When working with children, an understanding of the social interactions and relationships which influence emotional growth and learning is essential. Emotional Growth and Learning clarifies these processes and serves as a practical and theoretical resource for the training of teachers and other professionals. Paul Greenalgh draws on case studies from his own experience to illustrate the relevant concepts of Jungian, psychoanalytic and humanistic psychology . Individual and group exercises help adults to explore their own participation in the growth and learning processes and the book's multi-disciplinary approach and accessible style will appeal to teachers, parents and those working in clinical psychology, counselling and social work.

When working with children, an understanding of the social interactions and relationships which influence emotional growth and learning is essential. Emotional Growth and Learning clarifies these processes and serves as a practical and theoretical resource for the training of teachers and other professionals. Paul Greenalgh draws on case studies from his own experience to illustrate the relevant concepts of Jungian, psychoanalytic and humanistic psychology . Individual and group exercises help adults to explore their own participation in the growth and learning processes and the book''s multi-disciplinary approach and accessible style will appeal to teachers, parents and those working in clinical psychology, counselling and social work.

When working with children, an understanding of the social interactions and relationships which influence emotional growth and learning is essential. Emotional Growth and Learning clarifies these processes and serves as a practical and theoretical resource for the training of teachers and other professionals. Paul Greenalgh draws on case studies from his own experience to illustrate the relevant concepts of Jungian, psychoanalytic and humanistic psychology . Individual and group exercises help adults to explore their own participation in the growth and learning processes and the book''s multi-disciplinary approach and accessible style will appeal to teachers, parents and those working in clinical psychology, counselling and social work.

When working with children, an understanding of the social interactions and relationships which influence emotional growth and learning is essential. Emotional Growth and Learning clarifies these processes and serves as a practical and theoretical resource for the training of teachers and other professionals. Paul Greenalgh draws on case studies from his own experience to illustrate the relevant concepts of Jungian, psychoanalytic and humanistic psychology . Individual and group exercises help adults to explore their own participation in the growth and learning processes and the book's multi-disciplinary approach and accessible style will appeal to teachers, parents and those working in clinical psychology, counselling and social work.

"Full of surprises [and] evocative." The Spectator "Passionately written." Apollo "An extraordinary accomplishment." Edmund de Waal "Monumental." Times Literary Supplement"An epic reshaping of ceramic art." Crafts "An important book." The Arts Society Magazine In his major new history, Paul Greenhalgh tells the story of ceramics as a story of human civilisation, from the Ancient Greeks to the present day. As a core craft technology, pottery has underpinned domesticity, business, religion, recreation, architecture, and art for millennia. Indeed, the history of ceramics parallels the development of human society.This fascinating and very human history traces the story of ceramic art and industry from the Ancient Greeks to the Romans and the medieval world; Islamic ceramic cultures and their influence on the Italian Renaissance; Chinese and European porcelain production; modernity and Art Nouveau; the rise of the studio potter, Art Deco, International Style and Mid-Century Modern, and finally, the contemporary explosion of ceramic making and the postmodern potter. Interwoven in this journey through time and place is the story of the pots themselves, the culture of the ceramics, and their character and meaning. Ceramics have had a presence in virtually every country and historical period, and have worked as a commodity servicing every social class. They are omnipresent: a ubiquitous art. Ceramic culture is a clear, unique, definable thing, and has an internal logic that holds it together through millennia. Hence ceramics is the most peculiar and extraordinary of all the arts. At once cheap, expensive, elite, plebeian, high-tech, low-tech, exotic, eccentric, comic, tragic, spiritual, and secular, it has revealed itself to be as fluid as the mud it is made from.Ceramics are the very stuff of how civilized life was, and is, led. This then is the story of human society's most surprising core causes and effects.

