American Icons: Transatlantic Perspectives on Eighteenth- and Nineteenth-Century American Art (Issues and Debates Series) - Paperback
1999, ISBN: 9780892362462
Hardcover
New York, New York, U.S.A.: Sterling Pub Co Inc, 1996. Oversized 144pp including index Detailed illustrations Colorful photographs Various styles . First Edition. Cloth Hardback. As Ne… More...
New York, New York, U.S.A.: Sterling Pub Co Inc, 1996. Oversized 144pp including index Detailed illustrations Colorful photographs Various styles . First Edition. Cloth Hardback. As New/As New., Sterling Pub Co Inc, 1996, 5, Sterling, 1996. Paperback. Used: Acceptable. Paperback in good condition. Presents over 40 simple projects for constructing a variety of bird houses, including basic nesting shelves and decorated houses, from wood and other materials. Advice is given on basic woodworking techniques and equipment. ISBN 0-8069-0858-0 0806908580., Sterling, 1996, 2.5, London England: B. T. Batsford, 1996. Paperback. This third volume aims to turn an average home player into a consistently 'winning' player. The book's four sections cover Competitive Bidding, The Constructive Auction, Declarer Play and Defence. In particular Acol or the 'natural' bidding system), slam bidding and advanced signalling are carefully explained. Using a clear step-by-step approach, reinforced by self-testing quizzes and spiced with humour, Europe's No. 1 player will increase your expertise in all aspects of the game. 144 pp. (We carry a wide selection of titles in The Arts, Theology, History, Politics, Social and Physical Sciences. academic and scholarly books and Modern First Editions etc.). 1st Paperback Edition. Soft Cover. Very Good. 8vo - over 7¾" - 9¾" tall. Paperback., B. T. Batsford, 1996, 3, Duke University Press, 1996-03-14. Paperback. Good. Moving across academic disciplines, geographical boundaries, and literary genres, Home and Harem examines how travel shaped ideas about culture and nation in nineteenth-century imperialist England and colonial India. Inderpal Grewal?s study of the narratives and discourses of travel reveals the ways in which the colonial encounter created linked yet distinct constructs of nation and gender and explores the impact of this encounter on both English and Indian men and women. Reworking colonial discourse studies to include both sides of the colonial divide, this work is also the first to discuss Indian women traveling West as well as English women touring the East.In her look at England, Grewal draws on nineteenth-century aesthetics, landscape art, and debates about women?s suffrage and working-class education to show how all social classes, not only the privileged, were educated and influenced by imperialist travel narratives. By examining diverse forms of Indian travel to the West and its colonies and focusing on forms of modernity offered by colonial notions of travel, she explores how Indian men and women adopted and appropriated aspects of European travel discourse, particularly the set of oppositions between self and other, East and West, home and abroad.Rather than being simply comparative, Home and Harem is a transnational cultural study of the interaction of ideas between two cultures. Addressing theoretical and methodological developments across a wide range of fields, this highly interdisciplinary work will interest scholars in the fields of postcolonial and cultural studies, feminist studies, English literature, South Asian studies, and comparative literature. ~Good. Light to moderate shelf wear to covers/corners; satisfaction guaranteed. Trade paperback binding. Clean text. Last Word Books is an independent bookstore located in Olympia, Washington., Duke University Press, 1996-03-14, 2.5, Knopf. Very Good. 6 x 1.25 x 10 inches. Hardcover. 1999. 448 pages. <br>No contemporary scientist has done more to shape o ur understanding of the universe than Murray Gell-Mann, the Nobel Prize-winner many consider the most brilliant physicist of his g eneration. His discoveries of the quark and the Eightfold Way wer e cornerstones for all that has followed in particle physics, the effort to explain the very stuff of creation. In this first biog raphy of Gell-Mann, George Johnson tells the story of a remarkabl e life. Born on New York's Lower East Side, Gell-Mann was quickl y recognized as a child prodigy. Propelled by an intense boyhood curiosity and a love for nature, he entered Yale at fifteen. By a ge twenty-three he had ignited a revolution, laying bare in his g roundbreaking work the strange beauty of the minute particles tha t constitute the ultimate components of physical reality. Partic le physics is the most competitive of sports, and Johnson shows u s the precocious polymath holding his own with giants like Robert Oppenheimer, Enrico Fermi, and Richard Feynman -- Gell-Mann's fa vorite intellectual sparring partner and sometimes antagonistic r ival. We see Gell-Mann the self-taught linguist (who couldn't res ist correcting visitors on the pronunciation of their own names); Gell-Mann the birdwatcher and amateur archaeologist; Gell-Mann t he Aspen socialite, world traveler, and environmental crusader. We watch him making his scientific breakthroughs, his abrasive, c ompetitive drive leaving behind a growing trail of enemies. The e arly death of his first wife and a family crisis sent him veering in new directions. Turning from the physics of simple particles, like quarks, he began exploring how complex phenomena like life can be understood scientifically. George Johnson's informed and insightful biography goes far in helping us understand the comple xities of both the man and the science in which he has loomed so large. Editorial Reviews Review Murray Gell-Mann is a leading light in 20th-century physics, yet his name rings bells only for those interested in particle physics. Science writer Ge orge Johnson was fortunate enough to develop a friendly relations hip with the great scientist, and his biography, Strange Beauty, glows with a rare intimacy gained from a notoriously private and irascible man. From his childhood in New York City to his current scientific elder-statesman status in New Mexico, Johnson explore s Gell-Mann's life in glorious detail. A passionate, jealous, and brilliant man, he was capable of both profound insight and bitte r lifelong rivalries, but Johnson finds there's much more to the man than these two simple poles; Gell-Mann's volatile family life and deft academic maneuvering also find room in this expansive b iography. The reader finds that Johnson's careful attention to d etail shows more than it tells through enlightening stories of Ge ll-Mann's troubled, romantic, or pretentious dealings with peers, family, and even strangers. Explaining his strange surname means investigating old phone books, scientific legend, and family his tory, as the scientist is unwilling to shed light on the mystery (it turns out that his father hyphenated it, and Murray dreamed u p etymologies as needed--giving rise to the tangled web of myths) . Johnson is up to the challenge of recording the life story of a man nearly as strange as the quarks he discovered and named, and Strange Beauty lives up to the promise of its title. --Rob Light ner From Publishers Weekly Up, down, top, bottom, strange and c harm aren't just states of mind: they're kinds of quarks, the min d-bending, omnipresent sub-subatomic particles co-discovered and named in the early 1960s by the American physicist Murray Gell-Ma nn. New York Times science reporter Johnson (Fire in the Mind) ha s written a brisk, accessible life of the Nobel-winning scientist , who will turn 70 next month. Gell-Mann grew up poor in New York City, the son of Eastern European Jews. Still in his teens, he a ttended Yale and MIT, and soon afterward won notice for his work on cosmic rays. Gell-Mann followed up his insights about quarks w ith important work at Caltech and elsewhere on superstrings, supe rgravity and mathematical complexity. His adult life has had its hardships: his daughter gave much of her life to an American Stal inist fringe group, and his wife died of cancer in 1981. (He's si nce remarried.) Johnson makes clear that Gell-Mann's direct, some times arrogant manner could make him difficult to work with; admi red by physicists, he failed to achieve the wider fame of his med ia-friendly colleague, the late Richard Feynman. While Johnson re lates such troubles sympathetically, the story of Gell-Mann's lif e is in large part the story of his and others' researches and di scoveries. Explaining difficult fields like quantum physics, John son uses as many analogies, and as little math, as he can, while trying always to give some picture of what scientific problems Ge ll-Mann and his fellow scientists solved. The result is a careful if colloquial biography, perfect for readers who aren'tAor aren' t yetAworking scientists. (Oct.) Copyright 1999 Reed Business In formation, Inc. From Publishers Weekly Up, down, top, bottom, st range and charm aren't just states of mind: they're kinds of quar ks, the mind-bending, omnipresent sub-subatomic particles co-disc overed and named in the early 1960s by the American physicist Mur ray Gell-Mann. New York Times science reporter Johnson (Fire in t he Mind) has written a brisk, accessible life of the Nobel-winnin g scientist, who will turn 70 next month. Gell-Mann grew up poor in New York City, the son of Eastern European Jews. Still in his teens, he attended Yale and MIT, and soon afterward won notice fo r his work on cosmic rays. Gell-Mann followed up his insights abo ut quarks with important work at Caltech and elsewhere on superst rings, supergravity and mathematical complexity. His adult life h as had its hardships: his daughter gave much of her life to an Am erican Stalinist fringe group, and his wife died of cancer in 198 1. (He's since remarried.) Johnson makes clear that Gell-Mann's d irect, sometimes arrogant manner could make him difficult to work with; admired by physicists, he failed to achieve the wider fame of his media-friendly colleague, the late Richard Feynman. While Johnson relates such troubles sympathetically, the story of Gell -Mann's life is in large part the story of his and others' resear ches and discoveries. Explaining difficult fields like quantum ph ysics, Johnson uses as many analogies, and as little math, as he can, while trying always to give some picture of what scientific problems Gell-Mann and his fellow scientists solved. The result i s a careful if colloquial biography, perfect for readers who aren 'tAor aren't yetAworking scientists. (Oct.) Copyright 1999 Reed Business Information, Inc. From Library Journal One of the most notable physicists of the Nuclear Age, Murray Gell-Mann worked cl osely with Enrico Fermi, Richard Feynmann, and others to help unl ock the secrets of the subatomic world. In 1969, he received a No bel prize for his work on the interaction of elementary particles and their classification. Now New York Times science writer John son (Fire in the Mind) has written a well-balanced biography of t his renowned scientist's complex life and work. Noting Gell-Mann' s idiosyncrasies, his faults, and his accomplishments, Johnson fo llows his subject through his passions (nature and conservation, art collection, anthropology, ornithology, and linguistics), his struggles with chronic writer's block, and his incredible scienti fic achievements. While it is necessarily dense in parts, this bo ok is free of mathematics and is accessible to the advanced lay r eader. Recommended for large public and academic libraries.AJames Olson, Northeastern Illinois Univ. Lib., Chicago Copyright 1999 Reed Business Information, Inc. From Scientific American 'Stran ge Beauty' brings together an irresistible subject -- the difficu lt polymath Murray Gell-Mann -- and a talented writer who spins a n enthralling tale out