Established in 1963, Graphic-sha Publishing is one of the leading Japanese publisher specialized in art, design, drawing, craft, food, and more. We capture various topic in unique view, and produces visually interesting and practical books. We are also working on international publishing.
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Passage Works is the first book-length English language critical analysis of the transdisciplinary work of the Austrian film-maker, writer, and artist Ruth Beckermann (b. 1952, Vienna). Beckermann's works interrogate identity and geography as formations of the intersections between the past and the contemporary. Taking as her central topics Austria and its history and politics, her own identity as a Jewish woman, and the contemporary global geopolitics of migration and displacement, Beckermann develops wider meditations in film, art, and writing on the persistence of European memory, and the meanings of Europe itself; on borders, migrations, and identities; on memories, traumas, and traditions; on the image as marker of presence and absence, repository of the traces of historical violence; and on the passage as metaphor for a range of physical, psychological, and ideological movements defining the complexities of contemporary cosmopolitan identities.
The Vietnam idea examines how Vietnam became a potent symbol for global movements fighting colonialism, racism, and imperialism during the American War and its aftermath. Rather than focusing on Vietnam as a place, Brynn Hatton explores how artists and activists around the world used the idea of 'Vietnam' to express political identification and solidarity through posters, films, protest actions, exhibitions, and conceptual art. Drawing on international archives, the book reveals how diverse visual works helped shape the political imagination of the global left, and continue to influence how we see identity, conflict, and solidarity today.
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This book presents a wide range of previously unpublished works by Radclyffe Hall. These new materials significantly broaden and complicate critical views of Hall's writings. They demonstrate the stylistic and thematic range of her work and cover diverse topics, including 'outsiderism', gender, sexuality, race, class, religion, the supernatural and the First World War. Together, these texts shed a new light on unrecognised or misunderstood aspects of Hall's intellectual world. The volume also contains a substantial introduction, which situates Hall's unpublished writings in the broader context of her life and work. Overall, the book invites a critical reassessment of Hall's place in early twentieth-century literature and culture and offers rich possibilities for teaching and future research. It will be of interest to scholars and undergraduate and postgraduate students in the fields of English literature, modernism, women's writing, and gender and sexuality studies, and to general readers. ;
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The heart of this book is its fully annotated, critical editions of the surviving work of Richard Edwards, one of the most influential poets and dramatists writing in England before Shakespeare. Ros King's extensive introduction, identifying the holes in the documentary evidence that might accommodate this important but now little known writer, rewrites the history of pre-Shakespearean drama, illustrates new approaches to sixteenth-century prosody and to the modernisation of dramatic poetry, and re-evaluates the public role of theatre and poetry during a particularly turbulent period in English history. While it will be essential reading for specialist scholars, it will also be of much wider interest. The introduction is highly accessible which makes it an appropriate text-book for students in a field where few textbooks are available. It will appeal to the current appetite among the reading public for biography, while the play, poems and songs are themselves very appealing. ;
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A sweet treat is tempting, but the lurking dangers should not be underestimated. However, it is just as wrong to demonise all types of sugar in general as to avoid it altogether. In this entertaining mini reference book, Reinhild Berger takes the reader on an interesting journey through the labyrinth of sugar, sugar substitutes and sweeteners and gets to the bottom of many questions in the process: How much is too much? What alternatives are there, and which are advisable? How can one select the right one from the deceptive variety in the supermarket? What is the right way to read the food labels on the packaging? What knowledge does one need to be protected against misleading advertisements? - Learn how to recognise differences between the many types of sugar - Read where dangers lie, and which sugar does us good – and in what quantity - Understand how to interpret nutritional values – and that “no artificial sweetener ” does not mean “sugar-free” Welcome to the promising world of the sweet taste!
