The real-life murder of a pregnant woman, supposedly by a black assailant, gripped Boston and exposed racial and class tensions in 1989. Giardina's work, based on those events, is a masterful and explosive social novel about the price of the American dream.
After the War of the Exiled, Vatherion saw three centuries of peace. A peace that has only recently been broken as The Exiled slowly started to emerge, with the return of the King. King Kirein was murdered by the First of Eight to escape their prison. It falls to Broncus, the last of the Guardians, to save Vatherion from the oncoming onslaught. He must trust those around him, but first he must figure out if they seek to undermine and betray him or make him the Guardian he could be. The First Exiled knows about Broncus and he sends the assassin Kyrin to take care of the issue. With Kyrin losing his memory will he be able to redeem himself or suffer for the atrocities he has committed? Only the Exiled stand between the salvation of Vatherion and only Kyrin stands between his redemption and damnation.
This book examines the work of several modern artists, including Fortunato Depero, Scipione, and Mario Radice, who were working in Italy during the time of Benito Mussolini’s rise and fall. It provides a new history of the relationship between modern art and fascism. The study begins from the premise that Italian artists belonging to avant-garde art movements, such as futurism, expressionism, and abstraction, could produce works that were perfectly amenable to the ideologies of Mussolini’s regime. A particular focus of the book is the precise relationship between ideas of history and modernity encountered in the art and politics of the time and how compatible these truly were.
Leslie Anthony is that rare combination: a brainiac and a ski fiend. In White Planet, he mad-dashes off hilarious, penetrating insights on snow and skiing." Rob Story, contributing editor of skiing magazine and author of Telluride Storys.
This text is an attempt to trace out a line of development in the understanding of how things happen, from origins in infancy to mature forms in adulthood. There are two distinct but related ways in which people understand things as happening, denoted by the terms "causation" and "action". This book is concerned with both.; The central claim and organizing principle of the book is that, by the end of the second year of life, children have differentiated two core theories of how things happen. These theories deal with causation and action. The two theories have a common point of origin in the infant's experience of producing actions, but thereafter diverge, both in content and in realm of application. Once established, the core theories of causation and action never change, but form a permanent metaphysical underpinning on which subsequent developments in the understanding of how things happen are erected. The story of development is therefore largely the story of how further concepts become attached to integrated with the core theories. Although the developmental and adult literatures on causal understanding appear at first glance to have little in common, in fact this appearance is illusory, and the idea of two theories helps to bring the two literatures in contact with each other.; The book begins with a survey of the main philosophical ideas about causation and action. Following this, the possible origins of understanding in infancy are reviewed, and separate chapters then deal with the development of understanding of action and causation through childhood. This is then linked to the adult understanding of action and causation, and the literature on adult causal attribution and causal judgement is reviewed from this perspective.
Lucio Fontana (1899–1968), a major figure of postwar European art, blurred numerous boundaries in his life and his work. Moving beyond the slashed canvases for which he is renowned, this book takes a fresh look at Fontana’s innovations in painting, drawing, ceramics, sculpture, and installation art. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana} Fontana was an important figure in both Italy and his native Argentina, where he pushed the painterly into the sculptural and redefined the relationship between mediums. Archival images of environments, public commissions, installations, and now-destroyed pieces accompany lavish illustrations of his work from 1930 to the late 1960s, providing a new approach to an artist who helped define the political, cultural, and technological thresholds of the mid-twentieth century.
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