This article addresses the portrait as a philosophical form of art. Portraits seek to render the subjective objectively visible. In portraiture two fundamental aims come into conflict: the revelatory aim of faithfulness to the subject, and the creative aim of artistic expression. In the first part of my paper, studying works by Rembrandt, I develop a typology of four different things that can be meant when speaking of an image’s power to show a person: accuracy, testimony of presence, emotional (...) characterization, or revelation of the essential “air” (to use Roland Barthes’ term). In the second half of my paper this typology is applied to examples from painting and photography to explore how the two media might differ. I argue that, despite photography’s alleged ‘realism’ and ‘transparency,’ it allows for artistic portraiture and presents the same basic conflict between portraiture’s two aims, the revelatory and the expressive. (shrink)

PORTRAITS FROM MEMORY and Other Essays by BERTRAND RUSSELL SIMON AND SCHUSTER NEW YORK 1956 VI CONTENTS PAGE Mind and Matter 1 45 The Cult of Common Usage 1 66 ...

Among contemporary ethicists, Hume is perhaps best known for his views about morality’s practical import and his spectator-centered account of moral evaluation. Yet according to the so-called “spectator complaint”, these two aspects of Hume’s moral theory cannot be reconciled with one another. I argue that the answer to the spectator complaint lies in Hume’s account of “goodness” and “greatness of mind”. Through a discussion of these two virtues, Hume makes clear the connection between his views about moral motivation and his (...) understanding of moral evaluation by providing us with two portraits of the Humean moral agent. (shrink)

Is there a substantial difference between a portrait depicting the sitter’s face made by an artist and an image captured by a machine able to simulate the neuro-physiology of facial perception? Drawing on the later Wittgenstein, this paper answers this question by reference to the relation between seeing a visual pattern as (i) a series of shapes and colours, and (ii) a face with expressions. In the case of the artist, and not of the machine, the portrait’s creative process involves (...) the ability to see both aspects. From the perspective of the image’s viewer, the distinction is more difficult to draw. I address this difficulty by further distinguishing between two attributes of portraits: their representational accuracy, and their ability to convey the artist’s reflection on her experience of seeing the sitter face-to-face. While artificial intelligence can mimic this latter reflective ability, it cannot exactly reproduce it. (shrink)

Portraits are defined in part by their aim to reveal and represent the inner ‘character’ of a person. Because landscapes are typically viewed as lacking such an ‘inner life,’ one might assume that landscapes cannot be the subject of portraiture. However, the notion of landscape character plays an important role in landscape aesthetics and preservation. In this essay, I argue that landscape artworks can thus share in portraiture’s goal of capturing character, and in doing so present us with essential (...) tools for revealing the often ineffable character of place. I explain the implications of this view for debates about scientific cognitivism in environmental aesthetics, representing the narrative dimension of landscape character and integrity, and appeals to the character of place in historic and environmental preservation. (shrink)

Résumé Les références de Wilfrid Sellars à Hegel dans Empirisme et philosophie de l’esprit sont aussi célèbres qu’allusives. Les héritiers de Sellars, menant campagne contre le « mythe du donné », ont souvent tenté de préciser les contours de cette interprétation de Hegel comme « grand adversaire de ‘l’immédiateté’ ». Dans le présent article, je me propose de présenter deux tentatives majeures d’interprétation post-sellarsienne de Hegel : celles de Richard Rorty et Robert Brandom. Tandis que Rorty opère une « kuhnianisation (...) » de Hegel pour en faire, une fois son idéalisme mis de côté, l’incarnation du narrateur ironiste et historiciste des grands changements de vocabulaires du monde occidental, Brandom assume quant à lui jusqu’à un certain point l’idéalisme de Hegel en en reformulant les thèses principales conformément aux postulats de sa pragmatique inférentialiste. Dans cette perspective, la normativité rationnelle est considérée comme un ensemble de pratiques sociales d’engagements et d’autorisations inférentiels enchâssées dans des rapports de reconnaissance. Toutefois, aucun des deux penseurs ne parvient à articuler de manière satisfaisante les deux plans dont Hegel puis Sellars ont mis en évidence l’étroite solidarité : l’intersubjectivité de l’échange de raisons et l’objectivité des institutions sociales. (shrink)

