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In The Shadow of the Object, Christopher Bollas integrates aspects of Freud’s theory of unconscious thinking with elements from the British Object Relations School. In doing so, he offers radical new visions of the scope of psychoanalysis and expands our understanding of the creativity of the unconscious mind and the aesthetics of human character. During our formative years, we are continually "impressed" by the object world. Most of this experience will never be consciously thought, and but it resides within us as assumed knowledge. Bollas has termed this "the unthought known", a phrase that has ramified through many realms of human exploration, including the worlds of letters, psychology and the arts. Aspects of the unthought known --the primary repressed unconscious --will emerge during a psychoanalysis, as a mood, the aesthetic of a dream, or in our relation to the self as other. Within the unique analytic relationship, it becomes possible, at least in part, to think the unthought -- an experience that has enormous transformative potential. Published here with a new preface by Christopher Bollas, The Shadow of the Object remains a classic of the psychoanalytic literature, written by a truly original thinker.
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One of the feature stories of the Cthulhu Mythos, "The Shadow Out of Time" is the tale of a professor of political economics that is thrown into a mind-shattering journey through time and space, while his body is held hostage by an alien mind. Horrified and panic-stricken by the implications of his experiences, he hopes against all reason and evidence that he has merely lost his mind.
How the perception of shadows, studied by vision scientists and visual artists, reveals the inner workings of the visual system. In The Visual World of Shadows, Roberto Casati and Patrick Cavanagh examine how the perception of shadows, as studied by vision scientists and visual artists, reveals the inner workings of the visual system. Shadows are at once a massive problem for vision—which must distinguish them from objects or material features of objects—and a resource, signaling the presence, location, shape, and size of objects. Casati and Cavanagh draw up an inventory of information retrievable from shadows, showing their amazing variety. They present an overview of the visual system, distinguishing between measurement and inference. They discuss the shadow mission, the work done by the visual brain to parse, and perhaps discard, the information from shadows; shadow ownership, the association of a shadow with the object that casts it; shadow labeling, the visual system's ability to tell shadows from nonshadows; and the shadow concept, our knowledge about shadows as a category. Casati and Cavanagh then apply the theoretical apparatus they have developed for shadows to other phenomena: illumination, reflection, and transparency. Finally, they examine the art of the shadow, paying tribute to artists' exploration of shadow, analyzing a series of artworks (reproduced in color) from a rich and fascinating art historical corpus.
Learn how to create the illusion of three-dimensional space in your drawings It is as mundane as it is astounding: placed in the right way, a couple of lines on paper create three-dimensional space. To be more exact, the illusion of space. The interest in three-dimensional drawing may initially arise from the intention to depict visible reality. However, the creation of depth is a fascinating challenge in every artistic composition. Drawing Perspective Methods for Artists is suitable for beginners and professionals alike. Authors Peter Boerboom and Tim Proetel have arranged, commented on, and with a guiding hand intuitively and tangibly presented 85 fundamental methods of three-dimensional illustration, offering a refreshing, simple approach to the graphic depiction of three-dimensionality.
Looks at the depiction and meaning of shadows in the history of Western art
A meticulously observed and macabre tale of hell on earth from the revolutionary German author of the famous play Marat/Sade Peter Weiss’s first prose work, The Shadow of the Coachman’s Body, was unanimously praised as an original and perfect work of art by critics when it appeared in 1960. Here, in poet Rosmarie Waldrop’s stunning translation, Weiss arranges a dark, vividly alive comedy of inert objects in a dismal boarding house—stones, buttons, hooks, needles, chairs, newspapers in an outhouse, clinking tin cups, celestial orbs, sewing machines, an overwound windup music box—which have oblique characters’ shadows as their supporting cast. Described by Weiss as a “micro-novel,” The Shadow of the Coachman’s Body can be obscene, trivial and brutal, and yet it is also peculiarly intimate and offers endless possibilities—like a telescope and kaleidoscope rolled into one.
Christopher Bollas is one of the most expressive and eloquent exponents of the ideas, meanings and experience of psychoanalysis currently writing. He has a real gift for taking the reader into the fine texture of the psychoanalytic process. Forces of Destiny examines and reflects on one of the most fundamental questions – what is it that is unique about us as individuals? How does it manifest itself in our personalities, our lives, relationships and in the psychoanalytic process? Drawing on classical notions of ‘fate’ and ‘destiny’ and Winnicott’s idea of the true self, Bollas develops the concept of ‘the human idiom’ to explore and show how we work out – both creatively and in the process of analysis – the ‘dialectics of difference’. In particular he reflects on how the patients may use particular parts of the psychoanalyst’s personality to express their own idiom and destiny drive. Forces of Destiny was Bollas’ second book. His first, The Shadow of the Object (1987), was described by the reviewer in the International Journal of Psycho-Analysis as a ‘unique and remarkable book. I think of it as one of the most interesting and important new books on psychoanalysis which I have read in the last decade.’ Forces of Destiny confirmed his position as one of the most important, thoughtful and engaging psychoanalytic writers. With a new preface from Christopher Bollas, Forces of Destiny remains a classic of psychoanalytic literature, appealing to psychoanalysts as well as readers in art history, literature, philosophy, and cultural studies.
The much-anticipated sequel to the book Danielle Page, author of Dorothy Must Die, says is "inventive, gorgeous, and epic--Grey dazzles." Everything in Echo's life changed in a blinding flash when she learned the startling truth: she is the firebird, the creature of light that is said to bring peace. The firebird has come into the world, but it has not come alone. Every action has an equal and opposite reaction, and Echo can feel a great and terrible darkness rising in the distance. Cosmic forces threaten to tear the world apart. Echo has already lost her home, her family, and her boyfriend. Now, as the firebird, her path is filled with even greater dangers than the ones she's already overcome. She knows the Dragon Prince will not fall without a fight. Echo must decide: can she wield the power of her true nature--or will it prove too strong for her, and burn what's left of her world to the ground? Welcome to the shadow hour. Praise for the Girl at Midnight Series: “A stunning debut. . . . Equal parts atmosphere and adventure, Melissa Grey’s The Girl at Midnight is positively divine.” —Victoria Schwab, author of A Darker Shade of Magic “An action- and angst-packed installment reminiscent of Buffy and Neil Gaiman’s Neverwhere.” —Kirkus Reviews “Catnip for fans of Cassandra Clare.” —BookPage.com “A must-read.” —Paste magazine “You are going to love Echo.” —Bustle.com “Sparks fly. . . . Will please fans of Cassandra Clare and Game of Thrones watchers with its remarkable world building; richly developed characters; and themes of family, power, loyalty, and romance.” —Booklist, Starred “A feisty heroine, fun supporting characters, a mission to save the world, and some seriously spicy romance.” —SLJ “Fast-paced, action-packed, and full of laughs.” —Nerdist.com “Enthralling and pure magic, Grey’s debut is delightful!” —Romantic Times “A page-turner—I was hooked from start to finish.” —Latina Magazine