"Full of surprises [and] evocative." The Spectator "Passionately written." Apollo "An extraordinary accomplishment." Edmund de Waal "Monumental." Times Literary Supplement"An epic reshaping of ceramic art." Crafts "An important book." The Arts Society Magazine In his major new history, Paul Greenhalgh tells the story of ceramics as a story of human civilisation, from the Ancient Greeks to the present day. As a core craft technology, pottery has underpinned domesticity, business, religion, recreation, architecture, and art for millennia. Indeed, the history of ceramics parallels the development of human society.This fascinating and very human history traces the story of ceramic art and industry from the Ancient Greeks to the Romans and the medieval world; Islamic ceramic cultures and their influence on the Italian Renaissance; Chinese and European porcelain production; modernity and Art Nouveau; the rise of the studio potter, Art Deco, International Style and Mid-Century Modern, and finally, the contemporary explosion of ceramic making and the postmodern potter. Interwoven in this journey through time and place is the story of the pots themselves, the culture of the ceramics, and their character and meaning. Ceramics have had a presence in virtually every country and historical period, and have worked as a commodity servicing every social class. They are omnipresent: a ubiquitous art. Ceramic culture is a clear, unique, definable thing, and has an internal logic that holds it together through millennia. Hence ceramics is the most peculiar and extraordinary of all the arts. At once cheap, expensive, elite, plebeian, high-tech, low-tech, exotic, eccentric, comic, tragic, spiritual, and secular, it has revealed itself to be as fluid as the mud it is made from.Ceramics are the very stuff of how civilized life was, and is, led. This then is the story of human society''s most surprising core causes and effects.

"Full of surprises [and] evocative." The Spectator "Passionately written." Apollo "An extraordinary accomplishment." Edmund de Waal "Monumental." Times Literary Supplement"An epic reshaping of ceramic art." Crafts "An important book." The Arts Society Magazine In his major new history, Paul Greenhalgh tells the story of ceramics as a story of human civilisation, from the Ancient Greeks to the present day. As a core craft technology, pottery has underpinned domesticity, business, religion, recreation, architecture, and art for millennia. Indeed, the history of ceramics parallels the development of human society.This fascinating and very human history traces the story of ceramic art and industry from the Ancient Greeks to the Romans and the medieval world; Islamic ceramic cultures and their influence on the Italian Renaissance; Chinese and European porcelain production; modernity and Art Nouveau; the rise of the studio potter, Art Deco, International Style and Mid-Century Modern, and finally, the contemporary explosion of ceramic making and the postmodern potter. Interwoven in this journey through time and place is the story of the pots themselves, the culture of the ceramics, and their character and meaning. Ceramics have had a presence in virtually every country and historical period, and have worked as a commodity servicing every social class. They are omnipresent: a ubiquitous art. Ceramic culture is a clear, unique, definable thing, and has an internal logic that holds it together through millennia. Hence ceramics is the most peculiar and extraordinary of all the arts. At once cheap, expensive, elite, plebeian, high-tech, low-tech, exotic, eccentric, comic, tragic, spiritual, and secular, it has revealed itself to be as fluid as the mud it is made from.Ceramics are the very stuff of how civilized life was, and is, led. This then is the story of human society''s most surprising core causes and effects.

Mass vaccination campaigns are political projects that presume to protect individuals, communities, and societies. Like other pervasive expressions of state power - taxing, policing, conscripting - mass vaccination arouses anxiety in some people but sentiments of civic duty and shared solidarity in others. This collection of essays gives a comparative overview of vaccination at different times, in widely different places and under different types of political regime. Core themes in the chapters include immunisation as an element of state formation; citizens' articulation of seeing (or not seeing) their needs incorporated into public health practice; allegations that donors of development aid have too much influence on third-world health policies; and an ideological shift that regards vaccines more as profitable commodities than as essential tools of public health.An electronic edition of this book is freely available under a Creative Commons (CC BY-NC-ND) licence.

The international exhibitions held around the world between 1851 and 1939 were spectacular gestures, which briefly held the attention of the world before disappearing into an abrupt oblivion, of the victims of their planned temporality. Known in Britain as Great Exhibitions, in France as Expositions Universelles and in America as World's Fairs, the genre became a self-perpetuating phenomenon, the extraordinary cultural spawn of industry and empire. Thoroughly in the spirit of the first industrial age, the exhibitions illustrated the relation between money and power, and revelled in the belief that the uncontrolled expression of that power was the quintessence of freedom. Philanthropy found its place on exhibition sites functioning as a conscience to the age although even here morality was inextricably linked to economic efficiency and expansion. Imperial achievement was celebrated to the full at international exhibitions. Nevertheless, most World's Fairs maintained an imperial element and out of this blossomed a vibrant racism. Between 1889 and 1914, the exhibitions became a human showcase, when people from all over the world were brought to sites in order to be seen by others for their gratification and education. In essence, the English national profile fabricated in the closing decades of the nineteenth century was derived from the pre-industrial world. The Fine Arts were an important ingredient in any international exhibition of calibre. This book incorporates comparative work on European and American empire-building, with the chronological focus primarily on the nineteenth and twentieth centuries, when these cultural exchanges were most powerfully at work.

