With an introduction by Robert Motherwell and an appreciation by Jasper Johns "Marcel Duchamp, one of this century's pioneer artists, moved his work through the retinal boundaries which had been established with Impressionism into a field where language, thought and vision act upon one another. There it changed form through a complex interplay of new mental and physical materials, heralding many of the technical, mental and visual details to be found in more recent art. . . "In the 1920s Duchamp gave up, quit painting. He allowed, perhaps encouraged, the attendant mythology. One thought of his decision, his willing this stopping. Yet on one occasion, he said it was not like that. He spoke of breaking a leg. 'You don't mean to do it,' he said. "The Large Glass. A greenhouse for his intuition. Erotic machinery, the Bride, held in a see-through cage-'a Hilarious Picture.' Its cross references of sight and thought, the changing focus of the eyes and mind, give fresh sense to the time and space we occupy, negate any concern with art as transportation. No end is in view in this fragment of a new perspective. 'In the end you lose interest, so I didn't feel the necessity to finish it.' "He declared that he wanted to kill art ('for myself') but his persistent attempts to destroy frames of reference altered our thinking, established new units of thought, 'a new thought for that object.' "The art community feels Duchamp's presence and his absence. He has changed the condition of being here."--Jasper Johns, from Marcel Duchamp: An Appreciation
Until now available only in typewritten manuscript, Pierre Marcel’s two-volume analysis of the philosophy of Herman Dooyeweerd has now been made available to the reading public in a magnificent English translation by Colin Wright. The first volume provides a detailed analysis of Dooyeweerd’s critique of theoretical thought. Dooyeweerd analyzed the very basis of thought itself, its presuppositions; and then also the consequences of those presuppositions. The entire range of historical philosophy is taken into account, as are all the schools that manifested themselves up until the time of his writing. The second volume provides an analysis of Dooyeweerd’s positive philosophy based on explicit presuppositions, those of Christianity. Dooyeweerd analyzes reality in the light of the framework of laws of thought embedded in the mind and in extant reality. The result is an audacious synthesis that provides a foundation for justified reason. Marcel constructively criticizes both these areas of Dooyeweerd’s achievement in the two volumes now presented. They will occupy the top shelf of the works dedicated to the analysis and continuation of the great Dutchman’s philosophical magnum opus.
Originally available only in typewritten manuscript, Pierre Marcel's two-volume analysis of the philosophy of Herman Dooyeweerd has now been made available to the reading public in a magnificent English translation by Colin Wright. The first volume provides a detailed analysis of Dooyeweerd's critique of theoretical thought. Dooyeweerd analyzed the very basis of thought itself, its presuppositions; and then also the consequences of those presuppositions. The entire range of historical philosophy is taken into account, as are all the schools that manifested themselves up until the time of his writing. The second volume provides an analysis of Dooyeweerd's positive philosophy based on explicit presuppositions, those of Christianity. Dooyeweerd analyzes reality in the light of the framework of laws of thought embedded in the mind and in extant reality. The result is an audacious synthesis that provides a foundation for justified reason. Marcel constructively criticizes both these areas of Dooyeweerd's achievement in the two volumes now presented. They will occupy the top shelf of the works dedicated to the analysis and continuation of the great Dutchman's philosophical magnum opus.
This eBook edition of "The Exploits of Juve" has been formatted to the highest digital standards and adjusted for readability on all devices. The fearless Inspector Juve, aided by his sidekick Fandor the journalist, gets drawn into the Paris underworld by a series of mysterious crimes committed by a criminal gang that he believes is headed by Fantômas, believed to be dead by the rest of France. As he pursues the disparate clues and desperate characters involved, he finds himself again drawn into the orbit of his arch nemesis, the fiendish, shape-shifting Fantômas.
With The Great Hidden Inspirer, the fourth volume in the Poiesis series, the renowned Duchamp researcher Michael R. Taylor investigates the role of Duchamp as the "secret mastermind" at decisive moments in art history. In his eponymous essay, "The Great Hidden Inspirer," Taylor reveals that it was Duchamp who, while in exile in New York between 1942 and 1947, helped Surrealism out of its crisis and gave the movement a new direction. The volume celebrates the 100th anniversary of what is probably Duchamp's most provocative stroke of genius, Fountain, and contains another one of Taylor's essays, "Blind Man's Bluff," which describes the backstory of how the urinal shook the art world. The attempts at the time to classify this provocative object are evidence of the difficulties its critics faced at the start of the 20th century as they sought to free themselves from traditional aesthetic concepts.
Originally available only in typewritten manuscript, Pierre Marcel's two-volume analysis of the philosophy of Herman Dooyeweerd has now been made available to the reading public in a magnificent English translation by Colin Wright. The first volume provides a detailed analysis of Dooyeweerd's critique of theoretical thought. Dooyeweerd analyzed the very basis of thought itself, its presuppositions; and then also the consequences of those presuppositions. The entire range of historical philosophy is taken into account, as are all the schools that manifested themselves up until the time of his writing. The second volume provides an analysis of Dooyeweerd's positive philosophy based on explicit presuppositions, those of Christianity. Dooyeweerd analyzes reality in the light of the framework of laws of thought embedded in the mind and in extant reality. The result is an audacious synthesis that provides a foundation for justified reason. Marcel constructively criticizes both these areas of Dooyeweerd's achievement in the two volumes now presented. They will occupy the top shelf of the works dedicated to the analysis and continuation of the great Dutchman's philosophical magnum opus.
