The man of fancy made an entertainment at one of his castles in the air, and invited a select number of distinguished personages to favor him with their presence. The mansion, though less splendid than many that have been situated in the same region, was nevertheless of a magnificence such as is seldom witnessed by those acquainted only with terrestrial architecture. Its strong foundations and massive walls were quarried out of a ledge of heavy and sombre clouds which had hung brooding over the earth, apparently as dense and ponderous as its own granite, throughout a whole autumnal day. Perceiving that the general effect was gloomy, -so that the airy castle looked like a feudal fortress, or a monastery of the Middle Ages, or a state prison of our own times, rather than the home of pleasure and repose which he intended it to be, -the owner, regardless of expense, resolved to gild the exterior from top to bottom. Fortunately, there was just then a flood of evening sunshine in the ai
The New Art History provides a comprehensive introduction to the fundamental changes which have occurred in both the institutions and practice of art history over the last thirty years.
Jonathan Harris examines and accounts for the new approaches to the study of art which have been grouped loosely under the term 'the new art history'. He distinguishes between these and earlier forms of 'radical' or 'critical' analysis, explores the influence of other disciplines and traditions on art history, and relates art historical ideas and values to social change.
Structured around an examination of key texts by major contemporary critics, including Tim Clarke, Griselda Pollock, Fred Orton, Albert Boime, Alan Wallach and Laura Mulvey, each chapter discusses a key moment in the discipline of art history, tracing the development and interaction of Marxist, feminist and psychoanalytic critical theories. Individual chapters include: * Capitalist Modernity, the Nation-State and Visual Representation * Feminism, Art, and Art History * Subjects, Identities and Visual Ideology * Structures and Meanings in Art and Society * The Representation of Sexuality
SOMEONE OR SOMETHING IS DRAINING EARTH?S OIL RESERVES. CAN YOU CRACK THE CASE IN TIME? Everyone knows that Earth has limited oil reserves. How can they go missing overnight? Is it an evil multi-national corporation? A rogue element in the government? Some crazy scientist? When the trail takes you into outer space, you are terrified for the first time in your life. A mysterious galaxy beyond the Milky Way seems to be siphoning Earth's oil using laser straws. The world's economy and life as you know it will crash to a halt, unless you can stop them You followed three men to a small house. You enter a narrow passageway to a green staircase. Your heart is racing. Just as you are about to climb the stairs, the upstairs door opens. You flatten yourself against the wall in the shadow of the stairs. Maybe they won't see you! The three men come down the stairs talking in low voices, but soon disappear. If you follow the men, turn to page 111. YOU choose what happens next!
This collection of literature attempts to compile many of the classic works that have stood the test of time and offer them at a reduced, affordable price, in an attractive volume so that everyone can enjoy them.
The arrangement of SPECIAL WORDS FOR THE TENDERHEARTED is an unmistakable transparent innocence into The Word of GOD. SPECIAL WORDS FOR THE TENDERHEARTED is written with the purpose in mind that any being--intellectual or insufficient in the knowledge of the Holy Scripture, which is GOD'S WORD--would receive a basic understanding. Guided by the Holy Spirit, the scriptures selected cornerstone the writings of SPECIAL WORDS FOR THE TENDERHEARTED. It is suggested reading for a better understanding of the WORD OF GOD that is written in Spirit and in Truth. It is written for the OPEN AND CLOSED-MINDED. It is written for the ATHEIST AND THE BELIEVERS. It is also written for times of MEDITATION, SOUL SEARCHING AND PRAYER. It is written especially for YOU!
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