With an astounding eighteen medals in eight international championships and team gold medals at the Olympic Games in 1976 and 1984, Jack Le Goff created the standard by which modern–day equestrian teams are measured. But Le Goff's techniques could be unforgiving–tough, brutal, and abrasive–earning him critics as well as converts. In this, his autobiography, Le Goff tells the whole story, from impoverished beginnings in Morocco, to the tragic death of his father, to his successes as a competitive equestrian. Readers will enjoy a behind-the-scenes look at the inner workings of high–level international equestrian sport, as well as an entire section devoted to Le Goff's much admired and extremely successful training philosophy.
With an astounding eighteen medals in eight international championships and team gold medals at the Olympic Games in 1976 and 1984, Jack Le Goff created the standard by which modern–day equestrian teams are measured. But Le Goff's techniques could be unforgiving–tough, brutal, and abrasive–earning him critics as well as converts. In this, his autobiography, Le Goff tells the whole story, from impoverished beginnings in Morocco, to the tragic death of his father, to his successes as a competitive equestrian. Readers will enjoy a behind-the-scenes look at the inner workings of high–level international equestrian sport, as well as an entire section devoted to Le Goff's much admired and extremely successful training philosophy.
The East in the West reassesses Western views of Asia. Traditionally many European historians and theorists have seen the societies of the East as 'static' or 'backward'. Jack Goody challenges these assumptions, beginning with the notion of a special Western rationality which enabled 'us' and not 'them' to modernise. He then turns to book-keeping, which several social and economic historians have seen as intrinsic to capitalism, arguing that there was in fact little difference between East and West in terms of mercantile activity. Other factors said to inhibit the East's development, such as the family and forms of labour, have also been greatly exaggerated. This Eurocentrism both fails to explain the current achievements of the East, and misunderstands Western history. The East in the West starts to redress the balance, and so marks a fundamental shift in our view of Western and Eastern history and society.
What can the great crises of the past teach us about contemporary revolutions? Arguing from an exciting and original perspective, Goldstone suggests that great revolutions were the product of 'ecological crises' that occurred when inflexible political, economic, and social institutions were overwhelmed by the cumulative pressure of population growth on limited available resources. Moreover, he contends that the causes of the great revolutions of Europe—the English and French revolutions—were similar to those of the great rebellions of Asia, which shattered dynasties in Ottoman Turkey, China, and Japan. The author observes that revolutions and rebellions have more often produced a crushing state orthodoxy than liberal institutions, leading to the conclusion that perhaps it is vain to expect revolution to bring democracy and economic progress. Instead, contends Goldstone, the path to these goals must begin with respect for individual liberty rather than authoritarian movements of 'national liberation.' Arguing that the threat of revolution is still with us, Goldstone urges us to heed the lessons of the past. He sees in the United States a repetition of the behavior patterns that have led to internal decay and international decline in the past, a situation calling for new leadership and careful attention to the balance between our consumption and our resources. Meticulously researched, forcefully argued, and strikingly original, Revolutions and Rebellions in the Early Modern World is a tour de force by a brilliant young scholar. It is a book that will surely engender much discussion and debate.
Depicting the Creation of Woman presented a special problem for Renaissance artists. The medieval iconography of Eve rising half-formed from Adam's side was hardly compatible with their commitment to the naturalistic representation of the human figure. At the same time, the story of God constructing the first woman from a rib did not offer the kind of dignified, affective pictorial narrative that artists, patrons, and the public prized. Jack M. Greenstein takes this artistic problem as the point of departure for an iconographic study of this central theme of Christian culture. His book shows how the meaning changed along with the form when Lorenzo Ghiberti, Andrea Pisano, and other Italian sculptors of the fourteenth and fifteenth centuries revised the traditional composition to accommodate a naturalistically depicted Eve. At stake, Greenstein argues, is the role of the artist and the power of image-making in reshaping Renaissance culture and religious thought.
In this brilliant, engrossing work, Jack Turner explores an era—from ancient times through the Renaissance—when what we now consider common condiments were valued in gold and blood. Spices made sour medieval wines palatable, camouflaged the smell of corpses, and served as wedding night aphrodisiacs. Indispensible for cooking, medicine, worship, and the arts of love, they were thought to have magical properties and were so valuable that they were often kept under lock and key. For some, spices represented Paradise, for others, the road to perdition, but they were potent symbols of wealth and power, and the wish to possess them drove explorers to circumnavigate the globe—and even to savagery. Following spices across continents and through literature and mythology, Spice is a beguiling narrative about the surprisingly vast influence spices have had on human desire. Includes eight pages of color photographs. One of the Best Books of the Year: Discover Magazine, The Christian Science Monitor, San Francisco Chronicle
In this sixth edition of Jack Jie Li's seminal "Name Reactions", the author has added three or more synthetic applications of name reactions to reflect the recent advances in organic chemistry. As in previous editions, each reaction is delineated by its detailed step-by-step, electron-pushing mechanism and supplemented with the original and the latest references, especially from review articles. This book is not only an indispensable resource for advanced undergraduate and graduate students for learning and preparing exams, but is also a good reference book for all organic chemists in both industry and academia. Unlike other books on name reactions in organic chemistry, Name Reactions, A Collection of Detailed Reaction Mechanisms and Synthetic Applications focuses on the reaction mechanisms. It covers over 300 classical as well as contemporary name reactions.
