Thom Henninger provides a nostalgic look at the era’s elite Minnesota Twins teams and the turbulent times in which they competed in four dramatic American League pennant races between 1965 and 1970.
If not for the botched Bay of Pigs invasion, Minnesota might never have known one of its most popular baseball players, Twins three-time batting champion and eight-time All-Star Tony Oliva. In April 1961, the twenty-two-year-old Cuban prospect failed to impress the Twins in a tryout, but the sudden rupture in U.S.–Cuba relations made a return visa all but impossible. The story of how Oliva’s unexpected stay led to a second chance and success with the Twins—as well as decades of personal and cultural isolation—is told for the first time in this full-scale biography of the man the fans affectionately call “Tony O.” With unprecedented access to the very private Oliva, baseball writer Thom Henninger captures what life was like for the Cuban newcomer as he adjusted to major league play and American culture—and at the same time managed to earn Rookie of the Year honors and win the American League batting title in his first two seasons, all while playing with a knuckle injury. Packed with never-before-published photographs, the book follows Oliva through the 1965 season, all the way to the World Series, and then, with repaired knuckle and knee, into one of the most dramatic pennant races in baseball history in 1967. Through the voices of Oliva, his family, and his teammates—including the Cuban players who shared his cultural challenges and the future Hall of Famers he mentored, Rod Carew and Kirby Puckett—the personal and professional highs and lows of the years come alive: the Gold Glove Award in 1966, a third batting title in 1971, the devastating injury that curtailed his career, and, through it all, the struggle to build a family and recover the large and close-knit one he had left behind in Cuba. Nearly forty years after Oliva’s retirement, the debate continues over whether his injury-shortened career was Hall of Fame caliber—a question that gets a measured and resounding answer here.
Augustine inaugurated the project of constructing models of the Trinity in language drawn from Platonic and Aristotelian philosophy, especially the conceptual framework of Aristotle's Categories. He used the Aristotelian notions of substance and relation to set up a model whose aim was not so much to demystify the Trinity as to demonstrate the logical consistency of maintaining that there is one and only one God at the same time as maintaining that there are three distinct persons, each of whom is God. Standing against this tradition are various heretical accounts of the Trinity. The book also analyzes these traditions, using the same techniques. All these accounts of the Trinity are evaluated relative to the three constraints under which they were formed, bearing in mind that the constraints on philosophical theorizing are not limited to internal consistency but also take note of explanatory power.
This slim collection of Ryng's poetry brings some of his strongest and most peculiar imagery together in one volume for the first time. It represents the ten years between 1996 and 2006 and includes ""Tuesday,"" ""Songs for Arcadia,"" and ""A Voyage to Leonia."" A "tour de force" of the Subminimalist imagination.
In Opera as Art: Philosophical Sketches, Paul Thom argues for opera as an art, standing alongside other artforms that employ visual and sonic media to embody the great themes of human life. Thom contends that in great operatic art, the narrative and expressive content collaborate with the work's aesthetic qualities towards achieving this aim. This argument can be extended to modern operatic productions. At their best, these stagings are works of art in themselves, whether they give faithful renditions of the operas they stage and whether their aims go beyond interpretation to commentary and critique. This book is a philosophical introduction to the key practices that comprise the world of opera: the making of the work; its interpretation by directors, critics, and spectators; and the making of an operatic production. Opera has always existed in a context of philosophical ideas, and this book is written for opera-lovers who would like to learn something about that philosophical context.
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