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How did painters and their public speak about art in Rembrandt's age? This book about the writings of the painter-poet Samuel van Hoogstraten, one of Rembrandt's pupils, examines a wide variety of themes from painting practice and theory from the Dutch Golden Age. It addresses the contested issue of 'Dutch realism' and its hidden symbolism, as well as Rembrandt's concern with representing emotions in order to involve the spectator. Diverse aspects of imitation and illusion come to the fore, such as the theory behind sketchy or 'rough' brushwork and the active role played by the viewer's imagination. Taking as its starting point discussions in Rembrandt's studio, this unique study provides an ambitious overview of Dutch artists' ideas on painting. - Waar ging het de Hollandse meesters om bij hun verbeelding van de werkelijkheid? Bevatten hun schilderijen verborgen betekenissen? Hoe verklaar je hun aandacht voor lichtval, spiegeling en materialen? Dit boek over het werk van de schilder en dichter Samuel van Hoogstraten, een leerling van Rembrandt, werpt nieuw licht op talrijke thema's uit de schilderpraktijk en -theorie van de Gouden Eeuw. Het behandelt het 'Hollandse realisme' met zijn vergankelijkheidsymboliek, evenals Rembrandts streven om emoties te verbeelden waarmee hij de beschouwer bij de voorstelling betrok. Opvattingen over imitatie en illusionisme blijken te zijn gebaseerd op filosofische motieven. Uitgaande van discussies in Rembrandts atelier, biedt The Visible World een ambitieus overzicht van de Nederlandse kunstopvattingen uit de zeventiende eeuw. The Visible World verschijnt in de "http://www.aup.nl/do.php?a=show_visitor_booklist&b=series&series=53">Amsterdamse Gouden Eeuw Reeks uitgegeven door Amsterdam University Press in samenwerking met het "http://cf.uba.uva.nl/goudeneeuw/">Centrum voor de Studie van de Gouden Eeuw.

Most artists earn very little. Nevertheless, there is no shortage of aspiring young artists. Do they give to the arts willingly or unknowingly? Governments and other institutions also give to the arts, to raise the low incomes. But their support is ineffective: subsidies only increase the artists' poverty. The economy of the arts is exceptional. Although the arts operate successfully in the marketplace, their natural affinity is with gift-giving, rather than with commercial exchange. People believe that artists are selflessly dedicated to art, that price does not reflect quality, and that the arts are free. But is it true? This unconventional multidisciplinary analysis explains the exceptional economy of the arts. Insightful illustrations from the practice of a visual artist support the analysis. - Kunstenaars verdienen vaak weinig. Toch is er aan jonge kunstenaars geen gebrek! Nemen zij het beperkte financiële gewin voor lief of weten zij niet beter? De overheid levert een bijdrage om de lage inkomens te compenseren, maar door subsidies lijkt de armoede onder kunstenaars slechts toe te nemen. In deze onconventionele en multidisciplinaire studie analyseert fotograaf, schilder en econoom Hans Abbing de uitzonderlijke economie van de kunsten: wijden kunstenaars zich geheel belangenloos aan hun werk, of laten zij zich wel degelijk leiden door economische motieven.

Most artists earn very little. Nevertheless, there is no shortage of aspiring young artists. Do they give to the arts willingly or unknowingly? Governments and other institutions also give to the arts, to raise the low incomes. But their support is ineffective: subsidies only increase the artists' poverty. The economy of the arts is exceptional. Although the arts operate successfully in the marketplace, their natural affinity is with gift-giving, rather than with commercial exchange. People believe that artists are selflessly dedicated to art, that price does not reflect quality, and that the arts are free. But is it true? This unconventional multidisciplinary analysis explains the exceptional economy of the arts. Insightful illustrations from the practice of a visual artist support the analysis.

Brings together some of the most exciting recent scholarship on Asian literature and culture, emphasising East Asia yet extending to South Asia Combines original findings of interest to specialists with a clear style of writing and argumentation that makes the volume accessible and appealing to the general reader Brings to life a wide range of Asian literary and scholarly figures important in their time and remain relevant and yet whose significance has been poorly understood - Het toegankelijk geschreven From Marginal to Mainstream brengt de literatuur van Azië in kaart. Het is een verzameling van grensverleggend Aziatisch literatuuronderzoek. De onderwerpen gaan van vrouwelijke poëten in het vroegmoderne India die zich door hun unieke gebruik van Sanskriet duidelijk onderscheidden van hun mannelijke collega's, via Japanse naar Chinese auteurs wier autobiografisch werk een geheel nieuwe trend zette in de 20ste en 21ste eeuwse Chinese literatuur.

