The first chronicle of the whole story of female self portraiture through the centuries—a key work in the study of women’s art For centuries, women’s self-portraiture was a highly overlooked genre. Beginning with the self-portraits of nuns in medieval illuminated manuscripts, Seeing Ourselves finally gives this richly diverse range of artists and portraits, spanning centuries, the critical analysis they deserve. In sixteenth-century Italy, Sofonisba Anguissola paints one of the longest series of self-portraits, from adolescence to old age. In seventeenth-century Holland, Judith Leyster shows herself at the easel as a relaxed, self-assured professional. In the eighteenth century, from Elisabeth Vigée-Lebrun to Angelica Kauffman, artists express both passion for their craft and the idea of femininity; and the nineteenth century sees the art schools open their doors to women and a new and resonant self-confidence for a host of talented female artists, such as Berthe Morisot. The modern period demolishes taboos: Alice Neel painting herself nude at eighty years old, Frida Kahlo rendering physical pain on the canvas, Cindy Sherman exploring identity, and Marlene Dumas dispensing with all boundaries. Frances Borzello’s spirited text, now fully revised, and the intensity of the accompanying self-portraits are set off to full advantage in this new edition, now in reading-book format.

This book is open access under a CC BY license. Selfies, blogs and lifelogging devices help us understand ourselves, building on long histories of written, visual and quantitative modes of self-representations. This book uses examples to explore the balance between using technology to see ourselves and allowing our machines to tell us who we are.

In Seeing Ourselves, philosopher and neuroscientist Raymond Tallis goes in search of what kind of beings we are, and where we might find meaning in our lives. Showcasing a remarkably detailed engagement with a huge range of disciplines, Tallis shows the unique nature of human consciousness.

Being equipped to confront issues related to racial and ethnic diversity is a crucial skill for Canadians. This new edition of Seeing Ourselves uses a collection of personal comments and essays, written by students from a wide variety of ethnic backgrounds, to examine what it means to participate in the cultural and ethnic "mosaic" that comprises Canada today. Carl James creates a dialogue with students and readers that probes the meaning of ethnicity, race and culture, both in terms of the meanings individuals bring to these concepts and how they are understood in Canadian society as a whole. The varied perspectives, detailed analyses and careful reflections will be invaluable to anyone seeking to understand the meaning and implications of ethnic diversity in Canadian society today. To facilitate classroom discussion, this edition also includes background information and new, up-to-date statistics on the Canadian population - immigration trends, ethnic composition, religious affiliation and other characteristics of Canadians.

The most beautiful and influential photographs ever made were of the whole earth seen from space. They were taken from the moon, almost as an afterthought, by the astronauts of the Apollo space programme. They inspired a generation to think more seriously about our responsibility for this tiny oasis in space, the 'blue marble' falling through empty darkness. This is a book about the long road to the capture of those unforgettable images. It is a history of the space programme and of the ways in which it transformed our view of the earth and changed the lives of the astronauts who walked in space and on the moon. It is the story of the often blemished visionaries who inspired that journey into space: Charles Lindbergh, Robert Goddard and Wernher Von Braun, and of the courageous pilots who were the first humans to escape the Earth's orbit.

Dogs are as ubiquitous in American culture as white picket fences and apple pie, embracing all the meanings of wholesome domestic life—family, fidelity, comfort, protection, nurturance, and love—as well as symbolizing some of the less palatable connotations of home and family, including domination, subservience, and violence. In Picturing Dogs, Seeing Ourselves, Ann-Janine Morey presents a collection of antique photographs of dogs and their owners in order to investigate the meanings associated with the canine body. Included are reproductions of 115 postcards, cabinet cards, and cartes de visite that feature dogs in family and childhood snapshots, images of hunting, posed studio portraits, and many other settings between 1860 and 1950. These photographs offer poignant testimony to the American romance with dogs and show how the dog has become part of cultural expressions of race, class, and gender. Animal studies scholars have long argued that our representation of animals in print and in the visual arts has a profound connection to our lived cultural identity. Other books have documented the depiction of dogs in art and photography, but few have reached beyond the subject’s obvious appeal. Picturing Dogs, Seeing Ourselves draws on animal, visual, and literary studies to present an original and richly contextualized visual history of the relationship between Americans and their dogs. Though the personal stories behind these everyday photographs may be lost to us, their cultural significance is not.