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1000 tulosta hakusanalla Peter Davison
Penny: Hands I Passed Through...Things I Saw...Stories I Can Tell!
Peter Davidson
Sweet Memories Publishing
2017
nidottu
Have you ever looked at a coin in the palm of your hand and wondered where it has been, what it has seen and heard, and what stories it could tell? Well, in a nutshell, that is what PENNY is about as this very special one-cent piece passes through the hands of ordinary people, the famous, the infamous, the saints, and the sinners and hangs out in churches, honkytonks, and everywhere in between. This book tells the stories of the people whose hands PENNY passes through. Why is this particular penny so special? Well, because it was the final penny ever minted of 95% copper, on October 22, 1982. After that, all one-cent pieces are pathetic and puny, consisting of 97.5% zinc with only a touch of copper thrown in. That's why.After reading PENNY, you might never again be able to pass by a penny lying on the ground without at least giving a thought to picking it up and putting it in your pocket. Every book should be dedicated to someone or something, and this book is dedicated to the penny pinchers of the world. Okay, also to the penny hoarders. PENNY is Peter Davidson's twenty-eighth published book.
Many professionals confront ethical issues concerning their proper roles and the manner in which they should carry out those roles. This book is aimed at those studying for entry into the various professions (such as teaching or social work) where ethical questions are commonly faced. It introduces readers to both the techniques and depth of ethical argument drawn from the fields of critical thinking and informal logic and enables practitioners to use these techniques so they can be deployed as 'tools of thought' for thinking in a carefully reasoned and extended way about problems of professional ethics. The book also provides a brief introduction to some of the normative and meta-ethical theory relevant to the principled discussion of professional ethics. Post-graduate students and academics should also find the treatment of some of the complexities of extended reasoning, in particular its focus upon careful metacognitive tracking and planning of an inquiry, to be of interest.
First published in 1998, this book is an investigation of the possibility of articulating a coherent thesis of truth relativism within first, a host correspondence theory of truth and second, a host coherence theory of truth. The type of relativism addressed in the book is what is sometimes called ’framework relativism’ - that where truth is relativised to a framework of belief or conceptual scheme. A further restraint is that a global relativistic thesis is sought - one which is relativistic about all truths. The book does not set itself the task of defending relativism but just that of seeking a coherent articulation of it.
First published in 1998, this book is an investigation of the possibility of articulating a coherent thesis of truth relativism within first, a host correspondence theory of truth and second, a host coherence theory of truth. The type of relativism addressed in the book is what is sometimes called ’framework relativism’ - that where truth is relativised to a framework of belief or conceptual scheme. A further restraint is that a global relativistic thesis is sought - one which is relativistic about all truths. The book does not set itself the task of defending relativism but just that of seeking a coherent articulation of it.
‘The nation-state is the enemy of the baroque.’ This is the point of departure of this radical, even revolutionary, re-examination of the cultural history of the early-modern world. Drawing on sources in six languages, many of them hitherto unavailable to the English-speaking reader, and touching on the visual arts, architecture, music and literature, this study frees the word ‘baroque’ from being a term of periodisation into being the descriptor for a network of circulation of ideas, words, plants, arts and energies which encompassed the totality of the early-modern world.This challenging book also forces a reconsideration of many of the prejudices of the Anglophone perception of cultural history and in doing so opens to the reader a world of wonders: the allegorical dramas of Ireland and Belgrade; the arquebusier angels of Cuzco painting; the operas and festival music of Bolivia; the vertiginous architectural fantasies of the Jacobite exiles.
Relics, dreams, voyages is a closely focused sequence of studies of worldwide connections in all the arts in the baroque period. Drawing on original research in libraries, collections, and archives in five countries, and in as many languages, this book draws many astonishing, unfamiliar and beautiful texts, things and events, into a cartography of the secret and strange patterns of baroque cultures worldwide. The visual arts are examined across a wide temporal and geographical span, and many subversive iconographies are decoded: at the French and English courts, in remote Scotland, in Nagasaki, in Valladolid. This books offers a new, extraordinary cultural geography of the baroque world, opening doors to many rich and strange cultural artefacts, from 'China to Peru.'
Featuring 60 beautiful and detailed maps, Atlas of Empires tells the story of how and why the great empires of history came into being, operated, and ultimately declined, and discusses the future of the empire in today's globalized world. Atlas of Empires tells the story of how and why the great empires of history came into being, operated and ultimately declined, and discusses the future of the empire in today's globalized world. Featuring 60 beautiful and detailed maps of the empires' territories at different stages of their existence and organized thematically to reflect the different driving forces behind empires throughout history (such as faith, nomadic culture, nationhood and capitalism), each section discusses the rise and fall of the empires that existed in a region: their government and society, wealth and technology, war and military force, and religious beliefs. From the earliest empires of the Sumerians and the Pharaohs to the modern empires of the USSR and the European Union, this is a story that reveals how empires are created and organized, how later empires resolve the problems of governance faced by earlier empires, and how the political and cultural legacies of ancient empires are still felt today.
