H. Gombrich, New York Review of Books"This is an engaged and passionate work by a writer with powerful convictions about art, images, aesthetics, the art establishment, and especially the discipline of art history. It is animated by an extraordinary erudition."—Arthur C. Danto, The Art Bulletin"Freedberg's ethnographic and historical range is simply stunning. . . . The Power of Images is an extraordinary critical achievement, exhilarating in its polemic against aesthetic orthodoxy, endlessly fascinating in its details. . . . This is a powerful, disturbing book."—T. J. Jackson Lears, Wilson Quarterly"Freedberg helps us to see that one cannot do justice to the images of art unless one recognizes in them the entire range of human responses, from the lowly impulses prevailing in popular imagery to their refinement in the great visions of the ages."—Rudolf Arnheim, Times Literary Supplement

    Each person is a brand new idea from God. The challenge is to live to the full potential of that idea! The life-directed content appeals to anyone wanting to live to their fullest potential, and the contemporary, retro design along with excerpts from Max Lucado's best-selling books combine to form an attractive and timeless gift.

    It presents the story of how the Course was written, a summary of its teaching, selected quotations from the material, frequently asked questions and answers, and a look at the impact the Course has had. An ideal way to introduce yourself or others to A Course in Miracles.

    He argues that existing anthropological and aesthetic theories take an overwhelmingly passive point ofview, and questions the criteria that accord art status only to a certain class of objects and not to others. The anthropology of art is here reformulated as the anthropology of a category of action: Gell shows how art objects embody complex intentionalities and mediate social agency. He exploresthe psychology of patterns and perceptions, art and personhood, the control of knowledge, and the interpretation of meaning, drawing upon a diversity of artistic traditions--European, Indian, Polynesian, Melanesian, and Australian.Art and Agency was completed just before Alfred Gell's death at the age of 51 in January 1997. It embodies the intellectual bravura, lively wit, vigour, and erudition for which he was admired, and will stand as an enduring testament to one of the most gifted anthropologists of his generation.

    The highly readable texts and over 800 beautiful full-color images come together in a unique way to convey hidden dimensions of meaning. Each of the ca. 350 essays examines a given symbol’s psychic background, and how it evokes psychic processes and dynamics. Etymological roots, the play of opposites, paradox and shadow, the ways in which diverse cultures have engaged a symbolic image—all these factors are taken into consideration.Authored by writers from the fields of psychology, religion, art, literature, and comparative myth, the essays flow into each other in ways that mirror the psyche’s unexpected convergences. There are no pat definitions of the kind that tend to collapse a symbol; a still vital symbol remains partially unknown, compels our attention and unfolds in new meanings and manifestations over time. Rather than merely categorize, The Book of Symbols illuminates how to move from the visual experience of a symbolic image in art, religion, life, or dreams to directly experiencing its personal and psychological resonance.The Book of Symbols sets new standards for thoughtful exploration of symbols and their meanings, and will appeal to a wide range of readers: artists, designers, dreamers and dream interpreters, psychotherapists, self-helpers, gamers, comic book readers, religious and spiritual searchers, writers, students, and anyone curious about the power of archetypal images.

    These insights open our minds to the beauty of life's mysteries.

    However, it's the way you use them that has the real power. When you have an optimistic frame of mind, you're far more likely to recognize opportunities when they arise. The tongue has the power of life and death, and those who love it will eat its fruit. For as a man thinketh in his heart, so is he. The way you use and choose words defines who you are. Words have power. God created the world with words. The Bible plainly says, we shall decree a thing and it shall be established. Are you ready to harness the real power of spoken words?

