The story of the rise and fall of smallpox, one of the most savage killers in the history of mankind, and the only disease ever to be successfully exterminated (30 years ago next year) by a public health campaign.
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1000 tulosta hakusanalla Angeli Perrow
The angel can be viewed as a signal reference to modernist attempts to accommodate religious languages to self-consciously modern cultures. This book uses the angel to explore the relations between modernist literature and early twentieth-century debates over the secular and/or religious character of the modern age.
By reading key Carter texts alongside their Decadent intertexts, Tonkin interrogates the claim that Carter was in thrall to a fetishistic aesthetic antithetical to her feminism. Through historical contextualization of the woman-as-doll, muse and femme fatale, Tonkin tests Carter's own description of her fiction as a form of literary criticism.
The story of the rise and fall of smallpox, one of the most savage killers in the history of mankind, and the only disease ever to be successfully exterminated (30 years ago next year) by a public health campaign.
By the time of her death in 1992, Angela Carter had come to be regarded as one of the most successful and original British authors of the twentieth-century, and her writing has subsequently become the focus of a burgeoning body of criticism. This book disentangles the cult of Angela Carter as 'the fairy godmother of magical realism' from her own claims to be a materialist and a 'demythologiser' by placing her within the social, political and theoretical context within which she wrote. Drawing on Carter's own autobiographical articles as well as her novels and short stories, this study examines her engagement with topical issues such as national (particularly English) identity, class, politics and feminism, assessing the relationship between her life, her times and her art.
*** CONGRATULATIONS TO THE BRITISH BOOK AWARDS AUTHOR OF THE YEAR 2022***Discover this hilarious, heart-warming story about how far one woman will go to find herself, from the No. 1 bestselling author of Grown Ups'Keyes writes brilliantly, as always, about love, grief, jealousy and friendship' Daily Mail'Funny, compassionate, well-observed and irreverent' Time Out_________Meet Maggie Walsh.Unlike the rest of her family, Maggie has always done everything right. At thirty-three she has a proper job, is happily married to Garv and never puts a foot wrong.So when she makes a break for Hollywood with her best friend, Emily, her family and friends don't know what to think.In the City of Angels, Maggie gets to do things she's never done before: mixing with film stars, pitching scripts, partying non-stop.No one ever expected predictable Maggie to do something so unpredictable. And in LA, Maggie can be whoever she wants to be. But sooner or later, Maggie must face the life - and the people - she left behind, and discover whether finding herself, means losing the people she loves . . .Love the Walsh sisters? Don't miss out on the eagerly awaited sequel to Rachel's Holiday: AGAIN, RACHEL . . ._________'Witty, wicked, yet moving. A novel to both laugh and cry over' Ireland on SundayFAMOUS FANS AND WHY THEY LOVE MARIAN KEYES'Marian's writing is the truth. With big laughs' Dawn French'A giant of Irish writing' Naoise Dolan'Will make you laugh and make you cry, but will also reveal the truth of who you really are' Louise O'Neill'Keyes weaves the joy and pain of life in a unique and magical way' Cathy Rentzenbrink'One of the most honest writers writing today' Pandora Sykes'Compassionate, tender, incisive writing' Lucy Foley'Her talent for tackling serious issues with such humanity and wit is balm for the soul' Nigella Lawson'Marian Keyes is a brilliant writer. No one is better at making terrifically funny jokes while telling such important, perceptive and agonizing stories of the heart. She is a genius' Sali Hughes'Irresistible, profound. Keyes's comic gift is always evident' Independent'Joyful. Keyes' clever way with words and extraordinary wit. People stared at me as I laughed to myself' C.L. Taylor'A born storyteller' Independent on Sunday
"..Meroe was a great city and metropolis, a city of higher civilization. It buildings were of red brick. The ancient Kingdom of Meroe was upper Nubia and was divided into agricultural and grazing lands". "...Thus, civilization flourished in Africa thousands of years ago. Africans were politically free and economically independent. Their social patterns were their own and their cultures truly indigenous". (H.I.M Emperor Haile Selassie)
A collection of short stories inspired by the author's love for her local country park. Insightfully crafted tales of Angels walking amongst us when we visit these beautiful open spaces and we feel inspired or become thoughtful about ourselves and our actions.
