Download Free Enlightened Eclecticism Book in PDF and EPUB Free Download. You can read online Enlightened Eclecticism and write the review.

"The central decades of the 18th century in Britain were crucial to the history of European taste and design. One of the period's most important campaigns of patronage and collecting was that of the 1st Duke and Duchess of Northumberland: Sir Hugh Smithson (1712-86) and Lady Elizabeth Seymour Percy (1716-76). This book examines four houses they refurbished in eclectic architectural styles--Stanwick Hall, Northumberland House, Syon House, and Alnwick Castle--alongside the innumerable objects they collected, their funerary monuments, and their persistent engagement in Georgian London's public sphere. Over the years, their commissions embraced or pioneered styles as varied as Palladianism, rococo, neoclassicism, and Gothic revival. In every instance, minute details contributed to large-scale projects expressing the Northumberlands' various aesthetic and cultural allegiances. Their development sheds light on the eclectic taste of Georgian Britain, the emergence of neoclassicism, and the cultures of the Grand Tour and the Enlightenment."--Jacket flap.
The contributions to the volume examine in detail diverse aspects of second language education, ranging from a focus on the basic contributions of linguistic theory and research to our understanding of second language learning and teaching on the one hand, to a series of reviews of innovative language education practices in selected regions of the world on the other.
This work expands traditional conceptions of the Enlightenment by examining the roles of wonder and Jesuit missionary conceptions of the Enlightenment by examining the century in a production of knowledge that serves both intellectual and religious functions.
This cross-disciplinary book, situated on the periphery of culture, employs humour to better comprehend the arts, the outsider and exclusion, illuminating the ever-changing social landscape, the vagaries of taste and limits of political correctness. Each chapter deals with specific themes and approaches – from the construct of outsider and complexity of humour, to Outsider Art and spaces – using various theoretical and analytical methods. Paul Clements draws on humour, especially from visual arts and culture (and to a lesser extent literature, film, music and performance), as a tool of ridicule, amongst other discourses, employed by the powerful but also as a weapon to satirize them. These ambiguous representations vary depending on context, often assimilated then reinterpreted in a game of authenticity that is poignant in a world of facsimile and 'fake news'. The humour styles of a range of artists are highlighted to reveal the fluidity and diversity of meaning which challenges expectations and at its best offers resistance and, crucially, a voice for the marginal. This book will be of particular interest to scholars in art history, cultural studies, fine art, humour studies and visual culture.
Once the State-run Salon in Paris closed, an array of independent Salons mushroomed starting with the French Artists Salon and Women’s Salon in 1881 followed by the Independent Artists’ Salon, National Salon of Fine Arts and Autumn Salon. Offering an unparalleled choice of art identities and alliances, together with undreamed-of opportunities for sales, commissions, prizes and art criticism, these great Salons guaranteed the centripetal and centrifugal power of Paris as the “modern art centre”. Lured by the prospect of being exhibited annually in Salons the size of Biennales today, a huge number and national diversity of artists, from the Australian Rupert Bunny to the Spaniards Pablo Picasso and Juan Gris, flocked to Paris. Yet by no means were these Salons equal in power, nor did they work consensually to forge this “modern art centre”. Formed on the basis of their different cultural politics, constantly they rivalled one another for State acquisitions and commissions, exhibition places and spaces, awards, and every other means of enhancing their legitimacy. By no means were the avant-garde salons those that most succeeded. Instead, as this culturo-political history demonstrates, the French Artists’ and National Fine Art Salons were the most successful, with the genderist French Artists' Salon being the most powerful and “official”. Despite the renown today of Neo-Impressionism, Art Nouveau, Fauvism, Cubism and Orphism, the most powerful artists in this “modern art centre” were not Sonia Delaunay, Émile Gallé, Paul Signac, Henri Matisse or even Picasso but such Academicians as Léon Bonnat, William Bouguereau, Fernand Cormon, Edouard Detaille, Gabriel Ferrier, Jean-Paul Laurens, Luc-Oliver Merson and Aimé Morot, who exhibited at the “official” Salon supported by the machinery of the State. In its exposure of the rivalry, conflict and struggle between the Salons and their artists, this is an unprecedented history of dissension. It also exposes how, just below the welcoming internationalist veneer of this “modern art centre”, intense persecutionist paranoia lay festering. Whenever France’s “civilizing mission” seemed culturally, commercially or colonially threatened, it erupted in waves of nationalist xenophobia turning artistic rivalry into bitter enmity. In exposing how rivals became transmuted into conspirators, ultimately this book reveals a paradox resonant in histories that celebrate the international triumph of French modern art: that this magnetic “centre”, which began by welcoming international modernists, ended by attacking them for undermining its cultural supremacy, contaminating its “civilizing mission” and politically persecuting the very modernist culture for which it has received historical renown.
"The burden of the past" invoked by any discussion of eclecticism is a familiar aspect of modernity, particularly in the history of literature. This book aims to place this dynamic in a broader context by examining the rise of a manifold eclecticism in the nineteenth century. It focuses on two understandings of eclecticism in the period--one understood as an unreflective embrace of either conflicting beliefs or divergent historical styles, the other a mode of critical engagement that ultimately could lead to a rethinking of the contrast between creation and criticism and of the very idea of the original.
Immanuel Kant's enduring influence on philosophy is indisputable. In particular, Kant transformed debates on the fundamental questions in logic, and it is the significance and complexity of this accomplishment that Huaping Lu-Adler here explores. Kant's theory of logic represents a turning point in a history of philosophical debates over the following questions: Is logic a science, instrument, standard of assessment, or mixture of these? Kant's official answer to these questions centers on three distinctions: general versus particular logic; pure versus applied logic; pure general logic versus transcendental logic. The true meaning and significance of each distinction becomes clear, Lu-Adler argues, only if we consider two factors. First, Kant was mindful of various historical views on how logic relates to other branches of philosophy and to the workings of common human understanding. Second, he invented "transcendental logic" while struggling to secure metaphysics as a proper "science," and this conceptual innovation in turn held profound implications for his mature theory of logic. Against this backdrop, Lu-Adler reassesses the place of Kant's theory in the history of philosophy of logic and highlights certain issues that are debated today, including normativity of logic and the challenges posed by logical pluralism. Kant and the Science of Logic is both a history of philosophy of logic told from the Kantian viewpoint and a reconstruction of Kant's theory of logic from a historical perspective. It is a vital contribution to the study of Kantian logic.
In the past two decades, many psychodynamic therapists have begun to view the relational processes taking place between patient and therapist as a central source of transformation. Yet traditional paradigms of clinical supervision, focusing primarily on didactic teaching, have limitations for training therapists to work in these new ways. This groundbreaking volume is the first to elaborate a comprehensive contemporary model of supervision. Using a wealth of examples and vignettes, the authors show how working within the vicissitudes of the supervisory relationship can allow the supervisee to gain a deeper understanding of the treatment method being taught. Key topics discussed include issues of power and authority, regression in the supervisory relationship, rethinking the "teach/treat" question, parallel process as a relational phenomenon, working with group process in case conference, and the role of the organization in supporting training. This is a richly informative resource for psychologists, psychiatrists, social workers, psychoanalysts, and others involved in clinical supervision and training. It also will serve as a text for courses in supervision and organizational psychology.