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Rembrandt Harmensz. van Rijn (c.1606-1669) was the most
talked-about painter of the 17th-century - and quite possibly of
the following centuries too. His prodigious talent, extraordinary
emotional truth, and reckless disregard of artistic convention
astonished, delighted and often dismayed his contemporaries; and
the full gamut of these reactions is revealed in the three early
biographies published here for the first time in their entirety in
English. Sandrart, a German painter and writer on painting,
actually knew Rembrandt in Amsterdam; Baldinucci, also an artist
contemporary with Rembrandt, was one of the greatest early
connoisseurs of prints; and Arnold Houbraken, who studied under
some of Rembrandt's pupils, wrote the earliest major biographical
account of the artists of Holland. These extraordinary documents
give a vivid picture of Rembrandt's shattering impact on the art
world of his time - not only as a painter, but as a supremely
successful manipulator of the market, a dangerous example to the
young, and an unavoidable challenge to any sense of decorum and
rule-giving. Rooted firmly in the 17-century realities of
Rembrandt's life, they bring into sharper focus the qualities of
originality and psychological acuity that remain Rembrandt's
trademark to this day. The introduction by Charles Ford situates
these biographies in the context of 17th-century appreciation of
art, and the trajectory of Rembrandt's career. The translations
have been specially prepared for this edition by Charles Ford,
aided by Ulrike Kern and Francesca Migliorini, and in part
following the work of Tancred Borenius.
Music, Sexuality and the Enlightenment explains how Mozart's music
for Le nozze di Figaro, Don Giovanni and CosA fan tutte 'sounds'
the intentions of Da Ponte's characters and their relationships
with one another. Mozart, by way of the infinitely generative and
beautiful logic of the sonata principle, did not merely interpret
Da Ponte's characterizations but lent them temporal, musical forms.
Charles Ford's analytic interpretation of these musical forms
concerns processes and structures in detail and at medium- to
long-term levels. He addresses the music of a wide range of arias
and ensembles, and develops original ways to interpret the two
largely overlooked operatic genres of secco recitative and finales.
Moreover, Ford presents a new method by which to relate musical
details directly to philosophical concepts, and thereby, the music
of the operas to the inwardly contradictory thinking of the
European Enlightenment. This involves close readings of late
eighteenth-century understandings of 'man' and nature, self and
other, morality and transgression, and gendered identities and
sexuality, with particular reference to contemporary writers,
especially Goethe, Kant, Laclos, Rousseau, Sade, Schiller, Sterne
and Wollstonecraft. The concluding discussion of the implied
futures of the operas argues that their divided sexualities, which
are those of the Enlightenment as a whole, have come to form our
own unquestioned assumptions about gender differences and
sexuality. This, along with the elegant and eloquent precision of
Mozart's music, is why Figaro, Giovanni and CosA still maintain
their vital immediacy for audiences today.
Music, Sexuality and the Enlightenment explains how Mozart's music
for Le nozze di Figaro, Don Giovanni and CosA fan tutte 'sounds'
the intentions of Da Ponte's characters and their relationships
with one another. Mozart, by way of the infinitely generative and
beautiful logic of the sonata principle, did not merely interpret
Da Ponte's characterizations but lent them temporal, musical forms.
Charles Ford's analytic interpretation of these musical forms
concerns processes and structures in detail and at medium- to
long-term levels. He addresses the music of a wide range of arias
and ensembles, and develops original ways to interpret the two
largely overlooked operatic genres of secco recitative and finales.
Moreover, Ford presents a new method by which to relate musical
details directly to philosophical concepts, and thereby, the music
of the operas to the inwardly contradictory thinking of the
European Enlightenment. This involves close readings of late
eighteenth-century understandings of 'man' and nature, self and
other, morality and transgression, and gendered identities and
sexuality, with particular reference to contemporary writers,
especially Goethe, Kant, Laclos, Rousseau, Sade, Schiller, Sterne
and Wollstonecraft. The concluding discussion of the implied
futures of the operas argues that their divided sexualities, which
are those of the Enlightenment as a whole, have come to form our
own unquestioned assumptions about gender differences and
sexuality. This, along with the elegant and eloquent precision of
Mozart's music, is why Figaro, Giovanni and CosA still maintain
their vital immediacy for audiences today.
In the 1960s, art patron Dominique de Menil founded an image
archive showing the ways that people of African descent have been
represented in Western art. Highlights from her collection appeared
in three large-format volumes that quickly became collector s
items. A half-century later, Harvard University Press and the Du
Bois Institute are proud to publish a complete set of ten sumptuous
books, including new editions of the original volumes and two
additional ones.
