When we settle for our own dreams, we settle for too little. God promises "to do immeasurably more than all we ask or imagine" in each of our lives (Eph. 3:20, NIV). John Avant shares true stories of God's passion touching lives around the world and helps readers discern God's dreams for themselves - challenging them to put an end to boring living. As readers see God's passionate adventure lived out all around them every day, they'll eagerly accept His invitation to be a part of it - to live a life beyond their imagination!
Across a powerfully wide-ranging set of themes, theoretical registers and historical examples, John Roberts analyses the key problems that continue to confront art after conceptual art, in the light of art’s longstanding relationship to market and institution the commodity and mass culture: namely, artistic labour and technology, modernity and the ‘new’, art and negation, identity and subjectivity, agency and audience, form and value. In these terms, the book provides a rigorous and ambitious, examination of the limits and possibilities of art’s contribution to emancipatory discourse and practice.
An exemplary survey that reassesses the impact of the most important books to have shaped art history through the twentieth century Written by some of today’s leading art historians and curators, this new collection provides an invaluable road map of the field by comparing and reexamining canonical works of art history. From Émile Mâle’s magisterial study of thirteenth-century French art, first published in 1898, to Hans Belting’s provocative Likeness and Presence: A History of the Image before the Era of Art, the book provides a concise and insightful overview of the history of art, told through its most enduring literature. Each of the essays looks at the impact of a single major book of art history, mapping the intellectual development of the writer under review, setting out the premises and argument of the book, considering its position within the broader field of art history, and analyzing its significance in the context of both its initial reception and its afterlife. An introduction by John-Paul Stonard explores how art history has been forged by outstanding contributions to scholarship, and by the dialogues and ruptures between them.
In-depth interviews, conducted several years before Mingus died, capture the composer's spirit and voice, revealing how he saw himself as composer and performer, how he viewed his peers and predecessors, how he created his extraordinary music, and how he looked at race. Augmented with interviews and commentary by ten close associates--including Mingus's wife Sue, Teo Macero, George Wein, and Sy Johnson.
In An Eye for Music, John Richardson navigates key areas of current thought - from music theory to film theory to cultural theory - to explore what it means that the experience of music is now cinematic, spatial, and visual as much as it is auditory.
This comprehensive international bibliography is the first to attempt documentation of this diverse field, covering the history of Artist's Performance. It focuses on its early twentieth-century antecedents in such movements as Futurism, Dada, Russian Constructivism, and the Bauhaus as well as its peak period in the 1950s, 1960s, and 1970s with such developments as Gutai, Fluxus, Viennese Actionism, Situationism, and Guerrilla Art Action. Major emphasis is also given to sources on 115 individual performance artists and groups. More than 3700 entries document print and media materials dating from 1914 to 1992. Organized for maximum accessibility, the sources are also extensively cross-referenced and are indexed by artist, subject, title, and author. Three appendices identify reference works, libraries, and archives, and addenda material not found in the book text, and two others list artists by country and by group or collective.
How has political revolution figured into the development of avant-garde cultural production? Is the vanguard an antiquated concept or does its influence still resonate in the 21st century? Focusing closely on the convergence of aesthetics and politics that materialized in the early part of the twentieth century, this study offers a re-interpretation of the historical avant-garde from 1917 to 1962, a turbulent period in intellectual history which marked the apex, crisis, and decline of vanguardist authority. Moving from the impact of the Bolshevik Revolution to the anti-imperialist and decolonizing movements in the Third World, to the emergence of neo-vanguardism in the wake of postmodernity, this study opens the way for understanding the transformation of vanguardist cultural paradigms from a global perspective, the implications of which also reveal its relevance and application to the contemporary period.
