My name is Nicole Jean-Louis. My maiden name is Nicole Faublas. I was born in Port-au –Prince, Haiti. When I was nine years old, my grandfather, Luc Beauboeuf, inspired me to discover my artistic talent. Every sketch I’ve made was greeted with abundant praises by my grandfather. “Draw me some more”, he would say to me. Every day after school, I would rush to draw more and more for him. Then, he would help me with my math problems. In my early schooling at Sacred Heart, my favorite subjects were Math and Drawing. As an artist, I love to incorporate Geometry and Physics in my drawings as much as I can. For example, when I paint my landscape, I want to align the horizon with the sea level as straight as possible. In Haiti, we were five siblings growing up: Gladys, Nicole (myself), Micheline, Edith, and Serge Faublas, our only brother. One day, my father, Jean Faublas, gathered us all to go hiking in a mountain surrounding Port-au-Prince. The mountain’s name is “Morne de l’Hopital”. My father told us that we would go to the top where there is a hotel at “Boutilier”. This was a memorable experience. We met farmers working on the fields. Some farmers build terraces. We met women descending the mountain with baskets on their heads, loaded of farm products. The women wore blue denim dresses, with a colorful piece of cloth wrapped around their waist. There were naked children playing by their thatch houses. At the age of ten, it was fascinating for me to see the children’s skin and hair of similar color, red-brown like the soil. The air smelled like Haitian soda. In the late 1955’s era, the mountain sides located near Port-au-Prince were not constructed. They were invaded by outsiders as in this modern day era. In 1964, my whole family migrated to Zaire, Africa, to flee from the Duvalier Regime. I spent a year in Zaire, completing my terminal secondary class. Then, my father sent me to Hampton, Virginia. I attended Hampton Institute; presently known as Hampton University, majoring in Biochemistry. I spoke little English. The following year, I stayed in New York with my older sister, Gladys. I did not pursue Art in college. Instead, I choose Science. After many intermissions, (e.g.)( wedding, travel, birth), I finally received a Bachelors in Science degree at Hunter College in 1978. From 1978 to 2007, I worked in Chemistry at different hospitals in the Bronx: North Central Bronx Hospital, Einstein, Jacobi, and Montefiore Hospital. I painted occasionally for dear friends, my sisters and brother, my granddaughter, Guenett (“Three 2 Generations”) painting. I also painted for my niece’s and nephew’s wedding presents, and for decors in my new house. When I retired in 2007, my husband and I went to live in Jacmel, Haiti, his hometown. Jacmel is a picturesque town by the beaches. Its environment inspired me to take my brushes again. Painting became my favorite past time. From 2007 to 2010, I painted over thirty paintings. I embrace all styles: landscape, personalized portrait, every day occurrence, folkloric dance, history. Haiti that I know before the earthquake of January 2010 will be beautiful again. I have to display Haiti’s panoramic scenery, everyday life, and its historic events such as: “Ceremony of Bois Caiman, 1791”, “Mad Dogs chasing fugitive slaves”. I have to exhibit some of Haiti’s heroic figures; for example, Toussaint Louverture and Jean Jacques Dessalines. My book is mostly about visual art. Visual art depicts everything that the eyes can see without embellishment. Reality is represented faithfully, truthfully, and accurately. Visual art is objectively real. My book illustrates Haiti’s history and culture through visual art. Haiti has a unique and glorious history. History is powerful and should be protected. Haiti is a country full of resilience. Documenting Haitian history and culture through art is my passion. It is important to instruct the young so they can make educated judgment by learning from the past. I