of the kind of esoteric physics that gener ally flies right over our heads. Johnson is one of the best scien ce journalists writing today, known for his books 'Fire in the Mi nd' and 'In the Palaces of Memory' and for incisive reporting in the New York Times. This is his most ambitious project yet -- com municating the fascination of a kind of science that only an elit e of superbright people fully understands. He succeeds brilliantl y. From Kirkus Reviews Part biography, part textbook on quarks a nd other phenomena discovered by one of the great particle physic ists of the twentieth century. Johnson (a New York Times science writer) first introduces us to Murray Gell-Mann in the present da y, as a likable retiree living in Santa Fe. He sets his personal experiences with Gell-Mann against Gell-Mann the legend, cutting colleagues down to size if their viewpoints didn't coincide with his own, or calling them by unpleasant and sarcastic nicknames. G ell-Mann's broad scope of knowledge started in his youth in New Y ork City, where he would visit museums, the zoo, anywhere he coul d learn about the world around him. In school young Murray was al ways eager to show off his knowledge, winning a spelling bee at t he age of seven. At fourteen, he won a scholarship to Yale, movin g from there to MIT, where he reveled in the unsolved problems in physics. It was these problems, theories about particles yet to be discovered, that Gell-Mann would spend his career solving. Joh nson is not afraid to present these theories in great detail, giv ing crystal-clear descriptions of some of the most abstract and c onvoluted ideas in physics. Nor is he afraid to delve into the pe rsonal side of Gell-Mann, including his relationship with his col league Richard Feynman, a friendship at times strained by the fam e that Feynman achieved from his best-selling book of autobiograp hical anecdotes. Gell-Mann wanted to write one, too, but for all his knowledge he was crippled by a lifelong case of writer's bloc k. The limited success of his autobiography once it was finished presumably led to Strange Beauty. A must-read for anyone studying physics or its history, and for others not afraid to swim in the sometimes deep and murky waters of cutting-edge science. -- Copy right ®1999, Kirkus Associates, LP. All rights reserved. Review George Johnson has nailed this biography of the brilliant and ira scible Murray Gell-Mann. Strange Beauty is complex, mind-expandin g, beautiful, and true. -- James Gleick When you have one of the world's most accomplished science writers recounting the life an d times of one of the world's most accomplished scientists, reade rs' expectations are justifiably high. They are fully met. Johnso n gives us an extraordinary view of an extraordinary man, and nav igates through science that ordinarily would seem difficult, with such skill that it is not difficult at all. Strange Beauty is a masterpiece of modern biography. -- Roger Lewin Gell-Mann could not have written such a perceptive book about himself as Johnson has....Reads like a detective novel. Johnson does a wonderful job of describing the competition and cooperation among scientists, the egos and insecurities, the disappointments and triumphs, and the disputes, suspicions and shifting allegiances. -- The New Yor k Times Book Review Skillfully and engagingly written . . . John son paints a convincing portrait of Gell-Mann's personality, whic h is in turn charming, irritating, and generous . . . Johnson cap tures well his subject's inner scientific conflicts. -- Science Few physicists have displayed the poetic inspiration of the Nobel ist Murray Gell-Mann....In this biography he emerges as brilliant and often insufferable, relentlessly curious, hopelessly pedanti c, and one of the best synthetic thinkers in the history of his f ield. The book [offers] a vivid sense of Gell-Mann and his contem poraries (including his collaborator and competitor Richard Feynm an).... --The New Yorker From the Publisher A conversation with George Johnson, author of STRANGE BEAUTY: Murray Gell-Mann and t he Revolution in Twentieth Century Physics Q. Why do you call t he book Strange Beauty? A. When Gell-Mann was in his early 20s, physicists were baffled by cosmic-ray particles, bombarding the earth from outer space, that seemed to defy the known laws of phy sics. Gell-Mann solved the problem by proposing that the particle s were affected by a previously unknown phenomenon that he decide d to call strangeness. The theory, weird name and all, created a sensation. It was the first example of the strange beauty he kept finding in the universe -- mesmerizing patterns that lie beneath the surface of reality. Q. What happened next? A. From there h e went on to discover The Eightfold Way and quarks, always bestow ing his creations with whimsical names. There are top quarks, bot tom quarks, strange quarks, charmed quarks. They're held together by things called gluons. Physics was never again the same. Q. W hat is the Eightfold Way? And where do quarks fit in? A. Before Gell-Mann came onto the scene, there were hundreds of tiny subato mic particles of all shapes and sizes. Gell-Mann saw in a flash o f insight that they could all be arranged into patterns. He saw o rder where there had been confusion. The result was the Eightfold Way. Just as the Periodic Table of the Elements is used to arran ge all the different kinds of atoms, the Eightfold Way is used to arrange all the subatomic particles. A little later, Gell-Mann r ealized that the particles line up this way because they are made of tinier things called quarks. A Nobel prize was around the cor ner. Q. One of the classic rivalries in science is between Gell- Mann and Richard Feynman. Why was there so much friction between these two intellectual giants? A. A favorite pastime of physicis ts was arguing over who was smarter, Dick or Murray. At any unive rsity in the world, each would have been the unquestioned star. B ut at Caltech they were crowded into the same small department, j ust two doors from each other (with the same poor secretary in be tween.) Each was always trying to upstage the other. And they had strikingly different styles. Feynman would speak in an affected Brooklyn drawl and refuse to wear a coat and tie. Murray was as i mpeccable in his dress as he was in his pronunciation -- and not just in English but in dozens of other languages. He's famous for sitting down at Ch, Knopf, 1999, 3, Brand New Book, Shrinkwrapped, in Nice Condition with Very Small Bumps at the Head and Base of the Spine which has caused Small Crinkling but has No Tears, Stains, Mold, or Other Major Damage. No Remainder Mark.Book Description: American Icons explores American self-definition through the creation of a national art. Like their writer counterparts, American artists of the eighteenth and nineteenth centuries yearned to create their art in terms of a uniquely American experience of history and nature. Paradoxically, however, when they insisted upon American originality and uniqueness, they could not but mediate these qualities through European conventions. European methods and motifs were, nonetheless, used differently in the social, economic, and communicative contexts of the New World. For American artists, Europe was an ensemble, not to say a warehouse, of traditions and styles from which they could choose according to their interests and preferences. Innovation was therefore not necessarily a matter of breaking new ground but a matter of how established means were used in new circumstances and for different purposes. The present essays explore the construction of an American sublime, of a mythology of the frontier, of a democratic style of common people and common objects, all expressed through the language of European art, while changing that language in the process of coining a new usage.American painters and graphic artists of the eighteenth and nineteenth centuries sought inspiration for their work in the uniquely American experience of history and nature. The result was a transformation of the conventional Old World visual language into an indigenous and populist New World syntax. The twelve essays in this volume explore the development of a frontier mythology, a democratic style depicting common people and objects, and an American artistic consciousness and identity. Conceived and written from the perspectives of both cultural and art historians, American Icons initiates an interdisciplinary discussion on the complex relationships between American and European art.Los Angeles is a city on the Pacific Rim where things appear on edge, for they lack a permanent footing even while occupying a specific locale. The city's genius loci produce this dual vision of fixed place in a state of constant dislocation.It is only appropriate for the edge-bound Getty Center to initiate a series of publications that aim to expose the historical study of artifacts to the oscillation of rigorous debate. Each of these books proceeds from a specific body of historical material, not because that material is in itself inherently imbued with controversy but because its exposure to different disciplinary approaches raises new questions of interpretation. In the realm of historical studies, issues often emerge at the intersection of the various perspectives scholars have constructed for the examination of their subjects. As their debate refracts and refocuses the material under scrutiny, it also invites reflection upon itself and thereby exposes the assumptions and tendencies of scholarship to no less assiduous criticism than it does the underpinnings of its subjects.Contributors are Herbert Beck, Werner Busch, Martin Christadler, Nicolai Cikovsky, Jr., Françoise Forster-Hahn, Ursula Frohne, Barbara Gaehtgens, Thomas W. Gaehtgens, Barbara Groseclose, Olaf Hansen, William Hauptman, Heinz Ickstadt, Barbara Novak, and Kathleen Pyne.The book's contents are:Introduction by Thomas W. Gaehtgens and Heinz IckstadtAmerican Genesis: The Landing of Christopher Columbus by Barbara GrosecloseCopley, West, and the Tradition of European High Art by Werner BuschSelf, Time, and Object in American Art: Copley, Lane, and Homer by Barbara NovakRomantic Landscape Painting in America: History as Nature, Nature as History by Martin ChristadlerInventing the Myth of the American Frontier: Bingham's Images of Fur Traders and Flatboatmen as Symbols of the Expanding Nation by Françoise Forster-HahnFictions of Nationhood: Leutze's Pursuit of an American History Painting in Dusseldorf by Barbara GaehtgensKindred Spirits: Notes on Swiss and American Painting of the Nineteenth Century by William HauptmannStrategies of Recognition: The Conditioning of the American Artist between Marginality and Fame by Ursula FrohneWinslow Homer's National Style by Nicolai Cikovsky, Jr.The Senses of Illusion by Olaf HansenResisting Modernism: American Painting in the Culture of Conflict by Kathleen PyneUrban Iconography in Nineteenth-Century American Painting: From Impressionism to the Ash Can School by Hubert BeckBiographical Notes on the AuthorsIndexVolumes in the Issues & Debates series will result from symposia and lecture series, as well as from commissioned writings. Their scholarly editors are invited to frame highly focused essays with introductions, commentaries and/or sources, documents, and illustrations that further contribute to their usefulness., The Getty Center for the History of Art and the Humanities, 5<
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American Icons: Transatlantic Perspectives on Eighteenth- and Nineteenth-Century American Art (Issues and Debates Series) - Paperback
2009, ISBN: 9780892362462
Victor Gollancz, UK, 2000. Trade Paperback. Very Good. Trade Paperback. 345 pages. *** PUBLISHING DETAILS: Victor Gollancz, UK, 2000. *** CONDITION: This book is in very good conditi… More...
