Meet Missy. Tough bully, bitchy, beautiful. The 9th-grade star of Bennington Junior High School. Meet Samantha. Feeble, mild-mannered, smart, easy target. When Missy cons Samantha into tutoring her, emotional closets are thrown open and the truth about many people and relationships are revealed. Join them as they walk the halls, study their books, study themselves, and change as they learn that, in life, we’ve all got “Connections”.
Early modern printmakers trained observers to scan the heavens above as well as faces in their midst. Peter Apian printed the Cosmographicus Liber (1524) to teach lay astronomers their place in the cosmos, while also printing practical manuals that translated principles of spherical astronomy into useful data for weather watchers, farmers, and astrologers. Physiognomy, a genre related to cosmography, taught observers how to scrutinize profiles in order to sum up peoples' characters. Neither Albrecht Dürer nor Leonardo escaped the tenacious grasp of such widely circulating manuals called practica. Few have heard of these genres today, but the kinship of their pictorial programs suggests that printers shaped these texts for readers who privileged knowledge retrieval. Cultivated by images to become visual learners, these readers were then taught to hone their skills as observers. This book unpacks these and other visual strategies that aimed to develop both the literate eye of the reader and the sovereignty of images in the early modern world.
The question of how to understand Bruegel’s art has cast the artist in various guises: as a moralizing satirist, comedic humanist, celebrator of vernacular traditions, and proto-ethnographer. Stephanie Porras reorients these apparently contradictory accounts, arguing that the debate about how to read Bruegel has obscured his pictures’ complex relation to time and history. Rather than viewing Bruegel’s art as simply illustrating the social realities of his day, Porras asserts that Bruegel was an artist deeply concerned with the past. In playing with the boundaries of the familiar and the foreign, history and the present, Bruegel’s images engaged with the fraught question of Netherlandish history in the years just prior to the Dutch Revolt, when imperial, religious, and national identities were increasingly drawn into tension. His pictorial style and his manipulation of traditional iconographies reveal the complex relations, unique to this moment, among classical antiquity, local history, and art history. An important reassessment of Renaissance attitudes toward history and of Renaissance humanism in the Low Countries, this volume traces the emergence of archaeological and anthropological practices in historical thinking, their intersections with artistic production, and the developing concept of local art history.
On January 6, 1537, Lorenzino de’ Medici murdered Alessandro de’ Medici, the duke of Florence. This episode is significant in literature and drama, in Florentine history, and in the history of republican thought, because Lorenzino, a classical scholar, fashioned himself after Brutus as a republican tyrant-slayer. Wings for Our Courage offers an epistemological critique of this republican politics, its invisible oppressions, and its power by reorganizing the meaning of Lorenzino’s assassination around issues of gender, the body, and political subjectivity. Stephanie H. Jed brings into brilliant conversation figures including the Venetian nun and political theorist Archangela Tarabotti, the French feminist writer Hortense Allart, and others in a study that closely examines the material bases—manuscripts, letters, books, archives, and bodies—of writing as generators of social relations that organize and conserve knowledge in particular political arrangements. In her highly original study Jed reorganizes republicanism in history, providing a new theoretical framework for understanding the work of the scholar and the social structures of archives, libraries, and erudition in which she is inscribed.
This sumptuously illustrated volume examines the impact of Indian art and culture on Rembrandt (1606–1669) in the late 1650s. By pairing Rembrandt’s twenty-two extant drawings of Shah Jahan, Jahangir, Dara Shikoh, and other Mughal courtiers with Mughal paintings of similar compositions, the book critiques the prevailing notion that Rembrandt “brought life” to the static Mughal art. Written by scholars of both Dutch and Indian art, the essays in this volume instead demonstrate how Rembrandt’s contact with Mughal painting inspired him to draw in an entirely new, refined style on Asian paper—an approach that was shaped by the Dutch trade in Asia and prompted by the curiosity of a foreign culture. Seen in this light, Rembrandt’s engagement with India enriches our understanding of collecting in seventeenth-century Amsterdam, the Dutch global economy, and Rembrandt’s artistic self-fashioning. A close examination of the Mughal imperial workshop provides new insights into how Indian paintings came to Europe as well as how Dutch prints were incorporated into Mughal compositions.
A straight-forward, detailed overview of pathophysiology, providing nursing students with clear and simple explanations of the basic principles that underpin health and illness, and the main causes of disease. The book uses person-centred nursing as its guiding principle (in-line with the new NMC standards) to encourage students to develop a more detailed understanding of specific disorders and learn how to apply the bioscience theory to nursing practice and patient care. Key features: Full-colour diagrams and figures: all content supported by colourful, reader-friendly illustrations. Person-centred bioscience: a fictional family woven through the book encourages students to think holistically about pathophysiology and consider the lived-experiences of different conditions and diseases. Online resources: access to online materials for lecturers and students, including multiple choice questions, videos, flashcards, lecturer test bank, an image bank and a media teaching guide.
Biotechnology is a fascinating interdisciplinary field uniquely poised to take on some of the world’s most complex problems. With this thesis at its core, Modern Biotechnology: Defining and Solving Human Problems takes a refreshing problems-based approach to exploring the field. Novice readers will come away with a broad appreciation for the significance of current and emerging biotechnologies—from regenerative medicine, to genetically enhanced crops, to biofuels. Experts will benefit from the concise review of timely game-changing technologies such as DNA sequence-by-synthesis and clustered regularly interspaced short palindromic repeats/CRISPR-associated protein-9 nuclease-mediated genome editing technologies. Despite being set within a conceptual framework of “wicked” problems (i.e., disease, food production, environmental spoilage), insights into the current state and future potential of biotechnologies make this book both optimistic and forward thinking. This is not just an informative text—it’s a jumping off point for engaging with a discipline that has the potential to change the world.
As a social phenomenon and a commonplace of internet culture, virality provides a critical vocabulary for addressing questions raised by the global mobility and reproduction of early modern artworks. This book uses the concept of virality to study artworks’ role in the uneven processes of early modern globalization. Drawing from archival research in Asia, Europe, and the Americas, Stephanie Porras traces the trajectories of two interrelated objects made in Antwerp in the late sixteenth century: Gerónimo Nadal’s Evangelicae historiae imagines, an illustrated devotional text published and promoted by the Society of Jesus, and a singular composition by Maerten de Vos, St. Michael the Archangel. Both were reproduced and adapted across the early modern world in the seventeenth century. Porras examines how and why these objects traveled and were adopted as models by Spanish and Latin American painters, Chinese printmakers, Mughal miniaturists, and Filipino ivory carvers. Reassessing the creative labor underpinning the production of a diverse array of copies, citations, and reproductions, Porras uses virality to elucidate the interstices of the agency of individual artists or patrons, powerful gatekeepers and social networks, and economic, political, and religious infrastructures. In doing so, she tests and contests several analytical models that have dominated art-historical scholarship of the global early modern period, putting pressure on notions of copying, agency, context, and viewership. Vital and engaging, The First Viral Images sheds new light on how artworks, as agents of globalization, navigated and contributed to the emerging and intertwined global infrastructures of Catholicism, commerce, and colonialism.
Meet Missy. Tough bully, bitchy, beautiful. The 9th-grade star of Bennington Junior High School. Meet Samantha. Feeble, mild-mannered, smart, easy target. When Missy cons Samantha into tutoring her, emotional closets are thrown open and the truth about many people and relationships are revealed. Join them as they walk the halls, study their books, study themselves, and change as they learn that, in life, we’ve all got “Connections”.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.