My name is Nicole Jean-Louis. My maiden name is Nicole Faublas. I was born in Port-au –Prince, Haiti. When I was nine years old, my grandfather, Luc Beauboeuf, inspired me to discover my artistic talent. Every sketch I’ve made was greeted with abundant praises by my grandfather. “Draw me some more”, he would say to me. Every day after school, I would rush to draw more and more for him. Then, he would help me with my math problems. In my early schooling at Sacred Heart, my favorite subjects were Math and Drawing. As an artist, I love to incorporate Geometry and Physics in my drawings as much as I can. For example, when I paint my landscape, I want to align the horizon with the sea level as straight as possible. In Haiti, we were five siblings growing up: Gladys, Nicole (myself), Micheline, Edith, and Serge Faublas, our only brother. One day, my father, Jean Faublas, gathered us all to go hiking in a mountain surrounding Port-au-Prince. The mountain’s name is “Morne de l’Hopital”. My father told us that we would go to the top where there is a hotel at “Boutilier”. This was a memorable experience. We met farmers working on the fields. Some farmers build terraces. We met women descending the mountain with baskets on their heads, loaded of farm products. The women wore blue denim dresses, with a colorful piece of cloth wrapped around their waist. There were naked children playing by their thatch houses. At the age of ten, it was fascinating for me to see the children’s skin and hair of similar color, red-brown like the soil. The air smelled like Haitian soda. In the late 1955’s era, the mountain sides located near Port-au-Prince were not constructed. They were invaded by outsiders as in this modern day era. In 1964, my whole family migrated to Zaire, Africa, to flee from the Duvalier Regime. I spent a year in Zaire, completing my terminal secondary class. Then, my father sent me to Hampton, Virginia. I attended Hampton Institute; presently known as Hampton University, majoring in Biochemistry. I spoke little English. The following year, I stayed in New York with my older sister, Gladys. I did not pursue Art in college. Instead, I choose Science. After many intermissions, (e.g.)( wedding, travel, birth), I finally received a Bachelors in Science degree at Hunter College in 1978. From 1978 to 2007, I worked in Chemistry at different hospitals in the Bronx: North Central Bronx Hospital, Einstein, Jacobi, and Montefiore Hospital. I painted occasionally for dear friends, my sisters and brother, my granddaughter, Guenett (“Three 2 Generations”) painting. I also painted for my niece’s and nephew’s wedding presents, and for decors in my new house. When I retired in 2007, my husband and I went to live in Jacmel, Haiti, his hometown. Jacmel is a picturesque town by the beaches. Its environment inspired me to take my brushes again. Painting became my favorite past time. From 2007 to 2010, I painted over thirty paintings. I embrace all styles: landscape, personalized portrait, every day occurrence, folkloric dance, history. Haiti that I know before the earthquake of January 2010 will be beautiful again. I have to display Haiti’s panoramic scenery, everyday life, and its historic events such as: “Ceremony of Bois Caiman, 1791”, “Mad Dogs chasing fugitive slaves”. I have to exhibit some of Haiti’s heroic figures; for example, Toussaint Louverture and Jean Jacques Dessalines. My book is mostly about visual art. Visual art depicts everything that the eyes can see without embellishment. Reality is represented faithfully, truthfully, and accurately. Visual art is objectively real. My book illustrates Haiti’s history and culture through visual art. Haiti has a unique and glorious history. History is powerful and should be protected. Haiti is a country full of resilience. Documenting Haitian history and culture through art is my passion. It is important to instruct the young so they can make educated judgment by learning from the past. I
The Haitian Revolution was perhaps the most successful slave rebellion in modern history; it created the first and only free and independent Black nation in the Americas. This book tells the story of how enslaved Africans forcibly brought to colonial Haiti through the trans-Atlantic slave trade used their cultural and religious heritages, social networks, and labor and militaristic skills to survive horrific conditions. They built webs of networks between African and 'creole' runaways, slaves, and a small number of free people of color through rituals and marronnage - key aspects to building the racial solidarity that helped make the revolution successful. Analyzing underexplored archival sources and advertisements for fugitives from slavery, Crystal Eddins finds indications of collective consciousness and solidarity, unearthing patterns of resistance. The book fills an important gap in the existing literature on the Haitian Revolution. This title is also available as Open Access on Cambridge Core.
