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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.
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.
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.
William Morris is perhaps best known today for the beautiful
textile designs he created under the banner of Morris & Co,
which continue to decorate homes around the globe. As one of the
leading lights of British socialism, however, he is less well
known, and this series of Morris's Manifestos seeks to highlight
his extraordinary contribution to the literary canon on subjects
socialist and artistic. Based on a lecture given at the Manchester
Royal Institution in 1883, Art, Wealth and Riches is a
thought-provoking essay that considers art as having educative and
aesthetic value that should be shared with the many, rather than
financial value that should be hoarded by the few. Morris asks: 'Is
art to be limited to a narrow class who only care for it in a very
languid way, or is it to be the solace and pleasure of the whole
people?'
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V&A William Morris Recipe Box
William Morris; Edited by Victoria and Albert Museum
1
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R464
R426
Discovery Miles 4 260
Save R38 (8%)
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Ships in 12 - 17 working days
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Keep favourite recipes at hand yet neatly filed in a decorative
Galison recipe file box. Eight glossy tabbed dividers organize
recipes into Fruits and Vegetables, Breads and Pasta, Eggs and
Dairy, Soups and Salads, Meats and Poultry, Fish and Seafood,
Desserts, and Beverages. Fifty 4 x 6" fill-in recipe cards are
included, and printable blank recipe card templates are available
online. The hinged box measures 6-1/4 x 3-1/4 x 8".
A far-sighted Victorian, William Morris was a pioneering socialist, book designer and decorative artist, founder of the Society for the Protection of Ancient Buildings, and author of intense short lyrics, long poetic narratives, and utopian-socialist prose romances. This annotated critical edition is the first attempt to make Morris's 42,000-word verse sequence accessible to a modern audience. The edition's scholarly apparatus also records the location of extant manuscripts and provides full scholarly collations of changes made in Morris's text during his lifetime. Extensive reader aids for enhanced comprehension and a wealth of references relating the work to art, history, and politics are two of this book's most important features. In addition, sample illustrations and original initials provide a sense of The Earthly Paradise's original appearance and design.
The Spirit and the Screen engages contemporary films from the
perspective of pneumatology to give theologies of culture fruitful
new perspectives that begin with the Spirit rather than other
common theological contact points (Christology, anthropology,
theological ethics, creation, eschatology, etc.). This book
explores pertinent pneumatological issues that arise in film, as
well as literary devices that draw allusions to the Spirit. It
offers three main contributions: first, it explores how Christian
understandings of the person and work of the Spirit illuminate the
nature of film and film-making; second, it shows that there are in
fact “Spirit figures” in film (as distinct from but inseparable
from Christ-figures), even if sometimes they’re not intended as
such, “Spirit-led” characters, are moved to act
“prophetically,” against their inclinations and in excess of
their skill or knowledge and with eccentric, life-giving
creativity; third, it identifies subtle and explicit symbolizations
of the Spirit in pop culture, symbolizations that requires deep,
careful thinking about the Christian doctrine of the Spirit and
generate new horizons for cultural analysis. The contributors of
this book explore these issues, asking how Christian convictions
and experiences of the Spirit might shape the way one thinks about
films and film-making.
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