Bouvier, John. A Law Dictionary Adapted to the Constitution and Laws of the United States of America, and of the Several States of the American Union; with References to the Civil and Other Systems of Foreign Law. Philadelphia: T. & J.W. Johnson, 1839. Two volumes. 559; 628 pp. Reprinted 1993 by The Lawbook Exchange, Ltd. LCCN 99-047231. ISBN 0-9630106-7-0. Hardcover. * Reprint of the first edition of the first American law dictionary to be published. Long recognized as a leading authority, all other American law dictionaries are inevitably compared with this one. A concise encyclopedia of Anglo-American law, its outstanding feature is its emphasis on the American elements in the law. The original volumes are quite rare.
A seminal publication focusing on the modern art of Japan, China, India, Thailand, and Indonesia. A significant and challenging contribution to the discussion of the advent of modernism in Asia.
The Walls Manual of Emergency Airway Management is the world’s most trusted reference on emergency airway management, and is the foundation text in the nationally recognized The Difficult Airway Course: EmergencyTM and The Difficult Airway Course: EMSTM. Its practical, hands-on approach provides all the concrete guidance you need to effectively respond to any airway emergency, whether inside the hospital, emergency department, urgent care setting, or anywhere else where airway emergencies may occur. Apply the latest evidence-based approaches thanks to state-of-the-art coverage that includes new chapters on “The Difficult Airway Cart” and “Human Factors in Emergency Airway Management,” expanded coverage on delayed sequence intubation (DSI), and comprehensive updates throughout. Efficiently overcome any challenge in airway management with the aid of step-by-step instructions, mnemonics, easy-to-follow algorithms, and rich illustrations. Glean expert insights from a brand-new editorial team led by Calvin Brown III, MD, who is Dr. Walls’ colleague and protégé, and consisting of the same experts who teach The Difficult Airway Course: EmergencyTM and The Difficult Airway Course: AnesthesiaTM.
John Erik Fossum explores the reasons for the federal government's intervention in the energy industry between 1973 and 1984 and shows how its initial objectives failed, culminating in the privatization of Petro-Canada in 1990.
Aesthetic Modernism and Masculinity in Fascist Italy is an interdisciplinary historical re-reading of a series of representative texts that complicate our current understanding of the portrayal of masculinity in the Italian fascist era. Champagne seeks to evaluate how the aesthetic analysis of the artifacts explored offer a more sophisticated and nuanced understanding of what world politics is, what is at stake when something - like masculinity - is rendered as being an element of world politics, and how such an understanding differs from more orthodox 'cultural' analyses common to international relations.
The collapse of empires has resulted in a remarkable flourishing of indigenous cultures in former colonies. The end of the colonial era has also witnessed a renaissance of creativity in the postcolonial world as modern writers embrace their heritage. The experience of postcoloniality has also drawn the attention of academics from various disciplines and has given rise to a growing body of scholarship. This reference work overviews the present state of postcolonial studies and offers a refreshingly polyphonic treatment of the effects of globalization on literary studies in the 21st century. The volume includes more than 150 alphabetically arranged entries on postcolonial studies around the world. Entries on individual authors provide brief biographical details but primarily examine the author's handling of postcolonial themes. So too, entries on theoreticians offer background information and summarize the person's contributions to critical thought. Entries on national literatures explore the history of postcoloniality and the ways in which writers have broadly engaged their legacy, while those on important topics discuss the theoretical origin and current ramifications of key concepts in postcolonial studies. Cross-references and cited works for further reading are included, while a comprehensive bibliography concludes the volume.
