A
|
Allison, Dorothy. Two or Three Things I Know For Sure. New York:
Plume-Penguin Books, 1995.
In this
memoir Allison traces her family history in South Carolina through
the perspective of the Gibson family women, at the same time considering
the meaning of the storytelling itself. The story is illustrated with
photographs from Allison's personal collection.
|
A
|
Alphen, Ernst Van. Caught by History: Holocaust Effects in Contemporary
Art, Literature, and Theory. Stanford: Stanford University Press,
1997.
Van
Alphen examines how representation and recollection of the Holocaust
in art and literature can be useful in attempting to understand and
work through this apocalyptic event, even while there is pressure
to restrict
scholarship of the Holocaust to historical and documentary modes.
Looking at work by Anselm Kiefer, Charlotte Salomon, Christian Boltanski,
and Armando, Van Alphen explores not only the representation of the
Holocaust, but reenactment that takes place within the representational
realm. From reenactment, he argues, we experience the past no longer
through a mediator or translator but in a more direct, first-hand
manner, which allows us to truly keep in touch with the past that
should be remembered.
|
A
|
Alteen, Glenn. Marcia Pitch, Ken Gerberick: Two Walls. Vancouver,
BC: Grunt Gallery, 1992.
Exhibition
catalogue for a show by Canadian artists Marcia Pitch and Ken Gerberick.
The artists created an assemblage out of garbage that provoked issues
about waste, consumerism, domestic violence and the environment.
|
A
|
Aptekar, Bernard. "Making the invisible visible: the roots of an
original magic language." Artistic Strategy and the Rhetoric
of Power. Political Uses of Art from Antiquity to the Present. Ed.
David Castriota. Carbondale: Southern Illinois University Press, n.d.
171-84.
Aptekar
discusses the breakdown of social mortar in the government's increased
spending on defense and reduced spending on social programs and funding
for the arts. He views "official" art as striving towards
some fundamentally human viewpoint which obscures social differences
and contradictions, and supports focusing on political and social
content in art rather than the form it takes. As an educator he describes
the task of helping students to realize what they wish to say at the
same time they are learning the technology with which to say it. He
concludes by discussing some of his own art work.
|
A
|
Auslander, Philip. From Acting to Performance. Essays in Modernism
and Postmodernism. London: Routledge, 1997.
Performance
theorist Auslander presents essays on acting and performance that
create a survey of the changes in performance from the 1960's to the
1980's. Beginning with the modern theories of acting that changed
theatre during the 1960's, later chapters explore postmodernist theatre
and performance in the 1980's. The last section considers the role
of the body in theatre, performance art, and comedy, including essays
on Vito Acconci, Roseanne Bar, Augusto Boal, Kate Bornstein, and Orlan.
|
B
|
Barry, Judith. Public Fantasy: An Anthology of Critical Essays, Fictions
and Project Descriptions by Judith Barry. Ed. Iwona Blazwick. London:
Institute of Contemporary Arts, 1991.
Published
as a text accompanying Judith Barry's 1991 exhibition at the Institute
of Contemporary Arts, London, in which the artist examines debate
between film theory and architectural analysis, philosophy and cultural
studies, art history and psychoanalysis, software and semiotics. In
her artwork the city is a site both of modern life and the greatest
possibility for artistic intervention.
|
B
|
Becker, Carol, ed. The Subversive Imagination: Artists, Society and
Social Responsibility. New York: Routledge, 1994.
---. Introduction. The Subversive Imagination. Artists, Society,
and Social Responsibility. Ed. Becker. New York: Routledge, 1994.
xi-xix.
Becker
examines in the introduction to her book how easily misunderstood
by the public audience art can be, as demonstrated by recent public
attacks (sometimes physical) on various exhibitions and artistic policies.
She
explains such hostile reactions to art by the fact that art seeks
to reveal contradictions in a society that prefers to view itself
as a homogenous whole, and thus creates anger as well as questioning.
The questions Becker identifies as being most important are what the
responsibility is of the
artist to society, and of society to the artist, questions she believes
should be asked from within the artistic community. She advocates
understanding how artists in other parts of the world function in
society, in order to suggest solutions to problems that are not confined
to North American culture.
|
B
|
Bell, Catherine. Ritual Theory Ritual Practice. New York: Oxford
University Press, 1992.
Bennerji, Himani, ed. Returning the Gaze: Essays on Racism, Feminism
and Politics. Toronto: Sister Vision Press, 1993.
Berger, Maurice. Minimal Politics. Performativity and Minimalism
in Recent American Art. Issues in Cultural Theory. 1. Baltimore:
University of Maryland Fine Arts Gallery, 1997.
Addressing
the fact that Minimalist art is often discussed in relation to its
style but not its content, this exhibition catalogue explores the
work of five artists whose Minimalist style is intimately connected
to their ideology: Hans Haacke, Mary Kelly, Robert Morris, Adrian
Piper, and Yvonne Rainer. All five began their careers working in
a highly minimal, formal realm and evolved to incorporate ideological
content, therefore Berger questions what aspects of their early work
were able to support this new
content, and which formalist concerns had to be dropped. He considers
the fact that some of their ideological interests--race, gender, class,
cultural patronage, institutional hierarchies of the art world--had
their
germination within the minimalist ethos. In examining the "performative"
nature of the work, its ability to transcend the normally static nature
of minimalist art to address issues in a temporal form that challenges
the spectator, Berger uses artist quotations, illustrations, and a
timeline as well as his own analytical essay.
|
B
|
Best, Joel. Random Violence. How We Talk About New Crimes and New
Victims. Berkeley: University of California Press, 1999.
Because
violence is part of an ongoing pattern in society, the author criticizes
current use of the term "random violence" to describe gang
initiation rites, hate crimes, freeway shootings and other crimes.
In an exploration of how the media presents new crime problems and
new victims to the public, Best discusses the contemporary ideology
of victimization, and how the declaration by government and the public
of "war" against drugs,
poverty, and other social problems leads to a melodramatic verbal
articulation that has little to do with actually solving crime-related
problems. In Chapter 1 Best critiques the use of the expression "random
violence,"; in Chapter 2 he focuses on the media's role in communicating
crime; Chapter 3 describes how new laws have been formed to handle
new forms of crime such as freeway violence; gang-related crime is
discussed in
Chapter 4; in Chapter 5, the focus shifts from victimizers to victims,
and continues in Chapter 6 with the examination of the modern "victim
industry"; Chapter 7 explores the language of social policy;
Chapter 8 concludes with an explanation of the theoretical basis for
the other chapters.
|
B
|
Bhaba, Homi K. "Conversational art." Conversations at the
Castle: Changing Audiences and Contemporary Art. Ed. Mary Jane Jacob
and Michael Brenson. Cambridge and London: MIT Press, 1998. 39-47+.