Voices of Conscience analyzes how the link between politics and conscience was articulated and shaped throughout the seventeenth century by confessors who acted as counsellors to monarchs. Against the backdrop of the momentous intellectual, theological, and political shifts that marked this period, the study examines comparatively how the ethical challenges of political action were confronted in Spain and France and how questions of conscience became a major argument in the hegemonic struggle between the two competing Catholic powers. As Nicole Reinhardt demonstrates, 'counsel of conscience' was not a peripheral feature of early-modern political culture, but fundamental for the definition of politics and conscience. Tracing the rise and fall of confessors as counsellors reveals the parallel transformation of both, approaching a historical understanding of the modernisation of politics with the idea of an 'individual conscience' at its heart. Placed at the junction of norms and practices, royal confessors, directly or in oblique reflection, shaped the ways in which the royal conscience was identified and scrutinized. By the same token, the royal confessors' expertise and activities remained a source of anxiety and conflict that triggered wide debate on the relationship between State and Church, religion and politics. The notion of 'counsel of conscience', of which this book provides the first in-depth analysis, allows the reader to re-examine and challenge fundamental historical paradigms such as the emergence of 'absolutism', individualisation, and the division of public and private. Putting theological concepts and religious dimensions back into political theory and practice sheds new light, not only on the importance of counselling for early modern statecraft, but also on the reconfiguration of the normative frameworks underlying it.
Akin to No One belongs to an appealing genre known as Bildungsroman, a work of literature concerned with a young person’s passage from childhood to maturity through education and emotional development. This moving novel traces the life of Grace Saint-Jean from the time she learns to negotiate the busy thoroughfares of Port-au-Prince and “wasn’t sure what school was exactly”—to the time she earns a doctorate from the Sorbonne and walks down the Champs Elysees with confidence—to the time she returns to Haiti imbued with a determination to help its poorest children get an education so they can have a brighter future. Grace’s own early experiences at school were not always pleasant, but as her education progresses, she realizes that she “loved books” and “wanted to be a scholar.” Grace gradually finds her identity as a student who wants to provide others with the same chance to learn. Grace’s desire to gain and transmit knowledge becomes an emotional investment, and she focuses on a personal long-range objective: to establish schools for the impoverished children of the countryside and the poor urban areas across Haiti. Grace’s instruction doesn’t only come from books. Because she finds herself in a world of opposing forces—those which nurture her strengths and those which aim to repress them—Grace must also educate herself emotionally and socially. Grace is helped by her parents, Therese and Mondestin, who make sacrifices so that she can go to school. Later, Germaine and Justin Bonhomme become surrogate parents who continue to encourage her. Along the way, Grace is also fortunate to encounter Carmelle-Marie and Jean-Michel, two highly motivated individuals who share her ideals. But Marc, the Bonhommes’ adopted son and Grace’s nemesis, becomes an agent of a regime that intends to strip her of the identity she has struggled to achieve and to compel her to conform or die. At one point in the novel, Pierre Lemoine, Grace’s uncle, says, “This is such a beautiful island that we live on!” What isn’t stated, but understood, is that the splendor of the island is overshadowed by a series of repressive situations that are not conducive to the education and well-being of the general public, but promote the maintenance of the status quo. In the end, Grace must accept the fact that, until things change, the freedom to pursue her plans can only be found elsewhere. See Kirkus Reviews for a review of this book.
The contemporary music scene thus embodies a uniquely broad spectrum of activity, which has grown and changed down to the present hour. With new talents emerging and different technologies developing as we move further into the 21st century, no one can predict what paths music will take next. All we can be certain of is that the inspiration and originality that make music live will continue to bring awe, delight, fascination, and beauty to the people who listen to it. This book cover modernist and postmodern concert music worldwide from the years 1888 to 2018. This second edition of Historical Dictionary of Modern and Contemporary Classical Music contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 500 cross-referenced entries on the most important composers, musicians, methods, styles, and media in modernist and postmodern classical music worldwide, from 1888 to 2018. This book is an excellent resource for students, researchers, and anyone wanting to know more about modern and contemporary classical music.