The Bolex camera, 16mm reversal film stocks, commercial film laboratories, and low-budget optical printers were the small-gauge media technologies that provided the infrastructure for experimental filmmaking at the height of its cultural impact. Technology and the Making of Experimental Film Culture examines how the avant-garde embraced these material resources and invested them with meanings and values adjacent to those of semiprofessional film culture. By reasserting the physicality of the body in making time-lapse and kinesthetic sequences with the Bolex, filmmakers conversed with other art forms and integrated broader spheres of humanistic and scientific inquiry into their artistic process. Drawing from the photographic qualities of stocks such as Tri-X and Kodachrome, they discovered pliant metaphors that allowed them to connect their artistic practice to metaphysics, spiritualism, and Hollywood excess. By framing film labs as mystical or adversarial, they cultivated an oppositionality that valorized control over the artistic process. And by using the optical printer as a tool for excavating latent meaning out of found footage, they posited the reworking of images as fundamental to the exploration of personal and cultural identity. Providing a wealth of new detail about the making of canonized avant-garde classics by such luminaries as Carolee Schneemann, Jack Smith, and Stan Brakhage, as well as rediscovering works from overlooked artists such as Chick Strand, Amy Halpern, and Gunvor Nelson, Technology and the Making of Experimental Film Culture uses technology as a lens for examining the process of making: where ideas come from, how they are put into practice, and how arguments about those ideas foster cultural and artistic commitments and communities.
The Roots of Cane proposes a new way to read one of the most significant works of the New Negro Renaissance, Jean Toomer’s Cane. Rather than focusing on the form of the book published by Boni and Liveright, what Toomer would later call a single textual “organism,” John Young traces the many pieces of Cane that were dispersed across multiple modernist magazines from 1922 through 1923. These periodicals ranged from primarily political monthlies to avant-garde arts journals to regional magazines with transnational aspirations. Young interweaves a periodical-studies approach to modernism with book history and critical race theory, resituating Toomer’s uneasy place within Black modernism by asking how original readers would have encountered his work. The different contexts in which those audiences were engaging with Toomer’s portraits of racialized identity in the Jim Crow United States, yield often surprising results.
Despite Vladimir Nabokov's hostility toward literary labels, he clearly recognized his own place in cultural history. In a fresh approach stressing Nabokov's European context, John Foster shows how this writer's art of memory intersects with early twentieth-century modernism. Tracing his interests in temporal perspective and the mnemonic image, in intertextual "reminiscences," and in individuality amid cultural multiplicity, the book begins with such early Russian novels as Mary, then treats his emerging art of memory from Laughter in the Dark to The Gift. After discussing the author's cultural repositioning in his first English novels, Foster turns to Nabokov's masterpiece as an artist of memory, the autobiography Speak, Memory, and ends with an epilogue on Pale Fire. As a cross-cultural overview of modernism, this book examines how Nabokov navigated among Proust and Bergson, Freud and Mann, and Joyce and Eliot. It also explores his response to Baudelaire and Nietzsche as theorists of modernity, and his sense of Dostoevsky, Tolstoy, and Pushkin as modernist precursors. As an approach to Nabokov, the book reflects the heightened importance of autobiography in current literary study. Other critical issues addressed include Bakhtin's theory of intertextuality, deconstructive views of memory, Benjamin's modernism of memory, and Nabokov's assumptions about modernism as a concept.
In the first major book devoted to the trumpet in more than two decades, John Wallace and Alexander McGrattan trace the surprising evolution and colorful performance history of one of the world's oldest instruments. They chart the introduction of the trumpet and its family into art music, and its rise to prominence as a solo instrument, from the Baroque "golden age," through the advent of valved brass instruments in the nineteenth century, and the trumpet's renaissance in the jazz age. The authors offer abundant insights into the trumpet's repertoire, with detailed analyses of works by Haydn, Handel, and Bach, and fresh material on the importance of jazz and influential jazz trumpeters for the reemergence of the trumpet as a solo instrument in classical music today. Wallace and McGrattan draw on deep research, lifetimes of experience in performing and teaching the trumpet in its various forms, and numerous interviews to illuminate the trumpet's history, music, and players. Copiously illustrated with photographs, facsimiles, and music examples throughout, The Trumpet will enlighten and fascinate all performers and enthusiasts [Publisher description].