Victor Gollancz, UK, 2000. Trade Paperback. Very Good. Trade Paperback. 345 pages. *** PUBLISHING DETAILS: Victor Gollancz, UK, 2000. *** CONDITION: This book is in very good condition. More specifically: Covers have light creasing. Spine is uncreased. . Edges of pages are lightly browned. Pages are lightly tanned. Light foxing to top edge of pages. *** ABOUT THIS BOOK: When contact was lost with the colony on the planet Dirangesept the Far Warriors were sent to rescue them. Sitting in orbit above the planet controlling their autoid fighting machines by remote psi links, they thought they were invulnerable to whatever had killed the colonists. They were wrong. As hundred upon hundred of the autoids wee destroyed by what appeared to be fabulous mythological beasts the mental agony suffered by the warriors tipped their minds over the edge. And now, years later in a Britain scarred by freak geological collapses and minor volcanic eruptions, with a shadowy populations seeking escape from their grim lives via a contagious addiction to VR games, someone is killing the surviving Far Warriors. Reckless Sleep is a supremely assured and visionary SF debut. London in the far future assumes an almost biblical air as ash from volcanic eruptions forms drifts in the streets and villages disappear overnight into fresh fault lines. There is also a superb exam ination of the true dilemmas presented by VR. Combining the confident vision of Ken Macleod, the paranoia driven plotting of Philip K. Dick and a wholely original take on the SF standard of Virtual Reality this is a remarkable novel. *** Quantity Available: 1. Category: Science Fiction & Fantasy; ISBN: 057506899X. ISBN/EAN: 9780575068995. Inventory No: 23050102.. 9780575068995, Victor Gollancz, 2000, 3, "A book whose hold on your mind, on your memory, is assured. It is a story about story, and stories are what we are all made of. Abandon hope all ye who enter here."Paul Kincaid, SF Site"A work that reads like language stripped bare, myth tracked to its origin."Locus"Sublimely lyrical Jacobeanesque dialect . . . readers who enjoy symbolism and allusion will cherish Gilman's use of diverse folkloric elements to create an unforgettable realm and ideology."Publishers Weekly"'Green quince and bletted medlar, quiddany and musk': Greer Gilman fills your mouth with wincing tastes, your ears with crowcalls, knockings and old, old rhythms, your eyes with beautiful and battered creatures, sly-eyed, luminous or cackling as they twine and involute their stories. Gilman writes like no one else. To read her is to travel back, well back, in time; to wander in thrall through mist on moor and fell; to sink up to the nostrils in a glorious bog of legend and language, riddled with bones and iron, sodden with witches' blood."Margo Lanagan, author of Tender Morsels"Greer Gilman is a master of myth and language with few equals in this world. Cloud and Ashes is a triumphant, heart-rending triptych, a mosaic of folklore, intellectual pyrotechnics, and marvelous, motley characters that takes the breath and makes the blood beat faster."Catherynne M. Valente, author of In the Night Garden"No one else writes like Greer Gilman. She is one of our most innovative and important writers, in fantasy or out of it. If you want to see what language can do, the heart-stopping beauty it can achieve, read Cloud & Ashes."Theodora Goss, author of In the Forest of Forgetting"Cloud and Ashes is a dark pastoral shaped from bits of ballads, scraps of nursery rhymes, fragments of Tarot, tatters of ancient myth, and shreds of archaic language, all shot through with luminous ribbons of Gilman's own personal cosmology.... Gilman's prose reminds us that most magical systems locate the power of magic in the power of language itself. Cloud and Ashes is particularly recommended to those readers who enjoy myth and folklore, especially the myths of Ariadne and Persephone. Cloud and Ashes is also highly recommended to those readers who enjoy fantasy which explores language and folklore."Green Man Review"Gilman's 'A Crowd of Bone' . . . is dense, jammed with archaic words and neologisms . . . but the storycomplex, tangled in narrative as well as syntax, and very darkrewards the most careful of readings."The Washington Post Book World"I am wind and memory who spells this . . ."In the eighteen years since her Crawford Awardwinning debut novel Moonwise, Greer Gilman's writing has only grown more complex and entrancing, more beguiling and inventive.Gilman's second novel, Cloud & Ashes, is a slow whirlwind of language, a button box of words, a mythic Joycean fable that will invite immersion, study, revisitation, and delight. To step into her world is to witness the bright flashes, witty turns, and shadowy corners of the human imagination, limned with all the detail and humor of a master stylist. In Gilman's intricate prose, myth and fable live, breathe, and dance as they do nowhere else.Cloud & Ashes collects three Winter's Tales ("Jack Daw's Pack," "A Crowd of Bone," and the longest, "Unleaving") centering on folk traditions, harvest rites, the seasons, gods, and trickster figures.In "Unleaving," Margaret, granddaughter of a goddess, escapes from the underworld into the human realm, Cloud. She is pursued, and, in escaping, brings about an epochal change, separating the kingdom of myth from the human world.Cloud & Ashes is a work that reaches back to the richness of ShakespeareGilman understands that the depth of Shakespeare's work lies in his rangeand the reader will rejoice in her counterplay of high myth and bawdry even while being drawn into the world of Cloud. Inventive, playful, and erudite, Gilman is an archeolexicologist rewriting language itself in these long-awaited tales.Greer Gilman is the author of the novel Moonwise, which won the Crawford Award and was shortlisted for the James Tiptree, Jr. and Mythopoeic awards, as well as of the World Fantasy Awardwinning "A Crowd of Bone." She lives in Cambridge, Massachusetts., Small Beer Press, 2009-06, 6, Brand New Book, Shrinkwrapped, in Nice Condition with Very Small Bumps at the Head and Base of the Spine which has caused Small Crinkling but has No Tears, Stains, Mold, or Other Major Damage. No Remainder Mark.Book Description: American Icons explores American self-definition through the creation of a national art. Like their writer counterparts, American artists of the eighteenth and nineteenth centuries yearned to create their art in terms of a uniquely American experience of history and nature. Paradoxically, however, when they insisted upon American originality and uniqueness, they could not but mediate these qualities through European conventions. European methods and motifs were, nonetheless, used differently in the social, economic, and communicative contexts of the New World. For American artists, Europe was an ensemble, not to say a warehouse, of traditions and styles from which they could choose according to their interests and preferences. Innovation was therefore not necessarily a matter of breaking new ground but a matter of how established means were used in new circumstances and for different purposes. The present essays explore the construction of an American sublime, of a mythology of the frontier, of a democratic style of common people and common objects, all expressed through the language of European art, while changing that language in the process of coining a new usage.American painters and graphic artists of the eighteenth and nineteenth centuries sought inspiration for their work in the uniquely American experience of history and nature. The result was a transformation of the conventional Old World visual language into an indigenous and populist New World syntax. The twelve essays in this volume explore the development of a frontier mythology, a democratic style depicting common people and objects, and an American artistic consciousness and identity. Conceived and written from the perspectives of both cultural and art historians, American Icons initiates an interdisciplinary discussion on the complex relationships between American and European art.Los Angeles is a city on the Pacific Rim where things appear on edge, for they lack a permanent footing even while occupying a specific locale. The city's genius loci produce this dual vision of fixed place in a state of constant dislocation.It is only appropriate for the edge-bound Getty Center to initiate a series of publications that aim to expose the historical study of artifacts to the oscillation of rigorous debate. Each of these books proceeds from a specific body of historical material, not because that material is in itself inherently imbued with controversy but because its exposure to different disciplinary approaches raises new questions of interpretation. In the realm of historical studies, issues often emerge at the intersection of the various perspectives scholars have constructed for the examination of their subjects. As their debate refracts and refocuses the material under scrutiny, it also invites reflection upon itself and thereby exposes the assumptions and tendencies of scholarship to no less assiduous criticism than it does the underpinnings of its subjects.Contributors are