Author: Tom Garfield
Publisher:
ISBN: 9781947644939
Category :
Languages : en
Pages : 232
Book Description
Putting Feet on the Trivium is a collection of essays by classical school administrator Tom Garfield.
Putting Feet on the Trivium
Author: Tom Garfield
Publisher:
ISBN: 9781947644939
Category :
Languages : en
Pages : 232
Book Description
Putting Feet on the Trivium is a collection of essays by classical school administrator Tom Garfield.
Publisher:
ISBN: 9781947644939
Category :
Languages : en
Pages : 232
Book Description
Putting Feet on the Trivium is a collection of essays by classical school administrator Tom Garfield.
Putting Feet on the Trivium
Author: Tom Garfield
Publisher:
ISBN: 9781930443723
Category :
Languages : en
Pages : 145
Book Description
Publisher:
ISBN: 9781930443723
Category :
Languages : en
Pages : 145
Book Description
Trivium
Author: John Michell
Publisher: eBook Partnership
ISBN: 1912706253
Category : Language Arts & Disciplines
Languages : en
Pages : 416
Book Description
The TRIVIUM consists of the three liberal arts pertaining to language. Grammar, logic, and rhetoric have been studied for over two thousand years as a way of refining both a speaker and their speech. With extra sections on euphonics, poetic meter and form, ethics, and proverbs, this unique compendium contains a wealth of rare information. If you've ever wanted to know more about the power of 'P', the hypnotic quality of anapestic tetrameter, or how to change the mood of a verb, then look no further. If you've ever needed to spot a red herring, wield a zeugma, or improve your ethos, then this is the book for you.
Publisher: eBook Partnership
ISBN: 1912706253
Category : Language Arts & Disciplines
Languages : en
Pages : 416
Book Description
The TRIVIUM consists of the three liberal arts pertaining to language. Grammar, logic, and rhetoric have been studied for over two thousand years as a way of refining both a speaker and their speech. With extra sections on euphonics, poetic meter and form, ethics, and proverbs, this unique compendium contains a wealth of rare information. If you've ever wanted to know more about the power of 'P', the hypnotic quality of anapestic tetrameter, or how to change the mood of a verb, then look no further. If you've ever needed to spot a red herring, wield a zeugma, or improve your ethos, then this is the book for you.
Putting Art (Back) in Its Place
Author: John E. Skillen
Publisher: Hendrickson Publishers
ISBN: 1683070283
Category : Religion
Languages : en
Pages : 297
Book Description
While most Christians today view art from a distance and Christian discussions of art focus primarily on artists as lonely dreamers, this has not always been the case. In Putting Art (Back) in its Place Dr. John Skillen, an expert in medieval and Renaissance art and literature, calls for the church to come together as one body to reclaim that rich heritage where art touched the entire believing community. For quite some time, art played a vital role in the life of the community, assisting Christian community in performing actions that defined their corporate work and identity (their liturgies). Patrons commissioned artists, advisors helped to determine subject matter, and the whole church celebrated and partook in what was eventually displayed. Skillen offers readers a compelling call to foster a vibrant culture of the arts by restoring and cultivating active and respectful relationships among artists, patrons, scholars, communities and the art they create. Putting Art (Back) in its Place equips laity and clergy to think historically about the vibrant role the visual arts have played--and could again play--in the life of the church and its mission.
Publisher: Hendrickson Publishers
ISBN: 1683070283
Category : Religion
Languages : en
Pages : 297
Book Description
While most Christians today view art from a distance and Christian discussions of art focus primarily on artists as lonely dreamers, this has not always been the case. In Putting Art (Back) in its Place Dr. John Skillen, an expert in medieval and Renaissance art and literature, calls for the church to come together as one body to reclaim that rich heritage where art touched the entire believing community. For quite some time, art played a vital role in the life of the community, assisting Christian community in performing actions that defined their corporate work and identity (their liturgies). Patrons commissioned artists, advisors helped to determine subject matter, and the whole church celebrated and partook in what was eventually displayed. Skillen offers readers a compelling call to foster a vibrant culture of the arts by restoring and cultivating active and respectful relationships among artists, patrons, scholars, communities and the art they create. Putting Art (Back) in its Place equips laity and clergy to think historically about the vibrant role the visual arts have played--and could again play--in the life of the church and its mission.
