Hans Christian Andersen Medalist Robert Ingpen brings classic stories to life in a collection that serves as his magnum opus to the imagination. Featured in New York Times Book Review "8 Picture Books About Books" World-renowned illustrator Robert Ingpen begins his magical journey through the world of classic children's stories with a mural he worked on for years, inspired by the great storybook characters. The original mural is more than 20 feet long, but Mr. Ingpen knew he had to find a way to turn that work into a book in its own right. This book contains some of his favorite quotations from the stories that inspired him, as well as an eye-popping fold-out centerpiece with a reproduction of the full mural. This book is an eye-popping illustrated celebration of the power of imagination.
Hans Christian Andersen Medalist Robert Ingpen brings classic stories to life in a collection that serves as his magnum opus to the imagination. Featured in New York Times Book Review "8 Picture Books About Books" World-renowned illustrator Robert Ingpen begins his magical journey through the world of classic children's stories with a mural he worked on for years, inspired by the great storybook characters. The original mural is more than 20 feet long, but Mr. Ingpen knew he had to find a way to turn that work into a book in its own right. This book contains some of his favorite quotations from the stories that inspired him, as well as an eye-popping fold-out centerpiece with a reproduction of the full mural. This book is an eye-popping illustrated celebration of the power of imagination.
A celebration of books, storytelling, and reading from one of the greatest living children's book creators Somewhere in the place between being awake and asleep lives the Dreamkeeper who uses tricks and traps to lure and capture the creatures of our dreams before they can escape to reality. Presented as a letter to his granddaughter, Robert Ingpen's breathtakingly detailed illustrations are infused with the magic of dreams
When your mind is somewhere between what is really happening and what might happen, the Dreamkeeper will never be far away. He catches the creatures of our dreams when they escape, luring them with tricks and traps to return them to the the safety of the Dreamtree. Suggested level: junior, primary.
In this novel approach to law and literature, Robert Barsky delves into the canon of so-called Great Books, and discovers that many beloved characters therein encounter obstacles similar to those faced by contemporary refugees and undocumented persons. The struggles of Odysseus, Moses, Aeneas, Dante, Satan, Dracula and Alice in Wonderland, among many others, provide surprising insights into current discussions about those who have left untenable situations in their home countries in search of legal protection. Law students, lawyers, social scientists, literary scholars and general readers who are interested in learning about international refugee law and immigration regulations in home and host countries will find herein a plethora of details about border crossings, including those undertaken to flee pandemics, civil unrest, racism, intolerance, war, forced marriage, or limited opportunities in their home countries.
First published in 1966, Robert Blake's biography of Disraeli is one of the supreme political biographies of the last hundred years. An outsider, a nationalist, a European, a Romantic and a Tory - Disraeli's story is an extraordinary one. Born in 1804, the grandson of an immigrant Italian Jew, he became leader of the Conservative Party and was twice Prime Minister. Famous for the 1867 Reform Act, his purchasing of the Suez Canal and his diplomatic triumphs at the Congress of Berlin, he was also the creator of the political novel and, in Sybil, wrote the major 'Condition of England' work of fiction. 'An outstandingly successful biography . . . Disraeli has never been brought so vividly to life.' Sir Philip Magnus, Daily Telegraph 'A huge, scholarly and remarkably readable work which makes us revise vast tracts of our assumptions about nineteenth-century politics.' Sir Michael Howard, Sunday Times 'A book that people will still be reading in fifty years' time and long after.' Times Literary Supplement
In considering the question of publishing these letters, which are all that ever passed between my father and mother, for after their marriage they were never separated, it seemed to me that my only alternatives were to allow them to be published or to destroy them. I might, indeed, have left the matter to the decision of others after my death, but that would be evading a responsibility which I feel that I ought to accept. Ever since my mother's death these letters were kept by my father in a certain inlaid box, into which they exactly fitted, and where they have always rested, letter beside letter, each in its consecutive order and numbered on the envelope by his own hand. My father destroyed all the rest of his correspondence, and not long before his death he said, referring to these letters: 'There they are, do with them as you please when I am dead and gone!' A few of the letters are of little or no interest, but their omission would have saved only a few pages, and I think it well that the correspondence should be given in its entirety. I wish to express my gratitude to my father's friend and mine, Mrs. Miller Morison, for her unfailing sympathy and assistance in deciphering some words which had become scarcely legible owing to faded ink. R.B.B.
