Journalist and art critic John Bentley Mays portrays what it is to live in the shadow of depression. With observations on the ideas of cure and normality, and excerpts from the diaries he has kept for thirty years, Mays describes living through the ravages of his depression, breakdowns, and therapy -- life with the black dogs.
The great purpose of landscape art is to make us at home in our own country" was the nationalist maxim motivating the Group of Seven's artistic project. The empty landscape paintings of the Group played a significant role in the nationalization of nature in Canada, particularly in the development of ideas about northernness, wilderness, and identity. In this book, John O'Brian and Peter White pick up where the Group of Seven left off. They demonstrate that since the 1960s a growing body of both art and critical writing has looked "beyond wilderness" to re-imagine landscape in a world of vastly altered political, technological, and environmental circumstances. By emphasizing social relationships, changing identity politics, and issues of colonial power and dispossession contemporary artists have produced landscape art that explores what was absent in the work of their predecessors. Beyond Wilderness expands the public understanding of Canadian landscape representation, tracing debates about the place of landscape in Canadian art and the national imagination through the twentieth century to the present. Critical writings from both contemporary and historically significant curators, historians, feminists, media theorists, and cultural critics and exactingly reproduced artworks by contemporary and historical artists are brought together in productive dialogue. Beyond Wilderness explains why landscape art in Canada had to be reinvented, and what forms the reinvention took. Contributors include Benedict Anderson (Cornell), Grant Arnold (Vancouver Art Gallery). Rebecca Belmore, Jody Berland (York), Eleanor Bond (Concordia), Jonathan Bordo (Trent), Douglas Cole, Marlene Creates, Marcia Crosby (Malaspina), Greg Curnoe, Ann Davis (Nickle Arts Museum), Leslie Dawn (Lethbridge), Shawna Dempsey, Christos Dikeakos, Peter Doig, Rosemary Donegan (OCAD), Stan Douglas, Paterson Ewen, Robert Fones, Northrop Frye, Robert Fulford, General Idea, Rodney Graham, Reesa Greenberg, Gu Xiong (British Columbia), Cole Harris (British Columbia), Richard William Hill (Middlesex), Robert Houle, Andrew Hunter (Waterloo), Lynda Jessup (Queen's), Zacharias Kunuk (Igloolik Isuma Productions), Johanne Lamoureux (Montreal), Robert Linsley (Waterloo), Barry Lord (Lord Cultural Resources), Marshall McLuhan, Mike MacDonald, Liz Magor (ECIAD), Lorri Millan, Gerta Moray (Guelph), Roald Nasgaard (Florida State), N.E. Thing Company, Carol Payne (Carleton), Edward Poitras, Dennis Reid (Art Gallery of Ontario), Michel Saulnier, Nancy Shaw (Simon Fraser), Johanne Sloan (Concordia), Michael Snow, Robert Stacey, David Thauberger, Loretta Todd, Esther Trepanier (Quebec), Dot Tuer (OCAD), Christopher Varley, Jeff Wall, Paul H. Walton (McMaster), Mel Watkins (Toronto), Scott Watson (British Columbia), Anne Whitelaw (Alberta), Joyce Wieland, Jin-me Yoon (Simon Fraser), Lawrence Paul Yuxweluptun, and Joyce Zemans (York).
A comprehensive book of readings for courses on death and dying at the college or university level. It contains material by such leaders in the field as: Colin Murray Parkes, MD, John Hinton, MD, Kenneth Doka, PhD, Ira R Byock, MD, Ronald K Barrett, PhD, Robert G Stevenson, EdD, Judith M Stillion, PhD.
John Metcalf has written some of the very best stories ever published in this country."—Alice Munro The Argus-eyed editor; the magisterial prose stylist; the waggish, inflammatory cultural critic; the mentor and iconoclast. John Metcalf is a literary legend whose memoir maps the underground he labored tirelessly to establish.
Condoland casts CityPlace – a massive residential development of more than thirty condominium towers just outside Toronto’s downtown core – as a microcosm of twenty-first-century urban intensification. Built almost entirely by a single private developer, this immense neighbourhood took decades to plan, design, and develop, but the end result lacks a sense of place and is not widely accessible to those who need homes: only a small number of its 13,000 units constitute affordable housing, and public amenities are limited. In this richly illustrated volume, James T. White and John Punter reveal the stories behind the design, architecture, and planning of CityPlace. They also consider the tools used to shape Toronto’s built environment and critically assess the underlying political economy of planning and real estate development in the city. Condoland raises key questions about the long-term sustainability and resilience of Canadian cities that acquiesce to the rapacious development industry.
In a world filled with great museums and great paintings, Leonardo da Vinci’s Mona Lisa is the reigning queen. Her portrait rules over a carefully designed salon, one that was made especially for her in a museum that may seem intended for no other purpose than to showcase her virtues. What has made this portrait so renowned, commanding such adoration? And what of other works of art that continue to enthrall spectators: What makes the Great Sphinx so great? Why do iterations of The Scream and American Gothic permeate nearly all aspects of popular culture? Is it because of the mastery of the artists who created them? Or can something else account for their popularity? In Famous Works of Art—And How They Got That Way, John B. Nici looks at twenty well-known paintings, sculptures, and photographs that have left lasting impressions on the general public. As Nici notes, there are many reasons why works of art become famous; few have anything to do with quality. The author explains why the reputations of some creations have grown over the years, some disproportionate to their artistic value. Written in a style that is both entertaining and informative, this book explains how fame is achieved, and ultimately how a work either retains that fame, or passes from the public consciousness. From ancient artifacts to a can of soup, this book raises the question: Did the talent to promote and publicize a work exceed the skills employed to create that object of worship? Or are some masterpieces truly worth the admiration they receive? The creations covered in this book include the Tomb of Tutankhamun, Botticelli’s Birth of Venus, Raphael’s Sistine Madonna, El Greco’s The Burial of Count Orgaz, Rodin’s The Thinker, Van Gogh’s Starry Night, and Picasso’s Guernica. Featuring more than sixty images, including color reproductions, Famous Works of Art—And How They Got That Way will appeal to anyone who has ever wondered if a great painting, sculpture, or photograph, really deserves to be called “great.”