The Last of the Light is a meditation on twilight in the Western arts and imagination, in thought, painting and literature. We entera multifaceted twilight world, filled with the gloom haunted by Romantic poets and painters and the twilight lives of minority and 'overshadowed' communities. The melancholy of smoky English autumn evenings is balanced by the midnight sun of northern European summers; the oppressive heat of August in mid-twentieth-century Spain is ranged against the shadowy grandeur of winter in London.Peter Davidson touches on diverse literary and artistic traditions as he considers the borderlands of the light and the dark: the'invention of evening' in Roman antiquity; the science of the Victorian evening sky; the urban twilights of Whistler, Poussinand Tiepolo.A meditative account of the atmospheric and shadowy in art, literature and thought by the author of The Idea of North, this will appeal to all those who are interested in ambiguous, penumbral zones in art, philosophy and writing.
As with the compass needle, so people have always been most powerfully attracted northwards; everyone carries within them their own concept of north. The Idea of North is a study, ranging widely in time and place, of some of the ways in which these ideas have found expression. Offering engaging meditation on solitude, absence and stillness, Davidson shows north to be a goal rather than a destination, a place of revelation that is always somewhere ultimate and austere.
Now available in paperback, The Last of the Light is a meditation on twilight in the Western arts and imagination, in thought, painting and literature. It takes us across the threshold of day into dusk, an uncertain world haunted by Romantic poets and painters, as well as exploring the twilight lives of minority and ‘overshadowed’ communities. The melancholy of smoky English autumn evenings is balanced by the midnight summer sun of northern latitudes, and the darkly oppressive heat of August in mid-twentieth-century Spain is ranged against the spectral grandeur of winter in London.This ambitious account of the arts of the evening deftly combines prose-poetry, memoir, philosophy and art history. Intertwining personal, cultural and artistic histories, it is a richly rewarding book written in a unique voice.
This is a mighty book of Norths: northern geographies, histories, lights; a place of definition, frost and cold. There is an unfaltering Recusant spirit about these poems, a survival through defeat and a sense of underlying permanences. Each poem has an occasion: some of the occasions are personal meetings, conversations, which unlock shared scenes and themes; some are historical in origin, their past often one of early Christian faith or religious conflict. The poems abound in art, in specific lived detail, particulars of landscape, and in a harsh weather which is not unlike time itself in its effect on the living and ageing imagination. Each poem requires a different metre, a different pace; each form is carefully attuned to its occasion.
This is a book about remoteness: a memoir of places observed in solitude, of the texture of life through the quiet course of the seasons in the far north of Scotland. It is a book grounded in the singularity of one place - a house in northern Aberdeenshire - and threaded through with an unshowy commitment to the lost and the forgotten. In these painterly essays Davidson reflects on art, place, history and landscape. Distance and Memory is his testament to the cold, clear beauty of the north.
Homecoming, haunting, nostalgia, desire: these are some of the themes evoked by the beguiling motif of the lighted window in literature and art. In this innovative combination of place-writing, memoir and cultural study, Peter Davidson takes us on atmospheric walks through nocturnal cities in Britain, Europe and North America, and revisits the field paths of rural England. Surveying a wide range of material, the book extends, chronologically, from early romantic painting to contemporary fiction, and geographically, from the Low Countries to Japan. It features familiar lighted windows in English literature (in the works of poets such as Thomas Hardy and Matthew Arnold and in the novels of Virginia Woolf, Arthur Conan Doyle and Kenneth Grahame) and examines the painted nocturnes of James Whistler, John Atkinson Grimshaw and the ruralist Samuel Palmer. It also considers Japanese prints of the nineteenth and twentieth centuries; German romanticism in painting, poetry and music; Proust and the painters of the French belle époque; René Magritte’s 'L’Empire des Lumières'; and North American painters such as Edward Hopper and Linden Frederick. By interpreting the interactions of art, literature and geography around this evocative motif, Peter Davidson shows how it has inspired an extraordinary variety of moods and ideas, from the romantic period to the present day.
Baroque in its extravagance of language, in its delight in the bizarre and the prodigious, Peter Davidson's collection is a cabinet of curiosities, a world of ruined palaces, ghostly gardens and the fragile marvels of a secret past. It moves between languages and continents, English and Latin, the Spanish Netherlands and Spanish America, the Mediterranean and the north. The title sequence evokes a half-known, half-fantastic, seventeenth century; a shorter sequence transforms contemporary England through the eyes of a spy. The collection ends with a group of elegies and epistles concerned with place and history in northern Scotland. Erudite and witty, "The Palace of Oblivion" is about remembering and inventing out of memory, and provides haunting visions of decay and splendor.