Leading expert Paul Greenhalgh presents a groundbreaking visual and scholarly journey through Art Nouveau – spanning 26 countries and enriched with stunning new photography.The Art Nouveau style dramatically impacted architecture, transforming attitudes to late-19th and early-20th century building practices, and making possible the rise of the various Modern Movements in architecture and design. Formed by the social and political environments of this turbulent period in European history, Art Nouveau was a complex, multifaceted phenomenon from its inception, changing shape continually through time and from country to country.This book unravels the various threads that constituted the style, offering fresh philosophical and aesthetic perspectives and providing a definition of what Art Nouveau actually was, and what it meant to its architects and designers. For the first time in a single volume, it shows the extraordinary spread of the style including in countries not usually recognised as being part of the story, with twenty-six countries represented through superb new photography. The author and photographer had privileged access to many famous buildings, as well as lesser-known architectural masterpieces. Uniquely, this book also considers the later heritage of Art Nouveau, and its long-term effects on subsequent architecture.

Published to accompany a major new exhibition at the Sainsbury Centre, this book examines the spectacular and controversial vision of art practice that raged across the Western world from the end of the 19th century: Art Nouveau.The role of nature is a key focus of the exhibition. The common theme of translating plants into patterns will be explored as a defining feature of the modern style. Art and objects will represent Art Nouveau from different countries, where it appeared characterised as flowing, tensile line, and dramatic movement, or by organic imagery combined with an informal geometry. Artists and designers include René Lalique, Edgar Degas, Charles Rennie Mackintosh, William Morris; Alphonse Mucha and Gabriel Dante Rossetti.

When working with children, an understanding of the social interactions and relationships which influence emotional growth and learning is essential. Emotional Growth and Learning clarifies these processes and serves as a practical and theoretical resource for the training of teachers and other professionals. Paul Greenalgh draws on case studies from his own experience to illustrate the relevant concepts of Jungian, psychoanalytic and humanistic psychology . Individual and group exercises help adults to explore their own participation in the growth and learning processes and the book's multi-disciplinary approach and accessible style will appeal to teachers, parents and those working in clinical psychology, counselling and social work.

When working with children, an understanding of the social interactions and relationships which influence emotional growth and learning is essential. Emotional Growth and Learning clarifies these processes and serves as a practical and theoretical resource for the training of teachers and other professionals. Paul Greenalgh draws on case studies from his own experience to illustrate the relevant concepts of Jungian, psychoanalytic and humanistic psychology . Individual and group exercises help adults to explore their own participation in the growth and learning processes and the book''s multi-disciplinary approach and accessible style will appeal to teachers, parents and those working in clinical psychology, counselling and social work.

When working with children, an understanding of the social interactions and relationships which influence emotional growth and learning is essential. Emotional Growth and Learning clarifies these processes and serves as a practical and theoretical resource for the training of teachers and other professionals. Paul Greenalgh draws on case studies from his own experience to illustrate the relevant concepts of Jungian, psychoanalytic and humanistic psychology . Individual and group exercises help adults to explore their own participation in the growth and learning processes and the book''s multi-disciplinary approach and accessible style will appeal to teachers, parents and those working in clinical psychology, counselling and social work.

When working with children, an understanding of the social interactions and relationships which influence emotional growth and learning is essential. Emotional Growth and Learning clarifies these processes and serves as a practical and theoretical resource for the training of teachers and other professionals. Paul Greenalgh draws on case studies from his own experience to illustrate the relevant concepts of Jungian, psychoanalytic and humanistic psychology . Individual and group exercises help adults to explore their own participation in the growth and learning processes and the book's multi-disciplinary approach and accessible style will appeal to teachers, parents and those working in clinical psychology, counselling and social work.

