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Author: Christopher T. Holmes
Publisher: Augsburg Fortress Publishers
ISBN: 1506469310
Category : Bibles
Languages : en
Pages : 199
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Book Description
Unspoiled Endings offers a historical, literary, and theological reading that explains how and why Revelation relates to the life of faith. It serves as a corrective to understandings of Revelation shaped more by the Left Behind series than by the book itself, and as an invitation to those who would otherwise never think to read or study the book.
Author: Christopher T. Holmes
Publisher: Augsburg Fortress Publishers
ISBN: 1506469310
Category : Bibles
Languages : en
Pages : 199
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Book Description
Unspoiled Endings offers a historical, literary, and theological reading that explains how and why Revelation relates to the life of faith. It serves as a corrective to understandings of Revelation shaped more by the Left Behind series than by the book itself, and as an invitation to those who would otherwise never think to read or study the book.
Author: D. Margolies
Publisher: Springer
ISBN: 1137031042
Category : Literary Criticism
Languages : en
Pages : 191
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Book Description
Problem Plays' has been an awkward category for those Shakespeare plays that don't fit the conventional groupings. Expanding from the traditional three plays to six, the book argues that they share dramatic structures designed intentionally by Shakespeare to disturb his audience by frustrating their expectations.
Author: Brad Prager
Publisher: John Wiley & Sons
ISBN: 1444361406
Category : Performing Arts
Languages : en
Pages : 651
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Book Description
A Companion to Werner Herzog showcases over two dozen original scholarly essays examining nearly five decades of filmmaking by one of the most acclaimed and innovative figures in world cinema. First collection in twenty years dedicated to examining Herzog’s expansive career Features essays by international scholars and Herzog specialists Addresses a broad spectrum of the director’s films, from his earliest works such as Signs of Life and Fata Morgana to such recent films as The Bad Lieutenant and Encounters at the End of the World Offers creative, innovative approaches guided by film history, art history, and philosophy Includes a comprehensive filmography that also features a list of the director’s acting appearances and opera productions Explores the director’s engagement with music and the arts, his self-stylization as a global filmmaker, his Bavarian origins, and even his love-hate relationship with the actor Klaus Kinski
Author: Kenn Gordon
Publisher: BookRix
ISBN: 3748769431
Category : Fiction
Languages : en
Pages : 354
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Book Description
I grew up in the Highlands of Scotland and I became a musician while still at School. Then I made my first musical instrument at the age of just 13 years, an Appalachian Dulcimer. I joined the Royal Air Force at the age of 18. I served for 9 years and worked at many of our secret establishments. Even during my military career, I continued to play in bands as well as to write music. When time would allow, I made guitars for myself, although most of these ended up in my friend’s hands. With the bands that I formed and played in; I have been fortunate enough to have recorded 32 albums. I later formed my own company making bespoke guitars (Gordon Guitars UK) The pressure of running so many ventures simultaneously eventually took its toll and a series of heart attacks followed. So, I looked for a new and more sedate way to direct my creative juices and writing thrillers fitted that bill perfectly.
Author: Martyn Bedford
Publisher: Wendy Lamb Books
ISBN: 0375898565
Category : Young Adult Fiction
Languages : en
Pages : 241
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Book Description
A suspenseful tragedy laced with romance, Never Ending will take you from the past—a steamy vacation in Greece that’s cut short by the unfathomable—to the present—a lake-side clinic stay—to the truth in between. “What do you deserve, Siobhan?” “I don’t deserve to forget he’s dead. Even for a moment.” “I asked what you do deserve, not what you don’t.” “I deserve not to be forgiven." Shiv's brother Declan, her best friend, is dead. It's been all over the news. Consumed by grief and guilt, she agrees to become an inpatient at the Korsakoff Clinic. There she meets Mikey. Caron. The others. They share a similar torment. And there, subjected to the clinic's unconventional therapy, they must face what they can't bear to see. Shiv is flooded with flashbacks, nightmares, haunting visions of Declan on their last, fateful family vacation in Greece. And with memories of Nikos, the beautiful young man on the tour boat. It started there, with him, beside the glittering sea . . . the beginning of the end. “The characters and the scenery are rendered with such photographic precision that readers will feel as though they’re watching a film.” —Kirkus Reviews, Starred “Bedford skillfully pushes and pulls at the reader’s emotions while carefully revealing the details of the backstory and the aftermath until the two converge.” —Booklist, Starred “Part-mystery, part-romance, and part-disturbing portrait of how fragile the human psyche can be, this novel is provocative and not for the faint of heart.” —SLJ From the Hardcover edition.
Author: New York (State). Department of Agriculture
Publisher:
ISBN:
Category : Agriculture
Languages : en
Pages : 766
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Book Description
Author: John Havard
Publisher: Cambridge University Press
ISBN: 1009289179
Category : Literary Criticism
Languages : en
Pages : 255
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Book Description
In the late Romantic age, demands for political change converged with thinking about the end of the world. This book examines writings by Lord Byron, Mary Shelley and their circle that imagined the end, from poems by Byron that pictured fallen empires, sinking islands, and dying stars to the making and unmaking of populations in Frankenstein and The Last Man. These works intersected with and enclosed reflections upon brewing political changes. By imagining political dynasties, slavery, parliament, and English law reaching an end, writers challenged liberal visions of the political future that viewed the basis of governance as permanently settled. The prospect of volcanic eruptions and biblical deluges, meanwhile, pointed towards new political worlds, forged in the ruins of this one. These visions of coming to an end acquire added resonance in our own time, as political and planetary end-times converge once again.
