LEADER 04435nam 2200601 450 001 9910797148003321 005 20200520144314.0 010 $a988-8313-92-4 035 $a(CKB)3710000000410381 035 $a(EBL)2188863 035 $a(SSID)ssj0001497222 035 $a(PQKBManifestationID)11894669 035 $a(PQKBTitleCode)TC0001497222 035 $a(PQKBWorkID)11489930 035 $a(PQKB)11412887 035 $a(StDuBDS)EDZ0001718629 035 $a(OCoLC)908634872 035 $a(MdBmJHUP)muse47265 035 $a(Au-PeEL)EBL2188863 035 $a(CaPaEBR)ebr11092543 035 $a(MiAaPQ)EBC2188863 035 $a(EXLCZ)993710000000410381 100 $a20150430d2015 uy| 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aPicturing technology in China $efrom earliest times to the nineteenth century /$fPeter J. Golas 210 1$aHong Kong :$cHong Kong University Press,$d2015. 215 $a1 online resource (252 p.) 300 $aDescription based upon print version of record. 311 $a988-8208-15-2 320 $aIncludes bibliographical references (pages 181-198) and index. 327 $aContents; List of Illustrations; Preface; Abbreviations; Introduction; 1: Early Graphics in China; 2: Han to Tang; Plates 1-8; 3: Song and Yuan; 4: The New Confucian Paradigm; 5: Late Ming and The Exploitation of the Works of Nature; 6: Qing Developments; Plates 9-16; Closing Comments; Bibliography; Index 330 $aAlthough the history of technological and scientific illustrations is a well-established field in the West, scholarship on the much longer Chinese experience is still undeveloped. This work by Peter Golas is a short, illustrated overview tracing the subject to pre-Han inscriptions but focusing mainly on the Song, Yuan, Ming, and Qing dynasties. His main theme is that technological drawings developed in a different way in China from in the West largely because they were made by artists rather than by specialist illustrators or practitioners of technology. He examines the techniques of these artists, their use of painting, woodblock prints and the book, and what their drawings reveal about changing technology in agriculture, industry, architecture, astronomical, military, and other spheres. The text is elegantly written, and the images, about 100 in all, are carefully chosen. This is likely to appeal to both scholars and general readers. "Picturing Technology develops a rich and convincing analysis of technology's place in the material, intellectual and aesthetic traditions of Chinese civilisation. This pathbreaking work by one of the leading historians of technology in China also challenges us to rethink a key question about the rise of the modern world: how closely do skills in technological illustration relate to mechanical understanding, invention or technological achievement?" ?Francesca Bray, University of Edinburgh "Providing a comprehensive and splendidly illustrated survey of premodern China's tradition of picturing technology, Peter J. Golas excels in carefully exploring and weighing all of its aspects and avoids anachronistic pitfalls as well as Western-centric condescension or Sino-centric glorification." ?Wolfgang Lefèvre, Max Planck Institute for the History of Science, Berlin "This is the first monograph dealing critically with the depiction of technology throughout China's long history. Based on wide reading in primary sources as well as secondary literature in major Western and Eastern languages, Golas's analysis gives due consideration to such disparate yet interrelated factors as technology, society, economics, politics, philosophy, and art, thereby revealing the complex inner mechanisms of China's developments." ?Hans Ulrich Vogel, University of Tübinge 606 $aTechnology in art 606 $aTechnical illustration$xHistory 606 $aArt, Chinese 606 $aMechanical drawing$zChina$xHistory 615 0$aTechnology in art. 615 0$aTechnical illustration$xHistory. 615 0$aArt, Chinese. 615 0$aMechanical drawing$xHistory. 676 $a704.94960951 700 $aGolas$b Peter J.$0635166 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910797148003321 996 $aPicturing technology in China$93751537 997 $aUNINA LEADER 03653nam 22005173 450 001 9910156168803321 005 20220207155338.0 010 $a9781942585312 010 $a1942585314 035 $a(CKB)3710000000985460 035 $a(MiAaPQ)EBC6830060 035 $a(Au-PeEL)EBL6830060 035 $a(OCoLC)1290485903 035 $a(ceeol)ceeol648865 035 $a(CEEOL)648865 035 $a(EXLCZ)993710000000985460 100 $a20220207d2016 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aProjective Identification, Between Phenomenology and Metapsychology 205 $a1st ed. 210 1$aNew York :$cRomanian Institute of Orthodox Theology and Spirituality,$d2016. 210 4$dİ2016. 215 $a1 online resource (151 pages) 311 08$a9781942585305 311 08$a1942585306 327 $aFront Cover -- Half Title -- Editorial Advisory Board -- Title -- Copyright -- Contents -- Foreword -- Preface -- Introduction -- Chapter 1 An unexpected appearance -- Chapter 2 Phantasmic reality -- Chapter 3 The ego and the self -- Chapter 4 The ego splitting phenomenon -- Chapter 5 The identification mechanism -- Chapter 6 The projection mechanism -- Chapter 7 The evolution of the concept of projective identification -- Conclusions. A destiny -- Bibliography -- Back Cover. 330 $aProjective identification has been described by Melanie Klein as an omnipotent phantasy according to which a part of the self is splitted and placed into the external object. Klein?s phrases are ambiguous and thus the reader cannot grasp if she means an internal or external object, a phantasy or a process. The part of identification in the projective identification relates more to active voice (identifying the other with oneself), and therefore the notion does not differ tremendously from that of projection. The word ?into? has been highlighted as differentiator, and thus projective identification differs from projection only if the external object is the analyst, in its counter-transference. The main hypothesis of this book is: ostensibly close to the Freudian theory, Melanie Klein translates any component of external reality into notions of internal psychic reality of the subject. Anyway, the notion of projective identification expresses, in a contradictory way, the temptation of inserting external reality in the equation of psychic functioning of the subject, i.e. inserting the psychic functioning of the other. This theoretical temptation arises from the fact that the reference to the internal space of the external object can be explained only by an identification operated by the external object with the content projected by the subject. In order to support this hypothesis, this book approaches at length also other notions defining the central one: phantasy, Ego, Self, identification, and projection. The birth and evolution of the concept of projective identification indicates that it was meant from the beginning to express the counter-transference of the analyst. 606 $aProjective identification 606 $aProjection (Psychology) 606 $aSpiritualism 615 0$aProjective identification. 615 0$aProjection (Psychology) 615 0$aSpiritualism. 676 $a616.89 700 $aOrasanu$b Brindusa$0878327 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910156168803321 996 $aProjective Identification, Between Phenomenology and Metapsychology$92586001 997 $aUNINA