    In Souls in the Hands of a Tender God, he tells the evocative stories of persons who desperately need psychiatric, psychological, and spiritual support-like Mary, who surrounds herself with huge trash bags for protection from a threatening world; Jerry, whose fits of rage get him barred from every shelter and meal program in Seattle; and others, abandoned and marginalized by their community, who need care and treatment to find their way back to a life of stability and meaning. As Rennebohm reaches out to each one, their stories become parables that explore mental illness and the spiritual heart of care and recovery, helping us understand what it means to be human, on a pilgrimage together toward wholeness.As these stories unfold, we encounter Rennebohm's powerful experiences with a God of kindness and compassion, drawn from his own life and the lives of those he has aided in their struggles with homelessness and with mental illness. Souls in the Hands of a Tender God offers a clear understanding of Spirit, faith, soul, and religion that will prove invaluable to individual conversations and to dialogue among congregations about how we can best serve "the least among us."Souls in the Hands of a Tender God follows the path of healing and the way of companionship to build communities of caring that welcome and include our most fragile and troubled neighbors. With gentleness and grace, solid knowledge and wisdom, Rennebohm lays down the foundations of healing communities in which all may have a home, safely rest, and be well.

    Under the new authorial leadership of Alston Purvis, this authoritative book offers more than 450 new images, along with expansive coverage of such topics as Italian, Russian, and Dutch design. It reveals a saga of creative innovators, breakthrough technologies, and important design innovations.

    In addition to its importance to the history of ideas, this 1795 essay remains relevant to our own time.Beginning with a political analysis of contemporary society — in particular, the French Revolution and its failure to implement universal freedom — Schiller observes that people cannot transcend their circumstances without education. He conceives of art as the vehicle of education, one that can liberate individuals from the constraints and excesses of either pure nature or pure mind. Through aesthetic experience, he asserts, people can reconcile the inner antagonism between sense and intellect, nature and reason.Schiller’s proposal of art as fundamental to the development of society and the individual is an enduringly influential concept, and this volume offers his philosophy’s clearest, most vital expression.

    These objects are our constant companions in life. As such, writes Soetsu Yanagi, they should be made with care and built to last, treated with respect and even affection. They should be natural and simple, sturdy and safe - the aesthetic result of wholeheartedly fulfilling utilitarian needs. They should, in short, be things of beauty.In an age of feeble and ugly machine-made things, these essays call for us to deepen and transform our relationship with the objects that surround us. Inspired by the work of the simple, humble craftsmen Yanagi encountered during his lifelong travels through Japan and Korea, they are an earnest defence of modest, honest, handcrafted things - from traditional teacups to jars to cloth and paper. Objects like these exemplify the enduring appeal of simplicity and function: the beauty of everyday things.

    But although he lived in the German golden age of Goethe, Schiller and Mozart, he also believed that art was in terminal decline.To resolve this apparent paradox, as Michael Inwood explains in his incisive Introduction, we must understand the particular place of aesthetics in Hegel's vast intellectual edifice. Its central pillars consist of logic, philosophy of nature and philosophy of spirit. Art derives its value from offering a sensory vision of the God-like absolute, from its harmonious fusion of form and content, and from summing up the world-view of an age such as Homer's. While it scaled supreme heights in ancient Greece, Hegel doubted art's ability to encompass Christian belief or the reflective irony characteristic of modern societies. Many such challenging ideas are developed in this superb treatise; it counts among the most stimulating works of a master thinker.Table of ContentsIntroductory Lectures on Aesthetics Introduction A Note on the Translation and CommentaryINTRODUCTORY LECTURES ON AESTHETICSChapter I: The Range of Aesthetic Defined, and Some Objections against the Philosophy of Art Refuted[α Aesthetic confined to Beauty of Artβ Does Art merit Scientific Treatment?γ Is Scientific Treatment appropriate to Art?δ Answer to βε Answer to γ]Chapter II: Methods of Science Applicable to Beauty and Art[1. Empirical Method - Art-scholarship(a) Its Range(b) It generates Rules and Theories(c) The Rights of Genius2. Abstract Reflection3. The Philosophical Conception of Artistic Beauty, general notion of]Chapter III: The Conception of Artistic BeautyPart I - The Work of Art as Made and as Sensuous1. Work of Art as Product of Human Activity[(a) Conscious Production by Rule(b) Artistic Inspiration(c) Dignity of Production by Man(d) Man's Need to produce Works of Art]2. Work of Art as addressed to Man's Sense[(a) Object of Art - Pleasant Feeling?(b) Feeling of Beauty - Taste(c) Art-scholarship(d) Profounder Consequences of Sensuous Nature of Art(α) Relations of the Sensuous to the Mind(αα) Desire(ββ) Theory(γγ) Sensuous as Symbol of Spiritual(β) The Sensuous Element, how Present in the Artist(γ) The Content of Art Sensuous]Part II - The End of Art3. [The Interest or End of Art(a) Imitation of Nature?(α) Mere Repetition of Nature is -(αα) Superfluous(ββ) Imperfect(γγ) Amusing Merely as Sleight of Hand(β) What is Good to Imitate?(γ) Some Arts cannot be called Imitative(b) Humani nihil - ?(c) Mitigation of the Passions?(α) How Art mitigates the Passions(β) How Art purifies the Passions(αα) It must have a Worthy Content(ββ) But ought not to be Didactic(γγ) Nor explicitly addressed to a Moral Purpose(d) Art has its own Purpose as Revelation of Truth]Chapter IV: Historical Deducation of the True Idea of Art in Modern Philosophy1. Kant[(a) Pleasure in Beauty not Appetitive(b) Pleasure in Beauty Universal(c) The Beautiful in its Teleological Aspect(d) Delight in the Beautiful necessary though felt]2. Schiller, Winckelmann, Schelling3. The IronyChapter V: Division of the Subject[1. The Condition of Artistic Presentation is the Correspondence of Matter and Plastic Form2. Part I - The Ideal3. Part II - The Types of Art(α) Symbolic Art(β) Classical Art(γ) Romantic Art4. Part III - The Several Arts(α) Architecture(β) Sculpture(γ) Romantic Art, comprising(i) Painting(ii) Music(iii) Poetry5. Conclusion]Commentary