"Europe and the World Beyond" focuses geographically on peoples
of South America and the Mediterranean as well as Africa but
conceptually it emphasizes the many ways that visual constructions
of blacks mediated between Europe and a faraway African continent
that was impinging ever more closely on daily life, especially in
cities and ports engaged in slave trade.
"The Eighteenth Century "features a particularly rich
collection of images of Africans representing slavery s apogee and
the beginnings of abolition. Old visual tropes of a master with
adoring black slave gave way to depictions of Africans as victims
and individuals, while at the same time the intellectual
foundations of scientific racism were established.
This is a new release of the original 1937 edition.
This is a reproduction of a book published before 1923. This book
may have occasional imperfections such as missing or blurred pages,
poor pictures, errant marks, etc. that were either part of the
original artifact, or were introduced by the scanning process. We
believe this work is culturally important, and despite the
imperfections, have elected to bring it back into print as part of
our continuing commitment to the preservation of printed works
worldwide. We appreciate your understanding of the imperfections in
the preservation process, and hope you enjoy this valuable book.
This scarce antiquarian book is a selection from Kessinger
Publishing's Legacy Reprint Series. Due to its age, it may contain
imperfections such as marks, notations, marginalia and flawed
pages. Because we believe this work is culturally important, we
have made it available as part of our commitment to protecting,
preserving, and promoting the world's literature. Kessinger
Publishing is the place to find hundreds of thousands of rare and
hard-to-find books with something of interest for everyone
The Making of the Modern Law: Legal Treatises, 1800-1926 includes
over 20,000 analytical, theoretical and practical works on American
and British Law. It includes the writings of major legal theorists,
including Sir Edward Coke, Sir William Blackstone, James Fitzjames
Stephen, Frederic William Maitland, John Marshall, Joseph Story,
Oliver Wendell Holmes, Jr. and Roscoe Pound, among others. Legal
Treatises includes casebooks, local practice manuals, form books,
works for lay readers, pamphlets, letters, speeches and other works
of the most influential writers of their time. It is of great value
to researchers of domestic and international law, government and
politics, legal history, business and economics, criminology and
much more.++++The below data was compiled from various
identification fields in the bibliographic record of this title.
This data is provided as an additional tool in helping to insure
edition identification: ++++Harvard Law School Libraryocm26611313A
paper read at the meeting of the Incorporated Law Society, U.K.,
held at Cambridge on the 7th and 8th October 1879.London:
Spottiswoode, 1879. 18 p.; 22 cm.
Kessinger Publishing is the place to find hundreds of thousands of
rare and hard-to-find books with something of interest for
everyone!
In "Hidden Fields," choices are further examined with respect to
various themes. Charles Ford introduces another concept about
choices; there are internal choices, and external ones. Now, in the
general sense choices are seen as external state-of-affairs and are
associated with our bodies, such as an individual act or behavior,
so one sees the manifested action. The internal choices stem from
our various selves, choices that are made by our souls and spirits,
and our feeling and reasoning, respectively. The individual has to
think or feel before he/she acts. Charles believes ultimately both
internal and external choices need to be in harmony with each
other, so better choices can be seen in an individual life.
Charles continues to write and strives for excellence in all
his poems. He invites the readers into his presence to share and
exchange of thoughts and views about life experiences. All readers
can be at home with him from simple to complex truths and
philosophies about life. Charles wants the readers to discover
something about their selves as they read his poems for as human
beings we are more similar than difference in our choices. It does
not matter what race, culture, or sex differences we have. We are
still human being; for we all think, sleep, and dream. And can
truly make better choices. Charles hopes all readers can clearly
see this in his poems.
Poetry can give the readers a chance to make better choices in
their lives. "Hidden Fields" prepares them to examine their self,
religion, and philosophy by the spirit of poetry. Charles Ford
wants to share his many life experiences with readers, and invite
them into his home by his every thought, word, and action. So they
may know him, and discover something special and unique about
themselves. He wrote poems "for" people throughout history, rather
than "to" them. Poems offer "for" people, even "for" readers who
know little poetry. All are unique alive or dead. In "Hidden
Fields," Charles brings to readers his experiences and his
individuations, which he expresses wonderfully by his
ever-deepening imagination and understanding that he has about
poetry. These poems about self embodied metaphysics of his faith,
hope, and love. Charles writes poems about religion and philosophy,
they are also in the vein of metaphysics. These poems reveal his
profound spiritual growth that he achieved in his life. He
experienced a religious conversion at three. He shares this
experience and many others with readers; so they may know he writes
poems from his heart by inspiration and love he has for God and
man.
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