Richard Warren

In Forging the Modern World: A History, Third Edition, authors James Carter and Richard Warren offer an accessible explanation of key transformations in global economic, political, and ideological relationships since the fourteenth century. The book is distinct from most world history texts in three important ways. First, it explores the ways in which historians use and produce information. Each chapter delves deeply into one or two specific issues of historical inquiry related to the chapter theme, showing how new primary sources, methodologies, or intellectual trends have changed how we engage with the past. Second, it clearly explains the political, economic, and ideological concepts that students need to understand in order to compare events and trends across time and space. Finally, the chapters are organized around global historical themes, which are explored through an array of conceptual and comparative lenses. While the book chapters proceed chronologically, each chapter is written with some chronological overlap linking it to preceding and subsequent chapters. This strategy emphasizes the interconnectedness between the events and themes of one chapter and those of surrounding chapters.

This book explores Symbolist artists’ fascination with ancient Greek art and myth, and how the erotic played a major role in this. For a brief period at the end of the 19th century the Symbolist movement inspired artists to turn inwards to the unconscious mind, endeavouring to unveil the secrets of human nature through their symbolic art. But above all their greatest interest, and fear, was man (and woman’s) sexuality. Building upon the traditions of Academic neoclassicism, but fired with a new zeal, they turned back to Greek art and myth for inspiration. That classical legacy was once again a vehicle for artists to express their dreams, ideas and revelries. And so too their anxieties. For at times the frightening spectre of the sexual unconscious drove them to a new and innovative engagement with antiquity, including in ways never before tried in the history of the classical tradition. The unnerving sirens of Gustave Moreau, unearthly heroines of Odilon Redon, or leering fauns of Felicien Rops all played their role, among others, in this novel and unprecedented chapter in that tradition. This book shows how in their painting, drawing and sculpture the Symbolists re-invented Greek statuary and transposed it to new and unwonted contexts, as the imaginary inner worlds of artists were mapped onto the landscapes of Greek myth. It shows how they made of the Greek body, whether female, male, androgyne or sexual other, at once an object of beauty, desire, fear, and - at times - of horror.

This book explores Symbolist artists’ fascination with ancient Greek art and myth, and how the erotic played a major role in this. For a brief period at the end of the 19th century the Symbolist movement inspired artists to turn inwards to the unconscious mind, endeavouring to unveil the secrets of human nature through their symbolic art. But above all their greatest interest, and fear, was man (and woman’s) sexuality. Building upon the traditions of Academic neoclassicism, but fired with a new zeal, they turned back to Greek art and myth for inspiration. That classical legacy was once again a vehicle for artists to express their dreams, ideas and revelries. And so too their anxieties. For at times the frightening spectre of the sexual unconscious drove them to a new and innovative engagement with antiquity, including in ways never before tried in the history of the classical tradition. The unnerving sirens of Gustave Moreau, unearthly heroines of Odilon Redon, or leering fauns of Felicien Rops all played their role, among others, in this novel and unprecedented chapter in that tradition. This book shows how in their painting, drawing and sculpture the Symbolists re-invented Greek statuary and transposed it to new and unwonted contexts, as the imaginary inner worlds of artists were mapped onto the landscapes of Greek myth. It shows how they made of the Greek body, whether female, male, androgyne or sexual other, at once an object of beauty, desire, fear, and - at times - of horror.

Did you know that Charleston (South Carolina) is the birthplace to many legendary African-American/Gullah-Geechee figures? Such as the sixth president of Liberia and the first African-American woman to publish a play in the United States? This first volume of "20 Historical Black Natives of Charleston, South Carolina" features these individuals and more Including the first African-American president of a university in the United States and the "Grandmother" of the Civil Rights Movement. You will learn extraordinary and significant information in this beautiful compilation decorated with colorful portraits of each featured Black Charlestonian. May their accomplishments inspire us to emulate their great legacy, and may their efforts motivate us to build a greater future