A Walmart greeter, a nurse, and an astronaut walk into a church. . . . They each bring with them their own exhaustions and exasperations, their own uncertainty about whether and how their work matters to God. Good news: All work matters to God, because all work reflects some aspect of the character of God. God created the world so that it runs best when it mirrors Him, and we ourselves find the most fulfillment when we recognize God behind our labor. John Van Sloten offers a fascinating and innovative reflection on vocation: Our work is a parable of God; as we work, we are icons of grace.
Our perceptions and conceptions regarding the roles and importance of maize to ancient economies is largely a product of scientific research on the plant itself, developed for the most part out of botanical research, and its recent role as one of the most important economic staples in the world. Anthropological research in the early part of the last century based largely upon the historical particularistic approach of the Boasian tradition provided the first evidence that challenged the assumptions about the economic importance of maize to sociocultural developments for scholars of prehistory. Subsequent ethnobotanic and archaeological studies showed that the role of maize among Native American cultures was much more complex than just as a food staple. In Maize Cobs and Cultures, John Staller provides a survey of the ethnohistory and the scientific, botanical and biological research of maize, complemented by reviews on the ethnobotanic, interdisciplinary and multidisciplinary methodologies.
The Imperial Gridiron examines the competing versions of manhood at the Carlisle Indian Industrial School between 1879 and 1918. Students often arrived at Carlisle already engrained with Indigenous ideals of masculinity. On many occasions these ideals would come into conflict with the models of manhood created by the school's original superintendent, Richard Henry Pratt. Pratt believed that Native Americans required the "embrace of civilization," and he emphasized the qualities of self-control, Christian ethics, and retaliatory masculinity. He encouraged sportsmanship and fair play over victory. Pratt's successors, however, adopted a different approach, and victory was enshrined as the main objective of Carlisle sports. As major stars like Jim Thorpe and Lewis Tewanima came to the fore, this change in approach created a conflict over manhood within the school: should the competitive athletic model be promoted, or should Carlisle focus on the more self-controlled, Christian ideal as promoted by the school's Young Men's Christian Association? The answer came from the 1914 congressional investigation of Carlisle. After this grueling investigation, Carlisle's model of manhood starkly reverted to the form of the Pratt years, and by the time the school closed in 1918, the school's standards of masculinity had come full circle.
This book chronicles the day-to-day life in Oconee County, South Carolina, especially Walhalla and surrounding areas, from 1950 to 1955, as reported in the Keowee Courier, a small weekly newspaper located in Walhalla. Theres a lot about local government in action, local sports, the ever-continuing war on moonshine liquor manufacturers, social gatherings, etc. The Keowee Courier, founded in 1849, is upstate South Carolinas second oldest newspaper, second only to the Abbeville County Press and Banner/Abbeville Medium, which was founded in 1844. In fact, the Courier is the oldest newspaper that has had the same name since its inception.
A BRILLIANTLY WRITTEN ACCOUNT OF THE NBA’S GLORY DAYS, AND THE RIVALRY THAT DOMINATED THE ERA In the mid-1950s, the NBA was a mere barnstorming circuit, with outposts in such cities as Rochester, New York, and Fort Wayne, Indiana. Most of the best players were white; the set shot and layup were the sport’s chief offensive weapons. But by the 1970s, the league ruled America’s biggest media markets; contests attracted capacity crowds and national prime-time television audiences. The game was played “above the rim”–and the most marketable of its high-flying stars were black. The credit for this remarkable transformation largely goes to two giants: Bill Russell and Wilt Chamberlain. In The Rivalry, award-winning journalist John Taylor projects the stories of Russell, Chamberlain, and other stars from the NBA’s golden age onto a backdrop of racial tensions and cultural change. Taylor’s electrifying account of two complex men–as well as of a game and a country at a crossroads–is an epic narrative of sports in America during the 1960s. It’s hard to imagine two characters better suited to leading roles in the NBA saga: Chamberlain was cast as the athletically gifted yet mercurial titan, while Russell played the role of the stalwart centerpiece of the Boston Celtics dynasty. Taylor delves beneath these stereotypes, detailing how the two opposed and complemented each other and how they revolutionized the way the game was played and perceived by fans. Competing with and against such heroes as Jerry West, Tom Heinsohn, Bob Cousy, John Havlicek, and Elgin Baylor, and playing for the two greatest coaches of the era, Alex Hannum and the fiery Red Auerbach, Chamberlain and Russell propelled the NBA into the spotlight. But their off-court visibility and success–to say nothing of their candor–also inflamed passions along America’s racial and generational fault lines. In many ways, Russell and Chamberlain helped make the NBA and, to some extent, America what they are today. Filled with dramatic conflicts and some of the great moments in sports history, and building to a thrilling climax–the 1969 final series, the last showdown between Russell and Chamberlain–The Rivalry has at its core a philosophical question: Can determination and a team ethos, embodied by the ultimate team player, Bill Russell, trump sheer talent, embodied by Wilt Chamberlain? Gripping, insightful, and utterly compelling, the story of Bill Russell and Wilt Chamberlain is the stuff of sporting legend. Written with a reporter’s unerring command of events and a storyteller’s flair, The Rivalry will take its place as one of the classic works of sports history.
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