Kirjahaku
Etsi kirjoja tekijän nimen, kirjan nimen tai ISBN:n perusteella.
1000 tulosta hakusanalla Magda
Mary Magdalene, Iconographic Studies from the Middle Ages to the Baroque
BRILL
2012
sidottu
Mary Magdalene, Iconographic Studies from the Middle Ages to the Baroque examines the iconographic inventions in Magdalene imagery and the contextual factors that shaped her representation in visual art from the fourteenth to the seventeenth centuries. Unique to other saints in the medieval lexicon, images of Mary Magdalene were altered over time to satisfy the changing needs of her patrons as well as her audience. By shedding light on the relationship between the Magdalene and her patrons, both corporate and private, as well as the religious institutions and regions where her imagery is found, this anthology reveals the flexibility of the Magdalene’s character in art and, in essence, the reinvention of her iconography from one generation to the next.
Mary Magdalene from the New Testament to the New Age and Beyond
BRILL
2019
sidottu
An international team of twenty scholars under Edmondo F. Lupieri’s direction produced Mary Magdalene from the New Testament to the New Age and Beyond. While the historical figure of the Magdalene may be lost forever, the construction of her literary images and their transformations and adaptations over the centuries are a lively testimony to human creativity and faith. Different pictures of Mary travelled through time and space, from history to legend and mythology, crossed religious boundaries, going beyond the various Christianities, to become a “sign of contradiction” for many. This book describes a special case of biblical reception history, that of the New Testament figure of a woman whose presence at the side of Jesus has been disturbing for some, but proves to be inspiring for others.
Mary Magdalen: A chronicle begins amid the noise and spectacle of a chariot race, immersing the reader in a richly detailed world of power, ambition, and tension. The ruler at the center of this opulence watches the races with a mixture of distraction and discomfort, sensing that his authority, though outwardly secure, is under quiet threat. While the pageantry continues around him, his mind drifts to the growing influence of a wandering preacher whose words of renewal and an impending kingdom unsettle the established order. Against this backdrop, a woman moves subtly into focus observed briefly but with an intensity that foreshadows her central role in the unfolding spiritual drama. Her presence, while not yet dominant, carries the weight of change, representing a collision of the sacred and the worldly. The opening contrasts external grandeur with internal unease, setting the stage for a story that will navigate belief, transformation, and the human cost of transcendence. This juxtaposition of spectacle and silence marks the beginning of a deeper reckoning within individuals and the society they inhabit.
María Magdalena Campos-Pons
Yale University Press
2007
sidottu
A stunning mid-career retrospective of an important and influential contemporary Afro-Cuban artist With a diverse oeuvre ranging from painting to mixed-media installations to performance, video, and photography, María Magdalena Campos-Pons is one of the most significant artists to emerge from post-Revolutionary Cuba. Her evocative works probe questions of race, class, cultural hybridism, and national identities in African diasporic communities. María Magdalena Campos-Pons: Everything Is Separated by Water is the first full-scale survey of the artist’s career. The title, borrowed from one of her works, evokes at once the dangerous sea crossings faced by her enslaved ancestors from Africa and her Cuban contemporaries seeking greater freedom in America, and the sense of dislocation felt when physical and geopolitical barriers divide family and friends, past and future. Lisa D. Freiman considers how Campos-Pons’s practice, which is predicated on concepts of separation, memory, and fragmentation, developed and transformed from her artistic training and early production in Cuba in the 1980s through her move to the United States in 1991 and her subsequent recognition as a major figure in the international art world. Okwui Enwezor interprets Campos-Pons’s expressive materials--reassembled fragments of lost traditions and symbols, and memories of personal and collective history, religion, and mythology--within the context of post-colonial theory. Handsomely designed and produced, this book offers an unprecedented opportunity to assess the significance and import of this challenging artist’s work.
Mary Magdalene's Easter Story - Arch Books
CONCORDIA PUBLISHING HOUSE LTD
2004
pokkari
- More than 60 million sold - Selected by Christian Reader as one of the top 10 series children should read - Dozens of titles to choose - Effectively teaches Bible stories to children - Biblically and historically accurate - Costs less than many greeting cards
Drawing on Celtic Christianity, the ancient Nag Hammadi discoveries and contemporary spiritual insight – particularly the work of Rudolf Steiner – Danielle van Dijk retraces the footsteps of Mary Magdalene across ancient Palestine, France, England, Italy and Spain. Visiting places where the Magdalene has been memorialized, she reveals a hidden geography woven through sacred landscapes and forgotten histories. Along the way, van Dijk uncovers veiled layers of Gnosis – the Wisdom of the Heart – embedded in Gothic cathedrals, Templar legends, Cathar strongholds, the Black Madonna and the ancient pilgrimage routes to Santiago de Compostela. In this finely crafted study, Mary Magdalene steps out of the shadows and into the spiritual foreground. She is reclaimed as a woman, a teacher and an initiate – an equal among the great figures of sacred history. Drawing on esoteric Christian philosophies, the author traces the living legacy of the Magdalene as the beloved companion of Christ and the ‘apostle of the apostles’. Richly illustrated with dozens of paintings and photographs, this book is a guide for a humanity still learning what true partnership between the masculine and the feminine can mean – both in the world and within the soul. It reveals subtle symbols of the Magdalene encoded by Renaissance masters and other artists, inviting readers into a visual meditation on love, equality and the archetypal feminine. Clear, accessible reflections, along with contemplative exercises and meditations, support readers in rediscovering the feminine face of the divine within their inner lives.