Originally available only in typewritten manuscript, Pierre Marcel's two-volume analysis of the philosophy of Herman Dooyeweerd has now been made available to the reading public in a magnificent English translation by Colin Wright. The first volume provides a detailed analysis of Dooyeweerd's critique of theoretical thought. Dooyeweerd analyzed the very basis of thought itself, its presuppositions; and then also the consequences of those presuppositions. The entire range of historical philosophy is taken into account, as are all the schools that manifested themselves up until the time of his writing. The second volume provides an analysis of Dooyeweerd's positive philosophy based on explicit presuppositions, those of Christianity. Dooyeweerd analyzes reality in the light of the framework of laws of thought embedded in the mind and in extant reality. The result is an audacious synthesis that presents a foundation for justified reason. Marcel constructively criticizes both these areas of Dooyeweerd's achievement in the two volumes now presented. They will undoubtedly occupy the top shelf of the works dedicated to the analysis and continuation of the great Dutchman's philosophical magnum opus.
FANTOMAS is the Emperor of Crime, the Lord of Terror, the Genius of Evil, the nihilistic anti-hero of a series of sublime pulps, books brimming with motifs of the "marvellous”: nuns, coffins, severed hands, daggers, masks, bells that bleed, corpses, poison flowers, gloves of human skin, lunatics and labyrinths. Fantômas loves criminal atrocities and random acts of "beautiful-compulsive” violence, carnage on a mass scale, outrageous theft, arson and destruction, virtuoso displays of terrorism and chaos compounded by the brutality of the Paris street-gangs under his command. FANTOMAS: THE CORPSE WHO KILLS (Le Mort Qui Tue, 1911), the third and perhaps most inventive book in this astonishing series, was acclaimed by the Surrealists for its dream-like imagery, wanton cruelty, and gallows-black humour. This new edition includes a detailed introduction on Fantômas and the Surrealists.
Marcel Allain (1885-1970) was a French writer mostly remembered today for his co-creation with Pierre Souvestre (1874-1914) of the fictional arch-villain and master criminal Fantomas. Allain studied law before becoming a journalist. He then became the assistant of Souvestre, who was already a well-known figure in literary circles. In 1909, the two men published their first novel, Le Rour. Investigating Magistrate Germain Fuselier, later to become a recurring character in the Fantomas series, appears in the novel. Then, in 1911, Allain and Souvestre embarked upon the Fantomas book series at the request of publisher Artheme Fayard, who wanted to create a new monthly pulp magazine. The success was immediate and lasting. After Souvestre's death in 1914, Allain continued the Fantomas saga alone, then launched several other series, such as Tigris, Fatala, Miss Teria and Ferocias, but none garnered the same popularity as Fantomas. In total, Allain wrote more than 400 novels in his prolific career. His works include: Un Roi Prisonnier de Fantomas (1911), Le Fiacre de Nuit (1911), La Livree du Crime (1912) and Le Jockey Masque (1913).
In God's School (A L' Ecole de Dieu) is foundational Christian instruction. It follows the outline of John Calvin's Geneva Catechism along with the Heidelberg Catechism. According to the ancient practice of the church, In God's School instructs in doctrine, expounding the Apostles' Creed. It enriches common evangelical treatments of these subjects by including fine sections on the church and the ministry of Word and sacraments as means of grace. It lays out basic Christian ethics by expounding the Ten Commandments. It teaches Christian worship by explaining the Lord's Prayer. This book may be used over the course of a school year. Students read a chapter each week. It also familiarizes students with the fine catechetical materials of the Protestant Reformation. Each chapter is divided into daily readings that include Scripture, so the student receives doctrinal teaching along with daily Bible study. Perhaps the greatest strength of In God's School is the presentation of the Commandments and Prayer. John Calvin's stress on the grace of God shines through ethical exhortation. Maturity in Christ comes from a growing knowledge of God through the gospel of his Son, a clearer understanding of the life he calls us to walk before him, and the Spirit's love and strength. With spiritual wisdom and rigor, Pierre Marcel leads us in knowing God.
Marcel Allain (1885 - 1969) was a French writer remembered for his co-creation with Pierre Souvestre of the fictional arch-villain and master criminal Fant"mas. Allain studied law before becoming a journalist. In February 1911, Allain and Souvestre began the Fant"mas book series at the request of publisher Arth me Fayard, who wanted to create a new monthly pulp magazine. The series was an immediate success. Pierre Souvestre (1874- 1914) was a French lawyer, journalist, and writer. One of the most popular characters in the history of French crime fiction, Fantomas appeared in a total of 32 volumes written by the two collaborators, then in 11 volumes written by Allain alone. The character was also the basis of various film, television, and comic book adaptations.
Caillou is building a beautiful castle that his sister Rosie accidently destroys. Upset and angry, Caillou vents his frustration. Mommy listens to him, consoles him, and explains that Rosie did not do it on purpose. With Mommy’s help, Caillou takes his first steps toward tolerance and learning to compromise.
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