Classical Me, Classical Thee: Squander Not Thine Education
Author: Rebekah Merkle
Publisher: Canon Press & Book Service
ISBN: 1591282098
Category : Religion
Languages : en
Pages : 110
Book Description
"Everyone is so busy giving the classical education to the students that I'm not sure people have taken the time to actually tell them why it matters..." Rebekah Merkle knows which high school classes you like and which you roll your eyes at, which books you enjoy and which you kinda skim. That's because she went through this whole thing called classical education, too: She was a guinea pig in one of the very first classical Christian schools in the country. Written for students by a (former) student, Classical Me, Classical Thee is lighthearted and--most importantly for you busy high-schoolers--very short. It has a simple goal: to explain why you students are doing what you do in class. (SPOILER: Grades aren't the point--you won't use your knowledge of the Iliad Book 5 every year until you die.) What you do in class is a drill -- and nobody drills for the sake of the drill. You do drills so that you can win the game. The real tragedy, though, would be if you didn't know you were doing drills... or didn't know there was a game at all. Grades aren't the point. So drill to win.
Publisher: Canon Press & Book Service
ISBN: 1591282098
Category : Religion
Languages : en
Pages : 110
Book Description
"Everyone is so busy giving the classical education to the students that I'm not sure people have taken the time to actually tell them why it matters..." Rebekah Merkle knows which high school classes you like and which you roll your eyes at, which books you enjoy and which you kinda skim. That's because she went through this whole thing called classical education, too: She was a guinea pig in one of the very first classical Christian schools in the country. Written for students by a (former) student, Classical Me, Classical Thee is lighthearted and--most importantly for you busy high-schoolers--very short. It has a simple goal: to explain why you students are doing what you do in class. (SPOILER: Grades aren't the point--you won't use your knowledge of the Iliad Book 5 every year until you die.) What you do in class is a drill -- and nobody drills for the sake of the drill. You do drills so that you can win the game. The real tragedy, though, would be if you didn't know you were doing drills... or didn't know there was a game at all. Grades aren't the point. So drill to win.
1634
Author: Eric Flint
Publisher: Baen Books
ISBN: 0743488156
Category : Fiction
Languages : en
Pages : 407
Book Description
Science fiction roman.
Publisher: Baen Books
ISBN: 0743488156
Category : Fiction
Languages : en
Pages : 407
Book Description
Science fiction roman.
Botticelli
Author: Emile Gebhart
Publisher: Parkstone International
ISBN: 1780429959
Category : Art
Languages : en
Pages : 256
Book Description
He was the son of a citizen in comfortable circumstances, and had been, in Vasari’s words, “instructed in all such things as children are usually taught before they choose a calling.” However, he refused to give his attention to reading, writing and accounts, continues Vasari, so that his father, despairing of his ever becoming a scholar, apprenticed him to the goldsmith Botticello: whence came the name by which the world remembers him. However, Sandro, a stubborn-featured youth with large, quietly searching eyes and a shock of yellow hair – he has left a portrait of himself on the right-hand side of his picture of the Adoration of the Magi – would also become a painter, and to that end was placed with the Carmelite monk Fra Filippo Lippi. But he was a realist, as the artists of his day had become, satisfied with the joy and skill of painting, and with the study of the beauty and character of the human subject instead of religious themes. Botticelli made rapid progress, loved his master, and later on extended his love to his master’s son, Filippino Lippi, and taught him to paint, but the master’s realism scarcely touched Lippi, for Botticelli was a dreamer and a poet. Botticelli is a painter not of facts, but of ideas, and his pictures are not so much a representation of certain objects as a pattern of forms. Nor is his colouring rich and lifelike; it is subordinated to form, and often rather a tinting than actual colour. In fact, he was interested in the abstract possibilities of his art rather than in the concrete. For example, his compositions, as has just been said, are a pattern of forms; his figures do not actually occupy well-defined places in a well-defined area of space; they do not attract us by their suggestion of bulk, but as shapes of form, suggesting rather a flat pattern of decoration. Accordingly, the lines which enclose the figures are chosen with the primary intention of being decorative. It has been said that Botticelli, “though one of the worst anatomists, was one of the greatest draughtsmen of the Renaissance.” As an example of false anatomy we may notice the impossible way in which the Madonna’s head is attached to the neck, and other instances of faulty articulation and incorrect form of limbs may be found in Botticelli’s pictures. Yet he is recognised as one of the greatest draughtsmen: he gave to ‘line’ not only intrinsic beauty, but also significance. In mathematical language, he resolved the movement of the figure into its factors, its simplest forms of expression, and then combined these various forms into a pattern which, by its rhythmical and harmonious lines, produces an effect upon our imagination, corresponding to the sentiments of grave and tender poetry that filled the artist himself. This power of making every line count in both significance and beauty distinguishes the great master- draughtsmen from the vast majority of artists who used line mainly as a necessary means of representing concrete objects.
