Highlighting the interaction between myth and artist, word and image, Jacob Nyenthuis here presents a catalogue of these works, one that will enlighten Ayrton's British following while introducing him to an American audience."--BOOK JACKET.

An important contribution to the multi-disciplinary study of literacy, narrative and culture, this work argues that literacy is perhaps best described as an ensemble of socially and historically embedded activities of cultural practices. It suggests viewing written language, producing and distributing, deciphering and interpreting signs, are closely related to other cultural practices such as narrative and painting. The papers of the first and second parts illustrate this view in contexts that range from the pre-historical beginnings of tracking signs' in hunter-gatherer cultures, and the emergence of modern literate traditions in Europe in the 17th to 19th century, to the future of electronically mediated writing in times of the post-Gutenberg galaxy. The chapters of the third present results of recent research in developmental and educational psychology. Contributions by leading experts in the field make the point that there is no theory and history of writing that does not presuppose a theory of culture and social development. At the same time, it demonstrates that every theory and history of culture must unavoidably entail a theory and history of writing and written culture. This book brings together perspectives on literacy from psychology, linguistics, history and sociology of literature, philosophy, anthropology, and history of art. It addresses these issues in plain language – not coded in specialized jargon – and addresses a multi-disciplinary forum of scholars and students of literacy, narrative and culture.

This dictionary consists of over 3000 entries on a range of British artists, from medieval manuscript illuminators to contemporary cartoonists. Its core is comprised of the entries focusing on British graphic artists and illustrators from the '2006 Benezit Dictionary of Artists' with an additional 90 revised and 60 new articles.

Twelve authors, from W.B. Yeats to Franz Kafka, and how the TLS reacted to their work on its first appearance, and something of how it has come to be viewed in retrospect.

This is the first detailed survey of the past five centuries of book illustration in England. It is divided into two parts: Part One is a comprehensive analysis of specific artists, books and illustrations and covers the anonymous work in books by leading printers before 1600 and then the work of over 200 illustrators up to 1976; Part Two, a Catalogue of Illustrations and Books, lists 2,700 selected entries of English illustrations and includes 200 reproductions, chosen to illustrate the discussion.Edward Hodnett gives a general impression of each artist's work, describes the subject-matter of the designs, notes their relation to other illustrations, and attempts to reach an estimate of the artist's relative achievement as an interpretive illustrator. The book also features bibliographies and a comprehensive, alphabetical index of illustrators, printers, booksellers, presses, and engravers.

Painter and draughtsman, novelist, satirist, pamphleteer and critic, Lewis's multifarious activities defy easy categorisation. He launched the only twentieth-century English avant garde movement, Vorticism, in 1914. His first novel, Tarr, was published in 1918. During the intervening World War, as an artillery officer at the third battle of Ypres, he gained his 'political education under fire'. Anti-war books of the 1930s argued against what he regarded as a war-mongering left-wing orthodoxy, and presented the case for the right. This placed him in the position somewhere between an advocate of appeasement and what looked uncomfortably like a Nazi sympathizer. Despite an admission, in 1939, that he had been wrong about Hitler, his reputation never recovered from the stigma of Fascism.After the Second World War, spent in penniless and bitter exile in Canada, he returned to London and, in the last decade of his life, received some measure of the success and recognition he had been denied for so long. It coincided, tragically, with the realisation that he was going blind. Visual expression denied him, he devoted all his remaining energies to writing. Seven books in as many years, written in laborious longhand when he was unable to see the

Originally published in 1963 and edited by an authority on Wyndham Lewis (whom he also knew personally) this volume made available for the first time over 500 letters of Wyndham Lewis, who for half a century was a dynamic force among English artists and intellectuals. Culturally, Lewis played the dual role of innovator and iconoclast. Lewis’s letters show the wide range of his interests as well as his great verbal energy and unrelenting intellect. Lewis knew most of the significant artists and writers of his time and some of them – Augustus John, Pound, Eliot and Joyce were his lifelong friends and chief correspondents. Regardless of to whom he was writing, he displayed his intense awareness of the personalities and currents around him.