And while art criticism is ubiquitous in newspapers, magazines, and exhibition brochures, it is also virtually absent from academic writing. How is it that even as criticism drifts away from academia, it becomes more academic? How is it that sifting through a countless array of colorful periodicals and catalogs makes criticism seem to slip even further from our grasp? In this pamphlet, James Elkins surveys the last fifty years of art criticism, proposing some interesting explanations for these startling changes."In What Happened to Art Criticism?, art historian James Elkins sounds the alarm about the perilous state of that craft, which he believes is 'In worldwide crisis . . . dissolving into the background clutter of ephemeral cultural criticism' even as more and more people are doing it. 'It's dying, but it's everywhere . . . massively produced, and massively ignored.' Those who pay attention to other sorts of criticism may recognize the problems Elkins describes: 'Local judgments are preferred to wider ones, and recently judgments themselves have even come to seem inappropriate. In their place critics proffer informal opinions or transitory thoughts, and they shy from strong commitments.' What he'd like to see more of: ambitious judgment, reflection about judgment itself, and 'criticism important enough to count as history, and vice versa.' Amen to that."—Jennifer Howard, Washington Post Book World

    Evidence for the growing significance of logotherapy includes institutes, societies and professorships in many countries of the world, as well as conferences and publications. On the Theory and Therapy of Neuroses: An Introduction to Logotherapy and Existential Analysis, the translation of Viktor Frankl's Theorie und Therapie der Neurosen by James M. DuBois, will allow for the first time English-only readers to experience this essential text on logotherapy.

    Lars Muhl was for many years a successful pop star who studied the world’s religions and esoteric knowledge between gigs and recording sessions.  When a nervous-system illness sidelined him in the mid-1990s, he turned in desperation to a spiritual healer who was able to get him back on his feet after a single phone call. Intrigued by this mysterious man, Muhl traveled to southern France to become his apprentice. Together, Muhl and the healer, who is known in the book simply as “The Seer,” embark on an adventure that is part history lesson, part Jedi-style initiation. “My work with The Seer began on Montségur, the holiest site of the Cathars, the medieval French religious sect that was persecuted by the Roman Catholic Church,” notes Muhl.” It was the middle of summer and the hike up the mountain is pretty strenuous. At the same time that The Seer was testing my physical endurance, he was breaking down my emotional resistance. He taught me how to let go of the burdens from my past.”  Towards the end of his apprenticeship, after years of searching for Montségur’s secret cave, Muhl finally stumbles upon it. Inside he finds himself in the presence of “O,” the Messenger of Light; the source of all things; the symbol of ecstatic union. O tells Muhl, “Everything mankind longs for is, and has always been, within his reach. If he would only acknowledge this there wouldn’t be anything else to look for. When this happens mankind will step out of his self-made prison and into reality.”  The O Manuscript is not another book about positive thinking. Throughout his initiation, Muhl was forced to confront his dark side, the shadows that kept him from true health and wellness. “This is my journey,” says Muhl. “Every word of it is true and really happened to me, but it is also meant to be a kind of allegory. The lessons I learned are universal.” Praise for The O Manuscript:“I recommend this amazing story to anyone seeking the path to enlightenment.” —Al Jardine, The Beach Boys  “Lars Muhl tells an extraordinary tale in an extraordinary way…It is a story that, for too long, has been cyring out to be told.” —Henry Lincoln, co-author of The Holy Blood and the Holy Grail

    In Pornocracy, a beautiful woman wanders through a gay disco and engages a man, confident that he will follow her. Perversely and dispassionately, she offers her body as the ground of a ritualistic game in which, over the course of three evenings, the two will explore the numbing mechanics of sexual brutality. What follows is an exchange between a man and a woman that is both frankly sexual and deeply philosophical. Adapted and directed for film in France by Breillat as Anatomy of Hell (2004), Pornocracy leads the reader through an undulating and atmospheric exploration of the criminal and the erotic, finally climaxing in a place well beyond more familiar moral terrain. Although Breillat's films—most recently Fat Girl (2001) and Romance (1999)—are well known to international audiences, this publication marks her literary debut in America. It will demonstrate that Breillat's famous films are but one aspect of her strikingly original poetic and philosophical vision.

    Art has succumbed to the techniques of advertising and in politics, the battle for hearts and minds has become a mere convergence of opinion. TV ratings have triumphed over universal suffrage. The events of September 11 reflect both the manipulation of a global sub-proletariat and the delusions of an elite of rich students and technicians who resemble the ‘suicidal members of the Heaven’s Gate cybersect’. And, in this post-humanist dystopia, we are morally rudderless before the threat of biological manipulations as yet undreamt.About the series: Appearing on the first anniversary of the attacks on the World Trade Center and the Pentagon, these series of books from Verso present analyses of the United States, the media, and the events surrounding September 11 by Europe’s most stimulating and provocative philosophers. Probing beneath the level of TV commentary, political and cultural orthodoxies, and ‘rent-a-quote’ punditry, Baudrillard, Virilio, and Žižek offer three highly original and readable accounts that serve as fascinating introductions to the direction of their respective projects, and as insightful critiques of the unfolding events. This series seeks to comprehend the philosophical meaning of September 11 and will leave untouched none of the prevailing views currently propagated.

    As unexpected as it is bold, Alsadir's ambitious tour de force demands we pay new attention to the current conversation about the nature of lyric - and human relationships - in the 21st century.

