This book is an academic biography of Liu Ching-chih, a renowned musicologist and translation scholar, and a prolific music critic in Hong Kong. Three Library Collections named after him are housed in the University of Hong Kong Libraries, the Hong Kong Central Library, and the Library of the Institute of Chinese Studies of the University of Heidelberg. This volume of life writing is distinguished from average biographies by its reliance on systematic analyses of an extensive array of texts and interview data. The chapters integrate chronologies, narratives, analyses and intertextual connections, with the voice of Liu foregrounded, to present a multifaceted character whose decades-long scholarship spanned across music criticism, the history of new music in China, and translation. Several chapters document Liu’s process of working on his major book projects,. One chapter portrays Liu as a scholar-music critic, and another features his leadership at the Hong Kong Translation Society. A chapter that documents Liu’s immensely rich array of academic and cultural services in Hong Kong is followed by a linguistic and cultural profile of the scholar. The ending chapter, on the biography project itself, traces the evolution of the project, explains the research methodology, and provides a metadiscoursal account of the writing of the book. The book provides a valuable reference for those who want to know about humanities scholars, public intellectuals, music criticism, music research, and civic societies in Hong Kong, for those who are curious about the academic exchange between Hong Kong and mainland China during the 1980s-1990s, and for those who are interested in an interdisciplinary approach in life writing research and the genre of life writing concerning in particular scholars.

This book intends to explore the atmospheric issue from an independent, architectural perspective. It is composed of two main sections. The first one introduces and analyzes the atmospheric concept inside the lexical scope of the architectural discipline, mapping the whole taxonomy of semantic declinations that are recognized by architecture, in addition to retracing the etymology of the term ‘atmosphere’ and its evolution. The second section studies the topic throughout the sensory-emotional filter of the perceiving subject located in the built environment, gleaning suggestions from neuroscientific knowledge. More recently, architecture and neuroscience have started to interact, both in the combination of their theories and through experiment-based investigations.

By 1920, Buenos Aires was the largest and most cosmopolitan city of Latin America due to mass immigration from Europe. Unbridled urban expansion had drastic effects on the social and cultural topography of the Argentine capital, raising ideological and aesthetic issues that shaped the modernist landscape of the country. Artists across disciplines responded to these changes with conflicting depictions of urban space. Centering these conflicts as a cognitive map of modernity’s new realities in the city and in understandings of the city itself, Buenos Aires and the Arts looks at the interaction between modernity and modernism in literature, photography, film, and painting during the interwar period. This was a time of profound change and heightened cultural activity in Argentina. Eleni Kefala analyzes works by Jorge Luis Borges, Oliverio Girondo, José Ferreyra, Xul Solar, Roberto Arlt, and Horacio Coppola, with a focus on the city of Buenos Aires as a playground of modernity.

In the late nineteenth century, medical educators intent on transforming American physicians into scientifically trained, elite professionals swiftly recognized the value of medical school design for their reform efforts. Between 1893 and 1940, nearly every medical college in the country rebuilt or substantially renovated its facility. In Building Schools, Making Doctors, Katherine Carroll reveals how the new buildings constructed during this fifty-year period did more than passively house a new system of medical training; they actively participated in defining and promoting a reformed pedagogy, modern science, and the new physician. Interdisciplinary and wide ranging, her study moves architecture from the periphery of medical education to the center, revealing a network of medical educators, architects, and philanthropists who believed that the educational environment itself shaped how students learned and the type of physicians they became. Carroll offers the first comprehensive study of the science and pedagogy formulated by new facilities, the influence of donors and architects, the impact of educational centers on the urban landscape and the local community, and the privileging of white men within the medical profession during this formative period for physicians and medical schools.

