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1000 tulosta hakusanalla JAMES LINDSAY

The Complete Poetical Works of James Whitcomb Riley

The Complete Poetical Works of James Whitcomb Riley

James Whitcomb Riley

Indiana University Press
1993
pokkari
Few lives have left so vivid an impression upon a native environment as that of James Whitcomb Riley, the Hoosier Poet. His folksy, down-home rhymes are still enormously popular in his native state and beyond. This publication brings back into print the complete Riley repertoire of more than 1,000 poems, including such all-time favorites as "Little Orphant Annie" (far and away the best-loved of all Riley characters), "The Raggedy Man," "Our Hired Girl," "A Barefoot Boy," "The Bumblebee," "Granny," and "When the Frost Is on the Punkin." It is said that Indiana's best-known poet did not portray but invented the typical Hoosier. Applying imaginative skill, Riley altered and adapted the people around him to suit his purpose. As Jeannette Covert Nolan once put it, the figure who emerged was "a mellow, humorous rustic, a quaint, bucolic philosopher, unlettered but gifted with an earthy shrewdness, a peasant wisdom, a heart of gold, speaking a drawling, hybrid tongue, a dubious dialect as yet unidentified by any philologist." In his heyday Riley was famous all over the world. Though often called a children's poet, he actually wrote about children for adults, delighting in emotional reminders of an irretrievable past—perhaps one that never quite existed. Throughout his life Riley looked back wistfully and sentimentally upon his childhood days, turning the longings and unfulfilled dreams of youth into verse. So celebrated was he in Indiana that in many public elementary schools, students were required to memorize and recite one of his poems every week for admiring audiences of visiting parents. If I Knew What Poets Know If I knew what poets know, Did I know what poets do, If I knew what poets know, Would I write a rhyme Would I sing a song, I would find a theme Of the buds that never blow Sadder than the pigeon's coo Sweeter than the placid flow In the summer-time? When the days are long? Of the fairest dream: Would I sing of golden seeds Where I found a heart in pain, I would sing of love that lives Springing up in ironweeds? I would make it glad again; On the errors it forgives: And of rain-drop turned to snow, And the false should be the true, And the world would better grow If I knew what poets know? Did I know what poets do. If I knew what poets know. —James Whitcomb Riley
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James Coleman

James Coleman

MIT Press
2003
pokkari
Illustrated critical essays on the work of artist James Coleman.James Coleman has emerged in recent years as one of the most important artists of visual postmodernism. His work has transformed critical debates about the status of the image in contemporary culture and influenced an entire generation of younger artists in ways that have not yet been fully acknowledged. Until recently, Coleman has enjoyed relatively little critical attention-in part because of his refusal to comment on his projects or to allow his work to be reconstructed outside of the context of its exhibition.The illustrated essays in this book span the entirety of Coleman's career to date, from his early postminimal and conceptual experiments with memory and perception, through his work in film, video, and narrative in the 1980s, to his current ongoing series of slide projections with voice-over that he calls simply "projected images." Reflecting the interdisciplinary nature of the debates induced by Coleman's work, the essays discuss issues of subjectivity and identity, nationalism, postcolonialism, memory, spectacle culture, digitalization, and new media. The contributors are Raymond Bellour, Benjamin Buchloh, Lynne Cooke, Jean Fisher, Luke Gibbons, Rosalind Krauss, Anne Rorimer, and Kaja Silverman. Written by curators, critics, and scholars and spanning the fields of art history, literary criticism, philosophy, and film theory, the essays attest to the interdisciplinary challenge of Coleman's work.
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James Surls: the Splendora Years, 1977-1997