Bolton, Richard. The Contest of Meaning: Critical Histories of Photography.
Cambridge: MIT Press, 1989.
Brooks, Peter. Reading for the Plot: Design and Intention in Narrative.
Cambridge: Harvard University Press, 1984.
Arguing
that plot elements are essential to literature no matter how radical
the post-modern consciousness may have become, Brooks examines how
the dynamics of narrative answer our psychic needs. Using nineteenth-century
works, and twentieth-century examples that maintain strong ties to
narrative even as they complicate and challenge narrative tradition,
he presents chapters on books such as Le Rouge et le noir, Great Expectations,
Heart of Darkness, and Absalon, Absalom!.
|
B
|
Burnham, Linda Frye, and Steven Durland, eds. The Citizen Artist.
20 Years of Art in the Public Arena. An Anthology from High Performance
Magazine 1978-1998. Vol. 1. Thinking Publicly: The New Era of Public
Art. 2. Gardiner, N.Y.: Critical Press, 1998.
Second
book in the Gunk Foundation series on public art, this volume is a
compilation of essays that appeared over a twenty-year period in High
Performance magazine. Focusing on public, community-based art, the
essays
are divided into three categories: "The Art/Life Experience,"
"The Artist as Activist" and "The Artist as Citizen."
They are also examples of the magazine's dedication to new and innovative
work that often was not readily accepted by critics or the general
public.
|
C
|
Cameron, Julia. The Artist's Way: A Spiritual Path to Higher Creativity.
New York: Jeremy P. Tarcher; Perigree Books, 1992.
Campeau, Michel. Jeune photographie: Susan Coolen, Manon Fafard,
Guy Frechette, Rosaura Guzman Clunes, Elène Tremblay, Julie Tremblay,
Loren Williams. Montreal: Dazibao, 1994.
In this
catalogue the author discusses themes of memory and interiority with
respect to the exhibition of photographs by seven Montreal-based artists.
|
C
|
Caruth, Cathy, ed. Trauma. Explorations in Memory. Baltimore:
Johns Hopkins University Press, 1995.
This
compilation of essays explores why memory often fails after traumatic
experience, why fact alone cannot provide a complete understanding
of trauma, and how literature aids us in understanding trauma because
it uses
imagination as well as fact and memory. These cross-disciplinary essays
also look at new approaches to traumatic experience in theoretical
and clinical disciplines. Issues considered include education, trauma
and aging, feminist perspectives, trauma and community, and the AIDS
crisis.
|
C
|
---. Unclaimed Experience. Trauma, Narrative, and History. Baltimore:
Johns Hopkins University Press, 1996.
Clay, Allyson. "My bed is paved with gold and the streets around
me are made from fine linen." Abstracts. Universities Art Association
of
Canada/Association d'art des universités du Canada Annual Conference/
Congrès Annuel. London, ON: University of Western Ontario,
1998. 81.
In this
paper for the 1998 UAAC conference, Clay discusses her recent works
in relation to Michel de Certeau's The Practice of Everyday Life.
She explores Certeau's notion that there are two ways of encountering
urban space: from a distance or from above, giving a sense of the
whole, or from the viewpoint of a person in the street. She examines
the influence on her work of writers Marguertire Duras and Alice Munro,
and artists Jin-Me Yoon, Kirsten Forkert, Lorna Brown, and Vikky Alexander.
|
C
|
Cojean, Annick. Pauvres de nous: images de l'exclusion. Paris:
Centre National de la Photographie, 1996.
This
work is a compilation of photographs by various artists, introduced
by Annick Cojean. Using illustrations by photographers Martine Franck,
Nikos Economopoulos, Steve Pyke, Yves Jeanmougin, Marie-Paule Negre,
Milomir
Kavocevik Strasni, Hien Lam-Duc, Sebatiano Salgato, Ferdinando Scianna,
Gilles Peress, Clements Bernad, Josef Koudelka, Sarah Moon, Jane Evelyn
Atwood, Jean-Louis Courtinat and Stanley Greene, Cojean discusses
attitudes
toward the homeless and the need for society to address the problem
of homelessness.
|
C
|
Condé, Carole, and Karl Beveridge. "TeLLing stories."
Questions of
Community Artists, Audiences, Coalitions. Ed. Daina Audaitis et
al. Banff: Banff Centre for the Arts, 1995. 205-219.
Corrin, Lisa Graziose. "The contemporaneous museum." Conversations
at the Castle: Changing Audiences and Contemporary Art. Ed. Mary
Jane Jacob and Michael Brenson. Cambridge: MIT Press, 1998. 169-173.
Cuesta, Claudia, and Bill Baker. "What has been achieved by community-based
public art in Vancouver." Abstracts. Universities Art Association
of Canada/Association d'art des universités du Canada Annual
Conference/ Congrès Annuel. London, ON: University of Western
Ontario, 1998. 82.
The
authors explore how Vancouver's location on Canada's West Coast, its
role as a port city, its orientation to Pacific rim countries, and
its proximity to resorts and sporting activities have shaped its identity.
They discuss its public art program as a part of community building,
looking in
particular at five community based art projects.
|
D
|
Davis, Angela Y. Violence Against Women and the Ongoing Challenge
to Racism. Freedom Organizing Series. 5. Latham, N.Y.: Kitchen Table:
Women of Color Press, 1985.
This
pamphlet explores the relationship between sexual violence and neo-colonial
violence, comparing rape to the larger political violence that occurs
between nations. The author looks at sexual violence as it crosses
the fields of class, race and gender, and examines how the Women's
Movement of the early seventies challenged prevalent myths about rape,
such as societal tendency to blame the victim instead of the rapist,
and the assumption that rape is most likely to be committed by black
men. She advocates the recognition of rape within its context, the
widespread oppression of women and even wider problem of global violence
and aggression. Only if we acknowledge this context, she argues, will
we be able to address the problem of sexual violence in society.
|
D
|
Davis, Kathy, ed. Embodied Practices. Feminist Perspectives on the
Body. London: Sage Publications, 1997.