Portraits of Integrity depicts more than 20 historical, fictional and contemporary figures whose character or life raises questions about what integrity is and how it is perceived. Integrity might be culturally bound, but this diverse set of portraits demonstrates that it is not the special preserve of any one culture. Portraits of Socrates, Mencius, Rama and Job, alongside the aspirational 16th-century couple John and Dorothy Kaye, civil rights activist Ella Baker and an anonymous banker, highlight the persisting (...) – sometimes conflicting – features of a life lived with integrity. An introduction identifies and discusses the key questions and themes raised by the case studies, encouraging the reader to determine for themselves the weight and significance of the recurring topics integrity brings up - truth, awkwardness, goodness, and charisma. For anyone looking to learn more about this elusive virtue, Portraits of Integrity is an essential collection. It uncovers the manifold aspects of integrity, illustrates the various possibilities for its expression in a life and asks whether living a life of integrity means living a life of isolation and hardship, or if it is possible to live with integrity without jeopardising all else. (shrink)

Cynthia Freeland’s investigation of four kinds of ‘fidelity’ in portraiture is cut across by more general philosophical concerns. One is about what might be called the expression of persons--the persons or ‘inner selves’ of portrait subjects and of portrait artist: whether either is possible across each of the four kinds of fidelity, and whether these two kinds of expression are in tension. More fundamental is the problem of telling how self-expression is at all possible in any of these forms. Finally, (...) she wonders how photography affects all these questions. This comment addresses portraiture not so much in terms of the four fidelities, but with another quartet of concepts: four ordinary types of ‘display’, in terms of which we see how artists’ self-expression is possible in all these forms, also including photography. Its key idea is that portraits are displays simply by being pictures or sculptures, which are kinds of artifacts, hence things that we perceive as having intentional affordance: that is, as being intentionally made ‘for’ something. (shrink)

Featuring more than fifty halftones, this is an exhilarating philosophical exploration of portraiture that highlights its important contribution to the complex ...

The aim of this paper is to explore what could be meant by modernist portraiture. On the face of it, there is a real tension about the very idea of modernist portraiture inasmuch as one key idea of modernism is negativity and self-negation, whereas portraiture is, in some very obvious sense, not negation. It is the depiction of the sitter. So there are reasons to think that modernist portraiture, in the strong sense of the term, is a contradiction in terms. (...) Nonetheless, I argue that there is such a thing as genuine modernist portraiture – modernist portraiture in the strong sense. But it is not easy to pull it off. And the modernist act of creating portraits of people not present also reveals something important about the nature of depiction and the importance of mental imagery in picture perception. (shrink)

A full-color guide to the art of digital portrait photography Portrait photography entails taking posed photographs of individuals or set scenery and is the most common photo style among the most novice photography hobbyist to the most advanced photographer. With this easy-to-understand guide, bestselling author and professional photographer Doug Sahlin walks you through the best techniques for getting professional-quality digital portraits. Packed with hundreds of full-color photos and screen shots, this book discusses best practices for taking formal portraits, (...) wedding photos, event photos, casual photos, and more. You'll examine the difference between using the built-in flash and natural lighting and take a look at the benefits of upgrading to a photo lighting kit and pro backdrop. Portrait photography is the most popular style of photography Features helpful information for everyone from beginner hobbyists to advanced photographers Shares insider tips for selecting equipment and choosing from the various tools for portrait photography Walks you through working with a wide range of subjects, including children, pets, and wildlife Discusses lighting and editing images Takes a look at ways to create a portrait that is suitable for framing Make sure your subjects are ready for their close ups with this fun and friendly guide to digital portrait photography. (shrink)

Si nul ne sait ce que peut un environnement, nul ne sait sans doute davantage ce que peut être de nos jours une philosophie de l’environnement. Aussi est-il souhaitable de faire dialoguer des philosophes d’ici et d’ailleurs, d’hier et d’aujourd’hui, que nous avons tendance à tenir pour étrangers aux problèmes environnementaux parce que nous négligeons le plus souvent de les interroger sur ce chapitre où les questions et les réponses semblent connues d’avance. En tirant le portrait sur fond de crise (...) écologique de plus d’une quinzaine de penseurs différents (d’Edmund Husserl à Peter Sloterdijk, en passant par Martin Heidegger, Arne Næss et Gilles Deleuze), dont les voix et les visages parfois se mêlent, cet ouvrage voudrait modifier l’éclairage sous lequel ces penseurs sont perçus et, par là, contribuer à jeter une autre lumière sur ce que peuvent être les enjeux et les défis d’une pensée de l’environnement dont l’identité reste à construire. (shrink)