James Surls: the Splendora Years, 1977-1997

Terrie Sultan

University of Texas Press
2005
sidottu
Shortlisted, Fred Whitehead Award for Best Design of a Trade Book, 2006 A prolific artist with a prodigious gift for stimulating the creativity of others, James Surls is one of the most important sculptors working in America today. His art blends natural forms created of wood, steel, and bronze with sophisticated, sometimes edgy imagery and content to explore fundamental dualities and paradoxes-male and female, joyous optimism and anxious foreboding, conscious rationality and unconscious intuition. Fusing personalized folk idioms with the aesthetics of high modernism, Surls's sculptures are clearly self-expressive, yet freighted with universal meaning. This beautifully illustrated book, which accompanies an exhibition of the same name at the Blaffer Gallery, the Art Museum of the University of Houston, captures an extraordinarily creative period in Surls's career-the two decades he lived and worked in Splendora, Texas. During this time, Surls established a home and artists' colony in the East Texas pineywoods, where he produced an astonishing body of work while encouraging the creativity of other visual and performing artists. Magnificent color and black-and-white images illustrate the key sculptures and works on paper that Surls created in Splendora. Accompanying the images are essays and interviews that offer fascinating insights into Surls's artistic breakthrough in Splendora. Terrie Sultan introduces Surls's work and provides a concise biography of the artist. Eleanor Heartney places Surls's Splendora works within the larger contexts of American and international art. Artists and gallery owners John Alexander, Joseph Havel, The Art Guys, Hiram Butler, and Sharon and Gus Kopriva, as well as curator Jim Harithas and architect Peter Zweig, share lively memories of Splendora as an artist colony and of Surls's pivotal role as artistic mentor and arts impresario for the whole Houston-area arts community. James Surls and his wife Charmaine Locke add a personal signature to the book by describing how their love and their work blossomed in an atmosphere of total freedom to experiment and create. This publication of James Surls's Splendora works clearly establishes that no other artist of Surls's generation has had a greater impact upon the development of Texas as a center of vibrant creativity. At the same time, it confirms Surls's standing within the contemporary international art world as a revolutionary who has expanded the boundaries of traditional sculpture while maintaining a high degree of aesthetic and intellectual quality.
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James Dean Transfigured

James Dean Transfigured

Claudia Springer

University of Texas Press
2007
pokkari
After the death of James Dean in 1955, the figure of the teen rebel permeated the globe, and its presence is still felt in the twenty-first century. Rebel iconography-which does not have to resemble James Dean himself, but merely incorporates his disaffected attitude-has become an advertising mainstay used to sell an array of merchandise and messages. Despite being overused in advertisements, it still has the power to surprise when used by authors and filmmakers in innovative and provocative ways. The rebel figure has mass appeal precisely because of its ambiguities; it can mean anything to anyone. The global appropriation of rebel iconography has invested it with fresh meanings. Author Claudia Springer succeeds here in analyzing both ends of the spectrum-the rebel icon as a tool in upholding capitalism's cycle of consumption, and as a challenge to that cycle and its accompanying beliefs. In this groundbreaking study of rebel iconography in international popular culture, Springer studies a variety of texts from the United States and abroad that use this imagery in contrasting and thought-provoking ways. Using a cultural studies approach, she analyzes films, fiction, poems, Web sites, and advertisements to determine the extent to which the icon's adaptations have been effective as a response to the actual social problems affecting contemporary adolescents around the world.
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James M. Cain and the American Authors' Authority

James M. Cain and the American Authors' Authority

Richard Fine

University of Texas Press
2013
nidottu
The 1940s offered ever-increasing outlets for writers in book publishing, magazines, radio, film, and the nascent television industry, but the standard rights arrangements often prevented writers from collecting a fair share of the profits made from their work. To remedy this situation, novelist and screenwriter James M. Cain (The Postman Always Rings Twice,Double Indemnity, Mildred Pierce) proposed that all professional writers, including novelists, playwrights, poets, and screenwriters, should organize into a single cartel that would secure a fairer return on their work from publishers and producers. This organization, conceived and rejected within one turbulent year (1946), was the American Authors' Authority (AAA).In this groundbreaking work, Richard Fine traces the history of the AAA within the cultural context of the 1940s. After discussing the profession of authorship as it had developed in England and the United States, Fine describes how the AAA, which was to be a central copyright repository, was designed to improve the bargaining position of writers in the literary marketplace, keep track of all rights and royalty arrangements, protect writers' interests in the courts, and lobby for more favorable copyright and tax legislation.Although simple enough in its design, the AAA proposal ignited a firestorm of controversy, and a major part of Fine's study explores its impact in literary and political circles. Among writers, the AAA exacerbated a split between East and West Coast writers, who disagreed over whether writing should be treated as a money-making business or as an artistic (and poorly paid) calling. Among politicians, a move to unite all writers into a single organization smacked of communism and sowed seeds of distrust that later flowered in the Hollywood blacklists of the McCarthy era.Drawing insights from the fields of American studies, literature, and Cold War history, Fine's book offers a comprehensive picture of the development of the modern American literary marketplace from the professional writer's perspective. It uncovers the effect of national politics on the affairs of writers, thus illuminating the cultural context in which literature is produced and the institutional forces that affect its production.
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James Stephen Hogg

