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Poems
￥24.44
Poems
Screenplay for "Kingdom of little angels, Story 1
￥1635.00
Screenplay for "Kingdom of little angels, Story 1
Piano Tuning
￥8.09
Piano Tuning
Chapters of Opera
￥8.09
Chapters of Opera
Songs from Books
￥8.09
Songs from Books
The Alchemist
￥8.09
The Alchemist
The Sot-Weed Factor
￥8.09
The Sot-Weed Factor
Chopin and Other Musical Essays
￥8.09
Chopin and Other Musical Essays
Life of Chopin
￥8.09
Life of Chopin
Haydn
￥8.09
Haydn
Musical Memories
￥8.09
Musical Memories
Saviour of the Nation
￥103.82
Saviour of the Nation
Prehistoric Future
￥370.82
One of the most admired artists of the twentieth century, Max Ernst was a proponent of Dada and founder of surrealism, known for his strange, evocative paintings and drawings. In Prehistoric Future, Ralph Ubl approaches Ernst like no one else has, using theories of the unconscious-surrealist automatism, Freudian psychoanalysis, the concept of history as trauma-to examine how Ernst's construction of collage departs from other modern artists. ?Ubl shows that while Picasso, Braque, and Man Ray used scissors and glue to create collages, Ernst employed techniques he himself had forged-rubbing and scraping to bring images forth onto a sheet of paper or canvas to simulate how a screen image or memory comes into the mind's view. In addition, Ernst scoured the past for obsolete scientific illustrations and odd advertisements to illustrate the rapidity with which time passes and to simulate the apprehension generated when rapid flows of knowledge turn living culture into artifact. Ultimately, Ubl reveals, Ernst was interested in the construction and phenomenology of both collective and individual modern history and memory. Shedding new light on Ernst's working methods and the reasons that his pieces continue to imprint themselves in viewers' memories, Prehistoric Future is an innovative work of critical writing on a key figure of surrealism.
Portraits of Conflict
￥484.91
A deeply divided border state, heir to the "Bleeding Kansas" era, Missouri became the third most fought-over state in the war, following Virginia and Tennessee. Rich in resources and manpower, critical politically to both the Union and the Confederacy, it was the scene of conventional battles, river warfare, and cavalry raids. It saw the first combat by organized units of Native Americans and African Americans. It was also marked by guerrilla warfare of unparalleled viciousness. This volume, the ninth in the series, includes hundreds of photographs, many of them never before published. The authors provide text and commentary, organizing the photographs into chapters covering the origins of the war, its conventional and guerrilla phases, the war on the rivers, medicine (Sweeny's medical knowledge adds a great deal to this chapter and expands our knowledge of its practice in the west), the experiences of Missourians who served out of state, and the process of reunion in the postwar years.
Portraits of Conflict
￥484.91
Portraits of Conflict: A Photographic History of Alabama in the Civil War is the tenth volume in this acclaimed series showing the human side of the country's great national conflict. Over 230 photographs of soldiers and civilians from Alabama, many never seen before, are accompanied by their personal stories and woven into the larger narrative of the war both on the battlefield and the home front. Alabama is unusual among the Rebel states in that, while its people saw little fighting inside its boundaries, nearly one hundred thousand Alabamians served with Confederate units throughout the South. This volume chronicles their experiences in almost every battle east of the Mississippi River--especially at Sharpsburg, Chancellorsville, and Gettysburg under the legendary Robert E. Lee; at Murfreesboro and Chickamauga as part of the ill-fated Army of Tennessee; and at the famous siege of Vicksburg. Ultimately Union soldiers did invade the state, and Alabamians defended their homeland against enemy cavalry raiders at Selma and against Federal warships in the fight for Mobile Bay. The volume also includes accounts of some of Alabama's leading politicians as well as several of its more ordinary citizens. This new volume contains the same quality of photography and storytelling that has attracted Civil War enthusiasts since the first volume was published in 1987, making it another welcome addition to the series Civil War History called "e;a sensibly priced, beautifully produced photographic history."e;
Just Below the Line
￥372.78
With America on the brink of the largest number of older adults and persons with disabilities in the country's history, the deceleration in housing production during the first decade of the twenty-first century, and a continued reliance on conventional housing policies and practices, a perfect storm has emerged in the housing industry. The lack of fit between the existing housing stock and the needs of the U.S. population is growing pronounced. Just as housing needed to be retooled at the end of WWII, the American housing industry is in dire need of change today. The South-with its high rates of poverty, older residents, residents with disabilities, extensive rural areas, and out-of-date housing policies and practices-serves as a "canary in the coal mine" for the impending, nationwide housing crisis. Just Below the Line discusses how reworking the policies and practices of the housing industry in the South can serve as a model for the rest of the nation in meeting the physical and social needs of persons with disabilities and aging boomers. Policy makers, designers, builders, realtors, advocates, and housing consumers will be able to use this book to promote the production of equitable housing nationwide.Published in collaboration with the Fay Jones School of Architecture.
