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PEP-Easy Tip: To save PEP-Easy to the home screen

PEP-Web Tip of the Day

To start PEP-Easy without first opening your browser–just as you would start a mobile app, you can save a shortcut to your home screen.

First, in Chrome or Safari, depending on your platform, open PEP-Easy from You want to be on the default start screen, so you have a clean workspace.

Then, depending on your mobile device…follow the instructions below:


  1. Tap on the share icon Action navigation bar and tab bar icon
  2. In the bottom list, tap on ‘Add to home screen’
  3. In the “Add to Home” confirmation “bubble”, tap “Add”

On Android:

  1. Tap on the Chrome menu (Vertical Ellipses)
  2. Select “Add to Home Screen” from the menu


For the complete list of tips, see PEP-Web Tips on the PEP-Web support page.

Spitz, E.H. (1989). Psychoanalytic Perspectives on Art: Volume Three: Edited by Mary Mathews Gedo. Hillsdale, New Jersey and London: The Analytic Press, 1988. Pp. 314.. Int. R. Psycho-Anal., 16:513-516.

(1989). International Review of Psycho-Analysis, 16:513-516

Psychoanalytic Perspectives on Art: Volume Three: Edited by Mary Mathews Gedo. Hillsdale, New Jersey and London: The Analytic Press, 1988. Pp. 314.

Review by:
Ellen Handler Spitz

To scan the brochures of the major academic presses (at least in the United States) is to realize instantly that interdisciplinary scholarship is no longer a noman's land. Quite to the contrary, it is a territory that now embraces much of the most up-to-date thinking in the humanities across the board from classics to history and criticism as well as art history. Disciplinary boundaries, the modern versions of which can be traced back to the Renaissance, quaver precariously under the impact of contemporary scholarship. Authors doing what David Carrier (1987) has called 'artwriting' (examples might include Fried, 1980) ; (Clark, 1984) ; Bryson, 1985; (Krauss, 1985) simply write across the walls that once shut art history away from literary criticism and critical theory. Notions and tactics drawn not only from psychoanalysis but from Marxism, structuralism, post-structuralism, feminism, deconstruction, and post-modernism have reshaped the discourses of the humanities. Although the old territorial suspicions persist, today's climate offers opportunities to form new alliances across barriers that once divided us. In such an atmosphere, a volume such as the one under review should be heartily welcomed.

The book contains nineteen essays on such diverse artists as Michelangelo, Raphael, de Chirico, Ernst, Magritte, Cézanne, and Matisse (among others) grouped into categories as follows: 'Renaissance Topics', 'Proto Surrealism and Surrealism', 'The Position of the Artist in the Modern World', and 'Book Reviews'.

[This is a summary or excerpt from the full text of the book or article. The full text of the document is available to subscribers.]

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