    Few people knew their secrets, carefully guarding the valuable knowledge, and strict laws regulated their production and use. The Rarest Blue tells the incredible story of tekhelet, the elusive sky-blue color mentioned throughout the Bible. Minoans discovered it; Phoenicians stole it; Roman emperors revered it; and Jews—obeying a commandment to affix a thread of it to their garments—risked their lives for it. But as the Roman Empire dissolved, the color vanished. Then, in the nineteenth century, a marine biologist marveled as yellow snail guts smeared on a fisherman’s shirt turned blue. But what had caused this incredible transformation? Meanwhile, a Hasidic master obsessed with the ancient technique posited that the source of the dye was no snail but a squid. Bitter controversy divided European Jews until a brilliant rabbi proved one side wrong. But had an unscrupulous chemist deceived them? In this richly illustrated book, Baruch Sterman brilliantly recounts the amazing story of this sacred dye that changed the color of history.

    With this second edition bringing the books completely up to date with analysis of recent work in the area, A History of Pagan Europe is the first comprehensive study of its kind, and establishes Paganism as a persistent force in European history with a profound influence on modern thinking.From the serpent goddesses of ancient Crete to modern nature-worship and the restoration of the indigenous religions of Eastern Europe, this wide-ranging book offered a rewarding - often provocative - new perspective on European history.This second edition includes:expanded discussion of the significance of the Olympian pantheon and the interrelationship of Greece and the Near East, and of the synthesis of paganism and Christianity new analysis of twentieth-century paganism and the coherence of paganism across time a new glossary and chronology.A History of Pagan Europe is essential for all readers interested in the development of religions across the centuries and around the globe.

    Sound art’s roots can be found in the experimental work of Italian Futurism, Dada, and later the Fluxus group and the pioneering efforts of the American composer and artist John Cage. In the wake of this groundbreaking work, sound art began to mature into a movement, and artists explored the interactive possibilities of sound and in turn created entirely new modes of experiencing and engaging with art. In this volume, the complete story of sound art is told by one of the country’s leading critics and scholars. The author traces the history of this form of art–highlighting the convergence of the indie world bands such as Sonic Youth with the art world–looking at the critical cross-pollination that has led to some of the most important and challenging art being produced today, including work by Christian Marclay, LaMonte Young, Janet Cardiff, Rodney Graham, and Laurie Anderson, among many others.