This comprehensive handbook covers all the rodents occurring in Southern, Central, East and West Africa, south of the Sahara. Genus and species accounts include diagnostic descriptions, systematics and taxonomy, biogeographical environment, fossil species, photographs of skull and mandible, illustrations of molar dentition, photographs of live animals, distribution maps and tables of standard museum measurements.
Paul Gauguin (1848-1903) played a seminal role in Post-Impressionist France. In his writings and work, he favored emotional responses to nature over intellectual uses of lines, color, and composition. In 1888 he and Emile Bernard developed a new style called Synthetism. Three groups of Gauguin's symbolist followers—Pont Aven, Les Nabis, and Rose + Croix pursued and extended the Synthetist vision. This sourcebook focuses on the most prominent adherents of the three schools directly affected by Gauguin's symbolism. This is the first comprehensive, single-volume guide and bibliography of artists in these three important French avant-garde movements. This work covers the entire careers of 16 artists by providing biographical sketches, chronologies, citations to primary and secondary literature and exhibitions.
In 1603, the beginning of the Stuart reign, painting was of minor importance at the English court, where the elaborately designed masques of Inigo Jones served as the prime medium of royal representation. Only two decades later, their most celebrated performer, George Villiers, the First Duke of Buckingham had assembled one of the largest and most significant collections of painting in early seventeenth-century Europe. His career as the personal and political favourite of two succeeding monarchs – James I and Charles I – coincides with the commission of a number of highly ambitious portraits from the hands of Peter Paul Rubens and Anthony van Dyck that displayed his body in spectacular manner. As the first comprehensive study of Buckingham’s patronage of the visual arts, this book is concerned with the question of how the painted image of the courtier transferred strategies of social distinction that had originated in the masque to the language of painting. Establishing a new grammar in the competing rhetorics of bodily self-fashioning, this recast notion of portraiture contributed to an epistemological change in perceptions of visual representation at the early modern English court, in the course of which painting advanced to the central art form in the aesthetics of kingship.
Easy to read and to use, this A-to-Z mini-encyclopedia covers the most important medical innovations of the last 200 years. Medical innovation is an extremely important topic—and one to which relatively little study has been devoted. This volume is designed to introduce readers to the history and development of key advances in the science and practice of medicine. It explores issues in medical history and provides perspective on contemporary scientific research and innovation. It also provides a backdrop against which to evaluate current headlines, such as the discoveries of live samples of smallpox virus in an unused storage room at the National Institutes of Health (NIH) and incidents of bubonic plague in China and Colorado. Although the entries in this single-volume resource describe how each innovation works, this is not intended as a technical text. Instead, the focus is on the context in which each innovation was developed and on its lasting importance in the field of medicine. Through these fascinating accounts, readers will be able to trace the evolution and legacy of key innovations and to see how other sectors of society—such as industry and the military—have affected and been affected by advances in the field of medicine.
For the 21st century, the often-quoted citation ‘past is prologue’ reads the other way around: The global present lacks a historical narrative for the global past. Focussing on a transcultural history, this book questions the territoriality of historical concepts and offers a narrative, which aims to overcome cultural essentialism by focussing on crossing borders of all kinds. Transcultural History reflects critically on the way history is constructed, asking who formed history in the past and who succeeded in shaping what we call the master narrative. Although trained European historians, the authors aim to present a useful approach to global history, showing first of all how a Eurocentric but universal historiography removed or essentialised certain topics in Asian history. As an empirical discipline, history is based on source material, analysed according to rules resulting from a strong methodological background. This book accesses the global past after World War I, looking at the well known stage of the Paris Peace Conferences, observing the multiplication of new borders and the variety of transgressing institutions, concepts, actors, men and women inventing themselves as global subjects, but sharing a bitter experience with almost all local societies at this time, namely the awareness of having relatives buried in far distant places due to globalised wars.
This reference organizes and describes the primary and secondary literature surrounding Mary Stevenson Cassatt, Berthe Morisot, Eva Gonzalès, and Marie Bracquemond, four major women Impressionist artists. The Impressionist group included several women artists of considerable ability whose works and lives were largely ignored until the advent of feminist art criticism in the early 1970s. They studied, worked, and exhibited with their male counterparts including Degas, Manet, Monet, and Pissarro. The entries provide extensive coverage of the careers, critical reception, exhibition history, and growing reputations of these four female artists and discuss women Impressionists in general as they shared the challenges of becoming accepted as professional artists in late 19th-century society. Containing nearly 900 citations of manuscripts, books, articles, reproductions, films, exhibitions, and reviews, this unique sourcebook will appeal to both art and women's studies scholars. Each artist receives a biographical sketch, chronology, information about individual and group exhibitions and reviews, and a primary and secondary bibliography, which captures details about the artist's life, career, and relationship with other artists. An art works index and names index complete the volume.
Stemming from Harvard University's Carl Newell Jackson Lectures, Christiane Sourvinou-Inwood's Tragedy and Athenian Religion sets out a radical reexamination of the relationship between Greek tragedy and religion. Based on a reconstruction of the context in which tragedy was generated as a ritual performance during the festival of the City Dionysia, Sourvinou-Inwood shows that religious exploration had been crucial in the emergence of what developed into fifth-century Greek tragedy. A contextual analysis of the perceptions of fifth-century Athenians suggests that the ritual elements clustered in the tragedies of Euripides, Aeschylus, and Sophocles provided a framework for the exploration of religious issues, in a context perceived to be part of a polis ritual. This reassessment of Athenian tragedy is based both on a reconstruction of the Dionysia and the various stages of its development and on a deep textual analysis of fifth-century tragedians. By examining the relationship between fifth-century tragedies and performative context, Tragedy and Athenian Religion presents a groundbreaking view of tragedy as a discourse that explored (among other topics) the problematic religious issues of the time and so ultimately strengthened Athenian religion even at a time of crisis in very complex ways-- rather than, as some simpler modern readings argue, challenging and attacking religion and the gods.
In their wide-ranging interpretation of the religion of ancient Egypt, Françoise Dunand and Christiane Zivie-Coche explore how, over a period of roughly 3500 years, the Egyptians conceptualized their relations with the gods. Drawing on the insights of anthropology, the authors discuss such topics as the identities, images, and functions of the gods; rituals and liturgies; personal forms of piety expressing humanity's need to establish a direct relation with the divine; and the afterlife, a central feature of Egyptian religion. That religion, the authors assert, was characterized by the remarkable continuity of its ritual practices and the ideas of which they were an expression.Throughout, Dunand and Zivie-Coche take advantage of the most recent archaeological discoveries and scholarship. Gods and Men in Egypt is unique in its coverage of Egyptian religious expression in the Ptolemaic and Roman periods. Written with nonspecialist readers in mind, it is largely concerned with the continuation of Egypt's traditional religion in these periods, but it also includes fascinating accounts of Judaism in Egypt and the appearance and spread of Christianity there.
THE RETURN OF MARIE-JOELLE dramatically built around a romance, family values and traditions, is a vivid tale of eternal love spanning the mystery of life, death and beyond. Caught in a violent storm while canoeing on the Dordogne River in Southwest France, Marie Joelle at the age of seventeen tragically drowns. A few years later, her family and friends find themselves helplessly baffled by a mystery that shakes their core beliefs about life and death. The subsequent birth of Anais continues to mystify everyone as the little girls behavior gives many compelling manifestations indicating the possibility that the soul of their beloved Marie-Joelle has been reincarnated in the body of the child Anais. The story, carries an intriguing charm which may captivate a diversity of readers, regardless of their spiritual convictions, for this is not a treatise on any particular religious creed.
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