The Schuylkill River flows more than 100 miles from the mountains of the Pennsylvania Coal Region to the Delaware River. It passes through five counties - Schuylkill, Berks, Chester, Montgomery, and Philadelphia - and its valley is home to more than three million people, yet few are aware of the hidden ruins and traces left by a pioneering 200-year-old inland waterway: the Schuylkill Navigation. Some of it is literally buried in their own backyards. Often called the Schuylkill Canal, this complex Navigation system actually boasted twenty-seven canals. The first of the anthracite-carrying routes in America, the 108-mile Navigation shadowed the Schuylkill River for nearly all its length. It once had more than thirty dams and slackwater pools, more than 100 stone locks, numerous aqueducts, and the first transportation tunnel in the nation. They were all built by hand starting in 1816. In the 1940s, as part of a massive environmental cleanup of the river, this important and influential infrastructure was largely dismantled - but not entirely. Two short sections of the watered canal get plenty of attention: the Oakes Reach at Schuylkill Canal Park near Phoenixville and the Manayunk Canal in Philadelphia. Both are popular recreational destinations. What happened to the rest of it? Photographer Sandy Sorlien resolved to find out. Over the course of seven years, she traveled upriver repeatedly to bushwhack along the riverbanks and to row and paddle in the river itself. Armed with camera and binoculars, loppers and trekking poles, nineteenth-century maps and modern satellite imagery, and abetted by local historians and an archaeologist, she found all sixty-one lock sites and explored most of the canal beds. Her photographs reveal a mysterious remnant landscape, evidence of a bold industrial innovation that spelled its own demise. The water pollution created by the coal industry and obstructive dams meant the end of a way of life for the towns that boomed along the canals, from Pottsville to Reading, Birdsboro to Phoenixville, Bridgeport to Philadelphia. Along with Sorlien's full-color plates and explanatory essays, Inland features a selection of historic images, rare historic Schuylkill Navigation Company maps, and early Philadelphia Watering Committee plans. The book also includes a foreword by renowned landscape scholar John R. Stilgoe, an essay on regional transportation history by Mike Szilagyi, Trails Project Manager for the Schuylkill River Greenways Natural Heritage Area, and an afterword by Karen Young, Director of the Fairmount Water Works Interpretive Center. A sweeping new Schuylkill River map by Morgan Pfaelzer connects it all. Inland is the first to present contemporary photographs from a survey of the entire Schuylkill Navigation, becoming an essential resource for future historians and a resonant visual history all its own.

Marlene Dietrich never threw away anything. She kept her good-luck rag doll (it appeared with her in The Blue Angel and followed her to dressing tables on every movie set). She kept the letters she received from her lovers and her husband of fifty-three years. She kept every article of clothing made for her by the great French couturiers and the legendary Hollywood costume designers. She kept everything. After Dietrich's death, all of the articles were collected – 25,000 objects and 18,000 images. Here, her treasures are brought together in 289 photographs from her own collection, with extended captions by her daughter, Maria Riva. We see Dietrich across the years and roles of her life: a child, a young actress in Berlin, a newlywed, a devoted American, a mother, and of course, a glamorous Hollywood legend. An intimate look into the life of an unforgettable star, Marlene Dietrich: Photographs and Memories gifts fans with insights from Marlene herself.

Occupying Massachusetts: Layers of History on Indigenous Land is an art book that engages with history. Featuring photographs of dwellings and vernacular structures found in rural Massachusetts, the book is a meditation on the human occupation of land, with an emphasis on the long presence of Indigenous people and the waves of settlement by people from other countries that began during the early 1600s and continues today.Utilizing a muted colour palette, Matthews's photographs of both structures and historical markers are subtle and haunting. They suggest the presence of histories, embedded in the landscape but often invisible. Although the book is focused on Massachusetts, it implicitly raises larger issues of settlement and nationhood. How did the United States of America come to occupy its land? How is this story told? As a longtime occupant/occupier of Massachusetts herself, Matthews aims to understand more deeply the land on which she lives.The main text of the book comes from photographs of historic markers, which were installed around the state at different times by different interest groups. The words on these markers describe early relations between Indigenous people and largely English settlers, from diverse points of view. In this way, the book explores how difficult histories are written and how they change over time. Concluding essays by Indigenous activist David Brule and poet Suzanne Gardinier provide important perspectives as well, connecting the past and future. Occupying Massachusetts is a moving story whose message will be appreciated for years to come.

