Christopher Green

Four decades ago, archetypal psychology offered a different way of viewing all things psychological. As radical and useful as this move was forty years ago, however, it is time to question the sustainability of tenets like these for our contemporary world. As the highly turbulent 21st Century enters its second decade, it is time to ask ourselves "why archetypes?" and "why images?" This book explores these questions through a variety of topics, ranging from clinical psychology, death, cultural colonialism, paranoia, feminism, ecology, education, capitalism to politics. This book is committed to the fact that an archetypal approach should not estrange us from mundane reality; it should facilitate a stronger, more complex, and more active involvement with it. This is what archetypal studies are setting out to do-yes: to do.

The arrival of a baby is an exciting and memorable time yet many parents feel uncertain, confused and not sure what to do. Well, don't despair,as BABIESis here to put the joy back into childcare. Full of common sense, it is a practical, up-to-date guide to the everyday concerns of parents facing the first year of their baby's life. The book looks at such practical day to day concerns as feeding, crying, sleeping and bonding, but also includes the more humorous, light-hearted moments of family life, for this book is not just about babies, it's also about families and relationships. It is for mothers, fathers, grandparents and anyone who is interested in children. Now you can enjoy - as well as survive - baby's first year!

The starting point of this exciting new exploration of Picasso is not his life but his work, which is revealed as a series of interventions in the troubled history of early twentieth-century Europe. Christopher Green shows how these interventions are remarkable for the force with which they confront issues that remain vital and important for us today: race, cultural difference, modernity, sexuality and the discontents of civilization. The framework for Green’s exploration is simple, yet enormously rich in its implications: the compulsion found in Picasso’s work simultaneously to build architectures and to release himself from them. Architecture is used by Green to refer not merely to pictorial or sculptural structure, but to the architecture of knowledge and society: the structures of tradition, of racial, social and cultural distinction, of logic and of technology. He not only develops new ways of seeing the oscillation between order and disorder in Picasso’s work, but moves outwards from it to reveal how it confronted and challenged the architectures of orthodoxy.