The author always enjoyed a sense of freedom, whether roaming around the Somerset countryside as a child or later on, living offshore with her husband and three daughters on a boat. She considers nothing strictly ‘out of bounds’, and for seventy years no-one has stopped her in her tracks. Thank You for My Dinner really sums up the dichotomy of her life – an upbringing steeped in Victorian-based principles and the free license to go her own way, which was generous even by twenty-first century standards. This is the story of Celia’s early life coupled with a trip down the river, never completely grown up, always looking for adventure, not anticipating danger, but keeping a sense of fun and a smile through various struggles – and surviving enough to say ‘thank you’ at the end.
Together with the Olympics, world's fairs are one of the few regular international events of sufficient scale to showcase a spectrum of sights, wonders, learning opportunities, technological advances, and new (or renewed) urban districts, and to present them all to a mass audience. Meet Me at the Fair: A World's Fair Reader breaks new ground in scholarship on world's fairs by incorporating a number of short new texts that investigate world's fairs in their multiple aspects: political, urban/architectural, anthropological/ sociological, technological, commercial, popular, and representational. Contributors come from eight different countries and represent affiliations in academia, museums and libraries, professional and architectural firms, non-profit organizations, and government regulatory agencies. In taking the measure of both the material artifacts and the larger cultural production of world's fairs, the volume presents its own phantasmagoria of disciplinary perspectives, historical periods, geographical locales, media, and messages, mirroring the microcosmic form of the world's fair itself.
Shortlisted for the 2021 Vine Awards Art, chess, and an $87,000 pipe frame an inside look at the relationship between Dadaist artist Marcel Duchamp and chess Grandmaster George Koltanowski Spanning three decades, two continents, two world wars, and the international art and chess scenes of the mid twentieth century, Duchamp's Pipe explores the remarkable friendship between art world enfant terrible Marcel Duchamp and blindfold chess champion George Koltanowski. Artist and cultural historian Celia Rabinovitch describes each man's rise to prominence, the chess matches that sparked their relationship, and the recently discovered pipe that Duchamp gave to Koltanowski. This tale of genius and resilience offers fresh insights into the essence of the gift in the bohemian underground. Rabinovitch invites us to discover the chess wizard and a Duchamp slightly off pedestal--and ultimately more human.
According to Avicenna, whatever exists, while it exists, exists of necessity. Not all beings, however, exist with the same kind of necessity. Instead, they exist either necessarily per se or necessarily per aliud. Avicenna on the Necessity of the Actual: His Interpretation of Four Aristotelian Arguments explains how Avicenna uses these modal claims to show that God is the efficient as well as the final cause of an eternally existing cosmos. In particular, Celia Kathryn Hatherly shows how Avicenna uses four Aristotelian arguments to prove this very un-Aristotelian conclusion. These arguments include Aristotle's argument for the finitude of efficient causes in Metaphysics 2; his proof for the prime mover in the Physics and Metaphysics 12; his argument against the Megarians in Metaphysics 9; and his argument for the mutual entailment between the necessary and the eternal in De Caelo 1.12. Moreover, Hatherly contends, when Avicenna's versions of these arguments are correctly interpreted using his distinctive understanding of necessity and possibility, the objections raised against them by his contemporaries and modern scholars fail.
In The Necessity of Music, Celia Applegate explores the many ways that Germans thought about and made music from the eighteenth- to twentieth-centuries. Rather than focus on familiar stories of composers and their work Applegate illuminates the myriad ways in which music is integral to German social life. Musical life reflected the polycentric nature of German social and political life, even while it provided many opportunities to experience what was common among Germans. Musical activities also allowed Germans, whether professional musicians, dedicated amateurs, or simply listeners, to participate in European culture. Applegate’s original and fascinating analysis of Mendelssohn, Schumann, Brahms, Wagner, and military music enables the reader to understand music through the experiences of listeners, performers, and institutions. The Necessity of Music demonstrates that playing, experiencing, and interpreting music was a powerful factor that shaped German collective life.
This groundbreaking book analyzes the theme of community in seven French Caribbean novels in relation to the work of the French philosopher Jean-Luc Nancy. The complex history of the islands means that community is often a central and problematic issue in their literature, underlying a range of other questions such as political agency, individual and collective subjectivity, attitudes towards the past and the future, and even the literary form itself. Celia Britton here studies a range of key books from the region, including Édouard Glissant’s Le Quatrième Siècle, Patrick Chamoiseau’s Texaco, Daniel Maximin’s L’Ile et une nuit, and Vincent Placoly’s L’eau-de-mort guildive, among others.