Devotion to the Sacred Heart of Jesus has been controversial from its beginning in the life of the French Visitationist nun Margaret Mary Alacoque (1647-1690), who established the devotion after a series of mystical visions of Christ. Under the leadership of Sister Sophie Barat, founder of the Society of the Sacred Heart in 1800, the devotion was taken around the world in the course of the nineteenth century. Wherever it went, the devotion took the shape of an evolving visual culture. Even during Alacoque's lifetime, imagery was a fundamental part of practicing the devotion. The Sacred Heart of Jesus traces the unfolding visual biography of the Sacred Heart, showing how imagery and visual practice document the history of the devotion and the remarkable range of its evolution. - Devotie aan het Heilige Hart van Jezus is al vanaf het eerste ontstaan controversieel. De Franse non Marguerite-Marie Alacoque (1647-1690) begon met deze Heilige-Hart-verering na een opeenvolging van openbaringen van Christus te hebben gehad. Jezuïeten, spirituele goeroes en priesters tot op de dag van vandaag maken deze verering tot het centrum van hun theologische studie en beleving. The Sacred Heart of Jesus is een uitgebreide visuele biografie van het Heilige Hart. Het laat de opmerkelijke evolutie van dit fenomeen zien, maar ook hoe beeldende kunst en rituelen deze geschiedenis documenteren.

The treatment of war wounds is an ancient art, constantly refined to reflect improvements in weapons technology, transportation, antiseptic practices, and surgical techniques. Throughout most of the history of warfare, more soldiers died from disease than combat wounds, and misconceptions regarding the best timing and mode of treatment for injuries often resulted in more harm than good. Since the 19th century, mortality from war wounds steadily decreased as surgeons on all sides of conflicts developed systems for rapidly moving the wounded from the battlefield to frontline hospitals where surgical care is delivered. We review the most important trends in US and Western military trauma management over two centuries, including the shift from primary to delayed closure in wound management, refinement of amputation techniques, advances in evacuation philosophy and technology, the development of antiseptic practices, and the use of antibiotics. We also discuss how the lessons of history are reflected in contemporary US practices in Iraq and Afghanistan.

AbstractIn this paper, we review recent sociological research dealing with the consumption of culture produced in the fine and popular arts realms. Most of the initial theoretical developments in the study of culture consumption were intended to explain audience segmentation in the fine arts realm under the 'cultural capital' paradigm developed by Pierre Bourdieu. This paradigm shift has led to the current dominance of the 'omnivore thesis' in the sociology of taste. The consumption of popular culture, however, remained for a long time dominated by the Birmingham 'resistance' and 'subculture' paradigms developed in the 1970s. Recent popular arts consumption research has moved beyond the limitations of the subculture paradigm by incorporating the theoretical legacy of the cultural capital paradigm in order to account for patterns in audience and producer differentiation in popular arts 'scenes'. This has brought the study of popular and fine arts culture consumption under a single conceptual framework after a long period of theoretical disengagement.

Mainstream monetary theory has been subject to critiques from heterodox economists from the post-Keynesian and Marxist traditions yet, the monetary reform movement has been critical of political economists from all traditions for failing to identify the private issue of money as the central problem. In the United Kingdom, for instance, credit monies emanating from private banks constitute 97Shakespeare 2002). This paper reviews elements of the classically-derived mainstream view, and its critics, and evaluates the claims of monetary reformers. Stephen Zarlenga, for instance, in his historical study of the political economy of money, suggests that the (unnecessary) acceptance of the private creation of money precludes the possibility of a state-sanctioned ?money of account? (Zarlenga 2002).This cartalist notion of state-money, (perhaps mistakenly) citing Aristotelian origin, is seen as indispensable for effective monetary reform today. It is proposed that money is issued and established by law that is deliberately intended to exceed its intrinsic value, when functioning as a measure of commodities. Yet, this paper argues that these reformist ideas have been unfair in their historical treatment of Marx, Smith and Keynes, who had more sophisticated ideas on monetary matters than is credited. Notwithstanding, Zarlenga?s (et al) work serves to illuminate an interesting arena for future research.