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Writing for art is a concise introduction to the subject of ekphrasis, and the first study to offer a useful general survey of the larger philosophical and theoretical questions arising from the encounter of literary texts and artworks. Stephen Cheeke offers close readings of poems and prose from the nineteenth and twentieth centuries alongside a generous amount of illustrations, covering a broad range of writing and theory about the relation of literary texts to the visual arts, and extending the subject of ekphrasis to include literary works on photography, as well as celebrated prose descriptions of artworks. ;
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The art of poverty is the first book in English to analyse depictions of beggars in sixteenth-century European art. Featuring works from Germany, the Low Countries, Britain, France and Italy, it discusses a diverse body of imagery in many different media, from crude woodcuts to monumental church altarpieces. It develops a striking thesis, arguing that these works largely conformed to two paradoxical, though mutually supportive, representational approaches. The earlier chapters follow the emergence of a trenchantly negative approach in Northern art, in which beggars are shown as vagabonds, whose idleness and thievery threatened the values of sixteenth-century society (especially its growing emphasis on the need to work). In the other predominant visual mode, beggars are exalted as examples of sacred purity. In many Italian religious paintings, beggars are morally exalted with reference to sacred texts, and made formally beautiful with reference to revered artistic models. Though these approaches reflect the impact of religious reform, it is shown that, by the end of the century, they happily co-existed within Protestant and Catholic cultures. The final part of the book is concerned with the issue of artistic style and with the growing tendency of the beggar image to mediate and dissolve the didactic traditions through which it had originally been defined. The art of poverty will be of special interest to scholars and students of Renaissance art history, and its progressive approach and cross-disciplinary theme and perspective will also make it vital reading for those concerned with the development of early modern European culture. ;
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Cases of citation presents a history of artists who incorporated literary references into their work from the 1960s onwards. Through a series of object-focused chapters that each take up a singular 'case of citation', the collection considers how literary citation emerged as a viable and urgent strategy for artists during this period. It surveys eleven artworks by a diverse group of artists - including David Wojnarowicz, Lis Rhodes, Romare Bearden and Silvia Kolbowski - whose citations draw on works as varied as Karl Marx's Das Kapital and Mary Shelley's Frankenstein. The book also features an interview with pioneering feminist artist Elaine Reichek that discusses her career-long commitment to working with text. Together, the artworks and cited texts are approached from various critical angles, with each author questioning and complicating the ways in which we can 'read' textual citations in art.
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Cases of citation presents a history of artists who incorporated literary references into their work from the 1960s onwards. Through a series of object-focused chapters that each take up a singular 'case of citation', the collection considers how literary citation emerged as a viable and urgent strategy for artists during this period. It surveys nine artworks by a diverse group of artists - including David Wojnarowicz, Lis Rhodes, Romare Bearden and Silvia Kolbowski - whose citations draw on literary works with authors ranging from Gertrude Stein to Jean Genet. The book also features an interview with pioneering feminist artist Elaine Reichek that discusses her career-long commitment to working with text. Together, the artworks and cited texts are approached from various critical angles, with each author questioning and complicating the ways in which we can 'read' textual citations in art.
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In the 1920s and 1930s, anthropology and ethnography provided new and striking ways of rethinking what art could be and the forms which it could take. This book examines the impact of these emergent disciplines on the artistic avant-garde in Paris. The reception by European artists of objects arriving from colonial territories in the first half of the twentieth century is generally understood through the artistic appropriation of the forms of African or Oceanic sculpture. The author reveals how anthropological approaches to this intriguing material began to affect the ways in which artists, theorists, critics and curators thought about three-dimensional objects and their changing status as 'art', 'artefacts' or 'ethnographic evidence'. This book analyses texts, photographs and art works that cross disciplinary boundaries, through case studies including the Dakar to Djibouti expedition of 1931-33, the Trocadéro Ethnographic Museum, and the two art periodicals Documents and Minotaure. Through its interdisciplinary and contextual approach, it provides an important corrective to histories of modern art and the European avant-garde. ;
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This study examines Exeter riddles, Anglo-Saxon biblical poems (Exodus, Andreas, Judith) and Beowulf in order to uncover the poetics of spolia, an imaginative use of recycled fictional artefacts to create sites of metatextual reflection. Old English poetry famously lacks an explicit ars poetica. This book argues that attention to particularly charged moments within texts - especially those concerned with translation, transformation and the layering of various pasts - yields a previously unrecognised means for theorising Anglo-Saxon poetic creativity. Borrowed objects and the art of poetry works at the intersections of materiality and poetics, balancing insights from thing theory and related approaches with close readings of passages from Old English texts.
