Public lectures delivered at two separate venues, the Sheldon Art Museum in Lincoln, Nebraska, and Kaneko, in Omaha, Nebraska.

Childhood looms large in our understanding of human life, as a phase through which all adults have passed. Childhood is foundational to the development of selfhood, the formation of interests, values and skills and to the lifespan as a whole. Understanding what it is like to be a child, and what differences childhood makes, are thus essential for any broader understanding of the human condition. The Routledge Handbook of the Philosophy of Childhood and Children is an outstanding reference source for the key topics, problems and debates in this crucial and exciting field and is the first collection of its kind. Comprising over thirty chapters by a team of international contributors the Handbook is divided into five parts: · Being a child · Childhood and moral status · Parents and children · Children in society · Children and the state. Questions covered include: What is a child? Is childhood a uniquely valuable state, and if so why? Can we generalize about the goods of childhood? What rights do children have, and are they different from adults’ rights? What (if anything) gives people a right to parent? What role, if any, ought biology to play in determining who has the right to parent a particular child? What kind of rights can parents legitimately exercise over their children? What roles do relationships with siblings and friends play in the shaping of childhoods? How should we think about sexuality and disability in childhood, and about racialised children? How should society manage the education of children? How are children’s lives affected by being taken into social care? The Routledge Handbook of the Philosophy of Childhood and Children is essential reading for students and researchers in philosophy of childhood, political philosophy and ethics as well as those in related disciplines such as education, psychology, sociology, social policy, law, social work, youth work, neuroscience and anthropology.

'The Centre as Margin. Eccentric Perspectives on Art' is a multi-authored volume of collected essays that answer the challenge of thinking Art History, and the Arts in a broader sense, from a liminal point of view. Its main goal is thus to discuss the margin from the centre - drawing on its concomitance within study themes and subjects, ontological and epistemological positions, or research methodologies themselves. Marginality, eccentricity, liminality, and superfluity are all part of a dynamic relationship between centre and margin(s) that will be approached and discussed, from the point of view of disciplines as different and as close as art history, philosophy, literature and design, from medieval to contemporary art. Resulting from recent research developed from the privileged viewpoint offered by the margin, this volume brings together the contributions of young researchers along with the work of career scholars. Likewise, it does not obey a traditional or a rigid diachronic structure, being rather organized in three major parts that organically articulate the different essays. Within each of these parts in which the book is divided, papers are sometimes organized according to their timeframes, providing the reader with an encompassing (though not encyclopedic) overview of the common ground over which the various artistic disciplines build their methodological, theoretical, and thematic centers and margins. The intended eccentricity of this volume – and the original essays herein presented – should provide researchers, scholars, students, artists, curators, and the general reader interested in art with a refreshing approach to its various scientific strands.

Interest in the use of digital technology in art therapy has grown significantly in recent years. This book provides an authoritative overview of the applications of digital art therapy with different client groups and considers the implications for practice. Alongside Cathy Malchiodi, the contributors review the pros and cons of introducing digital technology into art therapy, address the potential ethical and professional issues that can arise and give insight into the effect of digital technology on the brain. They cover a wide range of approaches, from therapeutic filmmaking to the use of tablet and smartphone technology in therapy. Detailed case studies bring the practicalities of using digital technology with children, adolescents and adults to life and the use of social media in art therapy practice, networking and community-building is also discussed.

In Picasso's Demoiselles, eminent art historian Suzanne Preston Blier uncovers the previously unknown history of Pablo Picasso's Les Demoiselles d’Avignon, one of the twentieth century's most important, celebrated, and studied paintings. Drawing on her expertise in African art and newly discovered sources, Blier reads the painting not as a simple bordello scene but as Picasso's interpretation of the diversity of representations of women from around the world that he encountered in photographs and sculptures. These representations are central to understanding the painting's creation and help identify the demoiselles as global figures, mothers, grandmothers, lovers, and sisters, as well as part of the colonial world Picasso inhabited. Simply put, Blier fundamentally transforms what we know about this revolutionary and iconic work.

The Routledge Companion to Music and Human Rights is a collection of case studies spanning a wide range of concerns about music and human rights in response to intensifying challenges to the well-being of individuals, peoples, and the planet. It brings forward the expertise of academic researchers, lawyers, human rights practitioners, and performing musicians who offer critical reflection on how their work might identify, inform, or advance mutual interests in their respective fields. The book is comprised of 28 chapters, interspersed with 23 ‘voices’ – portraits that focus on individuals’ intimate experiences with music in the defence or advancement of human rights – and explores the following four themes: 1) Fundamentals on music and human rights; 2) Music in pursuit of human rights; 3) Music as a means of violating human rights; 4) Human rights and music: intrinsic resonances.

On March 17, 2011, many Syrians rose up against the authoritarian Asad regime that had ruled them with an iron fist for forty years. Initial successes were quickly quashed, and the revolution seemed to devolve into a civil war pitting the government against its citizens and extremist mercenaries. As of late 2015, almost 300,000 Syrians have been killed and over half of a total population of 23 million forced out of their homes. Nine million are internally displaced and over four million are wandering the world, many on foot or in leaky boats. Countless numbers have been disappeared. These shocking statistics and the unstoppable violence notwithstanding, the revolution goes on. The story of the attempted crushing of the revolution is known. Less well covered has been the role of artists and intellectuals in representing to the world and to their people the resilience of revolutionary resistance and defiance. How is it possible that artists, filmmakers and writers have not been cowed into numbed silence but are becoming more and more creative? How can we make sense of their insistence that despite the apocalypse engulfing the country their revolution is ongoing and that their works participate in its persistence? With smartphones, pens, voices and brushes, these artists registered their determination to keep the idea of the revolution alive. Dancing in Damascus traces the first four years of the Syrian revolution and the activists’ creative responses to physical and emotional violence.