Author: Saul Nelson
Publisher: Yale University Press
ISBN: 0300272308
Category : Art
Languages : en
Pages : 225
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Book Description
A new history of postwar painting that explores how the desire to look backward shaped some of the period's most radical artmaking This incisive account of modernism's postwar development examines how painters, such as Joan Mitchell, Barnett Newman, and Rose Piper, invoked tradition in order to respond to, participate in, and disrupt the histories of the movement being written at midcentury. Saul Nelson argues that artists' turn to the past, often dismissed as regressive, offers an important counternarrative to the notion of modernism as always pushing forward. To be a modernist, Nelson contends, was to live in doubt--about which aspects of the past were still needed and how they might be put to new use. The story ranges across continents and historical boundaries, from India to Europe and the United States. It encompasses Grace Hartigan's and Mitchell's feminist reworkings of Matisse, the links between the work of Newman and nationalistic nineteenth-century painting, the attempts of Piper to salvage a heritage from the Harlem Renaissance, and F. N. Souza's interrogations of the legacies of colonialism. Never Ending presents a new history of postwar painting in which modernism is reimagined as a practice of retrieval and reinvention, a ceaseless confrontation between tradition and the demands of the present.
Author: Richard Greene
Publisher: Open Court Publishing
ISBN: 0812694732
Category : Philosophy
Languages : en
Pages : 186
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Book Description
Spoilers get folks upset—really upset. One thing that follows from this is that if you pick up a book that’s all about spoilers, it may seriously disturb you. So anyone reading this book—or even dipping into it—does so at their peril. Spoilers have a long history, going back to the time when some Greek theater-goer shouted “That’s Oedipus’s mom!” But spoilers didn’t use to be so intensely despised as they are today. The new, fierce hatred of spoilers is associated with the Golden Age of television and the ubiquity of DVR/Netflix/Hulu, and the like. Today, most people have their own personal “horror story” about the time when they were subject to the most unfair, unjust, outrageous, and unforgivable spoiler. A first definition of spoiler might be revealing any information about a work of fiction (in any form, such as a book, TV show, or movie) to someone who hasn’t encountered it. But this isn’t quite good enough. It wouldn’t be a spoiler to say “The next Star Trek movie will include a Vulcan.” Nor would it be a spoiler to say, “The story of Shawshank Redemption comes from a short story by Stephen King.” There has to be something at least a bit unexpected or unpredictable about the information, and it has to be important to the content of the work. And you could perpetrate a spoiler by divulging information about something other than a work of fiction, for example details of a sports game, to someone who has tivoed the game but not yet watched it. Timing and other matters of context may make the difference between a spoiler and a non-spoiler. It could be a spoiler to say “There’s a Vulcan in the next Star Trek movie” if spoken to someone raised in North Korea and knowing absolutely nothing about Star Trek. It can also be a spoiler to say something about a movie or TV show when it’s new, and not a spoiler when it has been around for some years. This raises the distinction between “personal spoilers” and “impersonal spoilers.” Personal spoilers are spoilers for some particular individual, because of their circumstances. You should never give personal spoilers (such as when someone says that they have never seen a particular movie, even though the plot is common knowledge. You can’t tell them the plot). Sometimes facts other than facts about a story can be spoilers, because they allow people to deduce something about the story. To reveal that a certain actor is not taking part in shooting the next episode may allow someone to jump to conclusions about the story. Spoilers need not be specific; they can be very vague. If you told someone there was a big surprise ending to The Sixth Sense or Fight Club, that might spoil these movies for people who haven’t seen them. You can spoil by mentioning things that are common knowledge, if someone has missed out on that knowledge (“Luke and Darth Vader are related”), but you usually can’t be blamed for this. People have some obligation to keep up. This means that in general you can’t be blamed for spoilers about stories that are old. “Both Romeo and Juliet are dead at the end” could be a spoiler for someone, but you can’t be blamed for it. This is a rule that’s often observed: many publications have regulations forbidding the release of some types of spoilers for a precisely fixed time after a movie release. However, some spoilers never expire, either because the plot twist is so vital or the work is so significant. So, if you’re talking to young kids, you probably should never say “Darth Vader is Luke’s father,” “Norman Bates is Mother,” “Dorothy’s trip to Oz was all a dream,” “All the passengers on the Orient Express collaborated in the murder,” “in The Murder of Roger Akroyd, the narrator did it,” “Soylent Green is people,” “To Serve Man is a cookbook,” and finally, what many consider to be the greatest and worst spoiler of them all, “The Planet of the Apes is really Earth.” Some famous “spoilers” are not true spoilers. It’s not going to spoil Citizen Kane for anyone to say “Rosebud is his sled.” This piece of information is not truly significant. It’s more of a McGuffin than a plot twist. A paradox about spoiling is that people often enjoy a work of fiction such as a Sherlock Holmes story over and over again. They remember the outline of the story, and who did the murder, but this doesn’t stop them re-reading. This demonstrates that the spoilage generated by spoilers is less than we might imagine. It’s bad to spoil, but how bad? People do seem to exaggerate the dreadfulness of spoiling, compared with other examples of inconsiderateness or rudeness. Are there occasions when it’s morally required to spoil? Yes, you might want to dissuade someone from watching or reading something you believed might harm them somehow. Also, you might issue a spoiler in order to save the world from a terrorist attack (Yes, this is a philosophy book, so it has to include at least one totally absurd example). A more doubtful case is deliberate spoiling as a protest, as occurred with Basic Instinct. The book ends with three spoiler lists: the Most Outrageous Spoiler “Horror Stories”; the Greatest Spoilers of All Time; and the Greatest Spoilers in Philosophy.
Author: New York (N.Y.). Tax Commission
Publisher:
ISBN:
Category : Taxation
Languages : en
Pages : 116
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Book Description