This
collection of essays explores many themes surrounding women and the
body, including cultural discourse around the body, power and domination,
differences between women, and subversive practices. Chapters include
a theoretical history of literature on the body, young women's accounts
of the relationship between their bodies and autonomy, the body and
gender in
dance, medical interventions in Osteoporosis, the body and gender
difference, the "other" woman in French sexual politics,
body politics in the media war in Serbia, images of the disabled as
erotica, women's public toilets, body politics in the world of fashion,
cosmetic surgery, and the
connection between the body and epistemophelia, the human desire for
knowledge.
|
D
|
de Certeau, Michel. The Practice of Everyday Life. Trans. Steven
Rendall. Berkeley: University of California Press, 1984.
Debord,
Guy. Society of the Spectacle. Trans. Detroit: Black and Red,
1983.
Déry,
Louise, et al. L'art inquiet. Motifs d'engagement. Montreal:
Galeries de l'UQAM, 1998.
Catalogue
to an exhibition of the same title. Organized around the time of the
fiftieth anniversary of Borduas's famous Refus Global manifesto, the
exhibition involved many artists whose work engages political and
social
history and memory, and examines the role of the artist in society.
The work revolves around notions of discord and strangeness, referring
to the label "anxious art," or art that provokes thought
through its unsettling and mysterious combinations of objects and
ideas. Artists include Devora
Neumark, Doyon/Demers, Françoise Sullivan, Francine Larivée,
Jacky G. Lafargue, and Chantal duPont, and the catalogue contains
essays on the work by Gilles Lapointe, Nathalie Heinich, Olivier Asselin,
Nicole Brossard,
Nicole Jolicoeur, and François Dion.
|
D
|
Dobash, R. Emerson, and Russell P., eds. Rethinking Violence Against
Women. Sage Series on Violence Against Women. 9. Thousand Oaks,
Cal.: Sage Publications, 1998.
Based
on a series of workshops on violence against women, this compilation
brings together experts in the fields of psychology, philosophy, sociology,
and history. Essays are organized under three headings: the nature
and variety of cultural contexts in which violence occurs and is reproduced,
the nature and variety of sexualized violence, and theoretical perspectives
on the perpetrators of violence. Topics covered include authority,
sexual
ownership, socialization, patterns of violence, social and cultural
contexts for violence, and individual accounts.
|
D
|
Durand, Guy. L'art comme alternative: Réseaux at pratiques
d'art parallèlle au Québec 1976-1996. Québec:
Éditions Intervention, 1997.
The
author traces the development of alternative art in Quebec, the emergence
of groups of artists who sought alternatives to gallery and museum
contexts, and who thus developed their own exhibition spaces and an
art that was "parallel" to the mainstream. Their work was
concerned with
political, environmental and social issues, taking its cue from the
various social movements of the day. In Chapter 1 Durand discusses
what alternative art is and what its goals are; in Chapter 2 he explores
its germination in
Quebec following the second World War; Chapter 3 defines and examines
its later stages; Chapter 4 looks at the networks and associations
that grew out of the movement, and subsequent chapters explore political,
performance, and environmental art, followed by an analysis of main
artistic events.
|
D
|
Duvall, Linda. "Collaboration: The Moose Jaw Conversations."
Abstracts. Universities Art Association of Canada/Association d'art
des universités du Canada Annual Conference/ Congrès Annuel.
London, ON: University of Western Ontario, 1998. 83.
Duvall
discusses her art projects in terms of the context of
community-based public art, including her interest in geographical
location, and her relationship with certain groups of people such
as Guatemalans living in Saskatoon, pointing out how the participation
of other people is an integral part of her work. She goes on to explore
questions about the nature of collaboration in art, and the factors
that must be considered when a work is going to be presented in a
public context.
|
F
|
Felman, Shoshana, and Dori Laub. Testimony: Crises of Witnessing
in
Literature, Psychoanalysis, and History. London: Routledge, Chapman
and Hall, 1992.
Literary
critic Felman and psychoanalyst Laub come together in this book about
testimony, witnessing and memory as it pertains to the profound effect
the Holocaust has had on the second half of this century. The first
chapter tells the story of a class of students profoundly disoriented
after seeing testimony about the horrors of the Holocaust. Chapter
2 explores the risks involved in listening as a psychoanalyst to the
relation of traumatic events, and Chapter 3 attempts to theorize the
act of giving testimony using psychoanalytic theory on the relationship
between speech and survival. Chapters 4 through 6 look at specific
postwar critical and literary texts by Camus and de Man, and Chapter
7 uses Claude Lanzmann's film, Shoah, as an example of the testimony
of our time.
|
F
|
Felshin, Nina, ed. But is it Art?: The Spirit of Art as Activism.
Seattle:
Bay Press, 1995.
This
anthology presents the thought of critics, historians, and journalists
as they discuss the recent shift in contemporary art caused by greater
numbers of artists becoming activists in their work, and seeking to
make
art in public with the participation of a community. Artists and groups
examined include the Guerilla Girls, Gran Fury, Group Material, the
Women's Action Coalition, the American Festival Project, the Artist
and Homeless Collaborative, Helen and Newton Harrison, Carol Condé
and Karl Beveridge, Peggy Diggs, Suzanne Lacy, Mierle Laderman Ukeles,
David Avalos, Louis Hock, and Elizabeth Sisco.
|
F
|
Ferguson, Russell, Martha Gever, Trinh T. Minh-ha, and Cornel West,
eds. Out There: Marginalization and Contemporary Cultures. New
York: The New Museum of Contemporary Art; Cambridge: MIT Press, 1990.
This
collection of essays examines the process of marginalization in society,
the ways in which minority groups are denied participation in dominant
cultures, and the problems that occur when we begin attempting to
define "mainstream" versus "minority." The book
is divided into three main categories: critical contexts, affirming
identities, and displacement and resistence. Within these categories
topics such as AIDS and Africa, public art, black culture, women redefining
difference, exile, and Apartheid are discussed.
|
F
|
Fertray, Philippe, Herve Fischer, Frederic Garcia-Mochales, Sophie
Hirigoyen, Christine Rostini, Alain Snyers, and Brigitte Venet, eds.
Citoyen-sculpteurs: une expérience d'art sociologique au Québec.
Paris: S.E.G.E.D.O., 1980.
Catalogue
accompanying an exhibition of the same title at the Centre Culturel
Canadien in Paris in 1981. The exhibition explored the relationship
between art and the public, using projects carried out in Quebec in
1980 as examples. The artists included Michel Tanguy, Alain
Ouellet, Madeleine Doré, Sylvie Croteau, Alain Laroche, Gille
Saint Pierre, Alain Paradis, Jean Laliberté, Jean Briand and
Christiane Poulin.
|
F
|
Freire, Paulo. Pedagogy of Hope: Reliving Pedagogy of the Oppressed.