"Full of surprises [and] evocative." The Spectator "Passionately written." Apollo "An extraordinary accomplishment." Edmund de Waal "Monumental." Times Literary Supplement"An epic reshaping of ceramic art." Crafts "An important book." The Arts Society Magazine In his major new history, Paul Greenhalgh tells the story of ceramics as a story of human civilisation, from the Ancient Greeks to the present day. As a core craft technology, pottery has underpinned domesticity, business, religion, recreation, architecture, and art for millennia. Indeed, the history of ceramics parallels the development of human society.This fascinating and very human history traces the story of ceramic art and industry from the Ancient Greeks to the Romans and the medieval world; Islamic ceramic cultures and their influence on the Italian Renaissance; Chinese and European porcelain production; modernity and Art Nouveau; the rise of the studio potter, Art Deco, International Style and Mid-Century Modern, and finally, the contemporary explosion of ceramic making and the postmodern potter. Interwoven in this journey through time and place is the story of the pots themselves, the culture of the ceramics, and their character and meaning. Ceramics have had a presence in virtually every country and historical period, and have worked as a commodity servicing every social class. They are omnipresent: a ubiquitous art. Ceramic culture is a clear, unique, definable thing, and has an internal logic that holds it together through millennia. Hence ceramics is the most peculiar and extraordinary of all the arts. At once cheap, expensive, elite, plebeian, high-tech, low-tech, exotic, eccentric, comic, tragic, spiritual, and secular, it has revealed itself to be as fluid as the mud it is made from.Ceramics are the very stuff of how civilized life was, and is, led. This then is the story of human society's most surprising core causes and effects.

"Full of surprises [and] evocative." The Spectator "Passionately written." Apollo "An extraordinary accomplishment." Edmund de Waal "Monumental." Times Literary Supplement"An epic reshaping of ceramic art." Crafts "An important book." The Arts Society Magazine In his major new history, Paul Greenhalgh tells the story of ceramics as a story of human civilisation, from the Ancient Greeks to the present day. As a core craft technology, pottery has underpinned domesticity, business, religion, recreation, architecture, and art for millennia. Indeed, the history of ceramics parallels the development of human society.This fascinating and very human history traces the story of ceramic art and industry from the Ancient Greeks to the Romans and the medieval world; Islamic ceramic cultures and their influence on the Italian Renaissance; Chinese and European porcelain production; modernity and Art Nouveau; the rise of the studio potter, Art Deco, International Style and Mid-Century Modern, and finally, the contemporary explosion of ceramic making and the postmodern potter. Interwoven in this journey through time and place is the story of the pots themselves, the culture of the ceramics, and their character and meaning. Ceramics have had a presence in virtually every country and historical period, and have worked as a commodity servicing every social class. They are omnipresent: a ubiquitous art. Ceramic culture is a clear, unique, definable thing, and has an internal logic that holds it together through millennia. Hence ceramics is the most peculiar and extraordinary of all the arts. At once cheap, expensive, elite, plebeian, high-tech, low-tech, exotic, eccentric, comic, tragic, spiritual, and secular, it has revealed itself to be as fluid as the mud it is made from.Ceramics are the very stuff of how civilized life was, and is, led. This then is the story of human society''s most surprising core causes and effects.

"Full of surprises [and] evocative." The Spectator "Passionately written." Apollo "An extraordinary accomplishment." Edmund de Waal "Monumental." Times Literary Supplement"An epic reshaping of ceramic art." Crafts "An important book." The Arts Society Magazine In his major new history, Paul Greenhalgh tells the story of ceramics as a story of human civilisation, from the Ancient Greeks to the present day. As a core craft technology, pottery has underpinned domesticity, business, religion, recreation, architecture, and art for millennia. Indeed, the history of ceramics parallels the development of human society.This fascinating and very human history traces the story of ceramic art and industry from the Ancient Greeks to the Romans and the medieval world; Islamic ceramic cultures and their influence on the Italian Renaissance; Chinese and European porcelain production; modernity and Art Nouveau; the rise of the studio potter, Art Deco, International Style and Mid-Century Modern, and finally, the contemporary explosion of ceramic making and the postmodern potter. Interwoven in this journey through time and place is the story of the pots themselves, the culture of the ceramics, and their character and meaning. Ceramics have had a presence in virtually every country and historical period, and have worked as a commodity servicing every social class. They are omnipresent: a ubiquitous art. Ceramic culture is a clear, unique, definable thing, and has an internal logic that holds it together through millennia. Hence ceramics is the most peculiar and extraordinary of all the arts. At once cheap, expensive, elite, plebeian, high-tech, low-tech, exotic, eccentric, comic, tragic, spiritual, and secular, it has revealed itself to be as fluid as the mud it is made from.Ceramics are the very stuff of how civilized life was, and is, led. This then is the story of human society''s most surprising core causes and effects.