Herbert Beck, Werner Busch, Martin Christadler, Nicolai Cikovsky, Jr., Françoise Forster-Hahn, Ursula Frohne, Barbara Gaehtgens, Thomas W. Gaehtgens, Barbara Groseclose, Olaf Hansen, William Hauptman, Heinz Ickstadt, Barbara Novak, and Kathleen Pyne.The book's contents are:Introduction by Thomas W. Gaehtgens and Heinz IckstadtAmerican Genesis: The Landing of Christopher Columbus by Barbara GrosecloseCopley, West, and the Tradition of European High Art by Werner BuschSelf, Time, and Object in American Art: Copley, Lane, and Homer by Barbara NovakRomantic Landscape Painting in America: History as Nature, Nature as History by Martin ChristadlerInventing the Myth of the American Frontier: Bingham's Images of Fur Traders and Flatboatmen as Symbols of the Expanding Nation by Françoise Forster-HahnFictions of Nationhood: Leutze's Pursuit of an American History Painting in Dusseldorf by Barbara GaehtgensKindred Spirits: Notes on Swiss and American Painting of the Nineteenth Century by William HauptmannStrategies of Recognition: The Conditioning of the American Artist between Marginality and Fame by Ursula FrohneWinslow Homer's National Style by Nicolai Cikovsky, Jr.The Senses of Illusion by Olaf HansenResisting Modernism: American Painting in the Culture of Conflict by Kathleen PyneUrban Iconography in Nineteenth-Century American Painting: From Impressionism to the Ash Can School by Hubert BeckBiographical Notes on the AuthorsIndexVolumes in the Issues & Debates series will result from symposia and lecture series, as well as from commissioned writings. Their scholarly editors are invited to frame highly focused essays with introductions, commentaries and/or sources, documents, and illustrations that further contribute to their usefulness., The Getty Center for the History of Art and the Humanities, 5<
aus, u.. | Biblio.co.uk |
American Icons: Transatlantic Perspectives on Eighteenth- and Nineteenth-Century American Art (Issues and Debates Series) - used book
ISBN: 9780892362462
Brand New Book, Shrinkwrapped, in Nice Condition with Very Small Bumps at the Head and Base of the Spine which has caused Small Crinkling but has No Tears, Stains, Mold, or Other Major Da… More...
Brand New Book, Shrinkwrapped, in Nice Condition with Very Small Bumps at the Head and Base of the Spine which has caused Small Crinkling but has No Tears, Stains, Mold, or Other Major Damage. No Remainder Mark.Book Description: American Icons explores American self-definition through the creation of a national art. Like their writer counterparts, American artists of the eighteenth and nineteenth centuries yearned to create their art in terms of a uniquely American experience of history and nature. Paradoxically, however, when they insisted upon American originality and uniqueness, they could not but mediate these qualities through European conventions. European methods and motifs were, nonetheless, used differently in the social, economic, and communicative contexts of the New World. For American artists, Europe was an ensemble, not to say a warehouse, of traditions and styles from which they could choose according to their interests and preferences. Innovation was therefore not necessarily a matter of breaking new ground but a matter of how established means were used in new circumstances and for different purposes. The present essays explore the construction of an American sublime, of a mythology of the frontier, of a democratic style of common people and common objects, all expressed through the language of European art, while changing that language in the process of coining a new usage.American painters and graphic artists of the eighteenth and nineteenth centuries sought inspiration for their work in the uniquely American experience of history and nature. The result was a transformation of the conventional Old World visual language into an indigenous and populist New World syntax. The twelve essays in this volume explore the development of a frontier mythology, a democratic style depicting common people and objects, and an American artistic consciousness and identity. Conceived and written from the perspectives of both cultural and art historians, American Icons initiates an interdisciplinary discussion on the complex relationships between American and European art.Los Angeles is a city on the Pacific Rim where things appear on edge, for they lack a permanent footing even while occupying a specific locale. The city's genius loci produce this dual vision of fixed place in a state of constant dislocation.It is only appropriate for the edge-bound Getty Center to initiate a series of publications that aim to expose the historical study of artifacts to the oscillation of rigorous debate. Each of these books proceeds from a specific body of historical material, not because that material is in itself inherently imbued with controversy but because its exposure to different disciplinary approaches raises new questions of interpretation. In the realm of historical studies, issues often emerge at the intersection of the various perspectives scholars have constructed for the examination of their subjects. As their debate refracts and refocuses the material under scrutiny, it also invites reflection upon itself and thereby exposes the assumptions and tendencies of scholarship to no less assiduous criticism than it does the underpinnings of its subjects.Contributors are Herbert Beck, Werner Busch, Martin Christadler, Nicolai Cikovsky, Jr., Françoise Forster-Hahn, Ursula Frohne, Barbara Gaehtgens, Thomas W. Gaehtgens, Barbara Groseclose, Olaf Hansen, William Hauptman, Heinz Ickstadt, Barbara Novak, and Kathleen Pyne.The book's contents are:Introduction by Thomas W. Gaehtgens and Heinz IckstadtAmerican Genesis: The Landing of Christopher Columbus by Barbara GrosecloseCopley, West, and the Tradition of European High Art by Werner BuschSelf, Time, and Object in American Art: Copley, Lane, and Homer by Barbara NovakRomantic Landscape Painting in America: History as Nature, Nature as History by Martin ChristadlerInventing the Myth of the American Frontier: Bingham's Images of Fur Traders and Flatboatmen as Symbols of the Expanding Nation by Françoise Forster-HahnFictions of Nationhood: Leutze's Pursuit of an American History Painting in Dusseldorf by Barbara GaehtgensKindred Spirits: Notes on Swiss and American Painting of the Nineteenth Century by William HauptmannStrategies of Recognition: The Conditioning of the American Artist between Marginality and Fame by Ursula FrohneWinslow Homer's National Style by Nicolai Cikovsky, Jr.The Senses of Illusion by Olaf HansenResisting Modernism: American Painting in the Culture of Conflict by Kathleen PyneUrban Iconography in Nineteenth-Century American Painting: From Impressionism to the Ash Can School by Hubert BeckBiographical Notes on the AuthorsIndexVolumes in the Issues & Debates series will result from symposia and lecture series, as well as from commissioned writings. Their scholarly editors are invited to frame highly focused essays with introductions, commentaries and/or sources, documents, and illustrations that further contribute to their usefulness., The Getty Center for the History of Art and the Humanities, 5<
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American Icons. Transatlantic Perspectives on Eighteenth- and Nineteenth-Century American Art (Issues & Debates Series Volume 2) - hardcover
1992, ISBN: 0892362464
Leinen 27 cm ; Leinen Issues & Debates Series Volume 2. Englischsprachige Hardcoverausgabe, Leineneinband mit Schutzumschlag, 360 Seiten mit zahlreichen Abbildungen. Gutes Exemplar (good… More...
Leinen 27 cm ; Leinen Issues & Debates Series Volume 2. Englischsprachige Hardcoverausgabe, Leineneinband mit Schutzumschlag, 360 Seiten mit zahlreichen Abbildungen. Gutes Exemplar (good Condition). hw472 ISBN: 0892362464 Americana ; Amerikanische Ikonen ; 3, [PU:The Getty Center for the History of Art and the Humanities, Santa Monica & The University of Chicago Press, Chicago,]<
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American Icons. Transatlantic Perspectives on Eighteenth- and Nineteenth-Century American Art (Issues & Debates Series Volume 2) - hardcover
1992, ISBN: 0892362464
The Getty Center for the History of Art and the Hu, Santa Monica & The University of Chicago Press, Chicago, 27 cm ; Leinen Issues & Debates Series Volume 2. Englischsprachige Hardcoverau… More...
The Getty Center for the History of Art and the Hu, Santa Monica & The University of Chicago Press, Chicago, 27 cm ; Leinen Issues & Debates Series Volume 2. Englischsprachige Hardcoverausgabe, Leineneinband mit Schutzumschlag, 360 Seiten mit zahlreichen Abbildungen. Gutes Exemplar (good Condition). hw472 ISBN: 0892362464Malerei [Americana ; Amerikanische Ikonen] 1992, [PU: J. Paul Getty Museum]<
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American Icons: Transatlantic Perspectives on Eighteenth- and Nineteenth-Century American Art (Issues and Debates Series) - Paperback
1999, ISBN: 9780892362462
Hardcover
New York, New York, U.S.A.: Sterling Pub Co Inc, 1996. Oversized 144pp including index Detailed illustrations Colorful photographs Various styles . First Edition. Cloth Hardback. As Ne… More...