New York: Continuum Books, 1997.
In chapter
two of his book, Freire explores the teacher-student relationship
as a narrative of subject and object, the teacher providing a kind
of narrative of truth which the student absorbs without questioning.
Referring to this system, in which the students are repositories for
the
teacher's information deposits, as "the banking system,"
he identifies the oppressive character of this situation in which
the students' total ignorance is assumed. Freire recommends a system
of education in which the
teacher-student contradiction is reconciled to create an environment
in which both are simultaneously students and teachers.
|
F
|
Friedlander, Saul. Probing the Limits of Representation: Nazism and
the "Final Solution". Cambridge: Harvard University Press,
1992.
This
book is a collection of work by twenty authors who probe the question
of whether or not the Holocaust can be adequately described or represented.
Based on papers given at the conference, "Nazism and the ‘Final
Solution':
Probing the Limits of Representation" at the University of California
in 1990, the volume grapples first with the basic question of whether
an objective historical record of the Holocaust can be achieved when
those who recount it are limited to their own viewpoint. Second, the
more specific
question of how aestheticization affects the depiction of the Holocaust
in visual art is discussed, and thirdly the problem of understanding
Nazi policies within the context of the history of Western thought
is examined.
|
F
|
Frueh, Joanna, Cassandra L. Langer, and Arlene Raven, eds. New Feminist
Criticism: Art Identity Action. New York: HarperCollins Publishers,
1994.
Furlong,
William, Douglas Crimp, Rosalyn Deutsche, Ewa Lajer-Burcharth, Ian Smith-Rubensahl,
Malcolm Dickson, Roger Gilro, Bruce W. Ferguson, Maria Morzuch, Jean-Christophe
Royoux, Peter Boswell, George Smith, Julie Carson, and Krysztof Wodiczko.
Krysztof Wodiczko: art public, art critique - textes, propos et documents.
Paris: École Nationale Supérieure des Beaux-Arts, 1995.
This
work is a collection of previously published texts in which Polish
artist Krysztof Wodiczko discusses his work, including the role of
the monument in contemporary art, control of art by bureaucracy, and
his concern with the experiences of exiles, refugees, and the homeless.
|
G
|
Gablik, Suzy. The Reenchantment of Art. London: Thames and Hudson,
1994.
In this
book Gablik discusses her belief that art should encompass social,
spiritual, and ecological concerns, citing works by Fern Shaffer,
Andy Goldsworthy, Rachel Rosenthal and Suzanne Lacy.
|
G
|
Golden, Stephanie. Slaying the Mermaid: Women and the Culture of
Sacrifice. New York: Harmony Books, 1998.
This
book examines the female culture of sacrifice and suffering which
is based on centuries of idealization of the woman who puts the needs
of others before her own. Using the analogy of Hans Christian Anderson's
Little Mermaid, who sacrifices her voice for unrequited love, the
author
explores the dichotomy between selfhood and sacrifice in chapters
on themes such as the feminine ideal, global responsibilities, victimhood,
and power. She draws on both expert testimony and interviews with
35 different women
who have sacrificed greatly in their own lives, or been witness to
it in others.
|
G
|
---. The Women Outside: Meanings and Myths of Homelessness. Berkeley:
University of California Press, 1992.
Growing
out of Golden's experience as a volunteer at the Dwelling Place, a
shelter for homeless women, this book aims to acknowledge and explore
the experience of homelessness as well as to examine and break down
myths about homeless women. Chapter 1 is based on the author's experience
at the shelter; Chapter 2 examines homelessness as myth using a Grimm's
fairytale
in which a bag lady is a central character; Chapter 3 explores the
history of homeless women in Western culture; Chapter 4 focuses on
the relationship between mental illness and homelessness; Chapter
5 analyzes female homelessness as part of a wider system of marginalization.
|
G
|
Goldman, Shifra M. Dimensions of the Americas: Art and Social Change
in Latin America and the United States. Chicago: University of Chicago
Press, 1994.
This
book is a collection of 33 essays on the development of Latin Americanand
Latino art from the 1960's to the present. The author defines the
main themes of her study as public art, multiples, women's art, state
and art, business and art, and nationalism. Artists discussed in relation
to these categories include Mexican muralists, Cuban artists Raul
Martinez and Alfredo J. Gonzalez Rostgaard, Latin American artists
Ana Mendieta and Isabel Ruiz, Chilean artists under the dictatorship,
and Latin American artists in the United States, Guillermo Bert, Juan
Edgar Aparicio and Lisa Kokin.
|
G
|
Good Looks, Average. "Taking voice: Average Good Looks' strategies
for facilitating discourse." Questions of Community: Artists,
Audiences, Coalitions. Ed. Daina Augaitis et al. Banff: Banff Centre
for the Arts, 1995. 151-162.
|
H
|
Haaken, Janice. Pillar of Salt: Gender, Memory, and the Perils of
Looking Back. New Brunswick: Rutgers University Press, 1993.
Haaken
examines in this book the controversy surrounding women's memories
of childhood sexual abuse, refusing polarized definitions of the victims'
memory as either completely accurate or the result of "false
memory syndrome." Haaken advocates transformative remembering,
a way of understanding memory through the use of myth and fantasy.
She explores the Western history of female sexual abuse, hypnosis,
and hysteria, examining how these layers of history affect female
memory, and explains how outrageous memories of familial barbarism
and sadistic sexual experiences
can reveal the truth about more mundane forms of distress in women's
lives. The book moves from frameworks for looking back in part one,
to recovering
historical memory through storytelling and hypnosis in Part 2, to
the clinical environment and contemporary dilemmas in Part 3.
|
H
|
Hayden, Dolores. 1996. "Urban landscape history: the sense of place
and the politics of space." The Power of Place: Urban Landscapes
as Public History. Cambridge: MIT Press, 1996. 15-43.
Herman, Judith Lewis. Trauma and Recovery: The Aftermath of Violence
- From Domestic Abuse to Political Terror. New York: BasicBooks-HarperCollins
Publishers, 1992.
The
author centres this book around the conflict between the will to deny
traumatic events after they have occurred, and the need to speak about
them, positing that remembering and telling about trauma are necessary
to
the process of healing from it. Representing two decades of research
and clinical work with victims of sexual and domestic violence, war
veterans, and victims of political terror, the book spans many different
forms of traumatic experience and the ways in which victims heal from
it. Part 1 explores different kinds of traumatic disorder, while Part
2 is about the stages of recovery which, because the various kinds
of trauma have features in common, are similar even for different
kinds of victims: establishing a
feeling of safety, remembering and mourning, and reconnecting with
community.
|
H
|
Hooks, bell. Teaching to Transgress. Education as the Practice of
Freedom. New York: Routledge, 1994.