Self-portrait photography presents an elucidatory range of cases for investigating the relationship between automatism and artistic agency in photography— a relationship that is seen as a problem in the philosophy of art. I discuss self-portraits by photographers who examine and portray their own identities as artists working in the medium of photography. I argue that the automatism inherent in the production of a photograph has made it possible for artists to extend the tradition of self-portraiture in a way that (...) is radically different from previous visual arts. In Section I, I explain why self-portraiture offers a way to address the apparent conflict between automatism and agency that is debated in the philosophy of art. In Section II, I explain why mirrors play an important function in the production of a traditional self-portrait. In Sections III and IV, I discuss how photographers may create self-portraits with and without the use of mirrors to show how photography offers unique and important new forms of self-portraiture. (shrink)

Portraits are everywhere. One finds them not just in museums and galleries, but also in newspapers and magazines, in the homes of people and in the boardrooms of companies, on stamps and coins, on millions of cell phones and computers. Despite its huge popularity, however, portraiture hasn’t received much philosophical attention. While there are countless art historical studies of portraiture, contemporary philosophy has largely remained silent on the subject. This book aims to address that lacuna. It brings together philosophers (...) (and philosophically minded historians) with different areas of expertise to discuss this enduring and continuously fascinating genre. The chapters in this collection are ranged under five broad themes. Part I examines the general nature of portraiture and what makes it distinctive as a genre. Part II looks at some of the subgenres of portraiture, such as double portraiture, and at some special cases, such as sport card portraits and portraits of people not present. How emotions are expressed and evoked by portraits is the central focus of Part III, while Part IV explores the relation between portraiture, fiction, and depiction more generally. Finally, in Part V, some of the ethical issues surrounding portraiture are addressed. The book closes with an epilogue about portraits of philosophers. Portraits and Philosophy tangles with deep questions about the nature and effects of portraiture in ways that will substantially advance the scholarly discussion of the genre. It will be of interest to scholars and students working in philosophy of art, history of art, and the visual arts. (shrink)

A famous painter of the 18th century, Joshua Reynolds presented throughout the years 1769-1790 speeches to the Royal Academy of Arts. In them, he exhibits a conception of painting that privileges historical paintings. However, Reynolds himself practices portrait painting. Analyzing to what extent the making of portraits does not contradict the argument that historical pictures are the ones that best represent the pictorial genre is what we seek to problematize in this text.

This is the first day of our confinement here in Paris, which soon will feel a bit like house arrest. So, to help cheer you up, in these times of doom and gloom, I have decided to bring the museum to you in the form of a virtual exhibition thrice weekly. I have picked 25 photos from a work in progress I started years ago. The photos are portraits of visitors or guards in museums. It's candid photography, capturing life (...) on the run, a moment in time. I hope you will find many other ways to - Résidence numérique - Brigitte Cavanagh. (shrink)

This paper offers a composite portrait of the concept of magnanimity in nineteenth-century America, focusing on Ralph Waldo Emerson, Margaret Fuller, and Henry David Thoreau. A composite portrait, as a method in the history of philosophy, is designed to bring out characteristic features of a group's philosophizing in order to illuminate characteristic features that may still resonate in today's philosophy. Compared to more standard methods in the historiography of philosophy, the construction of a composite portrait de-privileges the views of individual (...) authors. These philosophers saw the virtue of magnanimity as a remedy for a number of modern ills. American philosophers suggest that the best sort of magnanimity is acquired by adopting the correct relation to the natural world, including new forms of inquiry, or by adopting a life of voluntary poverty. Magnanimous individuals are critics of capitalism and offer themselves as exemplars of a better, experimental life. (shrink)

Who can say "I am Jewish?" What does "Jew" mean? What especially does it mean for Jacques Derrida, founder of deconstruction, scoffer at boundaries and fixed identities, explorer of the indeterminate and undecidable? In _Portrait of Jacques Derrida as a Young Jewish Saint_, French feminist philosopher Hélène Cixous follows the intertwined threads of Jewishness and non-Jewishness that play through the life and works of one of the greatest living philosophers. Cixous is a lifelong friend of Derrida. They both grew up (...) as French Jews in Algeria and share a "belonging constituted of exclusion and nonbelonging"--not Algerian, rejected by France, their Jewishness concealed or acculturated. In Derrida's family "one never said 'circumcision'but 'baptism,'not 'Bar Mitzvah'but 'communion.'" Judaism cloaked in Catholicism is one example of the undecidability of identity that influenced the thinker whom Cixous calls a "Jewish Saint." An intellectual contemporary of Derrida, Cixous's ideas on writing have an affinity with his philosophy of deconstruction, which sought to overturn binary oppositions--such as man/woman, or Jew/non-Jew--and blur boundaries of exclusion inherent in Western thought. In portraying Derrida, Cixous uses metonymy, alliteration, rhyme, neologisms, and puns to keep the text in constant motion, freeing language from any rigidity of meaning. In this way she writes a portrait of "Derrida in flight," slipping from one appearance to the next, unable to be fixed in one spot, yet encompassing each point he passes. From the circumcision act to family relationships, through Derrida's works to those of Celan, Rousseau, and Beaumarchais, Cixous effortlessly merges biography and textual commentary in this playful portrait of the man, his works, and being (or not being) Jewish. (shrink)