New York, New York, U.S.A.: Sterling Pub Co Inc, 1996. Oversized 144pp including index Detailed illustrations Colorful photographs Various styles . First Edition. Cloth Hardback. As New/As New., Sterling Pub Co Inc, 1996, 5, Sterling, 1996. Paperback. Used: Acceptable. Paperback in good condition. Presents over 40 simple projects for constructing a variety of bird houses, including basic nesting shelves and decorated houses, from wood and other materials. Advice is given on basic woodworking techniques and equipment. ISBN 0-8069-0858-0 0806908580., Sterling, 1996, 2.5, London England: B. T. Batsford, 1996. Paperback. This third volume aims to turn an average home player into a consistently 'winning' player. The book's four sections cover Competitive Bidding, The Constructive Auction, Declarer Play and Defence. In particular Acol or the 'natural' bidding system), slam bidding and advanced signalling are carefully explained. Using a clear step-by-step approach, reinforced by self-testing quizzes and spiced with humour, Europe's No. 1 player will increase your expertise in all aspects of the game. 144 pp. (We carry a wide selection of titles in The Arts, Theology, History, Politics, Social and Physical Sciences. academic and scholarly books and Modern First Editions etc.). 1st Paperback Edition. Soft Cover. Very Good. 8vo - over 7¾" - 9¾" tall. Paperback., B. T. Batsford, 1996, 3, Duke University Press, 1996-03-14. Paperback. Good. Moving across academic disciplines, geographical boundaries, and literary genres, Home and Harem examines how travel shaped ideas about culture and nation in nineteenth-century imperialist England and colonial India. Inderpal Grewal?s study of the narratives and discourses of travel reveals the ways in which the colonial encounter created linked yet distinct constructs of nation and gender and explores the impact of this encounter on both English and Indian men and women. Reworking colonial discourse studies to include both sides of the colonial divide, this work is also the first to discuss Indian women traveling West as well as English women touring the East.In her look at England, Grewal draws on nineteenth-century aesthetics, landscape art, and debates about women?s suffrage and working-class education to show how all social classes, not only the privileged, were educated and influenced by imperialist travel narratives. By examining diverse forms of Indian travel to the West and its colonies and focusing on forms of modernity offered by colonial notions of travel, she explores how Indian men and women adopted and appropriated aspects of European travel discourse, particularly the set of oppositions between self and other, East and West, home and abroad.Rather than being simply comparative, Home and Harem is a transnational cultural study of the interaction of ideas between two cultures. Addressing theoretical and methodological developments across a wide range of fields, this highly interdisciplinary work will interest scholars in the fields of postcolonial and cultural studies, feminist studies, English literature, South Asian studies, and comparative literature. ~Good. Light to moderate shelf wear to covers/corners; satisfaction guaranteed. Trade paperback binding. Clean text. Last Word Books is an independent bookstore located in Olympia, Washington., Duke University Press, 1996-03-14, 2.5, Knopf. Very Good. 6 x 1.25 x 10 inches. Hardcover. 1999. 448 pages. <br>No contemporary scientist has done more to shape o ur understanding of the universe than Murray Gell-Mann, the Nobel Prize-winner many consider the most brilliant physicist of his g eneration. His discoveries of the quark and the Eightfold Way wer e cornerstones for all that has followed in particle physics, the effort to explain the very stuff of creation. In this first biog raphy of Gell-Mann, George Johnson tells the story of a remarkabl e life. Born on New York's Lower East Side, Gell-Mann was quickl y recognized as a child prodigy. Propelled by an intense boyhood curiosity and a love for nature, he entered Yale at fifteen. By a ge twenty-three he had ignited a revolution, laying bare in his g roundbreaking work the strange beauty of the minute particles tha t constitute the ultimate components of physical reality. Partic le physics is the most competitive of sports, and Johnson shows u s the precocious polymath holding his own with giants like Robert Oppenheimer, Enrico Fermi, and Richard Feynman -- Gell-Mann's fa vorite intellectual sparring partner and sometimes antagonistic r ival. We see Gell-Mann the self-taught linguist (who couldn't res ist correcting visitors on the pronunciation of their own names); Gell-Mann the birdwatcher and amateur archaeologist; Gell-Mann t he Aspen socialite, world traveler, and environmental crusader. We watch him making his scientific breakthroughs, his abrasive, c ompetitive drive leaving behind a growing trail of enemies. The e arly death of his first wife and a family crisis sent him veering in new directions. Turning from the physics of simple particles, like quarks, he began exploring how complex phenomena like life can be understood scientifically. George Johnson's informed and insightful biography goes far in helping us understand the comple xities of both the man and the science in which he has loomed so large. Editorial Reviews Review Murray Gell-Mann is a leading light in 20th-century physics, yet his name rings bells only for those interested in particle physics. Science writer Ge orge Johnson was fortunate enough to develop a friendly relations hip with the great scientist, and his biography, Strange Beauty, glows with a rare intimacy gained from a notoriously private and irascible man. From his childhood in New York City to his current scientific elder-statesman status in New Mexico, Johnson explore s Gell-Mann's life in glorious detail. A passionate, jealous, and brilliant man, he was capable of both profound insight and bitte r lifelong rivalries, but Johnson finds there's much more to the man than these two simple poles; Gell-Mann's volatile family life and deft academic maneuvering also find room in this expansive b iography. The reader finds that Johnson's careful attention to d etail shows more than it tells through enlightening stories of Ge ll-Mann's troubled, romantic, or pretentious dealings with peers, family, and even strangers. Explaining his strange surname means investigating old phone books, scientific legend, and family his tory, as the scientist is unwilling to shed light on the mystery (it turns out that his father hyphenated it, and Murray dreamed u p etymologies as needed--giving rise to the tangled web of myths) . Johnson is up to the challenge of recording the life story of a man nearly as strange as the quarks he discovered and named, and Strange Beauty lives up to the promise of its title. --Rob Light ner From Publishers Weekly Up, down, top, bottom, strange and c harm aren't just states of mind: they're kinds of quarks, the min d-bending, omnipresent sub-subatomic particles co-discovered and named in the early 1960s by the American physicist Murray Gell-Ma nn. New York Times science reporter Johnson (Fire in the Mind) ha s written a brisk, accessible life of the Nobel-winning scientist , who will turn 70 next month. Gell-Mann grew up poor in New York City, the son of Eastern European Jews. Still in his teens, he a ttended Yale and MIT, and soon afterward won notice for his work on cosmic rays. Gell-Mann followed up his insights about quarks w ith important work at Caltech and elsewhere on superstrings, supe rgravity and mathematical complexity. His adult life has had its hardships: his daughter gave much of her life to an American Stal inist fringe group, and his wife died of cancer in 1981. (He's si nce remarried.) Johnson makes clear that Gell-Mann's direct, some times arrogant manner could make him difficult to work with; admi red by physicists, he failed to achieve the wider fame of his med ia-friendly colleague, the late Richard Feynman. While Johnson re lates such troubles sympathetically, the story of Gell-Mann's lif e is in large part the story of his and others' researches and di scoveries. Explaining difficult fields like quantum physics, John son uses as many analogies, and as little math, as he can, while trying always to give some picture of what scientific problems Ge ll-Mann and his fellow scientists solved. The result is a careful if colloquial biography, perfect for readers who aren'tAor aren' t yetAworking scientists. (Oct.) Copyright 1999 Reed Business In formation, Inc. From Publishers Weekly Up, down, top, bottom, st range and charm aren't just states of mind: they're kinds of quar ks, the mind-bending, omnipresent sub-subatomic particles co-disc overed and named in the early 1960s by the American physicist Mur ray Gell-Mann. New York Times science reporter Johnson (Fire in t he Mind) has written a brisk, accessible life of the Nobel-winnin g scientist, who will turn 70 next month. Gell-Mann grew up poor in New York City, the son of Eastern European Jews. Still in his teens, he attended Yale and MIT, and soon afterward won notice fo r his work on cosmic rays. Gell-Mann followed up his insights abo ut quarks with important work at Caltech and elsewhere on superst rings, supergravity and mathematical complexity. His adult life h as had its hardships: his daughter gave much of her life to an Am erican Stalinist fringe group, and his wife died of cancer in 198 1. (He's since remarried.) Johnson makes clear that Gell-Mann's d irect, sometimes arrogant manner could make him difficult to work with; admired by physicists, he failed to achieve the wider fame of his media-friendly colleague, the late Richard Feynman. While Johnson relates such troubles sympathetically, the story of Gell -Mann's life is in large part the story of his and others' resear ches and discoveries. Explaining difficult fields like quantum ph ysics, Johnson uses as many analogies, and as little math, as he can, while trying always to give some picture of what scientific problems Gell-Mann and his fellow scientists solved. The result i s a careful if colloquial biography, perfect for readers who aren 'tAor aren't yetAworking scientists. (Oct.) Copyright 1999 Reed Business Information, Inc. From Library Journal One of the most notable physicists of the Nuclear Age, Murray Gell-Mann worked cl osely with Enrico Fermi, Richard Feynmann, and others to help unl ock the secrets of the subatomic world. In 1969, he received a No bel prize for his work on the interaction of elementary particles and their classification. Now New York Times science writer John son (Fire in the Mind) has written a well-balanced biography of t his renowned scientist's complex life and work. Noting Gell-Mann' s idiosyncrasies, his faults, and his accomplishments, Johnson fo llows his subject through his passions (nature and conservation, art collection, anthropology, ornithology, and linguistics), his struggles with chronic writer's block, and his incredible scienti fic achievements. While it is necessarily dense in parts, this bo ok is free of mathematics and is accessible to the advanced lay r eader. Recommended for large public and academic libraries.AJames Olson, Northeastern Illinois Univ. Lib., Chicago Copyright 1999 Reed Business Information, Inc. From Scientific American 'Stran ge Beauty' brings together an irresistible subject -- the difficu lt polymath Murray Gell-Mann -- and a talented writer who spins a n enthralling tale out of the kind of esoteric physics that gener ally flies right over our heads. Johnson is one of the best scien ce journalists writing today, known for his books 'Fire in the Mi nd' and 