In this
series of essays, hooks discusses the importance of education as a
forum for uncovering society's biases, for exploring new ways of sharing
knowledge and for teaching students how to transgress boundaries.
She seeks to remind us that the classroom is still society's largest
space for change and renewal, and should therefore be of more concern
to theorists and social critics.
|
H
|
Hubbard, Jim, and Robert Coles. Shooting Back: A Photographic View
of Life by Homeless Children. San Francisco: Chronicle Books, 1991.
This
book is a compilation of photographs taken by homeless children from
Washington, D.C., and their comments. Photographer Jim Hubbard describes
how he organized the project, working with the children to create
a touring exhibition of their work.
|
J
|
Jedlinski, Jaromir, Andrzej Turowski, Ewa Lajer-Burcharth, and Maria
Morzuch. Krzysztof Wodiczko. Lodz, Poland: Muzeum Sztuki, 1992.
In this
catalogue to an exhibition of works by the Polish artist Krzysztof
Wodiczko, his concern with social and political issues such as power,
freedom, poverty and homelessness are discussed in essays and in an
interview with the artist.
|
J
|
Jones, Amelia. Body Art: Performing the Subject. Minneapolis:
University of Minnesota Press, 1998.
Tracing
the development of body art from the 1970's through the 1990's, Jones
examines this art form in terms of postmodern theory. She sees the
passionate, convulsive, often sexual movements of body art as reflecting
social and private experience in the capitalist, postcolonial Western
world, using many artists to illustrate her ideas: Carole Schneemann,
Yayoi Kusama, Jackson Pollock, Vito Acconci, and Hannah Wilke. Her
final chapter discusses how after a decade (during the 1980's) when
body art was considerably less popular, it has again come to the fore
in the 1990's with artists such as Maureen Connor, Laurie Anderson,
Lyle Ashton Harris, Laura Aguilar, Orlan, and Bob Flanagan.
|
K
|
Kappeler, Suzanne. The Will to Violence: The Politics of Personal
Behaviour. New York: Teachers College Press, 1995.
Writing
from a feminist perspective, Kappeler examines violence and the will
to violence in society, considering such issues as racial violence,
hatred of "foreigners", and sexual violence. Including chapters
on psychology and philosophy, she discusses violence as the act of
individuals with free will, individuals who nonetheless see violence
as a natural and even inevitable reaction. She analyzes how society
legitimates violence and critiques established social values of identity,
privacy, desire and
self-fulfilment, viewing these aspects of our daily life in terms
of their larger context of political violence. She concludes with
a chapter about political resistance and the will to resistance, pointing
out that resistance to violence cannot consist of violent acts.
|
K
|
Kelley, Jeff. "The body politics of Suzanne Lacy." But
is it Art? The
Spirit of Art as Activism. Ed. Nina Felshin. Seattle: Bay Press,
n.d. 221-49.
A discussion
of community-oriented art on the status of women by Suzanne Lacy,
an artist who was influenced as a student by Judy Chicago, Miriam
Schapiro and Allan Kaprow. Kelley refers to Inevitable Association
(1976),
a work about women and aging, For Three Weeks in May (1977), a collaboration
with other artists to publicize the extent of rape in Los Angeles,
Whisper, the Waves, the Wind (1984) in which 154 older women had a
procession and a discussion on aging, and Underground (1993), an
exploration of domestic violence using train tracks and wrecked cars
as metaphors.
|
K
|
Kester, Grant H. "Rhetorical questions: the alternative arts sector
and the imaginary public." Art, Activism, and Oppositionality:
Essays from Afterimage. Ed. Grant H. Kester. Durham: Duke University
Press, 1998. 103-135.
Kleinman,
Arthur, Veena Das, and Margaret Lock, eds. Social Suffering.
Berkeley: University of California Press, 1997.
This
book is a compilation of essays that were discussed at a conference
organized by the Social Science Research Council's Committee on Culture,
Health, and Human Development. Revolving around the theme of human
suffering in general, the essays cross a wide array of disciplines
including religious studies, health care, law, politics, literary
criticism, and sociology. Within the three headings of cultural representations,
social experiences, and political and professional processes fall
essays on topics such as the cultural appropriation of suffering,
images of the Holocaust, political widowhood in South Africa, the
political use of personal grief in China, Maoism as a source of social
suffering in China, reflections on Nazi medicine, torture, religion
and suffering, and the reconstruction of death in North America and
Japan.
|
K
|
Kline, Katy. Subversive Crafts. Cambridge: List Visual Arts Center,
Massachusetts Institute of Technology, 1993.
Catalogue
to an exhibition of work by Laura Baird, Kate Boyan, Lou Cabeen, Nancy
Edell, John Garrett, Anne Kraus, Keith Lewis, Paul Mathieu, Matt Nolen,
Rochard Notkin, Leslie Sampson, Jane Sauer, Joyse Scott, Barbara
Todd and Lilian Tyrrell. These artists use craft as a means to shift
political issues into the domestic realm, commenting on sexuality,
censorship, hunting, and the Jonestown massacre, to name a few. Biographical
notes on each artist are included.
|
K
|
Kotonias-Payne, Caroline. "The experience of art therapy for
a survivor of childhood sexual abuse with reflections by her art therapist."
Diss., Massachusetts School of Professional Psychology, 1996.
Referring
to interviews with a therapist and a client who had been successfully
treated for childhood sexual abuse through art therapy, the author
identifies five main characteristics of art therapy which indicate
its benefit to the client who uses it in this kind of therapy situation.
|
L
|
LaCapra, Dominick. History and Memory After Auschwitz. Ithaca:
Cornell University Press, 1998.
|
L
|
Lacy, Suzanne, ed. Mapping the Terrain: New Genre Public Art. Seattle:
Bay Press, 1995.
Including
accounts of over 90 artists working in the public art realm, this
book is an anthology of writings advocating imaginative, socially
responsible and socially responsive art. Dealing with such issues
as public monuments, censorship, the move away from individualism
in art, and how to make art matter, the book explores how public art
has gone from traditional sculpture in public parks to art that involves
directly engaging the audience, and examining the most pressing political
and social issues of
the day.
|
L
|
Lawry, Suzann Smith. "Healing the splintered self: a look at creativity
in healing from childhood sexual abuse." Diss., Georgia State University,
1996.