After this I saw four angels standing at the four corners of the earth, holding back the four winds of the earth to prevent any wind from blowing on the land or on the sea or on any tree. 2 Then I saw another angel coming up from the east, having the seal of the living God. He called out in a loud voice to the four angels who had been given power to harm the land and the sea: 3 "Do not harm the land or the sea or the trees until we put a seal on the foreheads of the servants of our God." (Rev. 7:1-4)The angel from the East, Send by Qedamawi Haile Selassie commanded the other four angels and they obey Him.
Nora Sutherlin is hiding. On paper, she's following her master's orders - and her flesh is willing. More deeply, more strongly than she'd wanted anyone. But her mind is wandering to a man from her past, whose hold on her heart is less bruising, but whose absence is no less painful.
In this graceful, deeply learned book Steven Chase takes readers on a contemplative and theological journey into the angelic wisdom at the heart of the symbol of the cherubim. Providing the guiding hand for this journey is Richard of St. Victor whose twelfth century treatise on contemplation, De arca mystica, focuses on God's instructions to Moses on the construction of the ark and cherubim in Exodus 25: 18-20. The text from Exodus contains the promise of God to Moses, and finally to us, that atop the ark, between the two cherubim, God will meet with and speak to his people. "Steven Chase has opened up in a new way the spiritual treasures of the twelfth century Abbey of St. Victor. Angelic Wisdom focuses on the climax of The Mystical Ark, the major text of Richard of St. Victor, who is one of the greatest—but often neglected—authorities on contemplation in the history of Christian spirituality. Chase bases his study on the bedrock of extensive historical research, but like Richard's own, his interpretation soars. With Richard he leads the reader into the symbolic meaning of the cherubim who hover over the ark and opens the way to a retrieval of medieval angelic spirituality, which he aptly calls 'angelization.'" —Ewert Cousins, Fordham University
Angelic Wisdom takes readers on a contemplative and theological journey into the angelic wisdom at the heart of the symbol of the cherubim. As a guide for this journey, Chase uses Richard of St. Victor's twelfth-century treatise on contemplation 'De arca mystica.' Angelic Wisdom presents new interpretations and evaluations of medieval spirituality, and serves as a spiritual guide for those who seek God through the grace of contemplation. In this graceful, deeply learned book Steven Chase takes readers on a contemplative and theological journey into the angelic wisdom at the heart of the symbol of the cherubim. Providing the guiding hand for this journey is Richard of St. Victor whose twelfth century treatise on contemplation, De arca mystica, focuses on God's instructions to Moses on the construction of the ark and cherubim in Exodus 25: 18-20. The text from Exodus contains the promise of God to Moses, and finally to us, that atop the ark, between the two cherubim, God will meet with and speak to his people.
Images of women were ubiquitous in America at the turn of the last century. In painting and sculpture, they took on a bewildering variety of identities, from Venus, Ariadne, and Diana to Law, Justice, the Arts, and Commerce. Bailey Van Hook argues here that the artists' concepts of art coincided with the construction of gender in American culture. She finds that certain characteristics such as "ideal," "beautiful," "decorative," and "pure" both describe this art and define the perceived role of women in American society at the time. Most late nineteenth-century American artists had trained in Paris, where they learned to use female imagery as a pictorial language of provocative sensuality. Van Hook first places the American artists in an international context by discussing the works of their French teachers, including Jean-Léon Gérôme and Alexandre Cabanel. She goes on to explore why they soon had to distance themselves from that context, primarily because their art was perceived as either openly sensual or too obliquely foreign by American audiences. Van Hook delineates the modes of representation the American painters chose, which ranged from the more traditional allegorical or mythological subjects to a decorative figure painting indebted to Whistler. Changing American culture ultimately rejected these idealized female images as too genteel and, eventually, too academic and European.Angels of Art is the first study to discuss the predominance of images of women across stylistic boundaries and within the wider context of European art. It relies heavily on contemporary sources both to document critical responses and to find intersecting patterns in attitudes toward women and art.