'In the Palaces of Memory' and for incisive reporting in the New York Times. This is his most ambitious project yet -- com municating the fascination of a kind of science that only an elit e of superbright people fully understands. He succeeds brilliantl y. From Kirkus Reviews Part biography, part textbook on quarks a nd other phenomena discovered by one of the great particle physic ists of the twentieth century. Johnson (a New York Times science writer) first introduces us to Murray Gell-Mann in the present da y, as a likable retiree living in Santa Fe. He sets his personal experiences with Gell-Mann against Gell-Mann the legend, cutting colleagues down to size if their viewpoints didn't coincide with his own, or calling them by unpleasant and sarcastic nicknames. G ell-Mann's broad scope of knowledge started in his youth in New Y ork City, where he would visit museums, the zoo, anywhere he coul d learn about the world around him. In school young Murray was al ways eager to show off his knowledge, winning a spelling bee at t he age of seven. At fourteen, he won a scholarship to Yale, movin g from there to MIT, where he reveled in the unsolved problems in physics. It was these problems, theories about particles yet to be discovered, that Gell-Mann would spend his career solving. Joh nson is not afraid to present these theories in great detail, giv ing crystal-clear descriptions of some of the most abstract and c onvoluted ideas in physics. Nor is he afraid to delve into the pe rsonal side of Gell-Mann, including his relationship with his col league Richard Feynman, a friendship at times strained by the fam e that Feynman achieved from his best-selling book of autobiograp hical anecdotes. Gell-Mann wanted to write one, too, but for all his knowledge he was crippled by a lifelong case of writer's bloc k. The limited success of his autobiography once it was finished presumably led to Strange Beauty. A must-read for anyone studying physics or its history, and for others not afraid to swim in the sometimes deep and murky waters of cutting-edge science. -- Copy right ®1999, Kirkus Associates, LP. All rights reserved. Review George Johnson has nailed this biography of the brilliant and ira scible Murray Gell-Mann. Strange Beauty is complex, mind-expandin g, beautiful, and true. -- James Gleick When you have one of the world's most accomplished science writers recounting the life an d times of one of the world's most accomplished scientists, reade rs' expectations are justifiably high. They are fully met. Johnso n gives us an extraordinary view of an extraordinary man, and nav igates through science that ordinarily would seem difficult, with such skill that it is not difficult at all. Strange Beauty is a masterpiece of modern biography. -- Roger Lewin Gell-Mann could not have written such a perceptive book about himself as Johnson has....Reads like a detective novel. Johnson does a wonderful job of describing the competition and cooperation among scientists, the egos and insecurities, the disappointments and triumphs, and the disputes, suspicions and shifting allegiances. -- The New Yor k Times Book Review Skillfully and engagingly written . . . John son paints a convincing portrait of Gell-Mann's personality, whic h is in turn charming, irritating, and generous . . . Johnson cap tures well his subject's inner scientific conflicts. -- Science Few physicists have displayed the poetic inspiration of the Nobel ist Murray Gell-Mann....In this biography he emerges as brilliant and often insufferable, relentlessly curious, hopelessly pedanti c, and one of the best synthetic thinkers in the history of his f ield. The book [offers] a vivid sense of Gell-Mann and his contem poraries (including his collaborator and competitor Richard Feynm an).... --The New Yorker From the Publisher A conversation with George Johnson, author of STRANGE BEAUTY: Murray Gell-Mann and t he Revolution in Twentieth Century Physics Q. Why do you call t he book Strange Beauty? A. When Gell-Mann was in his early 20s, physicists were baffled by cosmic-ray particles, bombarding the earth from outer space, that seemed to defy the known laws of phy sics. Gell-Mann solved the problem by proposing that the particle s were affected by a previously unknown phenomenon that he decide d to call strangeness. The theory, weird name and all, created a sensation. It was the first example of the strange beauty he kept finding in the universe -- mesmerizing patterns that lie beneath the surface of reality. Q. What happened next? A. From there h e went on to discover The Eightfold Way and quarks, always bestow ing his creations with whimsical names. There are top quarks, bot tom quarks, strange quarks, charmed quarks. They're held together by things called gluons. Physics was never again the same. Q. W hat is the Eightfold Way? And where do quarks fit in? A. Before Gell-Mann came onto the scene, there were hundreds of tiny subato mic particles of all shapes and sizes. Gell-Mann saw in a flash o f insight that they could all be arranged into patterns. He saw o rder where there had been confusion. The result was the Eightfold Way. Just as the Periodic Table of the Elements is used to arran ge all the different kinds of atoms, the Eightfold Way is used to arrange all the subatomic particles. A little later, Gell-Mann r ealized that the particles line up this way because they are made of tinier things called quarks. A Nobel prize was around the cor ner. Q. One of the classic rivalries in science is between Gell- Mann and Richard Feynman. Why was there so much friction between these two intellectual giants? A. A favorite pastime of physicis ts was arguing over who was smarter, Dick or Murray. At any unive rsity in the world, each would have been the unquestioned star. B ut at Caltech they were crowded into the same small department, j ust two doors from each other (with the same poor secretary in be tween.) Each was always trying to upstage the other. And they had strikingly different styles. Feynman would speak in an affected Brooklyn drawl and refuse to wear a coat and tie. Murray was as i mpeccable in his dress as he was in his pronunciation -- and not just in English but in dozens of other languages. He's famous for sitting down at Ch, Knopf, 1999, 3, Brand New Book, Shrinkwrapped, in Nice Condition with Very Small Bumps at the Head and Base of the Spine which has caused Small Crinkling but has No Tears, Stains, Mold, or Other Major Damage. No Remainder Mark.Book Description: American Icons explores American self-definition through the creation of a national art. Like their writer counterparts, American artists of the eighteenth and nineteenth centuries yearned to create their art in terms of a uniquely American experience of history and nature. Paradoxically, however, when they insisted upon American originality and uniqueness, they could not but mediate these qualities through European conventions. European methods and motifs were, nonetheless, used differently in the social, economic, and communicative contexts of the New World. For American artists, Europe was an ensemble, not to say a warehouse, of traditions and styles from which they could choose according to their interests and preferences. Innovation was therefore not necessarily a matter of breaking new ground but a matter of how established means were used in new circumstances and for different purposes. The present essays explore the construction of an American sublime, of a mythology of the frontier, of a democratic style of common people and common objects, all expressed through the language of European art, while changing that language in the process of coining a new usage.American painters and graphic artists of the eighteenth and nineteenth centuries sought inspiration for their work in the uniquely American experience of history and nature. The result was a transformation of the conventional Old World visual language into an indigenous and populist New World syntax. The twelve essays in this volume explore the development of a frontier mythology, a democratic style depicting common people and objects, and an American artistic consciousness and identity. Conceived and written from the perspectives of both cultural and art historians, American Icons initiates an interdisciplinary discussion on the complex relationships between American and European art.Los Angeles is a city on the Pacific Rim where things appear on edge, for they lack a permanent footing even while occupying a specific locale. The city's genius loci produce this dual vision of fixed place in a state of constant dislocation.It is only appropriate for the edge-bound Getty Center to initiate a series of publications that aim to expose the historical study of artifacts to the oscillation of rigorous debate. Each of these books proceeds from a specific body of historical material, not because that material is in itself inherently imbued with controversy but because its exposure to different disciplinary approaches raises new questions of interpretation. In the realm of historical studies, issues often emerge at the intersection of the various perspectives scholars have constructed for the examination of their subjects. As their debate refracts and refocuses the material under scrutiny, it also invites reflection upon itself and thereby exposes the assumptions and tendencies of scholarship to no less assiduous criticism than it does the underpinnings of its subjects.Contributors are Herbert Beck, Werner Busch, Martin Christadler, Nicolai Cikovsky, Jr., Françoise Forster-Hahn, Ursula Frohne, Barbara Gaehtgens, Thomas W. Gaehtgens, Barbara Groseclose, Olaf Hansen, William Hauptman, Heinz Ickstadt, Barbara Novak, and Kathleen Pyne.The book's contents are:Introduction by Thomas W. Gaehtgens and Heinz IckstadtAmerican Genesis: The Landing of Christopher Columbus by Barbara GrosecloseCopley, West, and the Tradition of European High Art by Werner BuschSelf, Time, and Object in American Art: Copley, Lane, and Homer by Barbara NovakRomantic Landscape Painting in America: History as Nature, Nature as History by Martin ChristadlerInventing the Myth of the American Frontier: Bingham's Images of Fur Traders and Flatboatmen as Symbols of the Expanding Nation by Françoise Forster-HahnFictions of Nationhood: Leutze's Pursuit of an American History Painting in Dusseldorf by Barbara GaehtgensKindred Spirits: Notes on Swiss and American Painting of the Nineteenth Century by William HauptmannStrategies of Recognition: The Conditioning of the American Artist between Marginality and Fame by Ursula FrohneWinslow Homer's National Style by Nicolai Cikovsky, Jr.The Senses of Illusion by Olaf HansenResisting Modernism: American Painting in the Culture of Conflict by Kathleen PyneUrban Iconography in Nineteenth-Century American Painting: From Impressionism to the Ash Can School by Hubert BeckBiographical Notes on the AuthorsIndexVolumes in the Issues & Debates series will result from symposia and lecture series, as well as from commissioned writings. Their scholarly editors are invited to frame highly focused essays with introductions, commentaries and/or sources, documents, and illustrations that further contribute to their usefulness., The Getty Center for the History of Art and the Humanities, 5<
Thomas W. Gaehtgens [Editor]; Heinz Ickstadt [Editor]:
American Icons: Transatlantic Perspectives on Eighteenth- and Nineteenth-Century American Art (Issues and Debates Series) - Paperback2009, ISBN: 9780892362462
Victor Gollancz, UK, 2000. Trade Paperback. Very Good. Trade Paperback. 345 pages. *** PUBLISHING DETAILS: Victor Gollancz, UK, 2000. *** CONDITION: This book is in very good conditi… More...
