A translation of the old Norse tale "The Tale of Hogni and Hedinn," translated by Eirikr Magnusson and William Morris.

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?'

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.