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A tribute to the impressive roster of women artists who have graduated from Yale University. Marking the 150th anniversary of the first women students at Yale, who came to study at the Yale School of the Fine Arts (now Yale School of Art) when it opened in 1869, and the 50th anniversary of undergraduate coeducation at the University, this volume honors the accomplishments of women artist-graduates of Yale. More than 80 artists-including Rina Banerjee, Janet Fish, Audrey Flack, Eva Hesse, Maya Lin, Sylvia Plimack Mangold, Howardena Pindell, and Mickalene Thomas-are represented with works drawn exclusively from the Yale University Art Gallery. Essays and timelines detail related milestones such as the appointment of art historian Anne Coffin Hanson as the first woman to be hired as a full, tenured professor on campus and Mimi Gardner Gates as the first female director of the Gallery. Amid the rise of feminist movements-from women's suffrage to the #MeToo movement of today-this book asserts the crucial role women have played in pushing creative boundaries at Yale, and in the art world at large. Exhibition: Yale University Art Gallery (10.8.2021-9.1.2022)

"Constructing Revolution explores the remarkable and wide-ranging body of propaganda posters as an artistic consequence of the 1917 Russian Revolution. Marking its centennial, this book delves into a relatively short-lived era of unprecedented experimentation and utopian idealism, which produced some of the most iconic images in the history of graphic design. The eruption of the First World War, the Russian revolutions of 1905 and 1917, and the subsequent civil war broke down established political and social structures and brought an end to the Tsarist Empire. Russia was split into antagonistic worlds: the Bolsheviks and the enemy, the proletariat and the exploiters, the collective and the private, the future and the past. The deft manipulation of public opinion was integral to the violent class struggle. Having seized power in 1917, the Bolsheviks immediately recognized posters as a critical means to tout the Revolution's triumph and ensure its spread. Posters supplied the new iconography, converting Communist aspirations into readily accessible, urgent, public art. This book surveys genres and methods of early Soviet poster design and introduces the most prominent artists of the movement. Reflecting the turbulent and ultimately tragic history of Russia in the 1920s and 1930s, it charts the formative decades of the USSR and demonstrates the tight bond between Soviet art and ideology. The posters featured in this book come from a celebrated private collection built by Eric and Svetlana Silverman"--

Kommunale Bürgerbeteiligung als wissensintensives Umfeld -- Bürgerbeteiligung und Wissensmanagement auf kommunaler Ebene -- Vorbetrachtung zum Forschungsdesign -- Empirische Befunde: Perspektiven und Deutungen kommunaler Akteure -- Fünf Bausteine für die wissensorientierte Beteiligungskommune.

Introduction -- Part 1: United States. Superpower -- Phase One Response -- Phase Two Response -- Part 2: Canada -- Middle Power -- Part 3: United Kingdom -- Former Great Power -- The Commons Debates and After -- Part 4: Co-operation? -- Interplay between the Three Powers -- Conclusion.

"This book compares two mystical works central to the Christian Discalced Carmelite and the Hindu Bhakti traditions: the sixteenth-century Spanish Cántico espiritual (Spiritual Canticle), by John of the Cross, and the Sanskrit Rāsa Līlā, originated in the oral tradition. These texts are examined alongside theological commentaries: for the Cántico, the Comentarios written by John of the Cross on his own poem; for Rāsa Līlā, the foundational commentary by Srīdhara Swāmi along with commentaries by the sixteenth-century theologian Jīva Goswāmī, from the Gauḍīya Vaiṣṇava school, and other Gauḍīya theologians. The phrase "savoring God" in the title conveys the Spanish gustar a Dios (to savor God) and the Sanskrit madhura bhakti rasa (the sweet savor of divine love). While "savoring" does not mean exactly the same thing for these theologians, they use the term to define a theopoetics at work in their respective traditions. The book's methodology transposes their notions of "savoring" to advance a comparative theopoetics grounded in the interaction of poetry and theology. The first chapter explains in detail how theopoetics is regarded considering each text and how they are compared. The comparison is then laid out across Chapters 2, 3, and 4, each of which examines one of the three central moments of the theopoetic experience of savoring that is represented in the Cántico and Rāsa Līlā: the absence and presence of God, the relationship between embodiment and savoring, and the fulfilment of the encounter between the divine and the lovers"--