenge to educational research. She shows that classroom activities are coherent actions shaped by the instructional context—especially what is taught. Stodolsky contradicts the received view of both teaching and learning as uniform and consistent. Individual teachers arrange instruction very differently, depending on what they are teaching, and students respond to instruction very differently, depending on the structure and demands of the lesson. The instructional forms used in math classes, a "basic" subject, and social studies classes, an "enrichment" subject, differ even when the same teacher conducts both classes. Social studies classes show more diversity in activities, while math classes are very similar to one another. Greater variety is found in social studies within a given teacher's class and when different teachers' classes are compared. Nevertheless, in the classrooms Stodolsky studied, the range of instructional arrangements is very constricted. Challenging the "back to basics" movement, Stodolsky's study indicates that, regardless of subject matter, students are more responsive to instruction that requires a higher degree of intellectual complexity and performance, to learning situations that involve them in interaction with their peers, and to active modes of learning. Stodolsky also argues that students develop ideas about how to learn a school subject, such as math, by participating in particular activities tied to instruction in the subject. These conceptions about learning are unplanned but enduring and significant consequences of schooling. The Subject Matters has important implications for instructional practice and the training, education, and supervision of teachers. Here is a new way of understanding the dynamics of teaching and learning that will transform how we think about schools and how we study them.

As a painter and as one interested in education in relation to painting and drawing, the writer has become personally interested in the problem of subject matter in art... Since there is controversy in regards to this tendency in painting, research directed toward the source of ideas involved in the work, it is felt, will help to make clear the intention of the artists. This research will deal with the attitudes of these artists toward their own work and their relation to tradition as they express it. --Robert Goodnough (1950). The absence of traditional subject matter was a primary issue for painters in mid-twentieth-century America whose imagery lacked representational references; it was also a problem for those struggling to understand modern art. Robert Goodnough (1917-2010), then a New York University graduate student and an artist deeply involved with these issues, responded to the situation in a 1950 research paper, Subject Matter of the Artist: An Analysis of Contemporary Subject Matter in Painting as Derived from Interviews with Those Artists Referred to as the Intrasubjectivists. Goodnough's paper constitutes the first scholarly work on the artists who became known as the Abstract Expressionists and includes interviews with William Baziotes, Willem de Kooning, Adolph Gottlieb, Robert Motherwell, Barnett Newman, Jackson Pollock, and Mark Rothko. This previously unpublished study is presented here for the first time alongside related writings by Goodnough.

"Despite a rich academic literature in the field of intellectual property (IP), there has been little conceptual analysis of the subject matter that IP rights protect, and in reflection of this, little attention paid to the meaning of the terms used to denote those subject matter, including 'invention', 'authorial work', 'trade mark', and 'design'. This book offers such an analysis, the first of its kind, with the aim of furthering understanding of each IP regime and of IP in general. By means of a nominal word:thing definitional exercise, it studies the terms in question with reference to their recent use by IP legal officials in order to offer a conceptual understanding of the objects that they denote. The analysis proceeds in three main stages. At the first stage, the context in which the relevant terms fall to be defined is considered, with a particular focus on the nature, aims, and values of IP rights and systems. At the second stage, a theoretical framework for thinking about the subject matter protectable by IP in general is proposed, and certain focal questions for understanding such subject matter are derived. And finally, at the third stage, officials' use of the legislative terms that denote the subject matter protectable by IP regimes are considered in detail and the results of that consideration used to answer the focal questions. The result is a definition of each of the terms with reference to the objects that they denote, with a particular focus on the categories and properties of the subject matter protectable by each IP regime, the methods by which those subject matter are individuated within each regime, the relationship between each subject matter and its concrete instances, and the manner in which each subject matter and its instances is known."--Page 4 of cove

