Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

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.

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.

When the Lumiere brothers introduced the motion picture in 1895, Poland was a divided and suffering nation - yet Polish artists found their way into the new world of cinema. Polish pioneer Boleslaw Matuszewski created his first documentary films in 1896, and Poland's first movie house was established in 1908. Despite war and repression, Polish cinema continued to grow and to reach for artistic heights. The twentieth century closed with new challenges, but a new generation of Polish filmmakers stands ready to meet them. Here is a complete history of the Polish cinema through the end of the twentieth century, with special attention to political and economic contexts. Each chapter includes discussions of important directors and films in a given period. (Yiddish - language films, which were made primarily in Poland, are included.) Unique reference material includes a filmography providing cast and crew information for more than 500 Polish films; information about the translation of titles; and a list of all Polish films approved, rejected, or conditionally approved by the New York State Department of Education from 1922 through 1965, during which time the Department exercised virtual censorship for the whole country. This book features photographs that offer a look at hard-to-find Polish films, and an index provides quick access to names and titles.

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.

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.