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In Esoteric Images: Decoding the Late Herat School of Painting Tawfiq Daʿadli decodes the pictorial language which flourished in the city of Herat, modern Afghanistan, under the rule of the last Timurid ruler, Sultan Husayn Bayqara (r.1469-1506). This study focuses on one illustrated manuscript of a poem entitled Khamsa by the Persian poet Nizami Ganjavi, kept in the British Library under code Or.6810. Tawfiq Daʿadli decodes the paintings, reveals the syntax behind them and thus deciphers the message of the whole manuscript. The book combines scholarly efforts to interpret theological-political lessons embedded in one of the foremost Persian schools of art against the background of the court dynamic of an influential medieval power in its final years.
This book's findings are rich and intriguing: In his death, Jesus--the chief architect in the production of space in the Christian realm--founds an alternative community that reorders space and creates a new reality for believers. This new community, which dwells in this radical new space, successfully resists the domination of oppressive regimes and mindsets, such as the Roman Empire. Suffering is transformed here. Many recent biblical studies have utilized various methodologies and historical-critical viewpoints, which have been helpful. However, drawing on theories of space and postcolonial approaches, Dr. Ajer breaks new ground in Johannine studies, a new terrain that will yield much fruit. The new understandings of "space" provide a key with which we may unlock more of the mysteries of the Fourth Gospel, as Ajer here demonstrates with powerful new discoveries and insights into John's Passion narrative.
Faye Blakemore is a photojournalist for a major New York newspaper. Faye has been taking photos since she was a small child, taught by her photographer grandfather, after spending hours in the strange blood-red light of his darkroom. Now Faye specializes in what one reviewer calls, “blood-and-guts journalism.” Her first book of photos is as celebrated as it is controversial—and as harrowing. Faye convinces her editor to send her to Afghanistan and the Congo to report on the acid burnings, the machete attacks, and the women survivors. Yet that series of assignments—each darker and more dangerous than the next—brings Faye closer to her both her own demons and to the family secrets that still haunt her and threaten to destroy her and the woman she loves.
A lucid and delicate exploration of memory and grief from the author of Essayism.
Blanks, Print, Space, and Void in English Renaissance Literature is an inquiry into the empty spaces encountered not just on the pages of printed books in c.1500-1700, but in Renaissance culture more generally. The book argues that print culture in the sixteenth and seventeenth centuries helped to foster the modern idea of the 'gap' (where words, texts, images, and ideas are constructed as missing, lost, withheld, fragmented, or perhaps never devised in the first place). It re-imagines how early modern people reacted not just to printed books and documents of many different kinds, but also how the very idea of emptiness or absence began to be fashioned in a way which still surrounds us. Jonathan Sawday leads the reader through the entire landscape of early modern print culture, discussing topics such as: space and silence; the exploration of the vacuum; the ways in which race and racial identity in early modern England were constructed by the language and technology of print; blackness and whiteness, together with lightness, darkness, and sightlessness; cartography and emptiness; the effect of typography on reading practices; the social spaces of the page; gendered surfaces; hierarchies of information; books of memory; pages constructed as waste or vacant; the genesis of blank forms and early modern bureaucracy; the political and devotional spaces of printed books; the impact of censorship; and the problem posed by texts which lack endings or conclusions. The book itself ends by dwelling on blank or empty pages as a sign of human mortality. Sawday pays close attention to the writings of many of the familiar figures in English Renaissance literary culture - Sidney, Shakespeare, Donne, Jonson, and Milton, for example - as well as introducing readers to a host of lesser-known figures. The book also discusses the work of numerous women writers from the period, including Aphra Behn, Ann Bradstreet, Margaret Cavendish, Lady Jane Gray, Lucy Hutchinson, Æmelia Lanyer, Isabella Whitney, and Lady Mary Wroth.
One of the most attractive features of the young discipline of Space Science is that many of the original pioneers and key players involved are still available to describe their field. Hence, at this point in history we are in a unique position to gain first-hand insight into the field and its development. To this end, The Century of Space Science, a scholarly, authoritative, reference book presents a chapter-by-chapter retrospective of space science as studied in the 20th century. The level is academic and focuses on key discoveries, how these were arrived at, their scientific consequences and how these discoveries advanced the thoughts of the key players involved. With over 90 world-class contributors, such as James Van Allen, Cornelis de Jager, Eugene Parker, Reimar Lüst, and Ernst Stuhlinger, and with a Foreword by Lodewijk Woltjer (past ESO Director General), this book will be immensely useful to readers in the fields of space science, astronomy, and the history of science. Both academic institutions and researchers will find that this major reference work makes an invaluable addition to their collection.
This collection of essays on the Singaporean writer and artist Arthur Yap is dedicated to his multifaceted creative work and makes it accessible to both general and academic readers. It features new and innovative essays on Yap’s prose, poetry and paintings by an international group of scholars and critics. The essays approach Yap’s work through literary and analytical methods drawn from postcolonial criticism, ecocriticism, studies of urban spaces, visual art and sexuality, with particular consideration for how his work contributes to a specifically Singaporean form of postcolonial critique.
The manner in which a man has lived is often the key to the way he will die. Take old man Donegal, for example. Most of his adult life was spent in digging a hole through space to learn what was on the other side. He had to be fated, didn't he, to go out the same way?
Space matters. It situates our history, structures our daily lives, and often determines what we can and cannot do. Borders are central to this reality. Tools and symbols of separation, power, and identity, they bring people together as much as they set them apart. This book explores how borders were understood, made, and encountered at the end of the Middle Ages, and what they can tell us about the spatial fabric of society at the threshold of modernity. It shows that pre-modern borders were nothing like the fuzzy lines they are typically made out to be, that border-making was rarely a top-down process and should instead be studied as an interactive endeavour, and that space was shaped by communities far more than states in this period. At its core, Borders and the Politics of Space in Late Medieval Italy is the account of a frontier which would mark the Italian peninsula for centuries, that between the territories of the Duchy of Milan and those of the Republic of Venice. But it is also a study of how rulers and subjects alike defined spaces they could call their own. Luca Zenobi combines methods from several disciplines and applies them to a range of evidence from twenty different libraries and archives, including theoretical treatises and pragmatic records, written chronicles and cartographic visualisations, private documents and official correspondence. The cast of characters is equally eclectic, featuring influential thinkers and pragmatic statesmen, zealous factions and clumsy bureaucrats, hopeless beggars and ambitious princes. On the border, their stories intersect and reveal their part in a shared history.