In this volume, specialists from different fields present case studies of text-image relationships in the religious field (1400-1700) with a methodological and/or theoretical dimension.

This volume contains twenty-four essays, which, in their subjects and methodology, pay tribute to the scholarship of Walter S. Melion. The contributions are grouped under three categories: “Devotion,” “Art and Image Theory,” and “Vision and Contemplation.” The Devotion section addresses votive practices, theological theory and polemic literature. The Art and Image Theory section focuses on Jesuit image theory, the reflexive dimension of works, and artists’ reflections on the function of images. Finally, the Vision and Contemplation section discusses the ‘early modern eye’ as a tool for thoughtful, prolonged looking to ascertain visual wit, deception, self-assessment and friendship, sacred and profane allegories.

"In 'Rethinking Thought, ' Laura Otis gives readers a multi-dimensional tour through the minds of thirty creative thinkers to illustrate how the experience of productive thought can vary across the spectrum. Focusing on individual experiences with planning, problem-solving, reflecting, remembering and forging new ideas, Otis approaches the question of what thinking is by analyzing variations in the way thinking feels. Drawing from her own experience as a neurocscientist-turned literary scholar, Otis aptly juxtaposes creative thinkers' insights with recent neuroscientific discoveries centering on visual mental imagery, verbal language, and thought. By offering distinct psychological portraits of famous figures like controversial novelist Salman Rushdie and engineer Temple Grandin, Otis treats scientists and artists with equal respect, and creates a fascinating dialogue in which neuroscientific findings and introspection engage with each other as equal partners. 'Rethinking Thought' encourages readers to resist the temptation of classifying people as 'visual' or 'verbal, ' and to instead consider how thinkers combine both skill-sets and how their abilities can be further developed as a result. By showing how greatly individual experiences of thought can vary, this book aims to help readers in all proessions better understand the diverse pool of people with whom they work and interact with"--Page 4 of cover.

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Assessment in architecture and creative arts schools has traditionally adopted a ‘one size fits all’ approach by using the ‘crit’, where students pin up their work, make a presentation and receive verbal feedback in front of peers and academic staff. In addition to increasing stress and inhibiting learning, which may impact more depending on gender and ethnicity, the adversarial structure of the ‘crit’ reinforces power imbalances and thereby ultimately contributes to the reproduction of dominant cultural paradigms. This book critically examines the pedagogical theory underlying this approach, discusses recent critiques of this approach and the reality of the ‘crit’ is examined through analysis of practice. The book explores the challenges for education and describes how changes to feedback in education can shape the future of architecture and the creative arts.

Gotthold Ephraim Lessing first published Laokoon, oder über die Grenzen der Mahlerey und Poesie (Laocoon, or on the Limits of Painting and Poetry) in 1766. Over the last 250 years, Lessing's essay has exerted an incalculable influence on western critical thinking. Not only has it directed the history of post-Enlightenment aesthetics, it has also shaped the very practices of 'poetry' and 'painting' in a myriad of different ways. In this anthology of specially commissioned chapters - comprising the first ever edited book on the Laocoon in English - a range of leading critical voices has been brought together to reassess Lessing's essay on its 250th anniversary. Combining perspectives from multiple disciplines (including classics, intellectual history, philosophy, aesthetics, media studies, comparative literature, and art history), the book explores the Laocoon from a plethora of critical angles. Chapters discuss Lessing's interpretation of ancient art and poetry, the cultural backdrops of the eighteenth century, and the validity of the Laocoon's observations in the fields of aesthetics, semiotics, and philosophy. The volume shows how the Laocoon exploits Greek and Roman models to sketch the proper spatial and temporal 'limits' (Grenzen) of what Lessing called 'poetry' and 'painting'; at the same time it demonstrates how Lessing's essay is embedded within Enlightenment theories of art, perception, and historical interpretation, as well as within nascent eighteenth-century ideas about the 'scientific' study of Classical antiquity (Altertumswissenschaft). To engage critically with the Laocoon, and to make sense of its legacy over the last 250 years, consequently involves excavating various 'classical presences': by looking back to the Graeco-Roman past, the volume demonstrates, Lessing forged a whole new tradition of modern aesthetics.