Noting
the lack of research into the role played by art therapy in healing
survivors of childhood sexual abuse, the author conducts a three-part
study attempting to assess the value of creative therapy, the impact
of writing
and drawing exercises in therapy, and the effect on therapists of
viewing their clients' creative work.
|
L
|
Lingis, Alphonso. Foreign Bodies. New York: Routledge, 1994.
Using
the languages of philosophy, visual art, biography, anthropology and
literature, the author explores life as lived through the body: its
perception of pleasure and pain, and how culture affects our sensuality
and our susceptibility to these bodily sensations. Dividing the book
into four parts (the force of the body, pleasure and pain, the libidinal
economy, and imperative bodies) Lingis examines how our bodies are
a product not only of evolution, but of our own history as well.
|
L
|
Lippard, Lucy. Mixed Blessings: New Art in a Multicultural America.
New York: Pantheon Books, 1990.
|
L
|
---, ed. Partial Recall. New York: W. W. Norton & Co., 1992.
|
L
|
Lowen, Alexander. Depression and the Body: The Biological Basis of
Faith and Reality. New York: Penguin Books, 1972.
|
L
|
Ludwig, Arnold M. The Price of Greatness: Resolving the Creativity
and Madness Controversy. New York: Guilford Press, 1995.
In a
complicated study of both different types of "madness" and
the creativity levels in those who suffer from mental illness and
those who do not, the author examines the correlation between creative
genius and mental instability, concluding that mental trauma may be
too high a price to pay for artistic genius and success.
|
M
|
Marino, Diane. "Revealing assumptions. Teaching participatory
research. "Wild Garden. Art, Education, and the Culture of Resistance.
By Marino. N.p: Between the Lines, 1997. 119-144.
In this
chapter, Marino discusses the importance of revealing one's own assumptions,
as well as the assumptions of colleagues, during participatory research
projects, using her experience as a professor of environmental studies.
She breaks her discussion into three themes: linking creative and
critical habits and expressions of interpreting; affirming mistakes;
and
working toward more explicit and complex modes of political discourse.
|
M
|
Mastai, Judith, Cornelai Hahn Oberlander, Greg Snider, Rosalyn Deutsche,
Kobena Mercer, Willard Holmes, and Lawrence Weiner. Art In Public
Places: A Vancouver Casebook. Vancouver, BC: Vancouver Art Gallery,
1993.
A compilation
of texts based on lectures given at the Vancouver Art Gallery, examining
questions surrounding art in public space, the definition of public
art, homelessness and multiculturalism.
|
M
|
McClintock, Annie. Imperial Leather. Race, Gender and Sexuality in
the Colonial Contest. New York: Routledge, 1995.
McClintock
examines how British colonialism was shaped by race, gender and class
from the Victorian era to the age of Apartheid in South Africa. Rejecting
binaries such as self/other, man/woman and colonizer/colonized, she
proposes a more complex reading of the relationships involved in social
power issues, drawing on diverse cultural sources for her interpretations:
novels, advertising, diaries, poetry, oral history, and mass media.
Divided
into three groupings, "Empire of the Home", "Double
Crossings", and "Dismantling the Master's House", the
chapters cover topics such as power and desire, cross-dressing and
the cult of domesticity, racism in advertising, patriarchy, and black
women's resistence.
|
M
|
McNiff, Shaun. Art As Medicine: Creating a Therapy of the Imagination.
Boston: Shambala Publications, 1992.
Describing
his own pioneering methods of art therapy, McNiff examines how the
creative process can be used to heal the imagination as a body heals
itself after illness. His account of using methods such as storytelling,
performance, creative collaboration and dialoguing with images demonstrates
how both the psychotherapy and art can be enriched through these processes.
|
M
|
Miller, Lorrie. "Making it happen: collaborative practices in community
art production." Abstracts. Universities Art Association of
Canada/Association d'art des universités du Canada Annual Conference/
Congrès Annuel. London, ON: University of Western Ontario,
1998. 84.
Miller
presents the form and anticipated function of three community based
art projects in Vancouver: Suzanne Lacy's The Turning Point Project,
and her performance Under Construction, Celine Rich's The Discovery
Project,
and House of Mirrors, by Claudia Cuesta, Merrell Eve Gerber, Ita
Margalit, Patricia Murphy, Sheila Norgate, and Claudine Pommier.
The paper focuses on how each project used collaboration differently,
and looks at form, process, function, artistic ownership, and evaluation
in relation to each project.
|
P
|
Paley, Nicholas. Finding Art's Place: Experiments in Contemporary
Education and Culture. New York: Routledge, 1995.
In this
book, three projects are discussed which involve American children
in the making of art in ways not normally accessible to them. The
first project, called "Kids of Survival," was organized
by artist and teacher Tim
Rollins in the South Bronx, New York City, and used literature and
art to challenge preconceptions about children's artistic abilities.
The second project was undertaken by a teenager named Sadie Benning
who used a Fisher Price children's video camera set up in her bedroom
to explore her emerging sense of identity, personal and sexual. The
last project takes place in
Washington, D.C., where photographer Jim Hubbard provides homeless
children with the means to photograph themselves and their families.
|
P
|
Petrucci, Armando. Public Lettering: Script, Power and Culture.
Trans. Linda Lappin. Chicago: University of Chicago Press, 1993.
|
P
|
Phelan, Peggy. Unmarked: The Politics of Performance. London:
Routledge, 1993.
Spanning
various media such as photography, painting, film, theatre, and public
demonstrations, Phelan looks at visibility politics using a feminist
psychoanalytic approach. Her book explores the connection between
representational visibility and political power, the tendency to value
what is visible as it is definable within a given theoretical framework.
She examines the limitations of the image in the politics of racial
and sexual otherness, using work by Adrian Piper, Louise Bourgeois,
Robert Mapplethorpe, Mira Schor, Cindy Sherman, William Raymond, Yvonne
Rainer, Angie Xtravaganza, Dorian Corey, Willi Ninja, Venus Xtravaganza,
Angelika Festa, and Morna Simpson.
|
P
|
Phillips, Patricia C. "Peggy Diggs: private acts and public art."
But is it Art? The Spirit of Art as Activism. Ed. Nina Felshin.
Seattle: Bay Press, n.d. 283-308.