Victor Gollancz, UK, 2000. Trade Paperback. Very Good. Trade Paperback. 345 pages. *** PUBLISHING DETAILS: Victor Gollancz, UK, 2000. *** CONDITION: This book is in very good condition. More specifically: Covers have light creasing. Spine is uncreased. . Edges of pages are lightly browned. Pages are lightly tanned. Light foxing to top edge of pages. *** ABOUT THIS BOOK: When contact was lost with the colony on the planet Dirangesept the Far Warriors were sent to rescue them. Sitting in orbit above the planet controlling their autoid fighting machines by remote psi links, they thought they were invulnerable to whatever had killed the colonists. They were wrong. As hundred upon hundred of the autoids wee destroyed by what appeared to be fabulous mythological beasts the mental agony suffered by the warriors tipped their minds over the edge. And now, years later in a Britain scarred by freak geological collapses and minor volcanic eruptions, with a shadowy populations seeking escape from their grim lives via a contagious addiction to VR games, someone is killing the surviving Far Warriors. Reckless Sleep is a supremely assured and visionary SF debut. London in the far future assumes an almost biblical air as ash from volcanic eruptions forms drifts in the streets and villages disappear overnight into fresh fault lines. There is also a superb exam ination of the true dilemmas presented by VR. Combining the confident vision of Ken Macleod, the paranoia driven plotting of Philip K. Dick and a wholely original take on the SF standard of Virtual Reality this is a remarkable novel. *** Quantity Available: 1. Category: Science Fiction & Fantasy; ISBN: 057506899X. ISBN/EAN: 9780575068995. Inventory No: 23050102.. 9780575068995, Victor Gollancz, 2000, 3, "A book whose hold on your mind, on your memory, is assured. It is a story about story, and stories are what we are all made of. Abandon hope all ye who enter here."Paul Kincaid, SF Site"A work that reads like language stripped bare, myth tracked to its origin."Locus"Sublimely lyrical Jacobeanesque dialect . . . readers who enjoy symbolism and allusion will cherish Gilman's use of diverse folkloric elements to create an unforgettable realm and ideology."Publishers Weekly"'Green quince and bletted medlar, quiddany and musk': Greer Gilman fills your mouth with wincing tastes, your ears with crowcalls, knockings and old, old rhythms, your eyes with beautiful and battered creatures, sly-eyed, luminous or cackling as they twine and involute their stories. Gilman writes like no one else. To read her is to travel back, well back, in time; to wander in thrall through mist on moor and fell; to sink up to the nostrils in a glorious bog of legend and language, riddled with bones and iron, sodden with witches' blood."Margo Lanagan, author of Tender Morsels"Greer Gilman is a master of myth and language with few equals in this world. Cloud and Ashes is a triumphant, heart-rending triptych, a mosaic of folklore, intellectual pyrotechnics, and marvelous, motley characters that takes the breath and makes the blood beat faster."Catherynne M. Valente, author of In the Night Garden"No one else writes like Greer Gilman. She is one of our most innovative and important writers, in fantasy or out of it. If you want to see what language can do, the heart-stopping beauty it can achieve, read Cloud & Ashes."Theodora Goss, author of In the Forest of Forgetting"Cloud and Ashes is a dark pastoral shaped from bits of ballads, scraps of nursery rhymes, fragments of Tarot, tatters of ancient myth, and shreds of archaic language, all shot through with luminous ribbons of Gilman's own personal cosmology.... Gilman's prose reminds us that most magical systems locate the power of magic in the power of language itself. Cloud and Ashes is particularly recommended to those readers who enjoy myth and folklore, especially the myths of Ariadne and Persephone. Cloud and Ashes is also highly recommended to those readers who enjoy fantasy which explores language and folklore."Green Man Review"Gilman's 'A Crowd of Bone' . . . is dense, jammed with archaic words and neologisms . . . but the storycomplex, tangled in narrative as well as syntax, and very darkrewards the most careful of readings."The Washington Post Book World"I am wind and memory who spells this . . ."In the eighteen years since her Crawford Awardwinning debut novel Moonwise, Greer Gilman's writing has only grown more complex and entrancing, more beguiling and inventive.Gilman's second novel, Cloud & Ashes, is a slow whirlwind of language, a button box of words, a mythic Joycean fable that will invite immersion, study, revisitation, and delight. To step into her world is to witness the bright flashes, witty turns, and shadowy corners of the human imagination, limned with all the detail and humor of a master stylist. In Gilman's intricate prose, myth and fable live, breathe, and dance as they do nowhere else.Cloud & Ashes collects three Winter's Tales ("Jack Daw's Pack," "A Crowd of Bone," and the longest, "Unleaving") centering on folk traditions, harvest rites, the seasons, gods, and trickster figures.In "Unleaving," Margaret, granddaughter of a goddess, escapes from the underworld into the human realm, Cloud. She is pursued, and, in escaping, brings about an epochal change, separating the kingdom of myth from the human world.Cloud & Ashes is a work that reaches back to the richness of ShakespeareGilman understands that the depth of Shakespeare's work lies in his rangeand the reader will rejoice in her counterplay of high myth and bawdry even while being drawn into the world of Cloud. Inventive, playful, and erudite, Gilman is an archeolexicologist rewriting language itself in these long-awaited tales.Greer Gilman is the author of the novel Moonwise, which won the Crawford Award and was shortlisted for the James Tiptree, Jr. and Mythopoeic awards, as well as of the World Fantasy Awardwinning "A Crowd of Bone." She lives in Cambridge, Massachusetts., Small Beer Press, 2009-06, 6, Brand New Book, Shrinkwrapped, in Nice Condition with Very Small Bumps at the Head and Base of the Spine which has caused Small Crinkling but has No Tears, Stains, Mold, or Other Major Damage. No Remainder Mark.Book Description: American Icons explores American self-definition through the creation of a national art. Like their writer counterparts, American artists of the eighteenth and nineteenth centuries yearned to create their art in terms of a uniquely American experience of history and nature. Paradoxically, however, when they insisted upon American originality and uniqueness, they could not but mediate these qualities through European conventions. European methods and motifs were, nonetheless, used differently in the social, economic, and communicative contexts of the New World. For American artists, Europe was an ensemble, not to say a warehouse, of traditions and styles from which they could choose according to their interests and preferences. Innovation was therefore not necessarily a matter of breaking new ground but a matter of how established means were used in new circumstances and for different purposes. The present essays explore the construction of an American sublime, of a mythology of the frontier, of a democratic style of common people and common objects, all expressed through the language of European art, while changing that language in the process of coining a new usage.American painters and graphic artists of the eighteenth and nineteenth centuries sought inspiration for their work in the uniquely American experience of history and nature. The result was a transformation of the conventional Old World visual language into an indigenous and populist New World syntax. The twelve essays in this volume explore the development of a frontier mythology, a democratic style depicting common people and objects, and an American artistic consciousness and identity. Conceived and written from the perspectives of both cultural and art historians, American Icons initiates an interdisciplinary discussion on the complex relationships between American and European art.Los Angeles is a city on the Pacific Rim where things appear on edge, for they lack a permanent footing even while occupying a specific locale. The city's genius loci produce this dual vision of fixed place in a state of constant dislocation.It is only appropriate for the edge-bound Getty Center to initiate a series of publications that aim to expose the historical study of artifacts to the oscillation of rigorous debate. Each of these books proceeds from a specific body of historical material, not because that material is in itself inherently imbued with controversy but because its exposure to different disciplinary approaches raises new questions of interpretation. In the realm of historical studies, issues often emerge at the intersection of the various perspectives scholars have constructed for the examination of their subjects. As their debate refracts and refocuses the material under scrutiny, it also invites reflection upon itself and thereby exposes the assumptions and tendencies of scholarship to no less assiduous criticism than it does the underpinnings of its subjects.Contributors are Herbert Beck, Werner Busch, Martin Christadler, Nicolai Cikovsky, Jr., Françoise Forster-Hahn, Ursula Frohne, Barbara Gaehtgens, Thomas W. Gaehtgens, Barbara Groseclose, Olaf Hansen, William Hauptman, Heinz Ickstadt, Barbara Novak, and Kathleen Pyne.The book's contents are:Introduction by Thomas W. Gaehtgens and Heinz IckstadtAmerican Genesis: The Landing of Christopher Columbus by Barbara GrosecloseCopley, West, and the Tradition of European High Art by Werner BuschSelf, Time, and Object in American Art: Copley, Lane, and Homer by Barbara NovakRomantic Landscape Painting in America: History as Nature, Nature as History by Martin ChristadlerInventing the Myth of the American Frontier: Bingham's Images of Fur Traders and Flatboatmen as Symbols of the Expanding Nation by Françoise Forster-HahnFictions of Nationhood: Leutze's Pursuit of an American History Painting in Dusseldorf by Barbara GaehtgensKindred Spirits: Notes on Swiss and American Painting of the Nineteenth Century by William HauptmannStrategies of Recognition: The Conditioning of the American Artist between Marginality and Fame by Ursula FrohneWinslow Homer's National Style by Nicolai Cikovsky, Jr.The Senses of Illusion by Olaf HansenResisting Modernism: American Painting in the Culture of Conflict by Kathleen PyneUrban Iconography in Nineteenth-Century American Painting: From Impressionism to the Ash Can School by Hubert BeckBiographical Notes on the AuthorsIndexVolumes in the Issues & Debates series will result from symposia and lecture series, as well as from commissioned writings. Their scholarly editors are invited to frame highly focused essays with introductions, commentaries and/or sources, documents, and illustrations that further contribute to their usefulness., The Getty Center for the History of Art and the Humanities, 5<
American Icons: Transatlantic Perspectives on Eighteenth- and Nineteenth-Century American Art (Issues and Debates Series) - used book
ISBN: 9780892362462
Brand New Book, Shrinkwrapped, in Nice Condition with Very Small Bumps at the Head and Base of the Spine which has caused Small Crinkling but has No Tears, Stains, Mold, or Other Major Da… More...