In this study, Jack M. Greenstein draws on Early Renaissance art theory, modern narratology, translation studies, critical theory, the philosophy of history, and biblical hermeneutics to explicate the sense and significance of one of Andrea Mantegna's most enigmatic and influential works, the Uffizi Circumcision of Christ. Faced with a work that resists established methods of iconographical analysis, Greenstein reassesses the nature and goals of high humanist narrative painting. The result is a new, historically grounded theory of iconography that calls into question many widely held assumptions about the social and intellectual value of Early Renaissance art. Greenstein's theory rests on a careful analysis of Leon Battista Alberti's commentary On Painting, which equated both the form and the content of artistically composed painting with historia. Situating this equation within a centuries-old discourse on the multivalent significance of the Bible, Greenstein shows that, for Alberti, historia was a mode of artistic narrative, common to literature and painting, in which moral truths were presented to the corporeal senses, particularly to vision, in the guise of plausible human actions. In Greenstein's reading, the painter's primary task was the construction of a visually plausible narrative that effectively conveyed the higher meanings of historia. Having thus delineated the structure of significance in Albertian painting, Greenstein shows what was at stake when a painter of Mantegna's historical bent undertook to produce a historia. As one of the leading historical thinkers of his age, Mantegna imbued his depicted scenes with the plausibility of historical events by employing thosecodes of evidence, causality, and historical distance that underlay the Renaissance sense of the past. But the Circumcision of Christ resisted such treatment because the symbolic conventions developed by earlier artists for conveying the higher theological meanings of the theme were incompatible with the representational fidelity embraced by painters of historia. Mantegna overcame these difficulties by arriving at a new understanding of the Circumcision, which remained faithful to the narrative structure as well as the theological content of the biblical account. His interpretation was widely adopted by later artists, but was so pictorial in nature that, despite its consistency with the biblical account, it remained with-out parallel in theological literature. Greenstein's discovery--that artistic production of Albertian painting was a specialized and singularly visual form of thinking whose roots lay more in readerly hermeneutics than in perception, commerce, or common visual experience--raises questions about narrative, representation, and the textuality of art that will interest a wide array of scholars.
The idea of long-term European dominance is characteristic of most evolutionary theories of human culture and society in the nineteenth century. It was commonly believed that there was a natural progression from Antiquity through Feudalism to Capitalism which could not have taken place elsewhere. Today there are many who still believe that this progression was part of a European miracle that underlay the rise to global supremacy of the West. In this short book Jack Goody systematically dismantles this Eurocentric view of the world. He argues that we need to look, not for a European miracle, but rather for a Eurasian miracle that went back to the Urban Revolution of the Bronze Age, that affected the Near East, India and China well before Europe and that was much advanced by the adoption of writing. Under these conditions we find a long-term exchange of information between East and West, and the dominance of one followed by the dominance of the other - in other words, alternation rather than dominance. There were measures during the Renaissance in Europe that made for continuous growth, especially the secularization of learning, but it appears that the period of Western supremacy is now coming to an end and that we are about to experience a further alternation in favour of the East.
Although Søren Kierkegaard, considered one of the most passionate Christian writers of the modern age, was a Lutheran, he was deeply dissatisfied with the Lutheran establishment of his day. Some scholars have said that he pushed his faith toward Catholicism. Placing Kierkegaard in sustained dialogue with the Catholic tradition, Jack Mulder, Jr., does not simply review Catholic reactions to or interpretations of Kierkegaard, but rather provides an extended look into convergences and differences on issues such as natural theology, natural moral law, Christian love, apostolic authority, the doctrine of hell, contrition for sins, the doctrine of purgatory, and the communion of saints. Through his analysis of Kierkegaard's philosophy of religion, Mulder presents deeper possibilities for engagements between Protestantism and Catholicism.
With wit, wisdom, and a sharp scalpel, Jack Hartnell dissects the medieval body and offers a remedy to our preconceptions. Just like us, medieval men and women worried about growing old, got blisters and indigestion, fell in love, and had children. And yet their lives were full of miraculous and richly metaphorical experiences radically different from our own, unfolding in a world where deadly wounds might be healed overnight by divine intervention, or where the heart of a king, plucked from his corpse, could be held aloft as a powerful symbol of political rule. In this richly illustrated and unusual history, Jack Hartnell uncovers the fascinating ways in which people thought about, explored, and experienced their physical selves in the Middle Ages, from Constantinople to Cairo and Canterbury. Unfolding like a medieval pageant, and filled with saints, soldiers, caliphs, queens, monks and monstrous beasts, this book throws light on the medieval body from head to toe—revealing the surprisingly sophisticated medical knowledge of the time. Bringing together medicine, art, music, politics, philosophy, religion, and social history, Hartnell's work is an excellent guide to what life was really like for the men and women who lived and died in the Middle Ages. Perfumed and decorated with gold, fetishized or tortured, powerful even beyond death, these medieval bodies are not passive and buried away; they can still teach us what it means to be human. Some images in this ebook are not displayed due to permissions issues.