Art Nouveau was a style for a new age, but it was also one that continued to look back to the past. This new study shows how in expressing many of their most essential concerns – sexuality, death and the nature of art – its artists drew heavily upon classical literature and the iconography of classical art. It challenges the conventional view that Art Nouveau's adherents turned their backs on Classicism in their quest for new forms. Across Europe and North America, artists continued to turn back to the ancient world, and in particular to Greece, for the vitality with which they sought to infuse their creations.The works of many well-known artists are considered through this prism, including those of Gustav Klimt, Aubrey Beardsley and Louis Comfort Tiffany. But, breaking new ground in its comparative approach, this study also considers some of the movement's less well-known painters, sculptors, jewellers and architects, including in central and eastern Europe, and their use of classical iconography to express new ideas of nationhood. Across the world, while Art Nouveau was a plural style drawing on multiple influences, the Classics remained a key artistic vocabulary for its artists, whether blended with Orientalist and other iconographies, or preserving the purity of classical form.

Art Nouveau was a style for a new age, but it was also one that continued to look back to the past. This new study shows how in expressing many of their most essential concerns – sexuality, death and the nature of art – its artists drew heavily upon classical literature and the iconography of classical art. It challenges the conventional view that Art Nouveau's adherents turned their backs on Classicism in their quest for new forms. Across Europe and North America, artists continued to turn back to the ancient world, and in particular to Greece, for the vitality with which they sought to infuse their creations.The works of many well-known artists are considered through this prism, including those of Gustav Klimt, Aubrey Beardsley and Louis Comfort Tiffany. But, breaking new ground in its comparative approach, this study also considers some of the movement's less well-known painters, sculptors, jewellers and architects, including in central and eastern Europe, and their use of classical iconography to express new ideas of nationhood. Across the world, while Art Nouveau was a plural style drawing on multiple influences, the Classics remained a key artistic vocabulary for its artists, whether blended with Orientalist and other iconographies, or preserving the purity of classical form.

Jake Banyon is satisfied when he arrives at his new cabin in the quiet town of Lakeview, Oregon. A former investigative reporter for a major East Coast newspaper, he's relieved to escape the drama of his past. But his reverie doesn't last long. While standing on his balcony admiring the view, he's shot in the head and left there to die. When Jake regains consciousness, he has no recollection of who he is or where he is. His only connection to his past and present are Janine Delany and her daughters Mellissa and Roxanne who own the dude ranch next door; they found him and saved his life. When his hospital nurse is killed during the second attempt on his life, the sheriff doubts Jake's claim of amnesia and pegs him as a major criminal who has brought trouble to Lakeview. As Jake digs deep to discover his identity, the evidence points to a larger conspiracy-a scheme that envelops the people of this remote region into criminal activity the local sheriff's office can't handle.

Jake Banyon is satisfied when he arrives at his new cabin in the quiet town of Lakeview, Oregon. A former investigative reporter for a major East Coast newspaper, he's relieved to escape the drama of his past. But his reverie doesn't last long. While standing on his balcony admiring the view, he's shot in the head and left there to die. When Jake regains consciousness, he has no recollection of who he is or where he is. His only connection to his past and present are Janine Delany and her daughters Mellissa and Roxanne who own the dude ranch next door; they found him and saved his life. When his hospital nurse is killed during the second attempt on his life, the sheriff doubts Jake's claim of amnesia and pegs him as a major criminal who has brought trouble to Lakeview. As Jake digs deep to discover his identity, the evidence points to a larger conspiracy-a scheme that envelops the people of this remote region into criminal activity the local sheriff's office can't handle.

The Toronto Symphony Orchestra has been a part of the arts scene in Toronto for eighty years. Richard Warren, the orchestra's archivist since 1976, uncovers taped interviews and other documentation of the orchestra's musicians, visiting artists, music directors, and administrative personnel, to present an insider's view of the orchestra, and by doing so makes the history of this great cultural institution come alive. In describing the challenges, achievements, and trials of the orchestra, Warren includes the stories of artists who performed with the orchestra and who then went on to become outstanding performers on the world stage, including Seiji Ozawa, Sir Andrew Davis, Jon Vickers, Lois Marshall, Maureen Forrester, Zara Nelsova, and Ben Heppner, among many others. He also recounts the orchestra's tours through China, the United States, Britain, Japan, Australia, and Europe, and their performances in the renowned theatres of London, New York, Sydney, Vienna, and Berlin. The symphony has become an icon of Canadian culture and enriched the lives of Torontonians and all Canadians as an important part of our heritage.