    Stephen Dobyns, author of the classic book on the beauty of poetry, Best Words, Best Order, moves into new terrain in this remarkable book. Bringing years of experience to bear on issues such as subject matter, the mechanics of poetry, and the revision process, Dobyns explores the complex relationship between writers and their work. From Philip Larkin to Pablo Neruda to William Butler Yeats, every chapter reveals useful lessons in these renowned poets' work. Both enlightening and encouraging, Next Word, Better Word demystifies a subtle art form and shows writers how to overcome obstacles in the creative process.

    Like its highly successful companion volumes, Art in Theory, 1815–1900 and Art in Theory, 1900–1990, its primary aim is to provide students and teachers with the documentary material for informed and up-to-date study. Its 240 texts, clear principles of organization and considerable editorial content offer a vivid and indispensable introduction to the art of the early modern period.Harrison, Wood, and Gaiger have collected writing by artists, critics, philosophers, literary figures, and administrators of the arts, some reprinted in their entirety, others excerpted from longer works. A wealth of material from French, German, Italian, Spanish, Dutch, and Latin sources is also provided, including many new translations.Among the major themes treated are early arguments over the relative merits of ancient and modern art, debates between the advocates of form and color, the beginnings of modern art criticism in reviews of the Salon, art and politics during the French Revolution, the rise of landscape painting, and the artistic theories of Romanticism and Neo-classicism.Each section is prefaced by an essay that situates the ideas of the period in their historical context, while relating theoretical concerns and debates to developments in the practice of art. Each individual text is also accompanied by a short introduction. An extensive bibliography and full index are provided.

    He clearly outlines the fundamentals of working with dreams, daydreams, and fantasies, discussing numerous anxiety dreams, nightmares, and fantasies told to him by his own patients. By examining transference and countertransference in detail through the use of clinical vignettes, Fink lays out the major differences (regarding transference interpretation, self-disclosure, projective identification, and the therapeutic frame) between mainstream psychoanalytic practice and Lacanian practice. He critiques the ever more prevalent normalizing attitude in psychoanalysis today and presents crucial facets of Lacan's approach to the treatment of neurosis, as well as of his entirely different approach to the treatment of psychosis.Fundamentals of Psychoanalytic Technique is an introduction to psychoanalytic technique from a Lacanian perspective that is based on Fink's many years of experience working as an analyst and supervising clinicians, including graduate students in clinical psychology, social workers, psychiatrists, psychotherapists, and psychoanalysts. Designed for a wide range of practitioners and requiring no previous knowledge of Lacan's work, this primer is accessible to therapists of many different persuasions with diverse degrees of clinical experience, from novices to seasoned analysts.Fink's goal throughout is to present the implications of Lacan's highly novel work for psychoanalytic technique across a broad spectrum of interventions. The techniques covered (all of which are designed to get at the unconscious, repression, and repetition compulsion) can be helpful to a wide variety of practitioners, often transforming their practices radically in a few short months.

    Any number of books preached persistence, but O'Neil was the first writer who actually told actors how to be persistent. The book is such a vital resource that it won a spot on "Entertainment Weekly"'s exclusive list of Industry Bibles.Now in this third edition, O'Neil updates his indispensable resource to keep up with the latest show-business trends and help you put control of your acting career where it belongs: in your own hands. You won't just read "Acting As a Business," Third Edition, you'll dog ear, underline, and bookmark it as you discover: a how-to guide to writing your theatrical resume - for both the East-Coast and the West-Coast actor specific examples of cover letters and other important correspondence practical ways to join the performer's unions tactics for getting an agent and finding out casting information well in advance tips on preparing for and answering the questions most often asked by agents in an interview - and what you should ask them techniques for auditioning in an agent's office the dos and don'ts of effective interview follow-up strategies for finding work in the theater, on soap operas, and in independent films a chart for recording which casting directors know your work an effective approach to interviewing a prospective personal manager a discussion of the "League" schools the best ways to make use of the internet.

    In elegant, witty three-page summations, Dr. Trefil "makes sense of science for the rest of us" (Washington Post).

    

    Although fantasy and spectacle have become the lingua franca of our time, Duncombe points out that liberals continue to depend upon sober reason to guide them and suggests ways in which they can adopt the new when producing policies.

    The architect Rem Koolhaas itemized in delirious detail how our cities are being overwhelmed. His celebrated jeremiad is updated here and twinned with Running Room, a fresh response from the cultural critic Hal Foster. Junkspace describes the bleak and featureless world of capitalism, while Running Room seeks to find a space within the junk in which the individual might still exist.

    A large stone Venus. Nothing unusual about it_except that it was found on an island in the Pacific Northwest. Archaeologist Hannah Green and her shovelbum nephew find themselves in a tangled web of competing interests avaricious land owners, hungry media, and a cult of goddess worshippers while investigating one of the finds of the century. In untangling the mystery of the Washington Venus, Hannah and Sean have to confront questions of archaeological evidence, of ethics, of conflicting interpretation of data, and of the very nature of archaeological truths. Helping them are a cadre of disdainful graduate students who propose various theories processualist, marxist, feminist, postmodernist to explain the bizarre events. Teach your students archaeological theory in a fashion they'll enjoy, while they solve the mystery in Adrian Praetzellis's delightful textbook-as-novel.