KIA Literary Agency was founded in 2002 in Tehran with the aim of promoting and supporting fine literary works in all forms throughout the world. It brings about opportunities for authors, illustrators, publishers, translators, and those involved in this field to meet their counterparts. And at the same time, it introduces them to the world and will inform them of all the related events which take place in the world of art and literature.
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Neither use nor ornament is a book about personal productivity, told from the perspective of its obstacles: clutter and procrastination. It offers a challenge to the self-help promise of a clutter-free life, lived in a permanent state of efficiency and flow. The book reveals how contemporary projections of the good, productive life rely on images of failure. Riffing on the aphorism 'less is more' - a dominant refrain in present day productivity advice - it tells stories about streamlining, efficiency and tidiness over a time period of around 100 years. By focusing on the shadows of productivity advice, Neither use nor ornament seeks to unravel the moral narratives that hold individuals to account for their inefficiencies and muddles.
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This book offers important new insights into the history and culture of the Gaelic-speaking world from the mid-fifteenth century through to the reign of James VI and I. Throughout this period, the reach of the English and Scottish crowns within these western regions was limited. The initiative lay with local communities and royal power was contingent upon negotiating with well-established and largely autonomous aristocratic lineages. Moreover, events within this western world could exert a powerful, often unpredictable, influence upon the affairs of the wider archipelago. Using a series of case studies, this collection examines the evolving relationship between Ireland and Scotland in rich detail. It demonstrates how this world interacted with the encroaching English and Scottish states and underlines the importance of paying closer attention to this neglected area of Irish and British history.
A pioneering work in the movement to free art from its traditional bonds to material reality, this book is one of the most important documents in the history of modern art. Written by the famous nonobjective painter Wassily Kandinsky (1866–1944), it explains Kandinsky's own theory of painting and crystallizes the ideas that were influencing many other modern artists of the period. Along with his own groundbreaking paintings, this book had a tremendous impact on the development of modern art. Kandinsky's ideas are presented in two parts. The first part, called "About General Aesthetic," issues a call for a spiritual revolution in painting that will let artists express their own inner lives in abstract, non-material terms. Just as musicians do not depend upon the material world for their music, so artists should not have to depend upon the material world for their art. In the second part, "About Painting," Kandinsky discusses the psychology of colors, the language of form and color, and the responsibilities of the artist. An Introduction by the translator, Michael T. H. Sadler, offers additional explanation of Kandinsky's art and theories, while a new Preface by Richard Stratton discusses Kandinsky's career as a whole and the impact of the book. Making the book even more valuable are nine woodcuts by Kandinsky himself that appear at the chapter headings. This English translation of Über das Geistige in der Kunst was a significant contribution to the understanding of nonobjectivism in art. It continues to be a stimulating and necessary reading experience for every artist, art student, and art patron concerned with the direction of 20th-century painting.
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The years between 1830 and 1852 were turbulent ones in French politics - but were also a golden age for French political caricature. Caricature was wielded as a political weapon, so much so that in 1835 the French politician Adolphe Thiers claimed that 'nothing was more dangerous' than graphic satire. This book is the first full study of French political caricature during the critical years of the July Monarchy (1830-48) and the Second Republic (1848-52). Focusing on the crucial question of republicanism, it shows how caricature was used - by both republicans and anti-republicans - to discuss, define and articulate notions of republican identity during this highly significant period in modern French and European history. ;
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Critical theory and Independent Living explores intersections between contemporary critical theory and disabled people's struggle for self-determination. The book highlights the affinities between the Independent Living movement and studies of epistemic injustice, biopower, and psychopower. It discusses in depth the activists' critical engagement with welfare-state paternalism, neoliberal marketisation, and familialism. This helps develop a pioneering comparison between various welfare regimes grounded in Independent Living advocacy. The book draws on the activism of disabled people from the European Network on Independent Living (ENIL) by developing case studies of the ENIL's campaigning for deinstitutionalisation and personal assistance. It is argued that this work helps rethink independence as a form of interdependence, and that this reframing is pivotal for critical theorising in the twenty-first century.
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You're nicked is the first comprehensive study of television police series in the UK. It reveals how British television's most popular genre has developed stylistically, politically and philosophically from 1955 to the present. Each chapter focuses on a particular decade, investigating how the most-watched series represent the inner workings of the police station, the civilian life of criminals and the private lives of police officers. This new approach unearths the complex ideology underpinning each series and discerns the key insights the genre can provide into the breakdown of the post-war settlement. Offering insightful readings of police series from Dixon of Dock Green to Happy Valley via The Sweeney, The Bill and Cracker, the book is a must-read for crime-drama enthusiasts worldwide. This new paperback edition features an extensive epilogue on Line of Duty and other Jed Mercurio creations.
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Representing Renaissance art, c.1500-c.1600 is a study of change and continuity in the iconographies of art and the visual representation of artists during the sixteenth century, especially in Italy and the Netherlands. The issue of how, and how far, artists obtained higher status for their profession during the Renaissance is a key question for the study of the early modern period. This book considers the maintenance of well-established traditions for the visual representation of artists, and also examines the new iconographies that emerged in the sixteenth century. By highlighting art and architecture that artists designed for their personal use, including the decoration of their houses, this study provides insight into the tastes and 'ways of looking' specific to artists. By examining the visual evidence we see the opinions both of artists who expressed their views in literary texts, and additionally those of artists who did not publish their ideas in written form.
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Gestures: A body of work is a cross-disciplinary collection of feminist approaches to 'gesture' that considers the term's complex registers across embodied, aesthetic and political scenes. Attending to gestural movements, languages, feelings and communications, the book argues that gestures can unsettle gendered, sexed and racialised relations, norms and affects. Contributors activate the lens of gesture to offer innovative readings of art and literary works from the 1960s onwards and in transnational contexts. Experiments in art writing and autotheory reflect on the entanglement of the body, gesture and feminist practice. The book proposes that gesture be rethought as a mode of feminist practice that includes art, writing, performance and theory. Mixing disciplines, forms, genres and voices, these contributions and the book's gestural structure offer a bold intervention into the conventions of critical writing.
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