James Stephen Hogg

Robert C. Cotner

University of Texas Press
1959
nidottu
No other governor has become so completely identified with Texas and its citizens as Jim Hogg, the first native Texan to hold the state's highest office. His fame was not, however, easily earned. Orphaned at twelve, he worked as farmhand, typesetter, and country editor to finance his study of law, an endeavor that eventually led him into public life. Even before his admission to the bar in 1875 he served as justice of the peace in Wood County. Later, in two terms as district attorney (1881–1885), he proved himself a fearless prosecutor. His growing reputation, with his magnetic personality, brought him the attorney generalship in 1887, and in that office he fulfilled his campaign promises to enforce all laws. During Hogg's tenure, suits brought by his department resulted in the restoration of more than a million acres of state lands held by the railroads. In 1890 Hogg was elected governor. Early the next year he began urging his reform program, the keystone of which was establishment of the Railroad Commission. He also brought about the passage of laws preventing the watering of railroad securities, the indiscriminate issuance of municipal securities, and the establishment of landholding companies. Land ownership by aliens was likewise restricted. Throughout Hogg's public life, from iustice of the peace to governor, he was motivated by his concern for the welfare of the people. Invariably his criterion for evaluation of an issue was the effect of a decision upon the common welfare. In this democratic progressivism he was the Texas version of Thomas Jefferson or Theodore Roosevelt. Molded by his varied experiences, Jim Hogg was a man of many professions-printer, lawyer, politician, statesman, oil magnate. In these relationships he was still a warmly human person, a loving son, brother, husband, father, friend. His ambition to provide abundantly for his family was expansive enough to include all Texans; so his love for "the people" was reiterated in his public benefactions, through which Texans are even today still sharing his wealth. Jim Hogg's varied public life and his heart-warming personal life are dramatically presented in this absorbing biography. In it, the far-sweeping panorama of Texas development in the late nineteenth and early twentieth centuries is shown in relation to his dreams and achievements.
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James Martin

James Martin

Sheila Farr

University of Washington Press
2001
sidottu
James Martin started his career the same way a lot of aspiring painters do—by imitating other artists. During the 1950s and 60s, he nabbed imagery and mannerisms from Mark Tobey, Morris Graves, van Gogh, Picasso, Chagall, and Calder. But the real source of Martin's mature style isn't buried in the mysticism of the Northwest School or the avant garde trends of European Modernism: it traces back to his days at Ballard High School during the 1940s. He and a buddy used to cut class and head downtown to the Rivoli Theater on Seattle's First Avenue to watch the burlesque.The surrealism of those shows percolated into Martin's psyche and his paintings—once he started to trust his own view of things—began to sprout the ambiguities of burlesque and the black humor of slapstick. Now when Martin paints a Northwest scene, it's likely to be peopled with freaks and floozies. He stays up nights listening to the radical opinions on Art Bell's radio talk show and he considers the Jerry Springer show a new form of vaudeville. Martin transforms the daily input of the media into the wild stream-of-consciousness of his paintings—for him both a compulsive kind of storytelling and a way of escape. Like his heroes in the Northwest School, Martin still considers art-making a sacred endeavor—but he figures there's no reason you can't get a good laugh out of it, too.In unearthing the story of this under-recognized painter, art critic Sheila Farr presents a fast-paced account of the strange turns of Martin's career, as well as a fresh look at our standards for evaluating art. Martin's swashbuckling approach to imagery, she discovers, was way ahead of its time. Using costumed self-portraiture and outrageous marriages of art-historical images with pop culture icons, Martin was Post Modern before the term was invented.
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James Wong's Homegrown Revolution

James Wong's Homegrown Revolution

James Wong

Weidenfeld Nicolson
2012
sidottu
A revolution in the garden - a completely new range of fruit and vegetables to grow and eat.Whether it's a window box of homegrown saffron, your very own kiwi vine or a mini green tea plantation on your patio, TV botanist and best-selling author James Wong proves that 'growing your own' can be so much more exciting than spuds, sprouts and swede.Breaking free from the 'dig for victory' time warp of allotment staples, James reveals the vast array of 21st century crops that will flourish outdoors, even in our blustery North Atlantic climate - no greenhouse necessary. From goji berries to food-mile free sweet potatoes, James' revolutionary approach to edible gardening will show you how to grow, cook and eat all manner of superfood crops that are just as easy (if not easier) and far more exciting to grow than the 'ration book' favourites.Inspiring, fun and full of plant know-how, this book is set to revolutionise the whole concept of 'growing your own' for newbie growers to seasoned allotment veterans alike. You'll never look at your garden the same way again!
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James Wong's Homegrown Revolution