Houses, in the Argentine and Chilean films of the early 21st-century, provide much more than a backdrop to on-screen drama. Nor are they simply refuges from political turmoil or spaces of oppression. This volume argues that domestic spaces are instead the medium through which new, fragile common identities are constructed. The varied documentary and fiction films analyzed here – which include an early work by Oscar-winner Sebastián Lelio – use the domestic sphere as a laboratory in which to experiment with narrative, with audiovisual techniques, and with social configurations. Where previous scholarship has focused on the social fragmentation and political disillusionment visible in contemporary film, this book argues that in order to properly account for the political agency of cinema, it is necessary to move beyond deconstructive critical approaches to Latin American culture. In doing so, it expands the theoretical scope of studies in Latin American cinema by finding new points of contact between the cultural critique of Nelly Richard, the work of Bruno Latour, and theories of new materialism.

Far from merely considering the aural 'segments' of audiovisual texts (i.e. the soundtrack) in terms of their expressive and artistic significance, or being concerned only with 'audio' and technologically mediated sound in and of itself, this volume aims to understand how the theoretical concepts and methods developed to investigate aurality could reframe cinema and visual media as research objects. Distributed across ten different thematic sections, the contributors develop the theoretical content of 'aural epistemologies' in Film and Media Studies, discuss the role of listening culture in our experience as film spectators and media users and, finally, re-assess the significance of sound archives and sonic archaeologies in relation to our knowledge of past (sound)mediascapes.

Much of the American South, especially its small towns and rural areas, is connected not by interstate highways but through a web-like network of country roads, many of which appear only on the most detailed of maps. These are the backroads that most Southerners drive on every day. Unlike the interstates, whose roadsides have been largely scrubbed clean of regional character, these smaller roads travel through unplanned, vernacular landscapes that tell much about local life, both past and present, and suggest that we make connections between the two. David Wharton has been traveling throughout the American South since 1999, resulting in his first two books - Small Town South (2012) and The Power of Belief: Spiritual Landscapes from the Rural South (2016). As he journeyed, he often paused to make pictures of hamlets and the countryside he was driving through that did not fit the themes of those earlier books. These are scenes that speak to a sense of wonderment, or curiosity, about how those landscapes came to be and how they reflect a complex past with a modern-day world in which the urban competes with the rural in nearly every way. In Roadside South, the third book in Wharton's magical Trilogy of the American South, the photographer captures the quirky and the humorous, the sometimes sad and sometimes ironic scenes that are commonplace along the local, county, and state roads of the South. No artist has revealed the on-the-ground truth of the South as Wharton has, giving rise to a new understanding of and appreciation for a distinctive regional culture that all too frequently, and sometimes mistakenly, is imagined as a bastion of rural and small-town virtue.

Harlan Hubbard (1900-1988), Kentucky writer, environmentalist and artist, spent many years trying to rediscover and revive the vanishing language of landscape in his watercolor paintings. Known for their sense of drifting movement and their depiction of the simple way of life for which Hubbard was known, they inexplicably remain his least-studied artworks, despite being some of the best evidence of Hubbard's place in the history of landscape painting.The Watercolors of Harlan Hubbard not only argues Hubbard's place in the art historical canon, but also highlight and analyze the artist's own voice. In this unique collection, more than 200 watercolors are interspersed with anecdotes to present a personal meditation on the influence that Hubbard's work has had on the lives of those who knew him.

Originally written for the stage, We, the Women of Tehran illustrates from a female standpoint the origins and contradictions of the Iranian capital, and the rights of religious minorities and women. It showcases women who have played a leading role in various disciplines and sports but who all too often have simply become an element in the regime's propaganda. The volume presents a lively narrative with verses from the great Persian poets and a hefty dose of irony: as a way to laugh about complex issues and dismantle misleading stereotypes.