Practical and engaging, Merryl Goldberg’s popular guide to integrating the arts throughout the K-12 curriculum blends contemporary theory with classroom practice. Beyond teaching about the arts as a subject in and of itself, the text explains how teachers may integrate the arts—literary, media, visual, and performing—throughout subject area curriculum and provides a multitude of strategies and examples. Promoting ways to develop children's creativity and critical thinking while also developing communications skills and fostering collaborative opportunities, it looks at assessment and the arts, engaging English Language Learners, and using the arts to teach academic skills. This text is ideal as a primer on arts integration and a foundational support for teaching, learning, and assessment, especially within the context of multicultural and multilingual classrooms. In-depth discussions of the role of arts integration in meeting the goals of Title I programs, including academic achievement, student engagement, school climate and parental involvement, are woven throughout the text, as is the role of the arts in meeting state and federal student achievement standards. Changes in the 5th Edition: New chapter on arts as text, arts integration, and arts education and their place within the context of teaching and learning in multiple subject classrooms in multicultural and multilingual settings; Title I and arts integration (focus on student academic achievement, student engagement, school climate, and parental involvement–the 4 cornerstones of Title I); Attention to the National Core Arts Standards as well as their relationship to other standardized tests and arts integration; more (and more recent) research-based studies integrated throughout; Examples of how to plan arts integrated lessons (using backward design) along with more examples from classrooms’; Updated references, examples, and lesson plans/units; Companion Website: www.routledge.com/cw/goldberg

The aim of this book is to expand the subject and matter of architecture, and to explore their interdependence. There are now many architectures. This book acknowledges architecture far beyond the familiar boundaries of the discipline and reassesses the object at its centre: the building. Architectural matter is not always physical or building fabric. It is whatever architecture is made of, whether words, bricks, blood cells, sounds or pixels. The fifteen chapters are divided into three sections - on buildings, spaces and bodies - which each deal with a particular understanding of architecture and architectural matter. The richness and diversity of subjects and materials discussed in this book locates architecture firmly in the world as a whole, not just the domain of architects. In stating that architecture is far more than the work of architects, this book aims not to deny the importance of architects in the production of architecture but to see their role in more balanced terms and to acknowledge other architectural producers. Architecture can, for example, be found in the incisions of a surgeon, the instructions of a choreographer or the movements of a user. Architecture can be made of anything and by anyone.

A leading expert in cancer addresses the realities of the disease and discusses diagnosis of cancer, treatments, causes, preventions, cancer and AIDS, support groups, and more.

Now celebrated as one of the great painters of the Renaissance, Michelangelo Merisi da Caravaggio fled Rome in 1606 to escape retribution for killing a man in a brawl. Three years later he was in Naples, where he painted The Seven Acts of Mercy. A year later he died at the age of thirty-eight under mysterious circumstances. Exploring Caravaggio's singular masterwork, in The Guardian of Shadows and Light Terence Ward offers an incredible narrative journey into the heart of his artistry and his metamorphosis from fugitive to visionary. Ward's guide in this journey is a contemporary artist whose own life was transformed by the painting, a simple man named Angelo who shows him where it still hangs in a small church in Naples and whose story helps him see its many layers. As Ward unfolds the structure of the painting, he explains each of the seven mercies and its influence on Caravaggio’s troubled existence. Caravaggio encountered the whole range of Naples’s vertical social layers, from the lowest ranks of poverty to lofty gilded aristocratic circles, and Ward reveals the old city behind today's metropolis. Fusing elements of history, biography, memoir, travelogue, and journalism, his narrative maps the movement from estrangement to grace, as we witness Caravaggio’s bruised life gradually redeemed by art. Skyhorse Publishing, along with our Arcade, Good Books, Sports Publishing, and Yucca imprints, is proud to publish a broad range of biographies, autobiographies, and memoirs. Our list includes biographies on well-known historical figures like Benjamin Franklin, Nelson Mandela, and Alexander Graham Bell, as well as villains from history, such as Heinrich Himmler, John Wayne Gacy, and O. J. Simpson. We have also published survivor stories of World War II, memoirs about overcoming adversity, first-hand tales of adventure, and much more. While not every title we publish becomes a New York Times bestseller or a national bestseller, we are committed to books on subjects that are sometimes overlooked and to authors whose work might not otherwise find a home.