This book traces changing attitudes towards secrecy in eighteenth-century France, and explores the cultural origins of ideas surrounding government transparency. The idea of keeping secrets, both on the part of individuals and on the part of governments, came to be viewed with more suspicion as the century progressed. By the eve of the French Revolution, writers voicing concerns about corruption saw secrecy as part and parcel of despotism, and this shift went hand in hand with the rise of the idea of transparency. The author argues that the emphasis placed on government transparency, especially the mania for transparency that dominated the French Revolution, resulted from the surprising connections and confluence of changing attitudes towards honour, religious movements, rising nationalism, literature, and police practices. Exploring religious ideas that associated secrecy with darkness and wickedness, and proto-nationalist discourse that equated foreignness with secrecy, this book demonstrates how cultural shifts in eighteenth-century France influenced its politics. Covering the period of intense fear during the French Revolution and the paranoia of the Reign of Terror, the book highlights the complex interplay of culture and politics and provides insights into our attitudes towards secrecy today.
Oil production has peaked. The climate is askew. We are in a race to make the inevitable transition to renewable energies and energy conservation. But numerous obstacles stand in the way of important and necessary energy developments. Opposition to hydropower projects is now spilling over onto wind and solar projects. By redeeming hydropower and telling the truth about the potential and limitations of other renewables, the authors dispel myths and identify obstacles to the implementation of a truly sustainable energy strategy.
Cover -- Title -- Copyright -- Dedication -- Contents -- List of figures and tables -- List of abbreviations -- Acknowledgements -- 1 Chinese audiences and the cinema of class -- 2 Class on screen and in reality: pre-conditioning audiences -- 3 Let the Bullets Fly: the socialisation of assumptions -- 4 Lost on Journey: prejudice in class relations -- 5 Go Lala Go!: secretaries, shopping and spinsterhood -- 6 House Mania: homeownership, marriageability and masculinity -- 7 The Piano in a Factory: suzhi, industrial heroes and the spectacle of poverty -- 8 Conclusion: class, the film and the filmmaker -- Films list -- Appendix: group discussants -- Let the Bullets Fly -- Lost on Journey -- Go Lala Go! -- House Mania -- The Piano in a Factory -- Index
A beautiful, comprehensive guide to going green and living sustainably. Permaculture is an important but often misunderstood method of growing food and building homes in a manner that works with nature, rather than against it, to create beautiful, healthy, and useful gardens. Blending ecology, organic agriculture, green home design, appropriate technology, and biology can be confusing and overwhelming, but The Ultimate Guide to Natural Farming and Sustainable Living simplifies this vast field for practical application. This is a hands-on guide, taking the beginner through each step of the design process, so that anyone can apply permaculture principles to his or her life. While the principles are simple, the in-depth topics cover every aspect of permaculture, including: • building green homes and passive solar design • growing edible plant communities and forest gardens • using no-till and natural farming methods • creating microclimates for extended growing seasons • raising livestock with ecological foraging techniques This is a common-sense approach to sustainable living that creates a self-sufficient and low-effort home for the people that live there, whether in the city or the country. The Ultimate Guide to Natural Farming and Sustainable Living isn’t a philosophy book or a dissertation on theory. It is a step-by-step, complete guide to every aspect of permaculture.