One of the most successful writers in Hollywood, Ernest Lehman penned some of the most iconic and memorable scenes to ever grace the silver screen. Hailed by Vanity Fair as "perhaps the greatest screenwriter in history," Lehman's work on films such as North by Northwest, The King and I, Sabrina, West Side Story, and the Sound of Music helped define a generation of movie making. But while his talent took center stage, the public knew little of Lehman himself, a native of Manhattan's Upper West Side and the Five Towns of Long Island devoted to his wife of 50 years. His relentless perfectionism, hypochondria and all-night writing sessions fueled by tequila and grilled cheese sandwiches were some of the quirks that made Lehman a legend in the Hollywood community. In Ernest Lehman: The Sweet Smell of Success, author Jon Krampner lays bare the life of this lauded yet elusive character. Moving seamlessly from post-production meetings to sound stages and onto the locations of Lehman's greatest films, Krampner's extensive biography brings to life the genius and singularity of the revered screenwriter's personality and the contributions he made to the world of cinema.

‘Told with exceptional scholarship, wit and humanity; the book itself is a ravishingly beautiful object’ - World of Interiors ‘Geraghty excels in uncovering the allusions that added up to a patriotic statement about French culture’s ability to absorb and refine diverse European precedents’ - Apollo ‘Beautifully illustrated book reconstructs what the house, collections and mausoleum were like before 1920’ - Spectator This absorbing book tells the story of Empress Eugénie (1826–1920), the wife of Napoleon III and the last Empress-Consort of France. Today she is remembered for her physical beauty, for her influence as a taste maker and for her glittering contribution to the second imperial court – but she outlived the Second Empire by half a century and lived in exile in England. The Empress bought the Farnborough Hill estate in 1880, following a decade of personal tragedy: the collapse of the Second Empire (1852–70), the death of Napoleon III, and the loss of her only child. The death of the Prince Imperial in 1879, aged 23, ended all hope ofa Bonapartist restoration. With the imperial succession removed to another branch of the family, Eugénie resolved to create a permanent monument to her husband and son. This was her primary reason for moving to Farnborough. This book describes the little-known assemblage of art and architecture that she created there in the 1880s. Geraghty analyses the principal buildings on the imperial estate: Farnborough Hill itself, which was extensively remodelled for the court-in-exile that Eugénie maintained there from 1880 to 1920; and St Michael’s Abbey, the spectacular domed mausoleum that the Empress built on an adjacent hill in 1883–88. These projects were entrusted to a French architect, Hippolyte Destailleur (1822–93), whose erudite designs situated the history of the Second Empire within the longer history of French architecture and design. Geraghty also provides the fi rst detailed account of the lost interiors of Farnborough Hill. He traces the origins of the collection back to the Second Empire, and – drawing upon historic photos, inventories, and sale catalogues – he shows how the collection was displayed in the principal rooms of the house. Primarily dynastic in purpose, the display included a major sequence of Bonaparte family portraits, including works by David, Gérard, Winterhalter, and Carpeaux. Eugénie also had an important collection of decorative arts, including Gobelins tapestries, Sèvres porcelain, and royal French furniture. Composed by the Empress herself, the display at Farnborough Hill was the last manifestation of the ‘Louis XVI-Impératrice’ mode of interior decoration that she had popularised in the 1850s. It was also, in its juxtaposition of modern and historic pieces, the final expression of the nouvelle sociabilité of the second imperial court. Finally, the book describes the breakup of the estate in 1927, when the house wassold to a convent school and the collection was dispersed at auction. Today, only the Mausoleum functions as Eugénie originally envisaged. Geraghty, however, recovers the totality of Eugenie’s vision for Farnborough. In so doing, he describes how the Napoleonic ideal, for one final time, was made visible through art, architecture, and collecting.