Examining select high points in the speculative tradition from Plato and Aristotle through the Middle Ages and German tradition to Dewey and Heidegger, Placing Aesthetics seeks to locate the aesthetic concern within the larger framework of each thinker’s philosophy. In Professor Robert Wood’s study, aesthetics is not peripheral but rather central to the speculative tradition and to human existence as such. In Dewey’s terms, aesthetics is “experience in its integrity.” Its personal ground is in “the heart,” which is the dispositional ground formed by genetic, cultural , and personal historical factors by which we are spontaneously moved and, in turn, are inclined to move, both practically and theoretically, in certain directions. Prepared for use by the student as well as the philosopher, Placing Aesthetics aims to recover the fullness of humanness within a sense of the fullness of encompassing Being. It attempts to overcome the splitting of thought, even in philosophy, into exclusive specializations and the fracturing of life itself into theoretical, practical, and emotive dimensions.
This edition makes available in a single edition all of Hunt's major works, fully annotated and with a consolidated index. The set will include all of Hunt's poetry, and an extensive selection of his periodical essays.
Sympathy and the State in the Romantic Era explores a fascinating connection between two seemingly unrelated Romantic-era discourses, outlining the extent to which eighteenth and early nineteenth century theories of sympathy were generated by crises of state finance. Through readings of authors such as David Hume, Adam Smith, William Wordsworth, and P.B. Shelley, this volume establishes the ways in which crises of state finance encouraged the development of theories of sympathy capable of accounting for both the fact of "social systems" as well as the modes of emotional communication by means of which such systems bound citizens to one another. Employing a methodology that draws on the systems theory of Niklas Luhmann, Michel Serres, and Giovanni Arrighi, as well as Gilles Deleuze’s theories of time and affect, this book argues that eighteenth and early nineteenth century philosophies of sympathy emerged as responses to financial crises. Individual chapters focus on specific texts by David Hume, Adam Smith, Jean-Jacques Rousseau, Ann Yearsley, William Wordsworth, and P.B. Shelley, but Mitchell also draws on periodicals, pamphlets, and parliamentary hearings to make the argument that Romantic era theories of sympathy developed new discourses about social systems intended both to explain, as well as contain, the often disruptive effects of state finance and speculation.
How Paris, London, Chicago, Berlin, and Tokyo created modernity through science and technology by means of urban planning, international expositions, and museums. At the close of the nineteenth century, industrialization and urbanization marked the end of the traditional understanding of society as rooted in agriculture. Urban Modernity examines the construction of an urban-centered, industrial-based culture—an entirely new social reality based on science and technology. The authors show that this invention of modernity was brought about through the efforts of urban elites—businessmen, industrialists, and officials—to establish new science- and technology-related institutions. International expositions, museums, and other such institutions and projects helped stem the economic and social instability fueled by industrialization, projecting the past and the future as part of a steady continuum of scientific and technical progress. The authors examine the dynamic connecting urban planning, museums, educational institutions, and expositions in Paris, London, Chicago, Berlin, and Tokyo from 1870 to 1930. In Third Republic Paris, politicians, administrators, social scientists, architects, and engineers implemented the future city through a series of commissions, agencies, and organizations; in rapidly expanding London, cultures of science and technology were both rooted in and constitutive of urban culture; in Chicago after the Great Fire, Commercial Club members pursued civic ideals through scientific and technological change; in Berlin, industry, scientific institutes, and the popularization of science helped create a modern metropolis; and in Meiji-era Tokyo (Edo), modernization and Westernization went hand in hand.
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