In 1857 the French poet Charles Baudelaire, who was fascinated by lesbianism, created a scandal with Les Fleurs du Mal [The Flowers of Evil]. This collection was originally entitled "The Lesbians" and described women as "femmes damnées," with "disordered souls" suffering in a hypocritical world. Then twenty years later, lesbians in Paris dared to flaunt themselves in that extraordinarily creative period at the turn of the 19th and 20th centuries which became known as the Belle Époque. Lesbian Decadence, now available in English for the first time, provides a new analysis and synthesis of the depiction of lesbianism as a social phenomenon and a symptom of social malaise as well as a fantasy in that most vibrant place and period in history. In this newly translated work, praised by leading critics as "authoritative," "stunning," and "a marvel of elegance and erudition," Nicole G. Albert analyzes and synthesizes an engagingly rich sweep of historical representations of the lesbian mystique in art and literature. Albert contrasts these visions to moralists' abrupt condemnations of "the lesbian vice," as well as the newly emerging psychiatric establishment's medical fury and their obsession on cataloging and classifying symptoms of "inversion" or "perversion" in order to cure these "unbalanced creatures of love." Lesbian Decadence combines literary, artistic, and historical analysis of sources from the mainstream to the rare, from scholarly studies to popular culture. The English translation provides a core reference/text for those interested in the Decadent movement, in literary history, in French history and social history. It is well suited for courses in gender studies, women's studies, LGBT history, and lesbianism in literature, history, and art.
While rejecting a conception of literature as moral philosophy, or a device for imparting particular morals to the reader through exemplary characters and plots, Maryse Conde has displayed throughout her writing career a strong valorization of literature as ethical critique. This study examines her singular approach to literary commitment as a critical reworking of aesthetic models and modes of interpretation. Focusing on four dominant problematics in Conde's work'history and globalization in La Belle Creole and Moi, Tituba sorciere...noire de Salem, intertextuality and reception in La migration des c'urs and Celanire cou-coupe, trauma and subjectivity in En attendant le bonheur and Desirada, community and ethics in Traversee de la mangrove and Histoire de la femme cannibale'this analysis proposes to elucidate how, and to what ends, Conde engages, and alters, approaches to reading, staging the problematic, yet pragmatic, need to read well. This hermeneutic imperative foregrounds the need to engage with texts, to cannibalize texts while recognizing their fundamental opacity and inexhaustibility, their resistance to the reader's interpretive habits.Nicole Simek is an Assistant Professor of Foreign Languages and Literatures at Whitman College. Specializing in French Caribbean literature, Simek's research interests include the intersection of politics and literature in Caribbean fiction, trauma theory, and sociological approaches to literature.Table of ContentsAcknowledgmentsIntroduction. Interpreting through ExampleChapter 1. Reading History: The Example of the Past after GlobalizationChapter 2. Rusing with the Canon: Insolent Imitation, Parodic IntertextualityChapter 3. Writing Violence: Collective Traumas, Singular PastsChapter 4. The Cannibal Reader: Digesting the Other, Interpreting CommunityConclusion. Comme un Indien Tupinamba...BibliographyIndex
It would be unthinkable now to omit early female pioneers from any survey of photography's history in the Western world. Yet for many years the gendered language of American, British and French photographic literature made it appear that women's interactions with early photography did not count as significant contributions. Using French and English photo journals, cartoons, art criticism, novels, and early career guides aimed at women, this volume will show why and how early photographic clubs, journals, exhibitions, and studios insisted on masculine values and authority, and how Victorian women engaged with photography despite that dominant trend. Focusing on the period before 1890, when women were yet to develop the self-assurance that would lead to broader recognition of the value of their work, this study probes the mechanisms by which exclusion took place and explores how women practiced photography anyway, both as amateurs and professionals. Challenging the marginalization of women’s work in the early history of photography, this is essential reading for students and scholars of photography, history and gender studies.
Permaculture is an important but often misunderstood method of growing food and building homes in a manner that works with nature, rather than against it, to create beautiful, healthy, and useful gardens. Blending ecology, organic agriculture, green home design, appropriate technology, and biology can be confusing and overwhelming, but The Ultimate Guide to Permaculture simplifies this vast field for practical application. This is a hands-on guide, taking the beginner through each step of the design process, so that anyone can apply permaculture principles to their own life. While the principles are simple, the in-depth topics cover every aspect of permaculture, including: - Building green homes and passive solar design - Growing edible plant communities and forest gardens - Using no-till and natural farming methods - Creating microclimates for extended growing seasons - Raising livestock with ecological foraging techniques This is a common-sense approach to sustainable living that creates a self-sufficient and low-effort home for the people that live there, whether in the city or the country. The Ultimate Guide to Permaculture isn’t a philosophy book, or a dissertation on theory. It is a step-by-step, complete guide to every aspect of permaculture.
