This authoritative catalogue of the Corcoran Gallery of Art's renowned collection of pre-1945 American paintings will greatly enhance scholarly and public understanding of one of the finest and most important collections of historic American art in the world. Composed of more than 600 objects dating from 1740 to 1945.

Genre studies and genre approaches to literacy instruction continue to develop in many regions and from a widening variety of approaches. Genre has provided a key to understanding the varying literacy cultures of regions, disciplines, professions, and educational settings. GENRE IN A CHANGING WORLD provides a wide-ranging sampler of the remarkable variety of current work. The twenty-four chapters in this volume, reflecting the work of scholars in Europe, Australasia, and North and South America, were selected from the over 400 presentations at SIGET IV (the Fourth International Symposium on Genre Studies) held on the campus of UNISUL in Tubarão, Santa Catarina, Brazil in August 2007—the largest gathering on genre to that date. The chapters also represent a wide variety of approaches, including rhetoric, Systemic Functional Linguistics, media and critical cultural studies, sociology, phenomenology, enunciation theory, the Geneva school of educational sequences, cognitive psychology, relevance theory, sociocultural psychology, activity theory, Gestalt psychology, and schema theory. Sections are devoted to theoretical issues, studies of genres in the professions, studies of genre and media, teaching and learning genre, and writing across the curriculum. The broad selection of material in this volume displays the full range of contemporary genre studies and sets the ground for a next generation of work.

Rosalie Gascoigne (1917–1999) was a highly regarded Australian artist whose assemblages of found materials embraced landscape, still life, minimalism, arte povera and installations. She was 57 when she had her first exhibition. Behind this late coming-out lay a long and unusual preparation in looking at nature for its aesthetic qualities, collecting found objects, making flower arrangements and practising ikebana. Her art found an appreciative audience from the start. She was a people person, and it pleased her that through her exhibiting career of 25 years, her works were acquired by people of all ages, interests and backgrounds, as well as by the major public institutions on both sides of the Tasman Sea.

Along the undisturbed shores, especially of the Mediterranean Sea and the European North Atlantic Ocean, is a quite widespread plant called Beta maritima by botanists, or more commonly sea beet. Nothing, for the inexperienced observer's eye, distinguishes it from surrounding wild vegetation. Despite its inconspicuous and nearly invisible flowers, the plant has had and will have invaluable economic and scientific importance. Indeed, according to Linnè, it is considered "the progenitor of the beet crops possibly born from Beta maritima in some foreign country". Recent molecular research confirmed this lineage. Selection applied after domestication has created many cultivated types with different destinations. The wild plant always has been harvested and used both for food and as a medicinal herb. Sea beet crosses easily with the cultivated types. This facilitates the transmission of genetic traits lost during domestication, which selection processes aimed only at features immediately useful to farmers and consumers may have depleted. Indeed, as with several crop wild relatives, Beta maritima has been successfully used to improve cultivated beet’s genetic resistances against many diseases and pests. In fact, sugar beet cultivation currently would be impossible in many countries without the recovery of traits preserved in the wild germplasm. Dr. Enrico Biancardi graduated from Bologna University. From 1977 until 2009, he was involved in sugar beet breeding activity by the Istituto Sperimentale per le Colture Industriali (ISCI) formerly Stazione Sperimentale di Bieticoltura (Rovigo, Italy), where he released rhizomania and cercospora resistant germplasm and collected seeds of Mediterranean sea beet populations as a genetic resource for breeding and ex situ conservation. Retired since 2009, he still collaborates with several working breeders, in particular, at the USDA Agricultural Research Stations, at the Chinese Academy of Agricultural Science (CAAS), and at the Athens University (AUA). He has edited books, books chapters and authored more than 150 papers. Dr. Lee Panella is a plant breeder and geneticist with the USDA-ARS at Fort Collins, Colorado. He earned his B.S. in Crop and Soil Science from Michigan State University, an M.S. in Plant Breeding from Texas A&M University, and a Ph.D. in genetics from the University of California at Davis. His research focus is developing disease resistant germplasm using sugar beet wild relatives. He is chairman of the USDA-ARS Sugar Beet Crop Germplasm Committee and has collected and worked extensively with sea beet. Dr. Robert T. Lewellen was raised on a ranch in Eastern Oregon and obtained a B.S. in Crop Science from Oregon State University followed by a Ph.D. from Montana State University in Genetics. From 1966 to 2008 he was a research geneticist for the USDA-ARS at Salinas, California, where he studied the genetics of sugar beet and as a plant breeder, often used sea beet as a genetic source to produce many pest and disease resistant sugar beet germplasm and parental lines, while authoring more than 100 publications.