Discussing
American activist artist Peggy Diggs and her work in the early 1990's,
the author explores how her projects examine private issues, such
as domestic violence, in a public arena and therefore make them a
question of public concern. Specific projects discussed include The
Domestic Violence Milkcarton Project (1991-92), The Hartford Grandmothers'
Project (1993-94), the Caracas Subway Project (1992) and the Sex Bias
Shirt Project (1993).
|
R
|
Reed, Christopher, ed. Not at Home: The Suppression of Domesticity
in Modern Art and Architecture. London: Thames and Hudson, 1996.
|
R
|
Reineke,
Martha J. Sacrificed Lives. Kristeva on Women and Violence. Bloomington:
Indiana University Press, 1997.
Using
the theory of Julia Kristeva and René Girard, the author adopts
a theory of sacrifice to account for violence in Western culture,
in particular violence against women. Exploring how sacrifice is used
to counter unrest and disorder in society, Reineke uses Kristeva to
trace
sacrifice back to the infant's struggle to separate itself from the
mother's body, explaining sacrifice as a ritual evoking memories of
this first struggle. Examining stories of mystics, witches, and mothers
in this light, Reineke theorizes why women in particular are subjected
to violence
and why the church has played a pivotal role in their subjugation.
She uses an economic model of violence, as this allows her to consider
it as a system and not the result of isolated events.
|
R
|
Riegl, Alois. The Modern Cult of Monuments: Its Character and Its
Origin. Trans. Kurt W. Forster and Diane Ghirardo. Np: np, 1982.
Rpt. in Oppositions 25 (1982): n. pag.
|
R
|
Rosenblatt,
Paul C., R. Patricia Walsh, and Douglas A. Jackson. "Grief and
mourning in America." Grief and Mourning in Cross-Cultural Perspective.
By Rosenblatt, Walsh, and Jackson. N.p.: HRAF Press, 1976. 105-24.
The
authors focus in this chapter on how Americans deal with grief, noting
that they tend to suppress public emotional response, and that three
frequently recommended means of working through grief are emotional
catharsis, drugs, and a return to outside activities. Americans might
benefit from more elaborate death ceremonies, they propose, or from
organizations for bereaved persons. They examine issues such as the
effect
of dealing with funeral directors, the problem of choices in death
customs, denial of death, education for grief and mourning, and grieving
for losses other than death.
|
R
|
Rosler, Martha. "Place, position, power, politics." The
Subversive
Imagination. Artists, Society, and Social Responsibility. Ed. Carol
Becker. New York: Routledge, 1994. 55-76.
Rosler
explores in this essay the responsibility of artists to society, beginning
with changes that occurred in the 1960's and 70's when artists began
creating "artists' spaces" outside of the established museum
and gallery system in order to show their work. She examines the difficulty
artists have encountered when faced with a public that desired they
be entertainers and decorators, and the attempt during the Reagan
administration to shut down the National Arts Endowment. She illustrates
these issues with examples from her own life and struggle to become
an artist of social responsibility.
|
R
|
Rosser, Phyllis. "There's no place like home." New Feminist
Criticism. Ed. Joanna Frueh, Cassandra L. Langer, and Arlene Raven.
N.p.:
IconEditions-HarperCollins Publishers, 1994. 60-79.
In this
essay Rosser discusses the issue of women and domesticity in society
and art in three parts: a history of the feminist liberation of housewives,
the domestic myth in popular culture, and the response of contemporary
artists to the domestic situation. In the first part she explores
how feminists confronted social pressure on women to remain at home,
looking at art work by Marisol, Sandy Skoglund, Miriam Wosk, Judy
Chicago, Miriam Schapiro, Mierle Laderman Ukeles, and Arlene Raven.
In part
2 she examines how movies and television have continually presented
women with stories supporting the domestic female in favour of the
aggressive,
career-minded woman. In the last part Rosser discusses contemporary
feminist artists and their rejection of the nuclear family as uncontested
ideal, using as examples work by Ken Botto, Lorie Novak, Mary Frey,
Toby Lee Greenberg, Myrel Chernick, Ann Hamilton, Carrie Mae Weems,
Sherry Millner, Meg Cranston, Mike Kelley, Collier Schorr, Cindy Sherman,
Peggy Diggs, Barbara Kruger, Susan Meiselas, and Carter Kustera.
|
R
|
Roth, Moira, ed. The Amazing Decade: Women and Performace Art in
America, 1970-1980. Los Angeles: Astro Artz, 1983.
Examining
how women's performance art during the 1970's developed alongside
the Women's Movement, this book discusses artists in alphabetical
order, with emphasis on the work of Leslie Labowitz and Suzanne Lacy.
In conclusion, new directions of performance art in the 1980's are
explored.
|
S
|
Sakamoto, Kerri, Hafthor Yngvason, Joanna Frueh, Robert Doyle, Andrew
Perchuk, Robbin Henderson, and David Tombs. Artists of Conscience
II. New York: Alternative Museum, 1992.
Catalogue
to an exhibition at the Alternative Museum in New York which featured
six political artists: Jos Sances, Ben Sakoguchi, John Knecht, Bailey
Doogan, Peggy Diggs, and Tomie Arai. The authors discuss their work
with relation to their themes of Asian-Americans and women, feminism,
AIDS, and social welfare.
|
S
|
Scarry, Elaine. The Body in Pain: The Making and Unmaking of The
World. New York: Oxford University Press, 1985.
Basing
her discussion of physical pain on sources such as literature and
art, medical case histories, and documents on torture, Scarry discusses
the frailty of the human body using literary, religious, philosophical,
and medical vocabularies. She divides her book into three parts: the
difficulty of expressing physical pain, the political and perceptual
complications that occur as a result of this difficulty, and the nature
of human creation as it expresses pain.
|
S
|
Schama, Simon. Landscape and Memory. London: HarperCollins, 1995.
|
S
|
Schneider, Rebecca. The Explicit Body in Performance. London:
Routledge, 1997.
Accompanied
by photographic illustrations, this book examines the work of several
female performance artists as the author explores avant-garde precedents
and the theoretical climate that led to feminist performance
art. Schneider stresses in particular the link between feminist use
of the body in performance art, the body as commodity in the modern-day
capitalist system, and the use of female body as symbol of desire
which female
artists seek to point out and challenge. The artists, Carolee Schneemann,
Annie Sprinkle, Karen Finley, Robbie McCauley, Ana Mendieta, Ann Magnuson,
Sandra Berhard, and Spiderwoman, cover a wide range of topics such
as
censorship, fetishism, pornography, and primitivism. Schneider tackles
their work using theorists from Benjamin to Lacan, from postcolonial
to queer theory, analyzing both artistic and popular use of body imagery.
|
S
|
Seamon, David, and Robert Mugerauer, eds. Dwelling, Place & Environment:
Towards a Phenomenology of Person and World. New York: Columbia
University Press, 1985.
|
S
|
Senie, Harriet F., and Sally Webster, eds. Critical Issues in Public
Art: Context, Content and Controversy. New York: HarperCollins Publishers,
1992.
|
S
|
Spence, Jo. Cultural Sniping: The Art of Transgression. London:
Routledge, 1995.