Mass vaccination campaigns are political projects that presume to protect individuals, communities, and societies. Like other pervasive expressions of state power - taxing, policing, conscripting - mass vaccination arouses anxiety in some people but sentiments of civic duty and shared solidarity in others. This collection of essays gives a comparative overview of vaccination at different times, in widely different places and under different types of political regime. Core themes in the chapters include immunisation as an element of state formation; citizens' articulation of seeing (or not seeing) their needs incorporated into public health practice; allegations that donors of development aid have too much influence on third-world health policies; and an ideological shift that regards vaccines more as profitable commodities than as essential tools of public health.An electronic edition of this book is freely available under a Creative Commons (CC BY-NC-ND) licence.

The international exhibitions held around the world between 1851 and 1939 were spectacular gestures, which briefly held the attention of the world before disappearing into an abrupt oblivion, of the victims of their planned temporality. Known in Britain as Great Exhibitions, in France as Expositions Universelles and in America as World's Fairs, the genre became a self-perpetuating phenomenon, the extraordinary cultural spawn of industry and empire. Thoroughly in the spirit of the first industrial age, the exhibitions illustrated the relation between money and power, and revelled in the belief that the uncontrolled expression of that power was the quintessence of freedom. Philanthropy found its place on exhibition sites functioning as a conscience to the age although even here morality was inextricably linked to economic efficiency and expansion. Imperial achievement was celebrated to the full at international exhibitions. Nevertheless, most World's Fairs maintained an imperial element and out of this blossomed a vibrant racism. Between 1889 and 1914, the exhibitions became a human showcase, when people from all over the world were brought to sites in order to be seen by others for their gratification and education. In essence, the English national profile fabricated in the closing decades of the nineteenth century was derived from the pre-industrial world. The Fine Arts were an important ingredient in any international exhibition of calibre. This book incorporates comparative work on European and American empire-building, with the chronological focus primarily on the nineteenth and twentieth centuries, when these cultural exchanges were most powerfully at work.

Leading expert Paul Greenhalgh presents a groundbreaking visual and scholarly journey through Art Nouveau – spanning 26 countries and enriched with stunning new photography.The Art Nouveau style dramatically impacted architecture, transforming attitudes to late-19th and early-20th century building practices, and making possible the rise of the various Modern Movements in architecture and design. Formed by the social and political environments of this turbulent period in European history, Art Nouveau was a complex, multifaceted phenomenon from its inception, changing shape continually through time and from country to country.This book unravels the various threads that constituted the style, offering fresh philosophical and aesthetic perspectives and providing a definition of what Art Nouveau actually was, and what it meant to its architects and designers. For the first time in a single volume, it shows the extraordinary spread of the style including in countries not usually recognised as being part of the story, with twenty-six countries represented through superb new photography. The author and photographer had privileged access to many famous buildings, as well as lesser-known architectural masterpieces. Uniquely, this book also considers the later heritage of Art Nouveau, and its long-term effects on subsequent architecture.

Published to accompany a major new exhibition at the Sainsbury Centre, this book examines the spectacular and controversial vision of art practice that raged across the Western world from the end of the 19th century: Art Nouveau.The role of nature is a key focus of the exhibition. The common theme of translating plants into patterns will be explored as a defining feature of the modern style. Art and objects will represent Art Nouveau from different countries, where it appeared characterised as flowing, tensile line, and dramatic movement, or by organic imagery combined with an informal geometry. Artists and designers include René Lalique, Edgar Degas, Charles Rennie Mackintosh, William Morris; Alphonse Mucha and Gabriel Dante Rossetti.