This volume explores different ideas of what language does and what is done with language, considering different ways in which hospitality and humanity are expressed, knowledge is constructed, and asking about more integrative ways in keeping languages relevant.

In Art & Language International Robert Bailey reconstructs the history of the conceptual art collective Art & Language, situating it in a geographical context to rethink its implications for the broader histories of contemporary art. Focusing on its international collaborations with dozens of artists and critics in and outside the collective between 1969 and 1977, Bailey positions Art & Language at the center of a historical shift from Euro-American modernism to a global contemporary art. He documents the collective’s growth and reach, from transatlantic discussions on the nature of conceptual art and the establishment of distinct working groups in New York and England to the collective’s later work in Australia, New Zealand, and Yugoslavia. Bailey also details its publications, associations with political organizations, and the internal power struggles that precipitated its breakdown. Analyzing a wide range of artworks, texts, music, and films, he reveals how Art & Language navigated between art worlds to shape the international profile of conceptual art. Above all, Bailey underscores how the group's rigorous and interdisciplinary work provides a gateway to understanding how conceptual art operates as a mode of thinking that exceeds the visual to shape the philosophical, historical, and political.

Typical art resources for teachers offer discrete art activities, but these don't carry children or teachers into the practice of using the languages of art. This resource offers guidance for teachers to create space, time, and intentional processes for children's exploration and learning to use art for asking questions, offering insights, exploring hypotheses, and examining experiences from unfamiliar perspectives. Inspired by an approach to teaching and learning born in Reggio Emilia, Italy, The Language of Art, Second Edition, includes: A new art exploration for teachers to gain experience before implementing the practice with childrenAdvice on setting up a studio space for art and inquirySuggestions on documenting children's developing fluency with art media and its use in inquiryInspiring photographs and ideas to show you how inquiry-based practices can work in any early childhood setting Ann Pelo is a teacher educator, program consultant, and author whose primary work focuses on reflective pedagogical practice, social justice and ecological teaching and learning and the art of mentoring. Currently, Pelo consults early childhood educators and administrators in North America, Australia, and New Zealand on inquiry-based teaching and learning, pedagogical leadership, and the necessary place of ecological identity in children's—and adults'—lives. She is the author of several books including the first edition of The Language of Art and co-author of Rethinking Early Childhood Education.

Art and Language: Explorations in (Post) Modern Thought and Visual Culture sheds new light on the symbiotic relationship between art and language by exploring how these cultured sets consociate on philosophical and art-historical levels. Against the backdrop of (visual) semiotics the first section of the book considers the differences between art and language from various vantage points: meaning-making, asking if art is a language, Ernst Cassirer's symbolic forms, Jan Muka?ovský's signs, and Gilles Deleuze's philosophy. The second section of the book deals with the works of (post) modern artists from diverse cultural backgrounds who unfasten traditional linguistic and artistic systems by destabilising the viewer and blurring the boundaries between art and language. The author argues that this is the most productive, cutting-edge aspect of the word-image relationship of that period. Language provides (post) modern art with its thrust and focus and offers a site for critical intervention. The artistic forays the author embarks on cover a wide range touching on Surrealism, Dada, Arabic Calligraphy, and Chinese Conceptualist Art.

This collection of thirteen chapters answers new questions about rhyme, with views from folklore, ethnopoetics, the history of literature, literary criticism and music criticism, psychology and linguistics. The book examines rhyme as practiced or as understood in English, Old English and Old Norse, German, Swedish, Norwegian, Finnish and Karelian, Estonian, Medieval Latin, Arabic, and the Central Australian language Kaytetye. Some authors examine written poetry, including modernist poetry, and others focus on various kinds of sung poetry, including rap, which now has a pioneering role in taking rhyme into new traditions. Some authors consider the relation of rhyme to other types of form, notably alliteration. An introductory chapter discusses approaches to rhyme, and ends with a list of languages whose literatures or song traditions are known to have rhyme.

Art, Language and Figure in Merleau-Ponty: Excursions in Hyper-Dialectic considers Merleau-Ponty's later ontology of language in the light of his “figured philosophy,” which places the work of art at the centre of its investigation. Kaushik argues that, since for Merleau-Ponty the work of art actualizes a sensible ontology that would otherwise be invisible to the history of dialectics, it undermines the fundamental difference between being and linguistic structures. Art, Language and Figure in Merleau-Ponty takes up the radical task of the figured philosophy to render sensible and linguistic spaces prior to the thought of their separation. Kaushik situates Merleau-Ponty's criticisms of Saussure's linguistic system, as well as a more general repudiation of the act of inscribing in favour of an abstracted textual meaning, in this context. Following the artists most important to Merleau-Ponty's own writings on art, such as Paul Klee and his fascination with hieroglyphics, and extending these analyses to more recent 21st Century artists such as Cy Twombly, Kaushik takes an excursion into the places where art and language, image and text, drawing and writing, figure and discourse, are interlaced in Merleau-Ponty's last ontology. In view of these intersections, Kaushik ultimately argues, the work of art gives us the spaces where the possibilities of philosophy, both past and future, reside. As the first sustained treatment into the relationship between art and language, this is an important contribution to Meleau-Ponty's philosophy and scholars of aesthetics.

Practical Music Theory provides the necessary tools for inspired music making, listening, and composing. Based on the holistic premise that music is both art and language, yet so much more, Practical Music Theory takes the musician on a journey through historic, yet relevant common practices of composition. Through this easy-to-read text, aspiring theorists encounter numerous examples from music literature, thought-provoking questions, and practical suggestions for implementation. Practical Music Theory is both a textbook and a workbook, containing an array of exercises ranging in complexity from simple to difficult. Designed for the first one to two years of instruction, it is a comprehensive volume that begins with the basic materials of music and progresses through advanced concepts and techniques. Practical Music Theory expands horizons to new worlds of musical discovery, enhancing the enjoyment of an already delightful art form.

This is a timely work which seeks to place Egypt in its true historical context. It captures the substantial, unmistakable evidence for the indigenous African origin of the ancient Egyptians. It also examines the genius behind their invaluable achievement in concretizing and codifying the hieroglyphic system of writing that they inherited from their ancestors. It explains their mastery of the arts and sciences as displayed in their monumental architectural feats. And finally it analyzes their highly organized-not surprisingly, matriarchal -- social system which made it possible for so many of their unsurpassed contributions to be bequeathed to human cultures everywhere. Unlike conventional treatments of ancient Egypt, however, this innovative text renders the collected data accessible to layman and expert alike through its framework of suggested curriculum outlines, thus ensuring this book's usefulness to the general public as well as to educational institutions. "Professor Crawford.. has made every effort to show that art and language are weapons in a nation's cultural survival. In preparing this book with the...hope that it will be used in a multicultural curriculum, he has opened a new educational door by showing the true significance of ancient Egyptian art and language". -- John Henrik Clarke, Professor Emeritus/Hunter College "Blending Egyptology with progressive education philosophy..., Crawford argues that Egyptian studies, with a focus on art and language, is a necessary and empowering course of study for African American students... and for students from other backgrounds as well. -- Keith Gilyard, Syracuse University "Dr. Crawford cites chapter and verse as to how wecan naturally fashion the curriculum to reflect both our diverse legacies and contributions to society and, in so doing, render diverse and sundry individual subject areas genuinely interdisciplinary....I sincerely hope that this fine work gets the broad airing it deserves. If enough educators are exposed to it, I am certain it will play an important part in energizing the studies that take place in schools across the nation". -- Arthur Lewin, Baruch College