James Wong's Homegrown Revolution

James Wong

Weidenfeld Nicolson
2020
nidottu
A revolution in the garden - a completely new range of fruit and vegetables to grow and eat.Whether it's a window box of homegrown saffron, your very own kiwi vine or a mini green tea plantation on your patio, TV botanist and best-selling author James Wong proves that 'growing your own' can be so much more exciting than spuds, sprouts and swede.Breaking free from the 'dig for victory' time warp of allotment staples, James reveals the vast array of 21st century crops that will flourish outdoors, even in our blustery North Atlantic climate - no greenhouse necessary. From goji berries to food-mile free sweet potatoes, James' revolutionary approach to edible gardening will show you how to grow, cook and eat all manner of superfood crops that are just as easy (if not easier) and far more exciting to grow than the 'ration book' favourites.Inspiring, fun and full of plant know-how, this book is set to revolutionise the whole concept of 'growing your own' for newbie growers to seasoned allotment veterans alike. You'll never look at your garden the same way again!
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James II

James II

John Miller

Yale University Press
2000
pokkari
James II (1633–1701) lacked the charisma of his father, Charles I, but shared his tendency to dismiss the views of others when they differed from his own. Failing to understand his subjects, James was also misunderstood by them. In this highly-regarded biography, John Miller reassesses James II and his reign, drawing on a wide array of primary sources from France, Italy, and Ireland as well as England. Miller argues that the king had many laudable attributes--he was brave, loyal, honorable, and hard-working, and he was at least as benevolent toward his people as his father had been. Yet James’s conversion to Catholicism fueled the distrust of his Protestant subjects who placed the worst possible construction on his actions and statements. Although James came to see the securing of religious freedom for Catholics in the wider context of freedom for all religious minorities, his people naturally doubted the sincerity of his commitment to toleration.The book explores James’s relations with the state and society, focusing on the political, diplomatic, and religious issues that shaped his reign. Miller discusses the human failings, the gulf of understanding between the king and his subjects, and the sheer bad luck that led to James’s downfall. He also considers the reasons for James’s lack of interest in recovering his kingdom after his flight to France in 1688. This revised edition of the book includes a substantial new foreword assessing recent work on the reign.“This is a first-class essay in historical biography. . . . It must displace all previous lives of James II.”—J. P. Kenyon, Observer
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James Fenimore Cooper

James Fenimore Cooper

Wayne Franklin

Yale University Press
2007
sidottu
The authoritative biography of James Fenimore Cooper, author of the Leather-Stocking Tales and representative figure of the early American republic"For Franklin, Cooper wasn't just a major American writer; he was one of the supreme inventors of the American imagination."—Christopher Benfey, New Republic James Fenimore Cooper (1789–1851) invented the key forms of American fiction—the Western, the sea tale, the Revolutionary War romance. Furthermore, Cooper turned novel writing from a polite diversion into a paying career. He influenced Herman Melville, Richard Henry Dana, Jr., Francis Parkman, and even Mark Twain—who felt the need to flagellate Cooper for his “literary offenses.” His novels mark the starting point for any history of our environmental conscience. Far from complicit in the cleansings of Native Americans that characterized the era, Cooper’s fictions traced native losses to their economic sources. Perhaps no other American writer stands in greater need of a major reevaluation than Cooper. This is the first treatment of Cooper’s life to be based on full access to his family papers. Cooper’s life, as Franklin relates it, is the story of how, in literature and countless other endeavors, Americans in his period sought to solidify their political and cultural economic independence from Britain and, as the Revolutionary generation died, stipulate what the maturing republic was to become. The first of two volumes, James Fenimore Cooper: The Early Years covers Cooper’s life from his boyhood up to 1826, when, at the age of thirty-six, he left with his wife and five children for Europe.
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James Boswell: The Journal of His German and Swiss Travels, 1764

James Boswell: The Journal of His German and Swiss Travels, 1764

Marlies K. Danziger; James Boswell

YALE UNIVERSITY PRESS
2008
sidottu
This volume, first in the Yale Research Series of Boswell's journals, covers his emotionally eventful travels as a young man through the German and Swiss territories. It begins in mid-June 1764 and ends on New Year's Day 1765, when he crossed the Alps for the next stages of his European tour in Italy, Corsica, and France. The volume includes the complete text of Boswell's diaries and memoranda, as well as a daily record of expenses and his frequently revealing "Ten Lines a Day" poems. This volume is the Research Series parallel to the 1953 trade series edition, Boswell on the Grand Tour: Germany and Switzerland, 1764, whose annotation the editor, Marlies K. Danziger, expands, supplements, and, in many instances, corrects.
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