Publisher: Parkstone International
ISBN: 1780429959
Category : Art
Languages : en
Pages : 256
Book Description
He was the son of a citizen in comfortable circumstances, and had been, in Vasari’s words, “instructed in all such things as children are usually taught before they choose a calling.” However, he refused to give his attention to reading, writing and accounts, continues Vasari, so that his father, despairing of his ever becoming a scholar, apprenticed him to the goldsmith Botticello: whence came the name by which the world remembers him. However, Sandro, a stubborn-featured youth with large, quietly searching eyes and a shock of yellow hair – he has left a portrait of himself on the right-hand side of his picture of the Adoration of the Magi – would also become a painter, and to that end was placed with the Carmelite monk Fra Filippo Lippi. But he was a realist, as the artists of his day had become, satisfied with the joy and skill of painting, and with the study of the beauty and character of the human subject instead of religious themes. Botticelli made rapid progress, loved his master, and later on extended his love to his master’s son, Filippino Lippi, and taught him to paint, but the master’s realism scarcely touched Lippi, for Botticelli was a dreamer and a poet. Botticelli is a painter not of facts, but of ideas, and his pictures are not so much a representation of certain objects as a pattern of forms. Nor is his colouring rich and lifelike; it is subordinated to form, and often rather a tinting than actual colour. In fact, he was interested in the abstract possibilities of his art rather than in the concrete. For example, his compositions, as has just been said, are a pattern of forms; his figures do not actually occupy well-defined places in a well-defined area of space; they do not attract us by their suggestion of bulk, but as shapes of form, suggesting rather a flat pattern of decoration. Accordingly, the lines which enclose the figures are chosen with the primary intention of being decorative. It has been said that Botticelli, “though one of the worst anatomists, was one of the greatest draughtsmen of the Renaissance.” As an example of false anatomy we may notice the impossible way in which the Madonna’s head is attached to the neck, and other instances of faulty articulation and incorrect form of limbs may be found in Botticelli’s pictures. Yet he is recognised as one of the greatest draughtsmen: he gave to ‘line’ not only intrinsic beauty, but also significance. In mathematical language, he resolved the movement of the figure into its factors, its simplest forms of expression, and then combined these various forms into a pattern which, by its rhythmical and harmonious lines, produces an effect upon our imagination, corresponding to the sentiments of grave and tender poetry that filled the artist himself. This power of making every line count in both significance and beauty distinguishes the great master- draughtsmen from the vast majority of artists who used line mainly as a necessary means of representing concrete objects.
Trivium
Author:
Publisher:
ISBN:
Category : English literature
Languages : en
Pages : 152
Book Description
Publisher:
ISBN:
Category : English literature
Languages : en
Pages : 152
Book Description
Medieval Arts Doctrines on Ambiguity and Their Places in Langland's Poetics
Author: John Chamberlin
Publisher: McGill-Queen's Press - MQUP
ISBN: 9780773520738
Category : Drama
Languages : en
Pages : 214
Book Description
He deals with lexical ambiguity and the ambiguity of words-as-words - in which words themselves are taken as objects - offering linguistic, philosophical, and historical perspectives."--BOOK JACKET.
Publisher: McGill-Queen's Press - MQUP
ISBN: 9780773520738
Category : Drama
Languages : en
Pages : 214
Book Description
He deals with lexical ambiguity and the ambiguity of words-as-words - in which words themselves are taken as objects - offering linguistic, philosophical, and historical perspectives."--BOOK JACKET.
The Americana
Author: Frederick Converse Beach
Publisher:
ISBN:
Category : Encyclopedias and dictionaries
Languages : en
Pages : 806
Book Description
Publisher:
ISBN:
Category : Encyclopedias and dictionaries
Languages : en
Pages : 806
Book Description