Brand New Book, Shrinkwrapped, in Nice Condition with Very Small Bumps at the Head and Base of the Spine which has caused Small Crinkling but has No Tears, Stains, Mold, or Other Major Damage. No Remainder Mark.Book Description: American Icons explores American self-definition through the creation of a national art. Like their writer counterparts, American artists of the eighteenth and nineteenth centuries yearned to create their art in terms of a uniquely American experience of history and nature. Paradoxically, however, when they insisted upon American originality and uniqueness, they could not but mediate these qualities through European conventions. European methods and motifs were, nonetheless, used differently in the social, economic, and communicative contexts of the New World. For American artists, Europe was an ensemble, not to say a warehouse, of traditions and styles from which they could choose according to their interests and preferences. Innovation was therefore not necessarily a matter of breaking new ground but a matter of how established means were used in new circumstances and for different purposes. The present essays explore the construction of an American sublime, of a mythology of the frontier, of a democratic style of common people and common objects, all expressed through the language of European art, while changing that language in the process of coining a new usage.American painters and graphic artists of the eighteenth and nineteenth centuries sought inspiration for their work in the uniquely American experience of history and nature. The result was a transformation of the conventional Old World visual language into an indigenous and populist New World syntax. The twelve essays in this volume explore the development of a frontier mythology, a democratic style depicting common people and objects, and an American artistic consciousness and identity. Conceived and written from the perspectives of both cultural and art historians, American Icons initiates an interdisciplinary discussion on the complex relationships between American and European art.Los Angeles is a city on the Pacific Rim where things appear on edge, for they lack a permanent footing even while occupying a specific locale. The city's genius loci produce this dual vision of fixed place in a state of constant dislocation.It is only appropriate for the edge-bound Getty Center to initiate a series of publications that aim to expose the historical study of artifacts to the oscillation of rigorous debate. Each of these books proceeds from a specific body of historical material, not because that material is in itself inherently imbued with controversy but because its exposure to different disciplinary approaches raises new questions of interpretation. In the realm of historical studies, issues often emerge at the intersection of the various perspectives scholars have constructed for the examination of their subjects. As their debate refracts and refocuses the material under scrutiny, it also invites reflection upon itself and thereby exposes the assumptions and tendencies of scholarship to no less assiduous criticism than it does the underpinnings of its subjects.Contributors are Herbert Beck, Werner Busch, Martin Christadler, Nicolai Cikovsky, Jr., Françoise Forster-Hahn, Ursula Frohne, Barbara Gaehtgens, Thomas W. Gaehtgens, Barbara Groseclose, Olaf Hansen, William Hauptman, Heinz Ickstadt, Barbara Novak, and Kathleen Pyne.The book's contents are:Introduction by Thomas W. Gaehtgens and Heinz IckstadtAmerican Genesis: The Landing of Christopher Columbus by Barbara GrosecloseCopley, West, and the Tradition of European High Art by Werner BuschSelf, Time, and Object in American Art: Copley, Lane, and Homer by Barbara NovakRomantic Landscape Painting in America: History as Nature, Nature as History by Martin ChristadlerInventing the Myth of the American Frontier: Bingham's Images of Fur Traders and Flatboatmen as Symbols of the Expanding Nation by Françoise Forster-HahnFictions of Nationhood: Leutze's Pursuit of an American History Painting in Dusseldorf by Barbara GaehtgensKindred Spirits: Notes on Swiss and American Painting of the Nineteenth Century by William HauptmannStrategies of Recognition: The Conditioning of the American Artist between Marginality and Fame by Ursula FrohneWinslow Homer's National Style by Nicolai Cikovsky, Jr.The Senses of Illusion by Olaf HansenResisting Modernism: American Painting in the Culture of Conflict by Kathleen PyneUrban Iconography in Nineteenth-Century American Painting: From Impressionism to the Ash Can School by Hubert BeckBiographical Notes on the AuthorsIndexVolumes in the Issues & Debates series will result from symposia and lecture series, as well as from commissioned writings. Their scholarly editors are invited to frame highly focused essays with introductions, commentaries and/or sources, documents, and illustrations that further contribute to their usefulness., The Getty Center for the History of Art and the Humanities, 5<
American Icons. Transatlantic Perspectives on Eighteenth- and Nineteenth-Century American Art (Issues & Debates Series Volume 2) - hardcover
1992, ISBN: 0892362464
Leinen 27 cm ; Leinen Issues & Debates Series Volume 2. Englischsprachige Hardcoverausgabe, Leineneinband mit Schutzumschlag, 360 Seiten mit zahlreichen Abbildungen. Gutes Exemplar (good… More...
Leinen 27 cm ; Leinen Issues & Debates Series Volume 2. Englischsprachige Hardcoverausgabe, Leineneinband mit Schutzumschlag, 360 Seiten mit zahlreichen Abbildungen. Gutes Exemplar (good Condition). hw472 ISBN: 0892362464 Americana ; Amerikanische Ikonen ; 3, [PU:The Getty Center for the History of Art and the Humanities, Santa Monica & The University of Chicago Press, Chicago,]<
American Icons. Transatlantic Perspectives on Eighteenth- and Nineteenth-Century American Art (Issues & Debates Series Volume 2) - hardcover
1992, ISBN: 0892362464
The Getty Center for the History of Art and the Hu, Santa Monica & The University of Chicago Press, Chicago, 27 cm ; Leinen Issues & Debates Series Volume 2. Englischsprachige Hardcoverau… More...
The Getty Center for the History of Art and the Hu, Santa Monica & The University of Chicago Press, Chicago, 27 cm ; Leinen Issues & Debates Series Volume 2. Englischsprachige Hardcoverausgabe, Leineneinband mit Schutzumschlag, 360 Seiten mit zahlreichen Abbildungen. Gutes Exemplar (good Condition). hw472 ISBN: 0892362464Malerei [Americana ; Amerikanische Ikonen] 1992, [PU: J. Paul Getty Museum]<
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Details of the book - American Icons: Transatlantic Perspectives on Eighteenth-and Nineteenth-century American Art (Issues & debates) (Issues and Debates)
EAN (ISBN-13): 9780892362462
ISBN (ISBN-10): 0892362464
Hardcover
Paperback
Publishing year: 1996
Publisher: Getty Publications
360 Pages
Weight: 1,270 kg
Language: eng/Englisch
Book in our database since 2007-05-27T11:06:18+01:00 (London)
Detail page last modified on 2024-03-18T09:34:07+00:00 (London)
ISBN/EAN: 0892362464
ISBN - alternate spelling:
0-89236-246-4, 978-0-89236-246-2
Alternate spelling and related search-keywords:
Book author: gaehtgens, thomas heinz, ickstadt heinz, icons, heinz werner, herbert hahn, martin werner, thomas forster, thomas and thomas
Book title: american century, american icon, transatlantic, heinz, art now icons, perspectives
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