A Beholder's Share demonstrates how a sense of reality is evoked in the unpredictable space between imagination and adaptation. The world calls forth something in each of us—a beholder’s share—which in turn calls forth something in the world. Though usually viewed as opposites, imagination and reality make uneasy but necessary bedfellows. Part I of A Beholder’s Share shows how fantasy generates novelty by creating versions of what is already known, while imagination allows what seems familiar to be seen afresh. Goldman’s essays offer unexpected takes on common clinical encounters: clashes of belief, the search for generational dialogue, the awkward discomfort of feeling like a fake, the problem of how and when to end analysis, the strains of working with psychotic anxieties. Part II, ‘Winnicott’s Living Legacy,’ illuminates Winnicott’s preoccupation with difficulties inherent in contact with reality. These chapters bring to life Winnicott’s personal struggle with an area of experience his own two analyses failed to touch, the tangled relationship with Masud Khan, his recognition of dissociation as "a queer kind of truth," and how Romantic poets shaped Winnicott’s view of what is felt as real. Bringing together Dodi Goldman’s seminal and new writings, A Beholder’s Share will appeal to psychoanalysts and psychoanalytic psychotherapists, as well as students and teachers of the arts, literature, and humanities.

One of the most significant developments in the study of works of art over the past generation has been a shift in focus from the works themselves to the viewer's experience of them and the relation of that experience both to the works in question and to other aspects of cultural life. The ten essays written for this volume address the experience of art in early modern Europe and approach it from a variety of methodological perspectives: concerns range from the relation between its perceptual and significative dimensions to the ways in which its discursive formation anticipates but does not exactly correspond to later notions of 'aesthetic' experience. The modes of engagement vary from careful empirical studies that explore the complex complementary relationship between works of art and textual evidence of different kinds to ambitious efforts to mobilize the powerful interpretative tools of psychoanalysis and phenomenology. This diversity testifies to the vitality of current interest in the experience of beholding and the urgency of the challenge it poses to contemporary art-historical practice.

Archaeology’s Visual Culture explores archaeology through the lens of visual culture theory. The insistent visuality of archaeology is a key stimulus for the imaginative and creative interpretation of our encounters with the past. Balm investigates the nature of this projection of the visual, revealing an embedded subjectivity in the imagery of archaeology and acknowledging the multiplicity of meanings that cohere around artifacts, archaeological sites and museum displays. Using a wide range of case studies, the book highlights how archaeologists can view objects and the consequences that ensue from these ways of seeing. Throughout the book Balm considers the potential for documentary images and visual material held in archives to perform cultural work within and between groups of specialists. With primary sources ranging from the mid-nineteenth to the early twenty-first century, this volume also maps the intellectual and social connections between archaeologists and their peers. Geographical settings include Britain, Cyprus, Mesoamerica, the Middle East and the United States, and the sites of visual encounter are no less diverse, ranging from excavation reports in salvage archaeology to instrumentally derived data-sets and remote-sensing imagery. By forensically examining selected visual records from published accounts and archival sources, enduring tropes of representation become apparent that transcend issues of style and reflect fundamental visual sensibilities within the discipline of archaeology.

This in-depth exploration of emotions in the ancient Near East illuminates the rich and complex worlds of feelings encompassed within the literary and material remains of this remarkable region, home to many of the world’s earliest cities and empires, and lays critical foundations for future study. Thirty-four chapters by leading international scholars, including philologists, art historians, and archaeologists, examine the ways in which emotions were conceived, experienced, and expressed by the peoples of the ancient Near East, with particular attention to Mesopotamia, Anatolia, and the kingdom of Ugarit, from the Late Uruk through to the Neo-Babylonian Period (ca. 3300–539 BCE). The volume is divided into two parts: the first addressing theoretical and methodological issues through thematic analyses and the second encompassing corpus-based approaches to specific emotions. Part I addresses emotions and history, defining the terms, materialization and material remains, kings and the state, and engaging the gods. Part II explores happiness and joy; fear, terror, and awe; sadness, grief, and depression; contempt, disgust, and shame; anger and hate; envy and jealousy; love, affection, and admiration; and pity, empathy, and compassion. Numerous sub-themes threading through the volume explore such topics as emotional expression and suppression in relation to social status, gender, the body, and particular social and spatial conditions or material contexts. The Routledge Handbook of Emotions in the Ancient Near East is an invaluable and accessible resource for Near Eastern studies and adjacent fields, including Classical, Biblical, and medieval studies, and a must-read for scholars, students, and others interested in the history and cross-cultural study of emotions.

