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Anxiety disorders are prevalent among college students and contribute to problems in social and academic functioning. The primary focus in the anxiety literature has been on symptoms and deficits in functioning rather than psychological well-being. The present study investigated the extent to which high levels of anxiety co-occurred with self-reported psychological well-being using a dual-factor model of mental health approach. Participants (n = 100) were categorized into two groups (high anxiety crossed with low and high life satisfaction), and groups were compared on several psychological well-being indicators. Supporting a dual-factor approach, students reporting high levels of anxiety and life satisfaction reported higher levels of hope, grit, gratitude, self-focused positive rumination, and savoring of positive emotions than students reporting high levels of anxiety and low levels of life satisfaction. Groups did not differ in emotion-focused positive rumination or in dampening of positive emotion. These results highlight well-being heterogeneity within individuals reporting high levels of anxiety, with implications for treatment and prevention efforts.

This article, based on a plenary lecture for the conference Alma-Tadema: Antiquity at Home and on Screen, explores the attractions of the artist’s house as a site of display in the late Victorian era, the early twentieth century, and today. Comparing the houses of Lawrence Alma-Tadema and Frederic Leighton with Charleston Farmhouse, home of the Bloomsbury artists Vanessa Bell and Duncan Grant, I invoke the comments of viewers from Walter Sickert to Patti Smith in order to examine the relationship between the look of surfaces and viewers’ perceptions of psychological depth.

Edwardian visual culture registered a seismic shift in perceptions of Japan. I use the term ‘visual culture’ advisedly here, for this shift hardly registers in histories of art, organized, as they ...

Although the idea of queer space has provoked the interest of cultural theorists, political activists, and utopian dreamers, little attention has been paid to its visual aspect. This reflects, in part, the conservatism of the design professions, which have been slow to acknowledge issues of sexual identity. But it reflects, as well, an ontological problem: queer space may be a contradiction in terms. Some would argue that queerness, as an ineffable ideal of oppositional culture, is so fluid and contingent that the idea of a concrete queer space is an oxymoron. I prefer to define queerness historically as an identity, arising in the 1980s through the confluence of the relatively separate gay and lesbian movements of the previous decade, joining not just gays and lesbians, but all manner of sex/gender scofflaws under a simple in-your-face term.1 As a historical phenomenon, its spatial signifiers can be charted and analyzed.

This essay examines the way England's well-known Bloomsbury group in the first decades of this century negotiated the legacy of prominent figures of the generation before in order to create its own identity. Looking at the group's ideas about both aesthetics and sexuality, the author shows how the group privileged Leo Tolstoy over J. A. M. Whistler, and Oscar Wilde over Walter Pater. The introduction and conclusion seek to set this study in the context of current issues in gay and lesbian studies.

T his project is the brainchild of my colleague Donna Cassidy, who uses it in conjunction with Margaretta Lovell's "Reading 18th-Century American Family Portraits," Winterthur Portfolio 22, no. 6 (Winter 1987): 243-64. I have used it with Carol Duncan's "Happy Mothers and Other New Ideas," in Norma Broude and Mary D. Garrard, eds., Feminism and Art History (New York: Harper and Row, 1982). We ask students to bring in a picture that represents their family (a term they define, leading, potentially, to a discussion of changes in the idea of family). The class discusses how poses, settings, gestures, and facial expressions encode various notions of the family, comparing the persistance of eithteenth-century conventions in formal portraiture with the visual rhetoric of the snapshot.

T his project is the brainchild of my colleague Donna Cassidy, who uses it in conjunction with Margaretta Lovell's "Reading 18th-Century American Family Portraits," Winterthur Portfolio 22, no. 6 (Winter 1987): 243-64. I have used it with Carol Duncan's "Happy Mothers and Other New Ideas," in Norma Broude and Mary D. Garrard, eds., Feminism and Art History (New York: Harper and Row, 1982). We ask students to bring in a picture that represents their family (a term they define, leading, potentially, to a discussion of changes in the idea of family). The class discusses how poses, settings, gestures, and facial expressions encode various notions of the family, comparing the persistance of eithteenth-century conventions in formal portraiture with the visual rhetoric of the snapshot.

the Neuw, Yorkel,1 it is the trade name for the type of paintings sold in furniture stores, at motel "art fairs," and in stores that otherwise deal in posters and mass-produced prints. In terms of sheer numbers, sofa art dominates all other categories of modern painting. Industry representatives will not release sales figures, but the Starving Artists Group-just one of the major art-fair retailers-manages sixty crews nationwide that each sell between five hundred and one