Anna Freeman Bentley’s paintings use architectural imagery to explore the emotive potential of space. Grounded in an interest in the baroque her source material includes junk shops, restaurants, private members clubs, flea markets and designed interiors. Central to her work is an investigation into surface, tension and the atmosphere evoked by these different interior surroundings. The spaces she depicts are empty, yet visual signifiers point to evidence of people and social happenings.This, Freeman Bentley’s third publication to date, is centred on the relationship between painting and cinema and is divided into sections dedicated to major paintings on canvas and panel, and a number of works on paper (all works 2021–22). Freeman Bentley’s work here is focused on sets from 'The Colour Room' (2021), a film that tells the story of the early career of celebrated British ceramicist Clarice Cliff (1899–1972). The foreword to the book is written by Rollo Campbell and Matt Incledon of Frestonian Gallery. An essay by writer and critic Thomas Marks draws out the importance to her work of historic and contemporary cinema and temporary architecture. Marks notes a change in palette in these new paintings, with Freeman Bentley embracing pastels and tracing parallels between the artist herself and Cliff. An interview with Georgie Paget, co-founder of Caspian Films, production company for 'The Colour Room', meanwhile, provides insight into the artist’s particular interest in the artifice of film props and of the film set as a layered space ‘steeped in meaning, purpose and potential.’ The two discuss the reciprocity of painting and cinema in detail, recounting Freeman Bentley’s experiences on the film’s sets and discussing her working processes, beginning with taking photographs on set, through to oil sketches and the later development of large-scale canvases.The publication is edited by Matt Incledon and Matt Price. It is designed by Joe Gilmore, printed and bound by Gomer, Wales, and co-published by Frestonian Gallery, London, and Anomie Publishing, London. The publication coincides with the second solo show by Anna Freeman Bentley at Frestonian Gallery, by whom the artist is represented. The exhibition, also titled ‘make believe’ is divided between two sites: the 2022 Armory Show, New York, and Frestonian Gallery, London. Anna Freeman Bentley studied Painting at Chelsea College of Art, Kunsthochschule Berlin Weissensee and the Royal College of Art. Awards and residencies include Palazzo Monti Residency, Brescia, Italy, 2019; The Elizabeth Greenshields Foundation Grant 2019 and 2017, and Artist in Restaurant residency at Michelin-starred restaurant Pied à Terre, London, 2012. Selected exhibitions (* denotes solo) include DENK Gallery, Los Angeles, 2019_, Ahmanson Gallery, Irvine, 2018_; Space K, Seoul, 2017; 68projects, Berlin, 2017; the East London Painting Prize 2014 and 2015; Workshop Gallery, Venice, 2012*; MAC Birmingham, 2011; Prague Biennale, 2011, and the Bloomberg New Contemporaries, 2009. Her work is part of the Hotel Crillon collection, Paris; Saatchi Collection, London; Hogan Lovells Collection, London; the Ahmanson Collection, California, and numerous private collections worldwide.

This book presents the life and work of the Victorian landscape painter Alfred Augustus Glendening (1840-1921). With beautiful illustrations of his pictures, showing a timeless countryside, it explores Glendening’s rapid rise from railway clerk to acclaimed artist. Whilst critics often reviewed his exhibited works, very little has been written about the artist himself. Here, new and extensive research removes layers of mystery and misinformation about his life, family and career, accurately placing him in the midst of the British art world during much of the nineteenth and into the twentieth century. Glendening was a man from humble origins, working fulltime as a railway clerk, yet was able to make his London exhibition debut at the age of twenty. This would have been almost impossible before the Victorian era, an extraordinary period when social mobility was a real possibility. Although his paintings show a tranquil and unspoiled landscape, his environment was rapidly being transformed by social, scientific and industrial developments, while advances in transport, photography and other technical discoveries undoubtedly influenced him and his fellow painters. Celebrating his uniquely Victorian story, the book places Glendening within his historical context. Running alongside the main text is a timeline outlining significant landmarks, from political and social events to artistic and technical innovations. Thoroughly researched over many years, the narrative explores why and for whom he painted, his artistic training and inspirations. Painting at Hampton and Greenwich, beside the River Thames, Glendening soon discovered the Welsh hills and became a member of the Bettws-y-Coed Artists' Colony, founded by David Cox. His masterful landscapes also include views of the Scottish Highlands, the Lake District, the Norfolk Broads, the South Downs and the Isle of Wight. The book uncovers new information about the Victorian art world and embraces such aspects as Royal Academy prejudices, the popularity of Glendening's work at home and abroad, especially Australia and America, his use of photography, and the sourcing of his art materials. Family trees are included, and other artistic family members discussed, notably his son and pupil Alfred Illman Glendening (1861-1907). There is a comprehensive list of their exhibited works at the Royal Academy and other major institutions, and details of their paintings in public collections.