Machine generated contents note: -- Part I -- 1. Portrait of the psychiatrist as a young man 1927-1960 -- 2. Portrait of the psychiatrist as an intellectual. Laing's early, notebooks, personal library, essays, papers, and talks -- 3. Laing and psychiatric theory -- 4. Laing and existential-phenomenology -- 5. Laing and Religion -- 6. Laing and the Arts -- Part II -- 7. Laing in the Army -- 8. Gartnavel Hospital and the 'Rumpus Room' -- 9. Individual patients at Gartnavel (...) -- 10. Laing at the Southern General Hospital -- 11. Laing in London -- 12. The Divided Self. (shrink)

Who can say "I am Jewish?" What does "Jew" mean? What especially does it mean for Jacques Derrida, founder of deconstruction, scoffer at boundaries and fixed identities, explorer of the indeterminate and undecidable? In _Portrait of Jacques Derrida as a Young Jewish Saint_, French feminist philosopher Hélène Cixous follows the intertwined threads of Jewishness and non-Jewishness that play through the life and works of one of the greatest living philosophers. Cixous is a lifelong friend of Derrida. They both grew up (...) as French Jews in Algeria and share a "belonging constituted of exclusion and nonbelonging" -- not Algerian, rejected by France, their Jewishness concealed or acculturated. In Derrida's family "one never said 'circumcision'but 'baptism,'not 'Bar Mitzvah'but 'communion.'" Judaism cloaked in Catholicism is one example of the undecidability of identity that influenced the thinker whom Cixous calls a "Jewish Saint." An intellectual contemporary of Derrida, Cixous's ideas on writing have an affinity with his philosophy of deconstruction, which sought to overturn binary oppositions -- such as man/woman, or Jew/non-Jew -- and blur boundaries of exclusion inherent in Western thought. In portraying Derrida, Cixous uses metonymy, alliteration, rhyme, neologisms, and puns to keep the text in constant motion, freeing language from any rigidity of meaning. In this way she writes a portrait of "Derrida in flight," slipping from one appearance to the next, unable to be fixed in one spot, yet encompassing each point he passes. From the circumcision act to family relationships, through Derrida's works to those of Celan, Rousseau, and Beaumarchais, Cixous effortlessly merges biography and textual commentary in this playful portrait of the man, his works, and being Jewish. (shrink)

In Portraits of American Philosophy, eight of America’s most prominent philosophers offer autobiographical narratives that remind us that the life of a scholar is both a tale of personal struggle and an adventure in ideas.

‘The portraits of disease’ explores the link between the symbolic use of diseases and the propagation of ideologies. It traces the origins of the term ‘Sick Man of Asia’ back to British newspapers in the mid-eighteenth century and its development into a metaphor for actual pathogens. The author contends that coloniality and pathogens share similarities, as both are highly transmissible and cannot be seen with the naked eye. The text also examines the influence of German-influenced microbiological research in the (...) Japanese Empire on the expansion of public health methods and institutions in Taiwan, Korea and north-eastern China. This study calls for a broader conversation about the intersections between science, ideology and power in our contemporary global context. (shrink)

Portrait of a Dalai Lama. The Life and Times of the Great Thirteenth. Sir Charles Bell. Wisdom Publications, London 1987. 467pp. £11.95.

Le portrait de l'homme -- Le Cabinet inestimable de la femme.