A provocative new theory about fairy tales from one of the world's leading authorities If there is one genre that has captured the imagination of people in all walks of life throughout the world, it is the fairy tale. Yet we still have great difficulty understanding how it originated, evolved, and spread—or why so many people cannot resist its appeal, no matter how it changes or what form it takes. In this book, renowned fairy-tale expert Jack Zipes presents a provocative new theory about why fairy tales were created and retold—and why they became such an indelible and infinitely adaptable part of cultures around the world. Drawing on cognitive science, evolutionary theory, anthropology, psychology, literary theory, and other fields, Zipes presents a nuanced argument about how fairy tales originated in ancient oral cultures, how they evolved through the rise of literary culture and print, and how, in our own time, they continue to change through their adaptation in an ever-growing variety of media. In making his case, Zipes considers a wide range of fascinating examples, including fairy tales told, collected, and written by women in the nineteenth century; Catherine Breillat's film adaptation of Perrault's "Bluebeard"; and contemporary fairy-tale drawings, paintings, sculptures, and photographs that critique canonical print versions. While we may never be able to fully explain fairy tales, The Irresistible Fairy Tale provides a powerful theory of how and why they evolved—and why we still use them to make meaning of our lives.
In his latest book, fairy tales expert Jack Zipes explores the question of why some fairy tales "work" and others don't, why the fairy tale is uniquely capable of getting under the skin of culture and staying there. Why, in other words, fairy tales "stick." Long an advocate of the fairy tale as a serious genre with wide social and cultural ramifications, Jack Zipes here makes his strongest case for the idea of the fairy tale not just as a collection of stories for children but a profoundly important genre. Why Fairy Tales Stick contains two chapters on the history and theory of the genre, followed by case studies of famous tales (including Cinderella, Snow White, and Bluebeard), followed by a summary chapter on the problematic nature of traditional storytelling in the twenty-first century.
An original theory asserts that this distinctive form of kinship system developed in the northern Mediterranean around the fourth century A.D., and that its subsequent growth can be attributed to the efforts of the early Christian Church to acquire property formerly held by domestic groups.
ParisAuthoritative * Comprehensive * Up-to-date * Easy to useThis book is packed with useful information, yet finding what you need is simple:A map on the inside front cover clearly shows the routes suggested in the main test.The routes allow you to follow them right through or pick only the sights that interest you.The star system carefully grades the main attactions:* well worth seeing** very intesting*** an absolute mustMain sights in the city are given numbers in the text to help you to locate them quickly on the maps.Vivid photography makes it easy to identify sights on the spot.Practical Information on travel, food and hotels is placed handily at the end of the book.
God's Word creates what he commands In Justification by the Word, Jack D. Kilcrease reintroduces Martin Luther's key doctrine. Though a linchpin of the Reformation, Luther's view of justification is often misunderstood. For Luther, justification is an expression of God's creative Word. To understand Luther on justification, one must grasp his doctrine of the Word. The same God who declared "let there be light"—and it was so—also declares "your sins are forgiven." Justification is an objective reality. It is achieved in Christ's resurrection and received through an encounter with the risen Christ in Word and sacrament. Justification turns us outward, away from our own unsteady feelings and limited understanding, to look to Christ. And the church must preach justification, lest we so easily forfeit the joy of the gospel. Justification by the Word inspires readers to reencounter the radical doctrine of justification by faith alone.
Until 1725, the Saco River was the main artery for the Pequawket Indians traveling in canoes to and from the Atlantic. Soon thereafter came trappers, followed by loggers, who harvested the colossal white pine and sent the logs floating down the river to sawmills mushrooming all along its course. By 1871, the Portland and Ogdensburg Railroad had reached Fryeburg, fifty miles from Portland, thus linking the Upper Saco River with Boston and beyond. Soon, a steady stream of summer visitors began arriving in the region and the White Mountains beyond. Upper Saco River Valley: Fryeburg, Lovell, Brownfield, Denmark, and Hiram visits the days when logs floated down the river and trains thundered up and down the valley. The first stop is in Fryeburg, home of Fryeburg Academy and the Fryeburg Fair, the oldest and largest fair in Maine. Next is Lovell and its many lovely brick homes and Kezar Lake. The book then journeys to Brownfield, largely depicted before the devastating fire of 1947. Denmark was the home of Rufus Ingalls, the quartermaster general under Ulysses S. Grant. The volume ends in Hiram, the home of a famed Revolutionary War general who was also the grandfather of Henry Wadsworth Longfellow. Throughout the region and throughout this book are rarely seen vintage photographs of the Saco River and the nine covered bridges that once spanned it.
This history of documentary film concentrates mainly on the output of the film industries in the US, the UK and Canada. The authors outline the origins of the form and trace its development over the next several decades. Each chapter concludes with a list of the key documentaries in that time period or genre.
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