Arts of Wonder
￥353.16
"e;The fate of our times is characterized by rationalization and intellectualization and, above all, by 'the disenchantment of the world.'"e; Max Weber's statement remains a dominant interpretation of the modern condition: the increasing capabilities of knowledge and science have banished mysteries, leaving a world that can be mastered technically and intellectually. And though this idea seems empowering, many people have become disenchanted with modern disenchantment. Using intimate encounters with works of art to explore disenchantment and the possibilities of re-enchantment, Arts of Wonder addresses questions about the nature of humanity, the world, and God in the wake of Weber's diagnosis of modernity.?Jeffrey L. Kosky focuses on a handful of artists-Walter De Maria, Diller + Scofidio, James Turrell, and Andy Goldworthy-to show how they introduce spaces hospitable to mystery and wonder, redemption and revelation, and transcendence and creation. What might be thought of as religious longings, he argues, are crucial aspects of enchanting secularity when developed through encounters with these works of art. Developing a model of religion that might be significant to secular culture, Kosky shows how this model can be employed to deepen interpretation of the art we usually view as representing secular modernity. A thoughtful dialogue between philosophy and art, Arts of Wonder will catch the eye of readers of art and religion, philosophy of religion, and art criticism.
Kultur in Cartoons: "With Accompanying Notes by Well-Known English Writers"
￥28.61
When his cartoons began to reach America toward the end of 1916 this country was neutral. It is with peculiar satisfaction, therefore, that I base this brief foreword upon press extracts published prior to America’s participation in the war. If it were possible to discover today an individual who was entirely ignorant as to the causes and conduct of the war, he would, after an inspection of a hundred or more of these cartoons, probably utter his conviction somewhat as follows: ?“I do not believe that these drawings have the slightest relation to the truth; I do not believe that it is possible for such things to happen in the twenti-eth century.” ??He would be quite justified, in his ignorance of what has happened in Europe, in expressing such an opinion, just as any of us, with the possible exception of the disciples of Bernhardi himself, would have been justified in expressing a similar view in July, 1914.??What is the view of all informed people today? “To Raemaekers the war is not a topic, or a subject for charity. It is a vivid heartrending reality,” says the New York “Evening Post,” “and you come away from the rooms where his cartoons now hang so aware of what war is that mental neutrality is for you a horror. If you have slackened in your determination to find out, these cartoons are a slap in the face. ??Raemaekers drives home a universal point that concerns not merely Germans, but every country where royal decrees have supreme power. Shall one man ever be given the power to seek his ends, using the people as his pawns? We cannot look at the cartoons and remain in ignorance of exactly what is the basis of truth on which they are built.”?The “Philadelphia American” likens Raemaekers to a sensitized plate upon which the spirit which brought on the war has imprinted itself forever, and adds: ?“What he gives out on that subject is as pitilessly true as a photograph. They look down upon us in their naked truth, those pictures which are to be, before the judgment-seat of history, the last indictment of the German nation. Of all impressions, there is one which will hold you in its inexorable grip: it is that Louis Raemaekers has told you the truth.”
