Numerous doubts and questions assail us everyday and we don’t always have an immediate answer. At times we feel the need to receive a sign from fate in order to know how to proceed. A crystal ball would come in handy sometimes too. is book of answers can be a trusted companion with which to start the day and also to keep in hand during the day. It’s light hearted, lled with irony and rhymes, and cheerfully illustrated. The Book of Answers in Rhyme will bring a smile to your face and maybe even gently, but resolutely, show you the path to take. Wherever you are, and with whoever you are, you can leaf through it any time you want, as often as you want. You can even consult FinFury’s crystal ball with a simple click! Do that at your own risk though! Because in FinFury’s crazy world, there’s no rhyme or reason. Finfury uses all her senses, but the one she uses most is the seventh: the sense of humour, and life is in dire need of humour.
Malaguzzi's work describes the significance of food and feasts through the ages and discusses how artists have created allegories of gluttony and odes to the sense of taste, using, for example, artfully positioned fruits and vegetables in the still-life genre in painting.
There was no academic book presenting the biographies of the pioneers of South American Adventism. There were just short devotional works about the experiences of one or more Adventist missionaries. This book showcases the life and work of those who established the Seventh-day Adventist Church in South America. It is a text prepared with historical rigour, true to available sources, spreads the work of Adventist missionaries in these lands and promotes the fulfillment of evangelical mission in present day. However, its contents are presented in an enjoyable and inspiring way. This work contains the biographies of twelve of the foundational missionaries of South American Adventism. The areas in which they contributed to mission are diverse: evangelization, administration, medical work, publishing ministry, educational work and social service. All of them, men and women, adult and young, owning big ideals and a spirit of sacrifice that invite emulation.
Silvia Evangelisti presents the story of the women who have lived in religious communities, from the dawn of the modern age onwards - their ideals and achievements, frustrations and failures, and their attempts to reach out to the society aroundthem.
Peeking into the home through the eyes of artists and image-makers, this book unveils the untold story of Italian domestic experiences from the 1940s to the 1970s. Torn between the trauma of World War II and the frenzied optimism of the postwar decades, and haunted by the echoes of fascism, the domestic realm embodied contrasting and often contradictory meanings: care and violence, oppression and emotional fulfillment, nourishment and privation. Silvia Bottinelli casts a fresh light on domestic experiences that are easily overlooked and taken for granted, finding new expressions of home - as an idea, an emotion, a space, and a set of habits - in a variety of cultural and artistic movements, including new realism, visual poetry, pop art, arte povera, and radical architecture, among others. Double-Edged Comforts finds nuance by viewing artistic interpretations of domestic life in dialogue with contemporaneous visual culture: the advertisements, commercials, illustrations, and popular magazines that influenced and informed art, even materially, and often triggered the critical reactions of artists. Bottinelli pays particular attention to women's perspectives, discussing artworks that have fallen through the cracks of established art historical narratives and giving specific consideration to women artists: Carla Accardi, Marisa Merz, Maria Lai, Ketty La Rocca, Lucia Marcucci, and others who were often marginalized by the Italian art system in this period. From sleeping and bathing, chores, and making and eating food to the arrival of television, Double-Edged Comforts provides a fresh account of modern domesticity relevant to anyone interested in understanding how we make sense of the places we live and what we do there, showing how art complicates the familiar comforts and meanings of home.
Cinepoiesis, or cinema of poetry, strikes us as a strange combination, a phrase we initially read as an oxymoron. Poetry is often associated with the abstract and the evocative, while cinema suggests the concrete and the visible. Yet, various visual media use strong and often contradictory images, whose symbolic force and visual impact stimulate the public’s attention. Abstract and emblematic images surround us, and the poetic nature of these images lies in the way they speak beyond their apparent limits and stimulate connections on a subjective level. A prosaic world like the contemporary one, though, no longer seems to hold a place for poetry. We are inundated by the need to tell and to be told, the need to build our lives through narratives. But it is precisely here, in this contemporary landscape, that the cinema of poetry attempts to establish a space for itself, exchanging the productive and industrial apparatus for the poetic stimulus of a sensory experience. A Grammar of Cinepoiesis is a theoretical and practical guide to the cinema of poetry, to its tools and forms. It examines how the language of a “cinema of poetry” works both in its theoretical foundations and in its modes of representation, and how it takes shape in the exemplary practice of Italian authors such as Pier Paolo Pasolini, Michelangelo Antonioni, Federico Fellini, and the more recent Franco Piavoli and Matteo Garrone.
Numerous doubts and questions assail us everyday and we don’t always have an immediate answer. At times we feel the need to receive a sign from fate in order to know how to proceed. A crystal ball would come in handy sometimes too. is book of answers can be a trusted companion with which to start the day and also to keep in hand during the day. It’s light hearted, lled with irony and rhymes, and cheerfully illustrated. The Book of Answers in Rhyme will bring a smile to your face and maybe even gently, but resolutely, show you the path to take. Wherever you are, and with whoever you are, you can leaf through it any time you want, as often as you want. You can even consult FinFury’s crystal ball with a simple click! Do that at your own risk though! Because in FinFury’s crazy world, there’s no rhyme or reason. Finfury uses all her senses, but the one she uses most is the seventh: the sense of humour, and life is in dire need of humour.
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