Anna Magdalena Bach
Patho Publishing
2011
nidottu
Anna Magdalena Appel
Sent Publishing
2011
nidottu
A striking and thought-provoking collaboration between IDLES frontman Joe Talbot and artist Magda Archer, containing all the lyrics from IDLES' first album Brutalism alongside provocative artwork by Archer. Toxic masculinity. Class divisions. Mental health. Bristol-formed band IDLES started recording their first album, Brutalism, in 2015. In the two years that followed, frontman Joe Talbot’s mother passed away, resulting in a turbulent state of grief that would come to shape the verbally blazon and emotionally raw album that then appeared in 2017. In the seven years since the release of Brutalism, Talbot’s words, in the context of the band’s music, have grown to represent a liberated show of vulnerability and an aggressive response to the societal ‘masculine’ ideal of silencing and withholding emotion. IDLES’ first ever book marks a new and exciting form of creative collaboration for the band. Breathing a different kind of life into Talbot’s fiery lyricism – with expressive typography, hot-pink ink and Magda Archer’s unique artworks – it shows that a book can be a work of art in itself. In this celebration and reinterpretation of the band’s first album, Magda Archer’s artwork enters a joyful and liberating shouting match with Talbot’s lyrics – an unexpected and bold conversation between two like-minded artists.
In the Scottish fishing village of Mareth, everyone knows everything about each other - and what they don't know they assume; the villagers live against a constantly changing backdrop of elaborate scheming and sexual innuendo. At the hub of this world is the Ocean Cafe, run by tousle-haired, forty-something Magda, who makes grown men eat their greens, won't serve customers she doesn't like, and loves her children and their father with a passion. When Jessie Tate, devastated by recent tragedy, rents the flat above the cafe in an escape from the city, her dream of peace and solitude is shattered by the rock 'n' roll music that thuds through her floor. But perhaps a dose of life in an intimate, colourful and utterly self-absorbed community is just what Jessie needs to break free of her ghosts...
A Surprise in Purple: Magda's naughty needs
Sam Snowfeldt
Createspace Independent Publishing Platform
2014
nidottu
Magda Harden is your typical nineteen-year-old young woman living in Virginia trying to figure out her next steps in life. Nothing too exciting ever seems to happen to her or in the town she lives in. Until one day, that changes when her mother is injured in a way that suggests supernatural elements are at play. As Magda starts to wonder about the suspicious events surrounding her mother's injury, she begins to experience supernatural oddities of her own. Her world is then turned upside down when she meets Taj, a shapeshifter, who shares details about her life that rival her beliefs about who she is and where she comes from. She's forced from the comforts of her normal life and hurled into a world filled with supernatural beings and terror at every turn. There she meets several friends who become her closest allies, who try to help her uncover her family's secrets and stay alive while doing so.
Lubaina Himid and Magda Starwarska
KETTLE'S YARD GALLERY
2025
pokkari
New publication accompanying the major exhibition by Turner-prize winning artist Lubaina Himid CBE, working with artist Magda Stawarska, at Kettle's Yard, University of Cambridge.
I wrote this book for my children Elizabeth and David and all their cousins. This is what I want them to know and remember about our family. I also wrote it for my brothers and sisters - and me. I have been told that it is too idealized; this may be true. I tried to include the warts - or at least to allude to them - but not to dwell on them for our true story is one of triumph.Gordon Sabine, former director of the School of Journalism at the University of Iowa and my professional mentor, was the impetus for this book. He said it needed to be done. The project took exactly a year. Initially, I relied on my recollection. Then I fleshed it out with details from my diaries and scrapbooks, and finally, I dug out my letters (I've never thrown any away) and reread Mother's and Daddy's letters to me from the 1950s while I was at the University of Iowa and on my first jobs. Paul, Marie, and Harold offered lots of details and corrections that I had missed. Several of the grandchildren offered their recollections, too, and I have included them as written. But the overall perspective is mine.I am reminded of what I heard the late Abe Fortas testify at the 1981 hearings into the roundup of Japanese after Pearl Harbor during the dark days of World War II. During the ceremonial opening day of the hearings, the few surviving federal officials from that period testified, and Fortas was among them because he was an assistant secretary of the interior at the time. "I have no idea why I have been called to testify," Fortas said, "because I always left an office with the only thing I brought to it - my hat," a reference to the officials who leave a post and take with them truckloads of all their files. "Furthermore," he said, "like my law partner told me the other day, I'm at an age where the things I remember best - probably never happened "My reward came from my nephews and nieces and their own recollections. Paulette wrote, "Doing this brought a few tears, some laughs and memories of a very happy childhood. It also gives me an opportunity to say how important my family is to me." Gary wrote, "It is a powerful, moving account. You had me grimacing, reading sections out loud to Karen, and introspecting about my own past on Grandma and Grandpa's farm. You've told our story for us, and I'm grateful for all your work on it. Its value will outlast your life and mine."Wesley Washington, 1990