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Tanya Artemiciov is a talented Mage-class adventurer who just got
kicked out of her party by a sexist scumbag. So what's a girl to
do? Go to the wasteland and blow stuff up of course! One small
problem though: she inadvertently frees a mythical Sorceress named
Laplace who was sealed away for the past 300 years...Surprise!
Turns out this so-called "wicked" Sorceress is actually pretty
cool. Laplace wants to start a party of her own, Tanya wants
revenge, and the solution is obvious: team up. It's time to kick
ass, kiss girls, and dismantle the patriarchy!
"After taking first place in the Sparring Tournament, Tanya
Artemiciov and the rest of her party members are invited to the
royal soiree. Following a chance encounter with Princess Arianora,
they catch a glimpse of Maxwell, the man who sealed Laplace away
for 300 years. And the very next morning, Laplace goes missing.What
secrets are hiding in Laplace's dark past? What's the REAL reason
she was sealed away for so long? And... why does she look so much
like Arianora?! Kick off your high heels and loosen that corset,
because it's time for revenge: part two!"
Baskets made of baleen, the fibrous substance found in the mouths
of plankton-eating whales-a malleable and durable material that
once had commercial uses equivalent to those of plastics today-were
first created by Alaska Natives in the early years of the twentieth
century. Because they were made for the tourist trade, they were
initially disdained by scholars and collectors, but today they have
joined other art forms as a highly prized symbol of native
identity. Baskets of exquisite workmanship, often topped with
fanciful ivory carvings, have been created for almost a century,
contributing significantly to the livelihood of their makers in the
Arctic villages of Barrow, Point Hope, Wainwright, and Point Lay,
Alaska. Baleen Basketry of the North Alaskan Eskimo, originally
published in 1983, was the first book on this unusual basket form.
In this completely redesigned edition, it remains the most
informative work on baleen baskets, covering their history,
characteristics, and construction, as well as profiling their
makers. Illustrations of the basketmakers at work and line drawings
showing the methods of construction are a charming addition to this
book, which belongs in the library of all those with an interest in
the art of basketry and in Alaskan Native arts in general.
Baskets made of baleen, the fibrous substance found in the mouths
of plankton-eating whales-a malleable and durable material that
once had commercial uses equivalent to those of plastics today-were
first created by Alaska Natives in the early years of the twentieth
century. Because they were made for the tourist trade, they were
initially disdained by scholars and collectors, but today they have
joined other art forms as a highly prized symbol of native
identity. Baskets of exquisite workmanship, often topped with
fanciful ivory carvings, have been created for almost a century,
contributing significantly to the livelihood of their makers in the
Arctic villages of Barrow, Point Hope, Wainwright, and Point Lay,
Alaska. Baleen Basketry of the North Alaskan Eskimo, originally
published in 1983, was the first book on this unusual basket form.
In this completely redesigned edition, it remains the most
informative work on baleen baskets, covering their history,
characteristics, and construction, as well as profiling their
makers. Illustrations of the basketmakers at work and line drawings
showing the methods of construction are a charming addition to this
book, which belongs in the library of all those with an interest in
the art of basketry and in Alaskan Native arts in general.
Now in a full-color second edition, "Not Just a Pretty Face" is an
engaging exploration of the role of dolls and doll making in Alaska
Native cultures. From ancient ivory carvings to the thriving
tourist market, dolls and human figurines have played integral
parts in the ritual, economic, and social lives of Native Alaskans.
Dolls served as children's playthings, represented absent community
members at ceremonies, and predicted the movements of game animals
for shamans. "Not Just a Pretty Face" surveys these and other uses
of dolls and figurines, illustrating in beautiful color photographs
the diversity of the doll-making tradition in Eskimo, Athabaskan,
and Northwest Coast Native communities.
Authors explore the ethnographic literature, twentieth-century oral
histories, and photographic documentation of dolls and the
doll-making process. Contemporary doll makers explain, in their own
words, how they learned to make dolls and what doll making means to
them. The second edition features a photo essay on Rosalie Paniyak
of Chevak, one of the most influential doll makers in Alaska today.
"Not Just a Pretty Face" provides a panoramic view of an ancient
tradition and situates the art of doll making within a contemporary
context. Scholarly, yet accessible, "Not Just a Pretty Face" is a
lively contribution to the literature on dolls, anthropology, and
Native studies.
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