Widely regarded as the greatest stylist of twentieth-century English literature,James Joycedeserves the term “revolutionary.” His literary experiments in form and structure, language and content, signaled the modernist movement and continue to influence writers today. His two earliest, and perhaps most accessible, successes—A Portrait of the Artist as a Young ManandDubliners—are here brought together in one volume. Both works reflect Joyce’s lifelong love-hate relationship with Dublin and the Irish culture that formed him. In the semi-autobiographicalPortrait, young Stephen Dedalus yearns to be (...) an artist, but first must struggle against the forces of church, school, and society, which fetter his imagination and stifle his soul. The book’s inventive style is apparent from its opening pages, a record of an infant’s impressions of the world around him—and one of the first examples of the “stream of consciousness” technique. Comprising fifteen stories,Dublinerspresents a community of mesmerizing, humorous, and haunting characters—a group portrait. The interactions among them form one long meditation on the human condition, culminating with “The Dead,” one of Joyce’s most graceful compositions centering around a character’s epiphany. A carefully woven tapestry of Dublin life at the turn of the last century,Dublinersrealizes Joyce’s ambition to give his countrymen “one good look at themselves.”. (shrink)

A major aim of the books in this series is to promote psychology's appreciation of the neglected giants in its history. The chapters document the significance of these early contributions, many of them made more than a century ago. Most of the chapters are revisions of invited addresses delivered at psychological conventions. Several of the authors are students, colleagues, or offspring of their pioneers and all of them are intrigued by the life and work of the psychologists about whom they (...) have written. All of the portraits are informal; on occasion, even humorous. Some are "impersonations"--telling stories in what were or might have been the pioneer's own words. This book provides source materials for teachers of undergraduate courses in psychology--particularly the history of psychology--who want to add a personal view in their lectures and offer interesting readings for their students. Each of the five volumes in this series contains different profiles thereby bringing more than 100 of the pioneers in psychology more vividly to life. (shrink)

The following is a reflection on the possibility of teaching by example, and especially as the idea of teaching by example is developed in the work of Jean-Jacques Rousseau. My thesis is that Rousseau created a literary version of himself in his writings as an embodiment of his philosophy, rather in the same way and with the same purpose that Plato created a version of Socrates. This figure of Rousseau—a sort of philosophical portrait of the man of nature—is represented as (...) an example for us to follow. This would appear to have been dangerous and destabilizing work, given the mental distress that it caused Rousseau in striving to live up to his fictional self. Rousseau's own ideas on the nature of teaching by example are presented in a discussion of the section in ‘Emile’ which Rousseau takes from an incident in his own life—the story of his meeting with a young Savoyard priest who befriended him and influenced him through the power of his example. (shrink)

This book conveys an understanding of China’s educational development from within and provides unique insights into Chinese society. It does so through portraits of eleven influential educators whose ideas have shaped the educational reforms initiated by Deng Xiaoping in 1978. The book makes Chinese civilization concrete through the drama of the real lives of educators and provides glimpses into the educational context of China’s recent move onto the world stage.

This third volume in a series devoted to luminaries in the history of psychology--features chapter authors who are themselves highly visible and eminent scholars. They provide glimpses of the giants who shaped modern cognitive and behavioral science, and shed new light on their contributions and personalities, often with a touch of humor or whimsy and with fresh personal insights. The animated style, carefully selected details, and lively perspective make the people, ideas, and controversies in the history of psychology come alive. (...) The fields touched on in this and other volumes cover all of the subfields of psychology. As such, all volumes of _Portraits of Pioneers in Psychology_ will be of interest to psychologists, as well as scholars in related fields. The resourceful teacher could use a selection of chapters as supplementary readings to enhance almost any course in the discipline. The major purpose of these books is to provide source materials for students and their teachers in undergraduate and graduate courses in the history of psychology. Each of the five volumes in this series contains different profiles thereby bringing more than 100 of the pioneers in psychology more vividly to life. (shrink)

This portrait proceeds from the hypothesis that an actress should be studied as a distinct subject and that, in this sense, Giacinta Pezzana is representative because of her artistic choices and feminism, resting on friendship among women. In this article the author proposes a theoretical biography in nuce, which identifies the contexts and the problematical issues of Pezzana’s history, in the interweaving of the public and personal spheres, favouring the use of epistolary sources. Her lifetime witnessed the coexistence of the (...) Grande attore tradition, issues of Naturalism, Duse’s revolutionary art and industrial standardization. Pezzana stood out for her ethical sense and strong emphasis on expressivity, which disposed her to populist developments. Hence, her interest in popular and experimental theatre, renewable through linguistic and dramaturgic inventions. This brings about a double identity as writer and actress and an original twofold repertoire: the warhorses – such as Zola’s Teresa Raquin – and the ‘intellectual luxuries’, such as the Serate Dantesche, where she appears as a precursor of one-woman-shows. (shrink)