Films fill our imagination with figures, figurines, and talismans. They ceaselessly rework the same archetypes and invent troubling prototypes – especially when they establish a deeper relationship to reality. How do we understand these presences that are both so characteristic and so diverse in cinema? How does film deal with bodies, movements, and gestures? Why are we so drawn to these shadows, silhouettes, and hypothetical beings? What organizes the figurative values at work in a film? How do cinematic creatures circulate from film to film and image to image? How does film articulate the links between the abstract and figurative? Is it possible to write a history of figurative forms? Starting from films themselves and works that are both classical (Sergei Eisenstein, Roberto Rossellini, Orson Welles) and contemporary (Abel Ferrara, Brian DePalma, Patricia Mazuy), celebrated (Robert Bresson, John Cassavetes, Ken Jacobs, Paul Sharits) and overlooked (Al Razutis, Jean Genet, Monte Hellman, and John Travolta), from auteurs as well as aesthetic questions (representations of dance, the naked body, character development...), the essays in this volume, most available for the first in English, aim to open a field that has been neglected by analysis, while also suggesting the tools necessary to understanding figurative phenomena specific to cinema.
This book furthers the ongoing theoretical development of the multiple streams framework, assessing its applicability to European Union (EU) policy-making processes. It systematically defines and identifies functional equivalents for all of the framework’s core concepts at the EU level and extends the framework in order to explain agenda-setting and decision-making. Furthermore, the book derives a set of explicit hypotheses to empirically assess the extent to which the (modified) framework is able to explain timing, agenda prominence, and policy change (or a lack thereof) for the EU natural gas directives passed in 1998, 2003, and 2009. The analysis documents that the framework is well-suited to explain the EU policy process in general and reveals where additional theoretical refinements are required.
Sarah Robinson Scott was a writer, translator and social reformer. While Scott’s legacy presents her as a committed Anglican philanthropist, the letters she wrote reveal her to have been a witty, even savage, commentator on eighteenth-century life.This is the first edition of Scott’s letters to be published and presents all extant copies.
Numerous movies, YouTube videos, books, and public service announcements have begun to address people with narcolepsy, and this discourse has led to greater visibility and understanding about an often-misunderstood condition. In Narratives of Narcolepsy in Everyday Life: Exploring Intricacies of Identity, Sleepiness, and Place, Nicole Eugene draws on in-depth interviews, participant observation, and field notes to examine life with narcolepsy, witha particular focus on how certain socially-defined places play significant roles in determining the meaning of sleepiness, medication side effects, and other narcolepsy symptoms. Eugene also includes one autoethnographic essay that explores her own experiences with narcolepsy as a Black woman, refracted through the lens of the various places where sleepiness may arise. Throughout the book, an emphasis on making sense of narcolepsy by communicating with others with the condition demonstrates a peer-based approach to researching health communication and disabilities. Drawing on feminist disability studies, health communication, narrative inquiry, and autoethnography, this book is an example of interpretive qualitative communication research that renders the lives of vulnerable people with compassion and understanding.
Using one man as a lens, a man known variously as Folquet, Folques, Folco, and Folc, it will examine some of the important changes and developments of the period from a new, more human, perspective.