Officially founded in 1819, the Montreal General Hospital is recognized as a pioneering institution in North America for the many discoveries in medical research made there and for its early association with the Faculty of Medicine at McGill University - the first medical school in Canada. Covering nearly 200 years of history, The General relates the story of the hospital from its origins and founding to the transition and aftermath of its incorporation into the McGill University Health Centre in 1997. With contributions that show the perspectives of clinicians, nurses, surgeons, professors, and administrators, chapters chronicle the history of particular departments and specializations of the hospital, including cardiology, dermatology, endocrinology, neurosurgery, plastic surgery, obstetrics, emergency medicine, pathology, and radiology, as well as nursing, administration, and governance. Among the major turning points in the history of the hospital were the introduction of autopsy pathology by Sir William Osler, the debut of the electrocardiograph by Thomas Cotton in 1914, the discovery of a malignant tumour marker by Phil Gold and Samuel Freedman in 1965, its transformation from a community hospital serving anglophone Montreal to an internationally recognized academic centre during the 1950s and ’60s, and changes in governance due to the 1970 Quebec Medicare Act. Both a collective reminiscence and an extensive institutional history, The General is an engaging account of one prominent hospital’s development over nearly 200 years.
Aims to provide a critical analysis of key English language examples of films depicting the fine arts and artists from the 1930s to the present day (one French feature film is also considered). It asks - how are fine arts visualized by film-makers and, to
A prominent conductor explores how aesthetic criteria masked the political goals of countries during the three great wars of the past century"[Mauceri's] writing is more exhilarating than any helicopter ride we have been on."--Air Mail "Fluently written and often cogent."--Barton Swaim, Wall Street Journal This book offers a major reassessment of classical music in the twentieth century. John Mauceri argues that the history of music during this span was shaped by three major wars of that century: World War I, World War II, and the Cold War. Probing why so few works have been added to the canon since 1930, Mauceri examines the trajectories of great composers who, following World War I, created voices that were unique and versatile, but superficially simpler. He contends that the fate of composers during World War II is inextricably linked to the political goals of their respective governments, resulting in the silencing of experimental music in Germany, Italy, and Russia; the exodus of composers to America; and the sudden return of experimental music--what he calls "the institutional avant-garde"--as the lingua franca of classical music in the West during the Cold War.
Sustainability in an Imaginary World explores the social agency of art and its connection to complex issues of sustainability. Over the past decade, interest in art’s agency has ballooned as an increasing number of fields turn to the arts with ever-expanding expectations. Yet just as art is being heralded as a magic bullet of social change, research is beginning to throw cautionary light on such enthusiasm, challenging the linear, prescriptive, instrumental expectations such transdisciplinary interactions often imply. In this, art finds itself at a treacherous crossroads, unable to turn a deaf ear to calls for help from an increasing number of ostensibly non-aesthetic fields, yet in answering such prescriptive urgencies, jeopardizing the very power for which its help was sought in the first place. This book goes in search of a way forward, proposing a theory of art aiming to preserve the integrity of arts practices within transdisciplinary mandates. This approach is then explored through a series of case studies developed in collaboration with some of Canada’s most prominent artists, including internationally renowned nature poet Don McKay; Italian composer and Head of Vancouver New Music, Giorgio Magnanesi; the renowned Electric Company Theatre, led by Kevin Kerr; and finally through a largescale multimedia installation aiming to reimagine the relationship between climate, culture, and human agency. Sustainability in an Imaginary World will be of great interest to students and scholars of arts-based research fields, sustainability studies, and environmental humanities.
Raymond Williams' prolific output is increasingly recognised as the most influential body of work on literary and cultural studies in the past fifty years. This book provides the most comprehensive study to date of the theoretical and historical context of Williams' thinking on literature, politics and culture. John Higgins traces: * Williams' intellectual development * the related growth of a New Left cultural politics * the origins of the theory and practice of cultural materialism. Raymond Williams is an astonishing achievement and will challenge many received ideas about Williams' work.
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