A reflection
on the work of photographer Jo Spence, this book examines her engagement
with a variety of genres, from documentary photography to phototherapy,
and a diverse range of issues such as class, gender, health
and the body. She reflects, in three parts called "class, realism,
and beyond", "a crisis of representation: health and bodies",
and "identity, photography, therapy", on topics such as
the work of John Heartfield, the politics of photography, the process
of exhibition selection, fairy tales, questioning documentary practice,
the female gaze, phototherapy, the daughter's gaze, and the artist
and illness.
|
T
|
Teuber, Dirk. Rudolf Herz, Thomas Lehnerer: Rot ist dann nur noch
die Farbe des Blutes [Rudolf Herz, Thomas Lehnerer: Red is Still Only
the Colour of Blood Then]. Baden-Baden, Germany: Alte Polizeidirektion,
1993.
In this
catalogue accompanying an exhibition of the same title, Teuber describes
the illuminated installation and its themes of power, violence, and
beauty, and also looks at other joint installations by Rudolf Herz
and Thomas Lehnerer. He notes that the earlier ones, Bilder an der
Wand (1979) and Herosratos (1980) questioned the way artists view
themselves in relation to society, while the later works such as Biotop
(1990), Schild an der Feldherrnhalle (1991) and Rot... (1993) focus
on issues surrounding art
in public spaces.
|
T
|
Trend, David."Cultural struggle and educational activism."
Art, Activism, and Oppositionality: Essays from Afterimage. Ed.
Grant H. Kester Durham: Duke University Press, 1998. 169-181.
|
T
|
Tuer, Dot. "Parables of community and culture for a new world (order)."
Questions of Community: Artists, Audiences, Coalitions. Ed. Daina
Augaitis et al. Banff: Banff Centre for the Arts, 1995. 1-22.
|
W
|
Wallis, Brian, ed. If You Lived Here. The City in Art, Theory, and
Social Activism. A Project by Martha Rosler. Dia Art Foundation
Discussions in Contemporary Culture. 6. Seattle: Bay Press, 1991.
|
W
|
Weiser, Judy. "‘More than meets the eye' — using ordinary
snapshots as tools for therapy." Healing Voices: Feminist Approaches
to Therapy with Women. Ed. T. Laidlaw, C. Malmo, et al. San Francisco:
Jossey-Bass Publishers, 1990. 83-117.
|
W
|
---. Photo Therapy Techniques — The Secret Lives of Personal
Snapshots and Family Albums. San Francisco: Jossey-Bass Publishers,
1993.
|
W
|
---. "‘See what I mean?' Photography as nonverbal communication
in cross-cultural psychology." Cross-cultural Perspectives in
Nonverbal Communication. Ed. F. Poyatos. Toronto: Hogrefe, 1988.
245-90.
|
W
|
Whitmer, Barbara. The Violence Mythos. Albany: State University
of New York Press, 1997.
In
this discussion of the nature and significance of violence in society,
Whitmer explores the belief that humans are innately violent, and
how systems of culture legitimate violence by punishing the violent
with violence and creating an endless cycle. Themes explored include
the war hero myth, the relationship between victim and victimizer,
mind/body dichotomy, male aggression and the subordination of women,
trust, and technology as a destructive force. After discussing violence
in a cultural
context and a theoretical context in Parts 1 and 2, Whitmer concludes
with an exploration of how to end the cycle of violence through the
interdependent mythos: learning to trust, to form flexible relationships
with others, and to understand technology's role in condoning violence
and distancing us from it.
|
W
|
Wilkinson, Samantha, ed. Locus+ 1993-1996. Newcastle upon Tyne:
Locus+, 1996
Based
on the work of the British organization Locus+, which seeks to fund
and promote artists who wish to work outside of the gallery context
and to challenge this context as a "norm-setting" body,
this book presents the
projects of artists who have worked with Locus+. Locus+ attempts to
remain ideologically neutral, and to support a wide range of artistic
projects that use immediacy and engagement with the public in order
to confront
current shifting social issues, challenging the tendency of the artistic
establishment to either ignore or absorb artwork that functions outside
its parameters. The artists included are Pat Naldi, Wendy Kirkup,
Louise Wilson, Lloyd Gibson, Mark Haywood, Lani Maestro, Henry Tsang,
Sharyn Yuen, Paul Wong, Sutapa Biswas, André Stitt, Danile
Biry, Mark Wallinger, John Newling, Virgil Tracy, Sheila Spence, Noreen
Stevens, Nhan Duc Nguyen, Maud Sulter, Mary Duffy, Don Belton, Stefan
Gee, Dan Martinez, Ian Breakwell, Philip Napier, Alan Moore, David
J, Tim Perkins, Shane Cullen, Cornelia Hesse-Honegger, Steve Farrer,
Richard Wilson, Jan Wade, Gregory Green, and David Reinhart.
|
W
|
Wisechild,
Louis M., ed. She Who Was Lost Is Remembered. Healing From Incest
Through Creativity. Seattle: Seal Press, 1991.
In this
anthology over 30 female artists, writers, musicians, playwrights
and poets tell personal stories of sexual abuse at the hands of family
members. At the same time, they describe how creative activities helped
them to heal themselves. Accompanying the personal essays are illustrations
and poems.
|
Z
|
Zohar, Danah. The Quantum Self: Human Nature and Consciousness Defined
by the New Physics. New York: William Morrow, 1990.
|
Z
|
Zohar, Danah, and Ian Marshall. The Quantum Society. Mind, Physics,
and a New Social Vision. New York: Quill-William Morrow, 19
Using
the theories of quantum physics, the authors develop new ways of looking
at society and the ways in which people relate to one another. They
put forward the view that evolution is based on diversity, and the
more diverse society, the better its chances for growth and change.
A quantum society is therefore seen as a flexible, living thing, and
the understanding of quantum physics allows us to view our societies
as part of a larger universal order. The book begins with a discussion
of what a quantum society is, and what the basic elements of quantum
reality are, moving on to consider a quantum model of community, freedom
and ambiguity, and a universal evolutionary principle. Issues such
as conflict and tolerance, the marginalized, the self's relationship
with nature, the politics of transformation, the reinvention of the
family, and unity with diversity, are explored.
|