This book is a must read for anyone making a porcelain doll wanting to enter in a competition. In the book you will find tips and information from notes taken at seminars and private lessons with the top doll makers in the world today. There are two main categories of porcelain dolls modern and antique. Modern dolls are those sculpted by modern artists. Antique dolls are those that were first introduced and sold either more that fifty years ago or, by some definitions, more than one hundred years ago. Actual antique dolls can be purchased for enjoyment and possibly to use as models for the making of reproductions. Excellent reproductions of the antique dolls can be made by modern-day artists. Modern dolls are those sculpted by current-day sculptors. Modern dolls can be painted and dressed in any way the doll artisan prefers. They can have painted eyes, or the holes can be cut out from the porcelain before the bisque firing to allow the insertion of glass eyes. Neither technique is easy. Each has its own challenges, and both look nice when done well. These dolls can be dressed in any way the artist wishes as well. Reproductions of antiques must be done so that the artist reproduces the original patterns and colors as they were initially done on the specific dolls. This means reproducing the eyes with the same number of lashes that the artists painted on the antique dolls, the same slant and the same spacing. Dressing the antique reproductions poses another challenge as the dolls should be dressed in a period costume appropriate for that doll. The fabrics should be natural fibers, often actual vintage or antique fabrics. Significant research is required to determine what styles, fabrics, and colors should be used for specific dolls. This book has a wonderful collection of tips collected from the experts! These are helpful for all doll makers, especially people preparing for competitions. This book contains a wealth of information for lovers and makers of both modern and reproduction antique dolls. The information has been collected over the years from most of the most talented and experienced doll makers in the world. It is shared here with those interested in preserving this art, approaching each aspect of the doll in the best way possible.
Writing Historical Fiction: A Writers' & Artists' Companion is an invaluable companion for a writer working in this challenging and popular literary genre, whether your period is Ancient Rome or World War II. PART 1 includes reflections on the genre and provides a short history of historical fiction. PART 2 contains guest contributions from Margaret Atwood, Ian Beck, Madison Smartt Bell, Ronan Bennett, Vanora Bennett, Tracy Chevalier, Lindsay Clarke, Elizabeth Cook, Anne Doughty, Sarah Dunant, Michel Faber, Margaret George, Philippa Gregory, Katharine McMahon, Valerio Massimo Manfredi, Hilary Mantel, Alan Massie, Ian Mortimer, Kate Mosse, Charles Palliser, Orhan Pamuk, Edward Rutherfurd, Manda Scott, Adam Thorpe, Stella Tillyard, Rose Tremain, Alison Weir and Louisa Young. PART 3 offers practical exercises and advice on such topics as research, plots and characters, mastering authentic but accessible dialogue and navigating the world of agents and publishers.
The riveting story of how three years spent in the United States transformed Frida Kahlo into the artist we know today "[An] insightful debut....Featuring meticulous research and elegant turns of phrase, Stahr’s engrossing account provides scholarly though accessible analysis for both feminists and art lovers." —Publisher's Weekly Mexican artist Frida Kahlo adored adventure. In November, 1930, she was thrilled to realize her dream of traveling to the United States to live in San Francisco, Detroit, and New York. Still, leaving her family and her country for the first time was monumental. Only twenty-three and newly married to the already world-famous forty-three-year-old Diego Rivera, she was at a crossroads in her life and this new place, one filled with magnificent beauty, horrific poverty, racial tension, anti-Semitism, ethnic diversity, bland Midwestern food, and a thriving music scene, pushed Frida in unexpected directions. Shifts in her style of painting began to appear, cracks in her marriage widened, and tragedy struck, twice while she was living in Detroit. Frida in America is the first in-depth biography of these formative years spent in Gringolandia, a place Frida couldn’t always understand. But it’s precisely her feelings of being a stranger in a strange land that fueled her creative passions and an even stronger sense of Mexican identity. With vivid detail, Frida in America recreates the pivotal journey that made Senora Rivera the world famous Frida Kahlo.
This is a major study of the Nobel prize-winning French novelist Claude Simon. Simon is a complex figure: for all that he writes in a distinctively modern fictional tradition (exemplified by Proust, Joyce, Beckett and Robbe-Grillet), his novels contain strong elements of visual representation alongside a very different king of free-floating, anti-realist writing.
In this 1960 Edgar Award-winning thriller, a young housewife with two lively daughters and an endlessly crying baby battles domestic chaos as well as growing suspicions of the household's new lodger.
Government censorship had a profound impact on the development of canonical modernism and on the public images of modernist writers. Celia Marshik argues that censorship can benefit as well as harm writers and the works they create in response to it. She weaves together histories of official and unofficial censorship, of individual writers and their relationships to such censorship and of British modernism. Throughout, Marshik draws on an extraordinary range of evidence, including the files of government agencies and social purity organisations. She analyses how works were written, revised, published and performed in relation to this complex web of social forces. Chapters of Dante Gabriel Rossetti, Bernard Shaw, Virginia Woolf, James Joyce and Jean Rhys demonstrate that by both reacting against and complying with the forces of repression, writers reaped personal and stylistic benefits for themselves and for society at large.
Explaining how we can exercise our rights as patients, the Scullys cover common medical questions that increasing numbers of people face daily, ranging from ordinary to life-and-death matters.
The author always enjoyed a sense of freedom, whether roaming around the Somerset countryside as a child or later on, living offshore with her husband and three daughters on a boat. She considers nothing strictly ‘out of bounds’, and for seventy years no-one has stopped her in her tracks. Thank You for My Dinner really sums up the dichotomy of her life – an upbringing steeped in Victorian-based principles and the free license to go her own way, which was generous even by twenty-first century standards. This is the story of Celia’s early life coupled with a trip down the river, never completely grown up, always looking for adventure, not anticipating danger, but keeping a sense of fun and a smile through various struggles – and surviving enough to say ‘thank you’ at the end.
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