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1000 tulosta hakusanalla James B. Rasmussiensteiner

James B. Conant

James B. Conant

James G. Hershberg

Stanford University Press
1995
nidottu
James B. Conant (1893-1978) was one of the giants of the American establishment in the twentieth century. President of Harvard University from 1933 to 1953, he was also a scientist who led the US government's effort to develop weapons of mass destruction, and his story mirrors the transition of the United States from isolationism to global superpower at the dawn of the nuclear age. 'This splendid portrait of Conant ...illuminates the life of a pivotal figure in the making of US nuclear, scientific, educational, and foreign policy for almost half a century. But the book is much more: it is not only an insightful narration of Conant's life, it is also a brilliant and important account of the making of the nuclear age, a chronicle that contains much that is new.' TheWashington Post 'The bomb would be as much Conant's as it was anyone's in government. His inner response to that burden of responsibility has long been obscured, but it is illumined here ...This is a model of historiography that is evocative reading.' The New York Times Book Review 'Vibrantly written and compelling, it breaches Conant's shield of public discretion in masterly fashion ...It is a huge, ambitious work - a history of the Cold War as Conant encountered it as well as a study of the man.' The New Yorker 'Magnificent ...Any reader interested in nuclear weapons, Cold War history, or American politics from FDR to JFK will find this biography riveting.'
James B. Thompson

James B. Thompson

Henry M. Sayre

Hallie Ford Museum of Art,US
2009
pokkari
This book on the contemporary painter and printmaker James B. Thompson is a meditation on the possibility of discovering, in an American landscape wracked by the devastation of global warming, flood, drought, and environmental disaster, an uncanny beauty, even a source of affirmation and hope. Thompson's entirely abstract canvases and prints offer themselves up as metaphors for landscape, as terrains full of incident designed to reveal not only a sense of what we have lost but the creative energy necessary to renew our imaginative capacity to move on. They constitute a new sublime, a vision of something infinite that we cannot quite comprehend, even as they seek to convey landscape's very essence.Henry M. Sayre's introductory essay and commentaries on individual works place Thompson's work in the context of landscape painting as a whole and offer the viewer insight into the meaning of the works themselves.