Images of women were ubiquitous in America at the turn of the last century. In painting and sculpture, they took on a bewildering variety of identities, from Venus, Ariadne, and Diana to Law, Justice, the Arts, and Commerce. Bailey Van Hook argues here that the artists' concepts of art coincided with the construction of gender in American culture. She finds that certain characteristics such as "ideal," "beautiful," "decorative," and "pure" both describe this art and define the perceived role of women in American society at the time. Most late nineteenth-century American artists had trained in Paris, where they learned to use female imagery as a pictorial language of provocative sensuality. Van Hook first places the American artists in an international context by discussing the works of their French teachers, including Jean-Léon Gérôme and Alexandre Cabanel. She goes on to explore why they soon had to distance themselves from that context, primarily because their art was perceived as either openly sensual or too obliquely foreign by American audiences. Van Hook delineates the modes of representation the American painters chose, which ranged from the more traditional allegorical or mythological subjects to a decorative figure painting indebted to Whistler. Changing American culture ultimately rejected these idealized female images as too genteel and, eventually, too academic and European.Angels of Art is the first study to discuss the predominance of images of women across stylistic boundaries and within the wider context of European art. It relies heavily on contemporary sources both to document critical responses and to find intersecting patterns in attitudes toward women and art.
This new edition includes a preface by the author covering Sendak’s life, work, and cultural impact in the years since 1994.Over the course of more than ninety books, in a career that spanned six decades, Maurice Sendak became the most influential and, at times, the most controversial creator of works for children. Each of the books in his trilogy—Where the Wild Things Are, In the Night Kitchen, and Outside Over There—was precedent setting, dramatically expanding the boundaries of subject matter and images that have been conventionally accepted in books for younger children. In this first comprehensive reading of Sendak’s key works, John Cech considers the symbolic child who was developed in Sendak’s books and who remained at the center of his vision.By fusing biographical, historical, cultural, and literary materials with the insights of depth psychology and archetypal theory, this study traces the evolution of Sendak’s work—from its first, bold steps in the 1950s, to its liberating breakthroughs of the 1960s and early 1970s, to the rich complexity of his later books. Cech concentrates on those books that Sendak has both written and illustrated. In these books, we can see most clearly the alchemy of his creative process, which wove together the remembrances of his own things past, the spirit of his times, the history of children’s literature, and Sendak’s animating concern with the archetypal figure of the child—a symbol of creative potential, emotional vitality, and spiritual renewal.
"It is a real pleasure to find what many readers are always on the lookout for: a new and original writer of a rattling good story told with intelligence and depth." The Tablet Parson's daughter Mara Johns arrives as a postgraduate student at a great northern cathedral city. Antagonistic to the church and fiercely independent, she repels all friendly overtures and seeks spiritual answers in her theological research. But when her past involvement in an extreme sect resurfaces, she finds her quest won't stay academic. Nor can she hold out against her persistent would-be friends. Gradually she unbends and laughs with Maddy and May; locks horns with the insufferable 'polecat' - and finds herself torn between the attentions of two suitors. But they are both ordinands, and she's vowed she'll never marry a vicar. When her carefully controlled world falls apart, it is these new friends she must turn to if she wants to survive.
A riveting history of the early male and female sopranos for whom many of the greatest roles in opera were written During its first two centuries, opera was dominated by sopranos. There were male sopranos, or castrati, whose supercharged voices (female vocal cords powered by male lungs) were capable of feats of vocalism that are hard to imagine today. And there were female sopranos, or prima donnas, whose long battle for social acceptance and top billing was crowned in the early nineteenth century when the castrati disappeared from the opera stage and left them supreme. Whether they were male or female, these singers were amazing virtuosi, perhaps the greatest singers there have ever been—“angels.” Unfortunately, some of them (and often the most famous) were also capable of behaving extremely badly, both on and off stage—“monsters.” This book tells their colorful stories. Besides providing fascinating anecdotes about some of those who graced and disgraced the operatic stage, Richard Somerset-Ward tells the story of their greatest glory—the singing tradition they founded and perfected, which we know as bel canto and which is still the backbone of operatic singing today. Rich in musical, social, and cultural lore, Angels and Monsters illuminates a unique and vanished tradition and will be irresistible to opera lovers everywhere.