Nicole Loraux has devoted much of her writing to charting the paths of the Greek "imaginary," revealing a collective masculine psyche fraught with ambivalence as it tries to grasp the differences between nature and culture, body and soul, woman and man. The Experiences of Tiresias, its title referring to the shepherd struck blind after glimpsing Athena's naked body, captures this ambivalence in exploring how the Greek male defines himself in relationship to the feminine. In these essays, Loraux disturbs the idea of virile men and feminine women, a distinction found in official discourse and aimed at protecting the ideals of male identity from any taint of the feminine. Turning to epic and to Socrates, however, she insists on a logic of an inclusiveness between the genders, which casts a shadow over their clear, officially defined borders. The emphasis falls on the body, often associated with feminine vulnerability and weakness, and often dissociated from the ideal of the brave, self-sacrificing male warrior. But heroes such as the Homeric Achilles, who fears yet fights bravely, and Socrates, who speaks of the soul through the language of the body, challenge these representations. The anatomy of pain, the heroics of childbirth, the sorrows of tears, the warrior's wounds, and the madness of the soul: all these experiences are shown to engage with both the masculine and the feminine in ways that do not denigrate the experiences for either gender. Originally published in 1995. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Nicole Williams is the tell-it-like-it-is career expert who you wish could fight your work battles for you. But with her ingenious approach-taking the tactics used to land a man and applying them to your career-you'll be able to handle any work situation and come out on top. Here, Nicole introduces twenty tried-and-true dating rules such as "Don't Give Away the Milk for Free" and "Don't Waste the Pretty" and reveals how they can be applied just as effectively in the office. Other strategies include: · Keep It Brief · Don't Bash Your Ex · Have Others Sing Your Praises · Play Hard to Get · Keep the Fire Alive · Be Willing to Walk Away Among other topics, Nicole dishes on how much to reveal at work as well as what to put up with from your boss (and, more importantly, what not to). She tackles everything from having the money talk to leaving them wanting more on a job interview. And sprinkled throughout GIRL ON TOP is fashion advice ("Top Ten Commandments of Style") and checklists to determine if you need to get a life. Nicole's keen insight and candid advice will teach you how to recognize the good guys from the bad, win the kudos of those who matter, and create the career of your dreams. Praise for GIRL ON TOP: "Nicole Williams is both frank and funny. She's full of witty advice that's not only relatable-but doable-for the girl who's just getting started or the woman, like me, who's on her second time around in the career game. Here's my advice to you about GIRL ON TOP: Read it. Laugh. Learn." -Veronica Webb, model "Only Nicole can make career this much fun. Sassy, relevant and packed with great advice. It's a must-read for any woman looking to get ahead." -Liz Lange, founder, Liz Lange Maternity "GIRL ON TOP is a sensational book. In the most delightful and hilarious way, Nicole Williams serves up loads of excellent advice for anyone wanting to get ahead." -Dan Jinks and Bruce Cohen, producers, Milk "Every girl should have this-the little black book for career success!" -Susan Cohn Rockefeller, author, Green at Work "GIRL ON TOP is a fabulous read. It's chock full of actionable insights and laugh out loud advice for any woman (of any age) who is serious about getting to the top of her career. I highly recommend it." -Julie Cottineau, vice president brand, Virgin USA
King Bigalias's queen gives birth to twins, a boy and girl, and hides the daughter from her husband because the king wanted only a son. Years later, the daughter plays an important part in the king's life.
The vibrant late paintings of Pierre Bonnard (1867-1947) are considered by many to be among his finest achievements. Working in a small converted bedroom of his villa in the south of France, Bonnard suffused his late canvases with radiant Mediterranean light and dazzling color. Although his subjects were close at hand-usually everyday scenes taken from his immediate surroundings, such as the dining room table being set for breakfast, or a jug of flowers perched on the mantelpiece - Bonnard rarely painted from life. Instead, he preferred to make pencil sketches in small diaries and then rely on these, along with his memory, once in the studio." "This volume, which accompanies the first exhibition to focus on the interior and related still-life imagery from the last decades of Bonnard's long career, presents more than seventy-five paintings, drawings, and works on paper, many of them rarely seen in public and in some cases, little known. Although Bonnard's legacy may be removed from the succession of trends that today we consider the foundation of modernism, his contribution to French art in the early decades of the twentieth century is far more profound than history has generally acknowledged. In their insightful essays and catalogue entries the authors bring fresh critical perspectives to the ongoing reappraisal of Bonnard's reputation and to his place within the narrative of twentieth-century art."--Jacket
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