Eugène Delacroix
￥33.11
Pour bien comprendre la portée de l'intervention et de l'influence de l'?uvre de Delacroix dans l'école fran?aise, il est nécessaire de se rappeler la situation exacte de la peinture au moment où il parut.??La Révolution avait brutalement traité les ma?tres du XVIIIème siècle finissant. ?prise d'un sévère idéal gréco-romain, dont déjà Vien avait donné des exemples et que David allait porter à son apogée, la génération jacobine avait considéré les peintres légers et délicieux du règne de Louis XVI comme les bénéficiaires de la corruption luxueuse des nobles et des fermiers généraux, et elle les avait rejetés dans le même mouvement d'injuste fureur. Fragonard mourait oublié, chassé de son logis des galeries du Louvre. Hubert Robert échappait gr?ce à une erreur à l'échafaud. Greuze mourait dans la misère noire. On ne parlait plus de Chardin. Un Latour se vendait quelques francs. ??L'?Embarquement pour Cythère?, peint par Watteau pour son entrée à l'Académie, y était criblé de boulettes de papier m?ché par les élèves de David, neveu de Boucher dont ils parlaient en de tels termes, qu'il était obligé, par pudeur, d'excuser à leurs yeux son oncle. Les gravures de Cochin, de Lépicié, de Choffard, de Lavreince, des Saint-Aubin, de Debucourt, de Gravelot, d'Eisen, allaient s'ensevelir dans les soupentes de quelques brocanteurs, et on attendrait quatrevingts ans avant de les rechercher pour les couvrir d'or. Un siècle s'effondrait. Son go?t exquis, sa morale profondément naturelle et humaine, son libéralisme sceptique, tout lui était imputé à vice et à crime. On rêvait d'un art moralisateur, que Greuze avait préparé aux applaudissements de Diderot par ses scènes familiales et son ingénuité bourgeoise, mêlée de libertinage hypocrite. ??On voulait un art héro?que, sévère, propre à élever les consciences. David apparut l'homme d'une telle ?uvre, et créa d'un seul effort la réaction d'une esthétique néo-romaine, d'une peinture con?ue d'après la statuaire antique, et toute consacrée à des expressions de sentiments cornéliens. La discipline de cette école fut plus dure encore que celle imposée, centvingtcinq années auparavant, par Louis XIV, Le Brun et l'école de Rome. Plus de recherches de la nature, plus de gr?ce, plus de vérité, plus de coloris, mais simplement un art allégorique, pompeux, aride, éloigné de la vie et tout entier construit sur des théories, un art aussi opposé que possible au tempérament fran?ais.
Publishing Architect's Blueprint: Self-Publishing Fundamentals
￥81.67
The Publishing Architect's Blueprint: Self-Publishing Fundamentals is a no-nonsense roadmap to publishing success for the author and small publisher alike. Both fiction and nonfiction authors will utilize this book as their publishing guide for print, e-book and audio titles. It maps the most direct route to publishing success in the most cost-effective manner, providing the indie publisher with the skills and approach of a traditional publisher and marketing strategy of a bestseller.
Libertate, moral? ?i politic?
￥65.17
Eseurile cuprinse ?n aceast? carte au ?n comun c?teva teme care m-au preocupat: ra?ionalitatea, valorile ?i libertatea. O parte din articole au ap?rut ?n diferite publica?ii, altele au v?zut lumina tiparului prin aceast? carte. Am ?ncercat s? aduc ?n con?tiin?a public? c??iva g?nditori rom?ni importan?i ?n spa?iul cultural rom?nesc ?i l?sa?i ?n umbra uit?rii. Opera acestora e realizat? ?n bun? parte ?n perioada interbelic?, ?ntr-un climat de libertate, f?r? presiuni ideologice sau de alt? natur?, fiind rezultatul for?ei intelectuale ?i al culturii personale. Dup? 1946 regimul comunist a ?ngr?dit progresiv libert??ile politice, a ?ncercat s? distrug? tradi?iile culturale a?a-zis burgheze, exercit?nd o represiune asupra intelectualit??ii ?i a creatorilor de opere. Domeniul ?tiin?elor sociale a fost afectat de o cenzur? inchizitorial?, pun?ndu-se la index autori ?i opere considerate periculoase pentru societatea rom?neasc? ?i ideologia marxist?.