United in their natural form they are one, sharing all their memories, experiences, and lives. Apart they are six, the only existing members of their ancient race, a species with the ability to assume any form once they understand its essence. Their continued survival in a universe filled with races ready to destroy anyone perceived as different is based on the Rules. And first among those Rules is: Never reveal your true nature to another being. But when the youngest among them, Esen-alit-Quar, receives her first independent assignment to a world considered safe to explore, she stumbles into a trap no one could have anticipated. Her only means of escape lies in violating the First Rule. She reveals herself to a fellow captive―a human being/ While this mistake might not ordinarily prove fatal, the timing of the event could not be worse. For something new has finally made its way into the Universe, the Enemy of the Web, bringer of death to all forms of life. And the hunt it about to begin.

The collection is the first to bring together a number of accounts about the Holy Land written by early modern authors from different religious and regional backgrounds.

The third edition of Approaches to Art Therapy brings together varied theoretical approaches and provides a variety of solutions to the challenge of translating theory to technique. In each chapter, the field's most eminent scholars provide a definition of and orientation to the specific theory or area of emphasis, showing its relevance to art therapy. The third edition includes many new chapters with material on a wide variety of topics including contemplative approaches, DBT, neuroscience, and mentalization while also retaining important and timeless contributions from the pioneers of art therapy. Clinical case examples and over 100 illustrations of patient artwork vividly demonstrate the techniques in practice. Approaches to Art Therapy, 3rd edition, is an essential resource in the assembly of any clinician's theoretical and technical toolbox, and in the formulation of each individual's own approach to art therapy.

It's the end of the first Gulf war. A young Scottish boy is kidnapped from his home in the UAE. The plan goes wrong as one of the kidnappers is killed. The remaining three decide to get out of the country. Two leave by boat, taking the boy, so that he will not be found and traced back to them. The third goes to Pakistan and rejoins the Mujuardine who are trying to remove the government of Afghanistan. The boat is shipwrecked off the coast of Oman and one of the kidnappers and the boy make it to safety. They find a small fishing village where the stay until the kidnapper comes face to face with the boy's father. He and the boy move on, firstly inland, across the mountains, to the North of the country where they find refuge with an old couple who look after the boy as family. Then they are forced to move again, this time east along the edge of the Rub' al Khali, the Empty Quarter. From there they cross the border into Yemeni and travel to the village in which the kidnapper was born. Following what appears to be the end of the conflict in Afghanistan the third Kidnapper turns his attention to terrorism. Firstly, with the first bombing of the twin towers in New York, America and then through a series of other similar atrocities, including the attack on the USS Cole in Aden. The boy's father never gives up. His job takes him into Oman, The Sudan and into Yemeni. He follows up on any small piece of information that comes his way, believing that one day he will find his son.

This volume introduces the hermeneutical approach and ecojustice principles developed by the Earth Bible project team. Following this approach, biblical scholars illustrate how a reading of the biblical text from the perspective of Earth yields fresh insights. Though the text may seem anthropocentric, these studies are able to retrieve evidence of the living voice and intrinsic value of Earth. It is an approach that can be harmonized with other recognized critical approaches to the Bible, from historical criticism to ecofeminist criticism. The texts chosen are from many parts of the Bible (Psalms, Prophets, Gospels, Romans, Revelation) and the intertestamental literature (Tobit and Wisdom of Solomon).