Critical and theoretical essays by a long-time participant in the Art & Language movement. These essays by art historian and critic Charles Harrison are based on the premise that making art and talking about art are related enterprises. They are written from the point of view of Art & Language, the artistic movement based in England—and briefly in the United States—with which Harrison has been associated for thirty years. Harrison uses the work of Art & Language as a central case study to discuss developments in art from the 1950s through the 1980s. According to Harrison, the strongest motivation for writing about art is that it brings us closer to that which is other than ourselves. In seeing how a work is done, we learn about its achieved identity: we see, for example, that a drip on a Pollock is integral to its technical character, whereas a drip on a Mondrian would not be. Throughout the book, Harrison uses specific examples to address a range of questions about the history, theory, and making of modern art—questions about the conditions of its making and the nature of its public, about the problems and priorities of criticism, and about the relations between interpretation and judgment.

Buddhism, often described as an austere religion that condemns desire, promotes denial, and idealizes the contemplative life, actually has a thriving leisure culture in Asia. Creative religious improvisations designed by Buddhists have been produced both within and outside of monasteries across the region—in Nepal, Japan, Korea, Macau, Hong Kong, Singapore, Laos, Thailand, and Vietnam. Justin McDaniel looks at the growth of Asia’s culture of Buddhist leisure—what he calls “socially disengaged Buddhism”—through a study of architects responsible for monuments, museums, amusement parks, and other sites. In conversation with noted theorists of material and visual culture and anthropologists of art, McDaniel argues that such sites highlight the importance of public, leisure, and spectacle culture from a Buddhist perspective and illustrate how “secular” and “religious,” “public” and “private,” are in many ways false binaries. Moreover, places like Lek Wiriyaphan’s Sanctuary of Truth in Thailand, Suối Tiên Amusement Park in Saigon, and Shi Fa Zhao’s multilevel museum/ritual space/tea house in Singapore reflect a growing Buddhist ecumenism built through repetitive affective encounters instead of didactic sermons and sectarian developments. They present different Buddhist traditions, images, and aesthetic expressions as united but not uniform, collected but not concise: Together they form a gathering, not a movement. Despite the ingenuity of lay and ordained visionaries like Wiriyaphan and Zhao and their colleagues Kenzo Tange, Chan-soo Park, Tadao Ando, and others discussed in this book, creators of Buddhist leisure sites often face problems along the way. Parks and museums are complex adaptive systems that are changed and influenced by budgets, available materials, local and global economic conditions, and visitors. Architects must often compromise and settle at local optima, and no matter what they intend, their buildings will develop lives of their own. Provocative and theoretically innovative, Architects of Buddhist Leisure asks readers to question the very category of “religious” architecture. It challenges current methodological approaches in religious studies and speaks to a broad audience interested in modern art, architecture, religion, anthropology, and material culture.

Compiled by members of the Bosch Research and Conservation Project and published on the 500th anniversary of Hieronymus Bosch's death, this is the definitivenew catalogue of all of Bosch's extant paintings and drawings. His mastery and genius have been redefined as a result of six years of research on the iconography, techniques, pedigree, and conservation history of his paintings and on his life. This stunning volume includes all new photography, as well as up-to-date research on the individual works. For the first time, the incredible creativity of this late medieval artist, expressed in countless details, is reproduced and discussed in this book. Special attention is being paid to Bosch as an image maker, a skilled draughtsman, and a brutal painter, changing the game of painting around 1500 by his innovative way of working."