This paper presents a close analysis of Steve Pyke’s famous series of portraits of philosophers. By comparing his photographs to other well-known series of portraits and to other portraits of philosophers we will seek a better understanding of the distinctiveness and fittingness of Pyke’s project. With brief nods to Roland Barthes, Jean Baudrillard, G.W.F. Hegel, and Arthur Schopenhauer and an extensive critical investigation of Cynthia Freeland’s ideas on portraiture in general and her reading of Steve Pyke’s (...) class='Hi'>portraits in particular, this paper will also aim to make a contribution to the philosophical debate on portraiture. (shrink)

For the modern-day jihadist, the digital self-portrait or, more specifically, battlefield selfie is a popular tool for identity building. Similarly to the selfies taken by non-violent practitioners of self-capture culture, the jihadist selfie represents an alternative to the Cartesian formulation of a unitary and indivisible self. Rather, it is a product of social relations and performative actions, constituted in dialogue with others through very specific socio-cultural frameworks and expectations. However, unlike its non-violent Doppelganger, the expectations of this dialogue are centred (...) around a larger political agenda which actively seeks to reformat collective memories of imperial Islamic conquests and co-opt religion as a way to impose a moral order on its violence. Importantly, the battlefield selfie allows the jihadist easily to traverse the boundaries between two seemingly opposing belief systems. Although there exists a wealth of scholarship of self-capture culture, image sharing sites and micro-celebritism, their pervasive influence and practice on battlefield is understudied. This article draws from the personal histories of key Islamic extremists who were both lionized and demonized as a result of their battlefield micro-influencer practices. Today, however, the same individuals can achieve internet fame by participating in self-capture culture – posting selfies, videos or blogging. In other words, never before has a soldier’s public communication been so personal yet collective. (shrink)

This true story explores friendship and the impact of harsh life circumstances on one's life. Vivid with self-exploration, philosophical conversation, and a surprising twist, Portrait of a Life will empower readers and leave them striving to attain peace of mind, self-worth, and the realization of happiness.

Each chapter in Portrait of God explores an attribute of God through a person in church history who radically experienced His nature." -- Amazon.com.

Portraits of patients served many clinical functions in eighteenth-century medic John Hunter's medical practice. As incarnations of medical skills and medical knowledge, they helped Hunter understand his patients’ problems. They could also bridge the physical absence of his patients, and so help him discuss cases at a distance with other members of the medical faculty. Moreover, portraits complemented text in his day-to-day practice; portraits were in no way an ancillary medium for Hunter, but rather a fundamental way (...) of working. Meanwhile, the role of Hunter's assistants as medically trained artists complicates typical historical models of patient–practitioner interactions, and affects how patients were objectified by modes of looking and by art. (shrink)

In Portraits of American Philosophy, eight of America’s most prominent philosophers offer autobiographical narratives that remind us that the life of a scholar is both a tale of personal struggle and an adventure in ideas.

What can we learn from plants? Which forms of intelligence and knowledge can we discover by dedicating ourselves to understanding the life of a plant, its characteristics, interactions with the environment and cultural narratives? This article aims to bridge recent studies in plant intelligence, Semiotics and creative processes. Departing form the idea that the world arrived at a critical situation and the planet Earth cannot continue being exploited as an infinite source, we argue that it is necessary to promote transformations (...) in our culture, abandoning the anthropocentric framework and looking for new perspectives. In this sense, connecting communication, art, science and education, the purpose of Plant Portraits is to create experiences and propitiate encounters that catalyse the awakening of an expanded and integrated consciousness. (shrink)

The contours of the portrait of David contained in the Old Testament narratives can be recognized more clearly if they are seen in relation to a portrait composed in a medium other than words.

This book offers glimpses into the personal and scholarly lives of 20 giants in the history of psychology. As in the earlier volumes, prominent scholars were invited to prepare chapters on a pioneer who had made important contributions in their own area of expertise. Some of the psychologists described may be the teachers of the instructors who will be the users of this book, potentially providing a personal connection of the pioneers to the students. A special section provides brief (...) class='Hi'>portraits of the editors and authors, containing interesting information about the relationship between the pioneers and the psychologists who describe them. Utilizing an informal, personal, sometimes humorous, style of writing, the book will appeal to students and instructors interested in the history of psychology. Each of the five volumes in this series contains different profiles thereby bringing more than 100 of the pioneers in psychology more vividly to life. (shrink)