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Drucker skillfully traces the development of this critical position, suggesting a methodology closer to the actual practices of the early avant-garde artists based on a rereading of their critical and theoretical writings. After reviewing theories of signification, the production of meaning, and materiality, she analyzes the work of four poets active in the typographic experimentation of the 1910s and 1920s: Ilia Zdanevich, Filippo Marinetti, Guillaume Apollinaire, and Tristan Tzara. Drucker explores the context for experimental typography in terms of printing, handwriting, and other practices concerned with the visual representation of language. Her book concludes with a brief look at the ways in which experimental techniques of the early avant-garde were transformed in both literary work and in applications to commercial design throughout the 1920s and early 1930s.
This book explores the areas of perspective, proportion, witness and theological threshold in the devotional art of the Italian Renaissance, with particular reference to the painted image of Christ. While the Incarnation, in a very real way, legitimised the idea of the portrayal of God in human form (as Jesus Christ), problems remained as to how this might be achieved and whether it should be restricted to the second person of the Holy Trinity. This book looks at the creation of pictorial space and the presentation of the image – paying special attention to schemes of perspective, as a way to better describe reality, as well as to considerations of proportion through such geometric methodology as the Golden Section and dynamic root-rectangles (based on certain ‘perfect’ or divine ratios) to balance and harmonise form. The Word Made Visible in the Painted Image also explores the theological theme of threshold and liminal space, describes how themes such as the Incarnation and Revelation were represented, and looks at the symbolism employed in so doing. It shows how such themes were captured, set in space and communicated in the painted image. This study is necessarily interdisciplinary, combining the subject areas of art history and theory, theology, biblical study, philosophy, aesthetics, physics, metaphysics, mathematics, geometry, optics, physiology, psychology, and sociology, in greater and lesser degrees. Few books take such an interdisciplinary stance on art, theology, science and related disciplines to this extent.
"Every student deserves a great teacher, not by chance, but by design" — Douglas Fisher, Nancy Frey, & John Hattie What if someone slipped you a piece of paper listing the literacy practices that ensure students demonstrate more than a year’s worth of learning for a year spent in school? Would you keep the paper or throw it away? We think you’d keep it. And that’s precisely why acclaimed educators Douglas Fisher, Nancy Frey, and John Hattie wrote Visible Learning for Literacy. They know teachers will want to apply Hattie’s head-turning synthesis of more than 15 years of research involving millions of students, which he used to identify the instructional routines that have the biggest impact on student learning. These practices are "visible" for teachers and students to see, because their purpose has been made clear, they are implemented at the right moment in a student’s learning, and their effect is tangible. Yes, the "aha" moments made visible by design. With their trademark clarity and command of the research, and dozens of classroom scenarios to make it all replicable, these authors apply Hattie’s research, and show you: How to use the right approach at the right time, so that you can more intentionally design classroom experiences that hit the surface, deep, and transfer phases of learning, and more expertly see when a student is ready to dive from surface to deep. Which routines are most effective at specific phases of learning, including word sorts, concept mapping, close reading, annotating, discussion, formative assessment, feedback, collaborative learning, reciprocal teaching, and many more. Why the 8 mind frames for teachers apply so well to curriculum planning and can inspire you to be a change agent in students’ lives—and part of a faculty that embraces the idea that visible teaching is a continual evaluation of one’s impact on student’s learning. "Teachers, it’s time we embrace the evidence, update our classrooms, and impact student learning in wildly positive ways," say Doug, Nancy, and John. So let’s see Visible Learning for Literacy for what it is: the book that renews our teaching and reminds us of our influence, just in time.
Words are everywhere. Ubiquitous, pervasive. Yet our relations with words are narrowly defined. How does the sound, feel, touch, taste, place, position, speed, and direction of words come to matter in their uses? Word begins from the premise that, if we consider words only in terms of language and as images, we overlook a range of bodily, sensory, affective and non-conscious relations with words. We overlook, too, their epistemological, methodological, experiential and political implications. This book seeks to redress this neglect by exploring words themselves in histories of language and contemporary theory, in print and typography, and through a series of empirical examples which include religion, embodiment, photography and performance. Word is a reminder that words live richly in the world. It is an invitation to recognise those non-linguistic word-relations that are already existing, and to bring new and generative encounters with words into being.
A simple look at the universality of love.
Liberation Theology is the first serious acknowledgment by a white theologian of the challenge of Black Theology. It invites American theology to reconsider radically its foundations and to reorder its priorities. At a time when theology is often presented piecemeal, Frederick Herzog undertakes to ground Liberation Theology in the originating events of the Christian faith as a whole - in this instance, in the life, death, and resurrection of Christ as given in the Fourth Gospel. The systematic readings in the Gospel which he makes and from which emerge the principles of Liberation Theology are the heart of this book. Throughout, the author asks: How do we understand Christ as Liberator? The answer to this question, he maintains, determines whether or not we are still able to contemplate the Word as power and action. Written with contemporary directness and free of vague abstractions, the book casts theology into a new form to meet today's needs. The method of this new theology is confrontation, not correlation; its goal is liberation, not reformation; and it strives for a new space of freedom among people captive to the dehumanizing structures of modern theology.
Many discussions of Christian spirituality draw on a range of traditions and "disciplines," but little attention is given to the Bible itself. Drawing on the Old and New Testaments, John Calvin, and the Puritans, Peter Adam expounds a biblical model of spirituality in this New Studies in Biblical Theology volume.